portfolio 2026
portfolio 2026
typography
1. Workshop Studio-Hanli Berlin
2025, HBK Braunschweig
typography
1. Workshop Studio-Hanli Berlin
2025, HBK Braunschweig
typography
1. Workshop Studio-Hanli Berlin
2025, HBK Braunschweig
Within the workshop led by Lucas Liccini and Elias Hanzer of Studio-Hanli, a type design studio based in Berlin, I had the opportunity to design an OpenType font by experimenting with unconventional materials. In my case, I worked with a piece of string and modeling clay.
The initial phase was dedicated to creating abstract shapes, followed by the manual construction of letters.
I then digitized them through scanning and carried out several color tests.
The font, which I named Doodle Rope, is characterized by its spontaneous, playful, and rebellious nature. To enhance its identity, I designed two posters to introduce it effectively.
Within the workshop led by Lucas Liccini and Elias Hanzer of Studio-Hanli, a type design studio based in Berlin, I had the opportunity to design an OpenType font by experimenting with unconventional materials. In my case, I worked with a piece of string and modeling clay.
The initial phase was dedicated to creating abstract shapes, followed by the manual construction of letters.
I then digitized them through scanning and carried out several color tests.
The font, which I named Doodle Rope, is characterized by its spontaneous, playful, and rebellious nature. To enhance its identity, I designed two posters to introduce it effectively.
Within the workshop led by Lucas Liccini and Elias Hanzer of Studio-Hanli, a type design studio based in Berlin, I had the opportunity to design an OpenType font by experimenting with unconventional materials. In my case, I worked with a piece of string and modeling clay.
The initial phase was dedicated to creating abstract shapes, followed by the manual construction of letters.
I then digitized them through scanning and carried out several color tests.
The font, which I named Doodle Rope, is characterized by its spontaneous, playful, and rebellious nature. To enhance its identity, I designed two posters to introduce it effectively.
Posters
Posters
typography
2. Body Typo
2025, HBK Braunschweig
typography
2. Body Typo
2025, HBK Braunschweig
typography
2. Body Typo
2025, HBK Braunschweig
As part of the large typography class led by Professor Malin Gewinner, we designed a font inspired by the shapes of our own bodies. For my project, I chose the shape of my face and created a complete alphabet.
Drawing inspiration from the text How to Do Things with Value Export, I selected a quote by Judith Butler: ‘My body is the trace of my individual body’.
For the exhibition held from July 10 to 13, I created an A0 poster showcasing my work, and additionally, I designed a second poster using a stencil of my hand.
As part of the large typography class led by Professor Malin Gewinner, we designed a font inspired by the shapes of our own bodies. For my project, I chose the shape of my face and created a complete alphabet.
Drawing inspiration from the text How to Do Things with Value Export, I selected a quote by Judith Butler: ‘My body is the trace of my individual body’.
For the exhibition held from July 10 to 13, I created an A0 poster showcasing my work, and additionally, I designed a second poster using a stencil of my hand.
As part of the large typography class led by Professor Malin Gewinner, we designed a font inspired by the shapes of our own bodies. For my project, I chose the shape of my face and created a complete alphabet.
Drawing inspiration from the text How to Do Things with Value Export, I selected a quote by Judith Butler: ‘My body is the trace of my individual body’.
For the exhibition held from July 10 to 13, I created an A0 poster showcasing my work, and additionally, I designed a second poster using a stencil of my hand.
typography
2. Voice-over
2025, HBK Braunschweig
typography
2. Voice-over
2025, HBK Braunschweig
This project was developed within the Typographic Practice led by Malin Gewinner. I wanted to create a very small book, almost pocket-sized, imperfect, that collects the emotions I experienced during my trip to Berlin.
It is a kind of visual diary, made of handwritten typography, instinctive marks, fragmented sentences, traces, and small mistakes. A non-verbal voice-over, where my experience expresses itself visually, through typography that stops trying to “work” and starts to “feel.”
This little booklet grows “from the inside,” as if written on the back of the mind, a space where I let go of control and allow the gesture to speak.
I decided to include a few questions: although the book is pocket-sized, it also considers its audience. People can pick it up, read phrases inspired by the trip, connect with the emotions, and at the end, take a few minutes to respond to the questions, creating a personal moment of reflection.
This project was developed within the Typographic Practice led by Malin Gewinner. I wanted to create a very small book, almost pocket-sized, imperfect, that collects the emotions I experienced during my trip to Berlin.
It is a kind of visual diary, made of handwritten typography, instinctive marks, fragmented sentences, traces, and small mistakes. A non-verbal voice-over, where my experience expresses itself visually, through typography that stops trying to “work” and starts to “feel.”
This little booklet grows “from the inside,” as if written on the back of the mind, a space where I let go of control and allow the gesture to speak.
I decided to include a few questions: although the book is pocket-sized, it also considers its audience. People can pick it up, read phrases inspired by the trip, connect with the emotions, and at the end, take a few minutes to respond to the questions, creating a personal moment of reflection.
This project was developed within the Typographic Practice led by Malin Gewinner. I wanted to create a very small book, almost pocket-sized, imperfect, that collects the emotions I experienced during my trip to Berlin.
It is a kind of visual diary, made of handwritten typography, instinctive marks, fragmented sentences, traces, and small mistakes. A non-verbal voice-over, where my experience expresses itself visually, through typography that stops trying to “work” and starts to “feel.”
This little booklet grows “from the inside,” as if written on the back of the mind, a space where I let go of control and allow the gesture to speak.
I decided to include a few questions: although the book is pocket-sized, it also considers its audience. People can pick it up, read phrases inspired by the trip, connect with the emotions, and at the end, take a few minutes to respond to the questions, creating a personal moment of reflection.
