In this piece, I explore the emotions that shape my creative journey. The design captures the duality of experience—how working, living, and creating evoke a spectrum of mixed feelings. Through a blend of clarity and abstraction, it reflects the tensions and complexities faced by creators. By integrating layers and varying levels of detail, the work visualizes the ebb and flow of artistic progress and self-discovery, inviting viewers to engage with the nuanced journey of creativity.

“cyberbrain” is a futuristic monospace font inspired by computer terminals and the displays and user interfaces of science fiction movies like “Terminator”, “Robocop” and “Ghost In The Shell”. The current version contains the complete Latin I character set, sans lowercase letters.

The conventional boundaries of typographic representation should be questioned and expanded by translating and deforming letters into third dimension.

Originally hand drawn artwork saying »FREI« (german for free) that plays with floating and overlapping shapes.

Typography artwork for the feminist slogan »Jin Jiyan Azadi« following the 2022 protests in Iran, sparked by the death of Mahsa Amini.

Mistakes are part of the process of learning and creating new things. Sometimes the strongest designs come from a simple concept and trying things out, leaving room for “errors” to carve new pathways. Mistakes become “happy accidents” when embraced in the process of creating and experimenting with different techniques and processes. These “happy accidents” are what transforms something from good to captivating!

Ursula, master’s degree project at Ésad d’Amiens. Ursula is a single width, variable and random typography. The typography is inspired by various forms offered by nature and by small living beings, such as ants, termites or bacteria. Ursula is composed of characters close to the Latin alphabet and other abstract characters called “traces”. The typography is made up of 6 weights, representing different levels of snacking. The first name Ursula is a nod to the author Ursula Le Guin.

Retracer, Master’s Degree Project – ÉSAD d’Amiens, 2022.

Traditionally, letters are drawn through bodily gestures with specific tools. But what would it be like with a machine? This project explores the creation of letters and gestures using a pen plotter. By physically and algorithmically hijacking the pen plotter, this project examines how this machine can influence the traces it produces. Experimentation with various mediums and gestures results in singular and unique letters.

The typeface was originally created as part of a corporate design for The Hulk. Referencing the transformation of Dr. Bruce Banner growing into the giant creature with his clothes ripping apart, pieces of paper were torn into letterforms and then moved across the scanner. The visual character trait was translated into a bold typeface that conveys power and aggression. It is intended to be used as a display typeface.

This poster was created for the “Fight for Kindness” open call, a project designed to spread the values of kindness through a typographic message. In my contribution, I aimed to raise awareness about the overwhelming amount of money spent each year on war, highlighting how these funds could benefit humanity in numerous other ways. In 2023 alone, 2,443 billion US dollars were spent globally on military activities.

This is a reflection on the different meanings that the word ‘America’ has for English and Spanish-speaking people, both geographically and culturally, as well as how language can profoundly impact identity.

This poster, one of a series, was designed as a flyer for the street culture music festival, DCBL x VYHOR. Featuring grills, a type of dental jewellery, the concept and implementation are heavily inspired by hip-hop culture. DCBL (short for «Де Це Було» in Ukrainian) is a non-governmental organization that hosts music events in Lutsk, Ukraine. The organization promotes progressive cultural development.

The poster depicts a mnemonic phrase that helps to memorize the spelling rule of the Ukrainian language.
The phrase is iconic for everyone who has ever studied at a Ukrainian school, and it often evokes not very pleasant associations, while being senseless.

The poster proposal breaks typography into fragments that together compose new textures and rhythms. In the animated version it is possible to see the fragments returning to their original position, revealing the text.

Logo, visual identity, environmental signage and motion graphics for “Amor é Amor” [Portuguese for “Love is Love”], a campaign for Sesc Avenida Paulista (a cultural and community center in São Paulo, Brazil) about Gay Pride Month, with modular letters in different formats and shapes, representing the different ways and manners of love.

The whole concept of GHOST TYPOGRAPHY is based on the drill holes and leftover screws on public walls. It is an experimental approach to the remains of former shop signs. This work consists of 352 pages of experimental typography, design and typography theory, shape and color research, as well as the applied use of the experimental results in the form of poster designs. The whole work also serves as a type specimen for the font family “Screws,” including 49 fonts.

Lit_inerante (a mix in Portuguese of the words “literature” and “itinerant”) was a literary writing workshop series. His identity was inspired by graphic language of the maps, especially those of subways and navigation apps, in order to highlight the main feature of the workshop: itinerancy. Other aspect of design that emphasize attributes of the workshop is its adaptive logo: each layout, a different logo arrangement, visually representing both the variety of paths that could be explored, as we

Experimental versions of a p5.js based font project called »shakshuka«.

This piece is collateral for The Automation Lab brand. The symbol is an iteration of the letter A with extensions as arms and legs. Repetition is the representation of repetitive tasks that the automation makes.

A project inspired by Whitechapel Road, using grid systems found in the area. These grids formed the basis to create a variable typeface and inform the identity design. A workshop was held to create the letterforms, aiming to input a sense of community and collaboration into it’s design to reflect the areas diverse and multifaceted nature. The type specimen uses a calendar fold allowing the user to flip between the different letterform variations, further reiterating the area’s diverse nature.

This book illustrates the maddening adventure of exploring the boundaries between type and illustration. Stretching and blurring the lines of letter and image, readability and pattern. To re­create the joy, confusion and madness that was experienced during this journey, Lewis Carroll’s words from ‘Alice in Wonderland’ were borrowed. Illustrating an ever changing adventure with endless possibilities of what may come. After all we’re all mad here! Come with us down the rabbithole…

Scripted Stories is a body of work inspired by Anagha Narayanan’s font ‘Ilai.’

Ilai embodies a modern take on 60s psychedelia. Through this project, I aim to investigate the threshold at which the font seamlessly integrates into the composition, potentially diluting its distinctive structure, character, and allure. Ultimately, I’m gauging how the font transitions from a unique typographic form into a fundamental building block for artistic exploration.

The EGO project began as a university project and evolved into a study of light and shadow as natural phenomena. Inspired by Hussler’s philosophy, it creates an unusual alphabet that transforms into patterns, offering endless fun with these letters.