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.

Which design intervention can ensue during the melting down of wax candles? How can this material residue be turned into a narrative object? Waxy is first and foremost the result of a collective production: the three designers of this typeface gathered around a table, lighting candles, and letting wax drip onto sheets of paper. Letters were formed one by one, each multiple times. The melted residues were scanned, digitized, and eventually turned into a typographic system.

This work examines how contemporary type design treats minority languages within the Cyrillic script. While thousands of fonts fully support dominant characters, a specific Belarusian letter is often missing. By repeating existing forms and translating them into 3D, the poster shows how absence in typography can lead to languages becoming unseen over time.

An in-progress typographic system tested through procedural mutation and rule based distortion.

Developed in a workshop by KITeGG researchers Francesco Scheffczyk and Paul Esser.
I wanted to express humanness through the eye – as a symbol of introspection and observation.
If you only prompt “human,” there are mostly human body parts. Furthermore, I wanted to express the flow of working together (human + AI) and the mimicking, which is what AI does for me.
This process was part of my project “Human Types” on AI and typography, which appeared in Re:Vision by Monotype.

Inspired by old monograms stitched on house linens, these typefaces merge the rigidity of the cross-stitch grid with the imperfectness of hand-stitching. Each typeface is first designed on a pixel grid, then stitched onto fabric, and finally scanned. From this slow and laborious process, an organic typeface emerges, transferring tactility and ancient hand-crafted processes to the digital realm.

Segmentor: a typeface you can drum
Segmentor is an exploration of what playing drums and designing typefaces have in common, and what links could be brought forward. During his year at Type and Media in The Hague, Mălin Neamțu wanted to combine his practices as a musician and designer to build a real time visual tool that rendered powerful and experimental typographic animations for any live shows he would have in the future.

Where are we going as human race (carbon footprint, anthropocene)?

What is the ratio of fiction versus reality today, in the digital world of social media, metaverse and AI?

As an inherent part of closeness, there is always a risk of losing the one we love.

Process Type is a conceptual typeface representing the vital feelings experienced within the design/creative process.

It consists of 6 fonts that each embody a particular feeling (emotional and physical) that I found brings the most impact on the process for me.

Together these fonts form a journey and a typographic visualisation of the human aspect of the design process, from the beginning to the end.

The poster bestows several questions regarding the truth, lies, disinformation and the version of reality we choose to believe. Type is distorted and blurred which furthermore underlines the very nature of disinformation.

Typographic experimentation with multiple graphic software and its possibilities. As a result, poster design not only displays transparent, water-like typography but also points the viewer to the environmental appeal of preserving water.

This font is a visual exploration of our ever-changing environment, a boundless source of inspiration. The road cracks, particularly, became the base for the typeface.

The font features five stylistic sets in both Cyrillic and Latin alphabets. Letters are replaced randomly, but you can control those variations by selecting glyphs yourself.

Each letter is a unique depiction of a road crack
Letters “O” are inspired by road hatches.
Symbols are based on road markings.

NOT Round One is a variable typeface inspired by racing — from rally and Formula 1 to off-road driving and trail running. Beyond the construction of the letterforms, it features a variable axis that expands the characters nearly twofold, evoking a metaphor of controlled drifting and motion on the track.