In the process of experimenting with punched and folded paper using a 3D-printed gadget, the long paper strip could be turned into a letterform. The study of the letterform, material, and process ended with a series of explorations.
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The type for this poster was created by forming letters with real hair, which were then scanned and digitized. This design for “Be A Good Girl,” a film by Louiza Zouzias, was inspired by a scene where the protagonist plucks out her white hair to avoid upsetting her captor.

As part of a series these letter sculptures blew up to reveal certain parts inflated by force and others pinned to keep the shape. This letter “J” is also projected as a texture on the surface which adds a second layer of abstraction through deformation. [J]uggernaut – a massive inexorable force.

“A mistake is an invitation to do something else.”

Experimentation often includes mistakes, errors, and other “happy accidents” that occur in design. How would one effectively communicate the concept of a mistake? With this project, I used the “error” message that used to occur with older computer programs with strikethroughs, overprinting, annotations, text errors in formatting and alignment, and other methods of traditionally highlighting mistakes.

As a small niche brand it’s hard to get attention with a 2qm booth on big trade show being one of many. The title is there to provoke what we actually love and get some attention.

Split, cut, slice, slit apart. This project focuses on the abstraction of typography through the technique of repeatedly dividing objects and thus breaking up its materials in 3D space. The glyphs are increasingly cut up experimentally, reassembled and brought into perspective. New terms and creations can be recognized through newly evolving edges. It is the conceptual transformation of language.

Moditra is an experimental variable font that explores the relationship between serifs and swashes, skeleton and ornament by interpolating the weight, width and curvature of its terminals – essentially growing ornaments through variable font technology.

The clock serves as a tool for conscious perception and decision-making about how we want to use our time. Everything is part of the day, and we decide every second, minute, hour how we want to spend time. With each second, a task keeps on adding up. This animation works generative and is part of my Bachelor Project at Hochschule Düsseldorf.

This interactive animation works on both tablets and laptops. You can draw small images using a pen on the tablet or a mouse on the laptop. Essentially, it allows for digital drawing with images, which are then transformed into typography. “Drawing with Images” is a project that is currently a work in progress.

The letters of the word “Space” are separated and fill up the screen. You can also read “Escape,” suggesting that the design tries to break free from the boundaries of the screen.

This is an interactive animation designed for tablets, detecting the device’s motion. The graphic responds interactively, pushing each letter in the direction corresponding to the device’s tilt.

The words “Past,” “Present,” and “Future” are broken into individual letters that move up and down the screen. The word “Present” uniquely drifts between the top and bottom of the screen, which display the words “Past” and “Future.” This reflects how our thoughts and perceptions of time wander between different stages. The movement of these words symbolizes the intertwining of time and identity, illustrating how we navigate between past, present, and future.

This interactive animation works on both tablets and laptops. When the screen is touched, words fill the screen, visually representing the intense emotions of growing up. It reflects a common saying among the younger generation: “screaming, crying, throwing up,” symbolizing the pains of growing up.

The coexistence of personal life and work requires a flexible adjustment of both areas. Can work and personal life exist together without one overshadowing and dominating the other?

This is an interactive animation for tablets. When you touch the screen, letters start falling from the top. The letters of the word “fill” drop to the bottom, following their own paths and gradually covering the screen. The screen is seen as a container.

By embossing text onto a surface I explore the intersection of language, texture, and sensory experience enabling words to transcend their visual form. The phrases chosen reflect the nuanced relationship between perception and reality, encouraging consideration of deeper implications behind everyday concepts and actions. This technique aims to create a space where the physicality of art and the abstract nature of thought converge, fostering deeper engagement with the messages.

This is a personal project for an exhibition series called “Mirage – the disappearing line between reality & fiction.” The typography captures the physical essence of a mirage. When you view it from a distance, you see one thing, but as you get closer, the mirage disappears and you start to read between the lines. In addition, the details of the letters create a visual connection to the “New Museum” where the exhibition is taking place.

The Yukaghirs are an indigenous people of the North. To express love, they created a writing system: 1.He and She 2.A line means “I like you, remember when you looked at me?” 3.Connecting lines indicate “I love you. I want you to love me too” 4-6.Drawings show varying degrees of love, with the strongest connection indicated by parallel and crossed lines 7.A love triangle expresses longing 8.Two pairs reveal different feelings 9.A cross indicates loneliness. 10.A cloud means “I am thinking of you

The work represents contemporary form of calligraphy, never attempted before with Gujarati script. This extensive repertoire illustrates how stereotypical typographically-composed texts from poetry are transformed and detached to present a pictorial representation of form. This adds an extended, personalized level of meaning to the expression by methodology: considerations regarding text content, rhythm and depth of language, graphic contrast and coordination of color and grey values.

This year’s unofficial 36 days of type were again a nice reason to come up with a set of characters and try a new technique. I am using magnets on a triangular grid to manipulate ferrofluid, a magnetic liquid that reacts depending on size, distance and polarity of the magnets. Before I actually used the ferrofluid, I sketched my characters on a triangular grid and created a rough preview on Photoshop. In reality, there are different kinds of structures that made me chose this unusual medium.

WF Node is a experimental mono-line, semi-monospace typeface. The anchor points of the construction are used as a stylistic elements. The structure of the letters is turned outwards. The nodes are adaptable in the axis large to small and square to round.

These images are created using physical photographic processes. Through a photographic enlarger, transparent packaging is projected onto light sensitive paper, which then goes through all the chemical processing. No computers are used in this process. All the images are “monotypes” since they are not made from negatives.

Where is the boundary when a letter becomes an abstract form? At what point does an abstract form become a letter? The letter Y turns into a graphic. Graphics become letters.