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.

Every unruly typeface starts with a little chaos. TAPEFACE was never about me alone, but about seeing what happens when authorship is shared. Each participant was given one alphabet and one colour of tape, passing the sheet every 30 seconds to the next person. Layer by layer, responses replaced plans. Every colour stays visible as a trace of presence. If a typeface can be used by thousands, why not created by many? Tapceface holds the memory of play, collision, and shared time.

Design begins where smoothness ends. Through resistance and texture materials shape emotional experience and presence. As part of a series of material experiments this work consists of construction foam and 3D-printed typography. The series explores friction within the process and the relationship between humans and materials. Through the chemical reaction the materials interact and develop a life of their own. The design unfolds through the way its surface is touched and perceived.

Part of the advertising posters for the workshop series ‘Laboratory Playground’. The aim of these workshops was to present a framework for experimental work based on scientific protocols. The title of the poster, ‘Fermat’s Last Theorem’, consists of letters created during the previous workshop in this series.

Project 12:40 began as a typeface, but it has always been more than just a font. At its heart, it’s about holding a mirror to our histories of language and technology. It’s about asking: what if the tools that shaped typography in India weren’t always playing catch-up to the West? The typeface itself is monolinear, stripped down to its essence, built on a grid that unites Latin, Devanagari and Urdu without erasing their individuality.

Berg Bilder is a collection of symbols and asemic traces derived from mountain paths. Through the digital lens, these natural forms have been altered and reduced to ruins of their former identity. What remains is a semi-systematic writing system that lies between lost meaning and newly emerging interpretation.

This work is an excerpt from my bachelor thesis. It features the term Solanum tuberosum, the Latin name of the potato, used as a typographic motif. The lettering is based on the typeface New Kansas and incorporates contours extracted from a 3D-scanned potato to create an effect of rootedness.

A typeface born out of a sense of independence, a state of mind that has always been important to me. Its first strokes arose intuitively, inspired by this feeling, and later formed the foundation for everything else. Autark can be used as a headline font, or on its own thanks to its almost ornamental character.

Experimental lowercase “o” designed with Lego bricks and followed by a short video animation of 256 frames letting the letterform appears and disappears throughout light and darkness.

March Campaign Poster for the cultural center Kellerperle

The poster showcases ‘Struktura’, a typeface inspired by the atomic and crystalline structure of gypsum, translating its natural forms into a distinctive typographic design.

AI-generated works are visualized through distorted reflective typography, created analogously using various glass forms, highlighting the contrast between physical experimentation and digital intelligence. This work is an excerpt from a compilation portfolio for Media Production at TH OWL which explores the interplay between human-made and AI-reflected design.