Visual identity for an artistic event held in the Valongo region of the city of Santos (coast of the state of São Paulo). To create the logo, the name of the event was projected on the wall while translucent objects were moved close to the projector lens, creating movements and irregularities.

There are invisible characters in the UTF-8 Unicode character encoding standard: Hair space, thin space, punctuation space and many more.
This experiment measured the width of each invisible character with p5.js to dynamically manipulate the kerning of single characters. By analyzing the brightness of individual pixels of an image and inserting them at the corresponding lines and characters, image patterns are emerging in the text through white space and densification.

The sentence “what moves” printed on foil, photographs of various fold arrangements.

Montage of modular compositions with words printed on foil and paper, photographs of various arrangement arrangements.

Montage of modular compositions with words printed on transparent paper, photographs of various arrangement of combinations.

Visual identity for a collection of books written by African authors created by the publisher Companhia das Letras. To create the covers, a geometric typographic pattern was created that refers to the idea of ​​weaving and the fabrics made by some African people such as Manjak and Shoowa / Kuba. Each cover contains a pattern based on the author’s name (Paulin Hountondji, in the example sent).

The “Archiv 8. März” project analyzes the media presence and visual communication of the German Women’s Day protests. It encourages everyday feminist protest through an interactive poster generator. At the heart of the project is a custom typeface made from 159 out of 3413 unique letters, written by original protesters and extracted from media images.
The font spans three styles, representing three expressions of modern protest. Each style features 26 feminist symbols.

Montage of modular compositions with words printed on folded foil, photographs of various fold and shadows arrangements.

‘Mantras’ is a pattern collection that reflects on the intrapersonal effects of lockdowns. Using my diaries as a starting point, I assigned a word to describe my weeks for a year; each prefixed by ‘re’ as a nod to the repetitive nature of both the patterns and life during quarantine. I chose calligraphy as a way to turn these words into an exploration of patterns, type and legibility, as well as a tool for processing this period. These patterns serve as a subjective timeline of 52 weeks.

Seven words printed on folded foil, photographs of various arrangements of folds and shadows.

Seven words printed on folded foil, photographs of various arrangements of folds and shadows.

In this experimental design, typography visually represents the initial letterforms of the words “roots” and “bread in arabic.” The letter for “roots” is designed with branching, organic shapes to symbolize growth and stability, while the letter for “bread” features rounded, textured elements that evoke warmth and nourishment. This approach enhances the understanding of each word by reflecting its meaning through its visual characteristics.

One sentence “what remains in motion” printed on folded foil, photographs of various fold arrangements.

Ten different words printed on folded paper, photographs of different fold arrangements.

Ten different words printed on folded paper, photographs of different fold arrangements.

Spilnosti maty (in ukrainian) means to have a human connection, having an affinity. The poster is a sublimation of feelings, an exploration of emotions, confusion, and love.

Lauta is a german font where lip-reading becomes typeface. Tied closely to sound, Lauta encourages speaking and experimenting. By mimicking the respective mouth shapes, one can easily determine the sound it represents. Instead of traditional letters A to Z, each glyph in Lauta embodies the mouth shape for specific sounds, transforming “lauter” to “lauta.” This approach makes Lauta a font for vocal exploration and discovery.

AI tools for image generation and manipulation are developing very fast. Yet, their utility for designing typography remains limited. ‘Latent Type’ explores different ways of working with Text-to-Image models – as one of the most recent additions to said tools. It analyzes available settings, inputs and finetuning options, both with the aim of creating experimental letter shapes as well as fonts. It moreover explores the role of human and artificial intelligence in a shared design process.

In this Arabic typography design, the quote “Rumi said, ‘Love is not written on paper, Love is inscribed in the heart'” is rendered through white paper folds and cuts in origami and kirigami. The sharp-edged, monochromatic letters underscore the fragility of physical mediums contrasted with the enduring nature of love inscribed in the heart, emphasizing the purity and lasting impact of Rumi’s message in a diptych design.

We designed the communication campaign, motion graphics, social media posts, promotional materials, and exhibition graphics for the Sarının İzi event, which turns iconic yellow Ytong packaging into canvases and construction sites into open-air galleries.

Sarının İzi begins as an urban art intervention with works by artist Meltem Şahin, illustrator Burak Beceren, and the versatile design studio Piknik Works spreading across Istanbul, all based on Ytong’s iconic yellow packaging. The creative con

This matrix-printed collective booklet documents the letters created in Google Sheets by the participants of a Betűklub workshop.

We, as designers, constantly strive to improve our skills, tools, materials, and workflow. This is a normal part of our work in the capitalist market. But what if we consciously downgrade our own tools?

This visual poetry is created on a simple thermal printer using only two non-letter symbols from its limited basic glyph set. By abandoning content and message, we gain the opportunity to focus more on sensations and form creation.

Custom lettering for the IntegrArt Project

Riso poster for the seminar “Image Making” by Robert Franke. The design is based on analogue photograms of ice letters and water in a petri dish. The project was created in the printing workshops at FH Aachen under the direction of Robert Franke. Student assistant: Franka Riesterer.