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.

An ambiguous New Years’s greeting for equally ambiguous times.

After reading Jorge L. Borges’ collections, the designer explored whether a typeface could capture Borges’ many images of the labyrinth. The experimental font favors disorientation over readability, transforming gothic textura into a black-and-white structure that reads as both writing and a contemplative mandala. Its first release, Borges Square Pixel, studies balance between strokes and spaces to form a dense, harmonious texture that remains alive and unpredictable.

As an architect, I worked on analyzing an Eastern European postmodern panel housing estate. The modular system of the concrete blocks allowed the designer a wide range of variations in the floor plans. For my doctoral research, I listed all the residential buildings in the housing estate, and the result is strikingly similar to a secret alphabet. The purpose of my posters about the housing estate is to bring the residents closer to the architecture of the housing estate.

Mobile Asemic Writing is experimental typography created while moving and listening to music on mobile devices. It treats writing as bodily gesture in flow rather than readable text. Meaning is suspended as language dissolves into rhythm, pressure, and repetition. Guided by sound and movement, the work emerges through touch and lost control, existing between typography, drawing, and performance. It proposes typography as an unstable, process-driven event inseparable from movement and duration.

NODOA is a decorative Latin typeface inspired by traditional Chinese knotting craftsmanship. Its design is based on the cloverleaf knot as the core unit, presented in both handmade physical and 2D digital formats. Through contemporary graphic design practice, the typeface offers a fresh perspective on appreciating and understanding traditional handcraft.

The project explores the power of fashion in society and its role in shaping identity, influence, and fast-paced trends. The visual language is driven by extreme displacement and distortion, translating force into form. Emerging from a custom motion system, the design is derived from movement and transformed into stills. By using a bold, heavy typeface instead of traditional fashion typography, the posters redefine fashion as energy, impact, and power.

This series of posters presents a custom experimental typeface as the core compositional element. The letters are not used as neutral carriers of text but as expressive forms that occupy and structure the entire space of the poster. The work prioritizes handwritten letterforms over conventional typesetting, treating typography as an active visual force rather than a secondary element.

Enter Text is an experimental editorial that involves the exploration of an abstract glyph system through creative coding with the assistance of AI (as far as code writing is concerned), while the interaction with this technology becomes part of the storytelling.
The main notion of the book is the relationship between language and form, the way it’s expressed in a concrete poem.
The narrative transcends from an abstract glyph system documentation to thoughts that arose in the process.

It began as a school project with the primary goal of designing a 3D type. After an extensive process involving analog modeling of the letters with metal mesh and wax, 3D scans and adjustments in 3D software, the letters were now visible from all angles in both the real and digital worlds. During the work on the objects, themes such as space and asteroids provided suitable inspiration for the design of various media like posters and animations.

Cushioning sheets are packing materials used to protect objects from impact.
Though industrial and inorganic, their wrinkles and bulges reveal an organic quality.
In this work, the letters “S,” “A,” “F,” and “E” emerge from the natural folds of the cushioning sheet within the unstable space of transportation, where the intention to protect quietly takes form.
The word “SAFE,” appearing in an ambiguous and uncertain space, visualizes the sensation of safety itself.

This project transforms a shared journey into a tactile object, using experimental type. Frayed brush pens left wild, textured strokes that dance with grainy travel photos, forming a visual language alive and fleeting – like memory itself. The 5 handmade tapes, with songs that played on repeat during the trip, a USB-stick containing all the travel pictures, and a foldout poster, become a tactile capsule of nostalgia, connecting friends to the journey through form, texture, and rhythm.

A poster for a lecture by Can Yang at Düsseldorf University of Applied Sciences. The title of the poster, “Can Yang”, consists of analogue cut-out paper letters that have been digitally scanned and edited. The seemingly randomly placed circles are inspired by the title of the lecture.