“Forms of Protest” explores the power of the printed word as a medium of empowerment. The typeface “Protest Mono,” developed specifically for this project and crafted as a printable font from pear wood, combines aesthetic diversity with accessible application.
The workshop is understood here as a site of manual thinking, exchange, and revolt. Through participatory workshops, the project invites participants to give expression to diverse forms of protest and to position them within public space.

The work is generated with the Dynamic Design Instrument, a custom openFrameworks tool developed by Dina Silanteva for live visual performance. DDI includes a custom modular typeface, where each letter is built from a grid and animated in real time. Typography is approached as a flexible, performative system rather than a fixed form. The work is shown as static poster, animated GIF and video animations.

Excerpt from a series of typographic works revolving around the “Earth” as a living organism: Type becomes landscape, characters become cells. In labyrinthine structures, organic-geometric systems, and seemingly irrational paths, the earth is reflected as a complex structure between chaos and order. Typography no longer functions as a carrier of language, but as a material that expands, branches out, condenses, or erodes — analogous to geological, biological, and cultural processes.

An interpretation of the Polish writer and playwright Witold Gombrowicz.

Math of Time is an alternative clock system that visualizes the hidden mathematics behind everyday time perception. Instead of showing fixed numbers, it translates real time into shifting geometry, movement, rhythm, and sound. Each moment generates its own geometric configuration, with a constantly transforming triangle forming a unique signature of the present. Programmed in Processing, the work explores how time becomes deeply personal through perception

The result of a synthesis of geometric and italic grotesk influences, evoking an aesthetic of speed, movement, and dynamism. Initially developed through an uppercase light-weight study, its core structure and expression remain consistent across heavier weights, ensuring versatility. Its architectural letterforms allow for complex interactions through spacing and kerning, generating distinctive ligature-like connections. Diagonal forms underpin the design philosophy, conveying rhythm and motion.

Inspired by Roland Barthes’s The Death of the Author, this small interactive installation explores the viewer’s role in creating meaning. Soap bars carved with the word author are placed beside water and used by visitors to wash their hands, gradually erasing the word. Referencing both Barthes’s theory and Pontius Pilate’s symbolic hand-washing, the act invites viewers to “kill” the author while simultaneously destroying the artwork itself.

As designers, we constantly strive after finding the shapes of the future. We look ahead while our past is following, being present in every step we take. What if we lean in and explore the things from our past? Inspired from historic building inscriptions in The Netherlands and Germany, the lettering 2026 reshapes medieval forms with the tools of the present.

Cellular Transfigurations is a generative font family built with Processing (p5.js), inspired by biologically immortal organisms such as Schmidtea mediterranea (planarian flatworm) and Turritopsis dohrnii (the “immortal” jellyfish). Imitating processes that allow these species endlessly regenerate, the code reshapes letterforms—stretching, mutating, and sometimes erasing legibility—treating typography as a living system and asking whether meaning dissolves when life persists without end.

Weekly opening-hour posts from bananaboot.de are sampled, cut, and reassembled. Animation frames freeze mid-gesture, still images lose function. Time collapses. Order is refused. Across three A4 pages, typography shifts from information to interference—raw, repetitive, resistant. The collage converts time-based announcement type into static noise, testing repetition, rhythm, and refusal as typographic strategy.

The state of the Earth is fragile and dynamic. We are all fragments of the problem or the solution. With these thoughts in mind, I approached the design of the poster. I tored equally sized rectangles from old paper and drew various shapes on them. These shapes collectively form the lettering of the poster. When a rectangle is moved, the lettering on the poster changes. Since the shapes are modular, they can be used to experiment and form letters in infinite ways.

Veiled Relic (Erth Mahgoub) explores the hidden layers of ancient heritage, reimagining the statue of Khafre in the video to reveal an antiquity that surpasses modern sophistication. Using Gaussian Splatting and point cloud reconstruction, the work captures the relic’s multi-dimensional essence through volumetric data. This vision is brought to life via Augmented Reality and an interactive 3D model, bridging the gap between historical depth and contemporary innovation.

An experimental typeface inspired by the typographic language of Sergey Chekhonin. The typeface was generated using artificial intelligence and then manually edited and stylized.

This is one of the typographic posters from the LET THEM EAT CHAOS collection, dedicated to the performance of the same name. The main background typeface is hand-crafted and was inspired by Sumerian cuneiform script.

Veiled Relic (Erth Mahgoub) explores the hidden layers of ancient heritage, reimagining the statue of Khafre to reveal an antiquity that surpasses modern sophistication. Using Gaussian Splatting and point cloud reconstruction, the work captures the relic’s multi-dimensional essence through volumetric data. This vision is brought to life via Augmented Reality and an interactive 3D model, bridging the gap between historical depth and contemporary innovation.

The four-part installation explores the fear of self-repetition and the inner creative conflict triggered by the constant pressure for renewal and innovation. As the artist consciously draws from elements of earlier works, new ideas and forms emerge. The acceptance of self-repetition begins with the dedicated and repetitive process of creating a series of text-based textile objects, which are later rendered in different ways, exploring various forms and meanings of repetition and originality.

Narragansett Algae is a typeface made from seaweed gathered at Narragansett Beach. Its letterforms seem to sway with an invisible current. Each letter honors the found form, maintaining the fluid, drifting movement of algae in water. The alphabet becomes a translation of organic motion through static form.

This typeface was developed from the abstract paintings of artist Timo Heijnk. Multiple works were used as a source, from which letterforms were intuitively traced by hand. Rooted in the charcoal drawings within the paintings, the typeface adopts their fragile and volatile quality. Rather than following typographic conventions, the letters translate gestural marks into a readable system, fluctuating between image and text, structure and intuition.

The project initially started as a logotype design composed of 16 flat bars designed over a handwritten letter with strong width contrast. The process quickly evolved into an experiment in typography after the depth axis was accidentally activated during the process.

The unexpected result and the repetition keep the form awake and dynamic, capable of generating variable results using different levels of volume and direction within the same setup.