Decorative font inspired by street stories and Ramen.
WIP.
The font is not for sale, if anyone wishes to use it please contact me directly on instagram.

Still Work in Progress. Not buyable yet, but soon.

Swush is a 2-component typeface with some swushy weirdness to it. It comes in a spikey "barbed" and a heavier "bulked" cut.

sorry but this font is not for sale yet.

Calligraphy hairline

Solenizant
Polish for a person celebrating birthday or nameday.

A unapologetic sharp, contemporary display typeface with experimental approach to weights interpolation.

Family of 10 weights with multiple language support, 350+ glyphs each.
Released by The Designers Foundry

Swush is a 2-component typeface with some swushy weirdness to it. It comes in a spikey "barbed" and a heavier "bulked" cut.

Still work in progress and not up for sale yet.

Still Work in Progress. Not buyable yet, but soon.

CITO Mono is pure uppercase and still WIP

Brutal is a not stencil calligraphic typeface designed in light, regular and bold.

Still a WIP, updates to follow...

Calligraphy like font.

Whole range of interesting ligatures. A nice link between old and new typography.

Benson Spirit is an adaption of results I achieved during a contrast research based on roman construction at Letterstudio at KABK in The Hague. All drawings went through a lot of iterations and developments and still remain as work in progress, therefore it is not for sale yet. I'm planning to offer Benson Spirit in several weights, coming with a few features, special characters, ligature and all that good stuff type design is offering.

If you're interested in trying out — contact me!

Nice ligatures

Oskar Schlemmers Triadisches Ballett premiered 100 years ago and is the inspiration for the geometric approach of this typeface

MotoSpace is an extended grotesque which is primarily developed for sportive and urban styles.

Custom typeface for Boxing Lessons from Berlin

TИГР/TIGR is my first take on a sans-serif typefaces. It aims for a dynamic, contemporary approach to humanist lettering. My inspiration was mainly drawn from all-time classics such as Gill Sans and Antique Olive. However TИГР/TIGRs edgy letter shapes create a timely, characteristic appearance trough snappy strokes and sharp endings. The narrowing line width towards stems or junctions creates an image of easiness in movement – reemphasized by the wide stand of the capital letters. The thus resulting large, very specific counters qualify TИГР/TIGR for both long running text, as well as distinctive display appearances.

This font has been carefully optimized and offers an extended latin character set, the cyrillic basic and extended adobe sets as well as stylistic alternatives.

Total glyphs count: 575

Please feel free to contact me for purchase requests or any questions regarding this font.

Freya is inspired by classic Antiqua serif typefaces such as the famous „Caslon“ or „Didot“ which are almost three decades old. With great attention to detail and an unique approach, Freya is a modern interpretation of an old classic with its very own personality.
Freya has a strong varying thickness between the thick and thin strokes and therefore plays a lot with contrast. The whole idea of contrast comes together in different weights of the typeface family, which are connected through the same thickness of all horizontal lines. Freya is created in a consistent gradient of styles to ensure best functionality for Headlines and Text. Through its sharpness and elegant construction the typeface set its context in the field of lifestyle and fashion. Its features are carefully balanced to create a modern and novel appearance.

The design process started with the finding of a lettrage made for a book cover about the book of Revelations. It had clear historic links to Humanistic letter shape and proportions but somehow there was something refreshingly new in the way the counter-forms seem to be displayed. We build from there. Meant first as a custom-experimental project, it soon became a full-time commitment as we grew more and more fascinated by the kind of shapes we could design based on the few characters we had originally (“APOCALYPSE”, uppercases only).

The design process started with the finding of a lettrage made for a book cover about the book of Revelations. It had clear historic links to Humanistic letter shape and proportions but somehow there was something refreshingly new in the way the counter-forms seem to be displayed. We build from there. Meant first as a custom-experimental project, it soon became a full-time commitment as we grew more and more fascinated by the kind of shapes we could design based on the few characters we had originally (“APOCALYPSE”, uppercases only).

Experiment with opentype features. Each letter has 4 different glyphs.

The design process started with the finding of a lettrage made for a book cover about the book of Revelations. It had clear historic links to Humanistic letter shape and proportions but somehow there was something refreshingly new in the way the counter-forms seem to be displayed. We build from there. Meant first as a custom-experimental project, it soon became a full-time commitment as we grew more and more fascinated by the kind of shapes we could design based on the few characters we had originally (“APOCALYPSE”, uppercases only).

Monoheight