Interpol is a variable font with a grid-based system. The design plays with different levels of inner and outer edge rounding, shaping letterforms that move between sharp corners and gentle curves. This variability makes the design process visible by showing how a clear idea evolves from something abstract. This contrast gives Interpol a dynamic visual character, making it ideal for striking headlines, futuristic designs, and expressive typographic compositions.

A few years ago, I had the idea of reshaping a stop sign into a heart. For me, this symbol stands for giving something up out of love <3 Stopping certain things or habits for the sake of others, whether people, animals or nature. For example, stopping eating meat out of love for animals or, from a global perspective, for the climate, and thus also out of love for all living beings :)

Aeterna is an extension of my work on Ärger, which is based on the rhythm of Capitalis Monumentalis. While Ärger draws on pen-based letterforms, this design is more closely informed by the chiseled visual language of Roman monumental inscriptions interpreted in a simplified manner. Its reduced forms and slightly restrained serifs give it a contemporary character, creating a dialogue between historical elegance and modern typographic design.

The new identity for Engadiner, a family-owned vacation farm and winery in South Tyrol, Italy, successfully marries the company’s rich agricultural heritage with its contemporary winemaking endeavors, projecting a brand that values both tradition and timelessness. The new design was inspired by the original logo, which featured the name "Engadiner Hof" in a fractured typeface. This fractured look was reimagined and modernized. To complement this update, I chose a sans-serif typeface for the rest of the lettering, ensuring a balanced and unified visual identity. The E was further reimagined as a three-dimensional form, resembling a stone carving. This design choice enhances the decorative potential of the logo, allowing it to be used as an emblem. The carved effect symbolizes the craftsmanship and quality that goes into their winemaking process.

Bouquet is a typeface that embodies a company’s commitment to quality, tradition, and craftsmanship. Drawing inspiration from the timeless elegance of classicist Antiqua, the design sought to merge traditional elements with a sense of rugged authenticity. By incorporating slab serifs into the classic structure, the typeface achieves a unique blend of refined tradition and rustic charm. This combination results in a typeface that feels both timeless and grounded, perfect for representing a brand that values its heritage and attention to detail.

I had the privilege of designing an information sheet and posters for the diploma exhibition of my close friend Jakob. Titled “Strange Days,” the exhibition delves into themes of creation, preservation and the transience of memories. The design was directly inspired by the three sculptures at the heart of the exhibition. These sculptures consist of rigid metal frameworks that interact with organic objects, creating a compelling dialogue between structure and fluidity. Reflecting this dynamic, I developed a layout where the grid itself remained visible, emphasizing the rigidity of the frameworks. In contrast, the typography introduced a flowing, organic quality, mirroring the interplay of structure and transience central to the sculptures and the exhibition as a whole.

Ärger is a serif typeface that blends elegance with a hint of ominousness. It was inspired by hand-drawn letterforms found in a very old book I discovered in my parents’ attic. The project began in 2021, starting with the redrawing of the capital letters from the book, followed by their digitization. Some of the characters had subtle indentations on their base serifs where the strokes hadn’t connected properly. I found these small imperfections quite charming and decided to incorporate them into every glyph. Building on those initial forms, I refined the overall rhythm and structure of the typeface.

The goal of this project was to design a layout that highlights the images, while keeping the accompanying text informative but unobtrusive. A flexible grid system was developed, allowing elements and images to be arranged dynamically. This adaptability ensures that the layout fits each shape and format of photograph, offering a visually engaging yet uncluttered presentation. Text elements were purposefully restrained, avoiding decorative styles to maintain a clean and minimal aesthetic that supports the images without distracting from them. The design takes inspiration from sympathy cards, channeling their understated elegance and quiet respect. This approach brings a sense of reverence to the photographs, underlining their importance and creating a contemplative experience for the viewer.

Walze is a sans serif typeface with four style sets, all based on a shared structure blending grotesque and gothic elements. Each style features unique glyph terminals: Set 1 emphasizes a Gothic character, Set 2 draws inspiration from Bauhaus, Set 3 adopts a distinct Humanist approach, and Set 4 features a more Grotesque aesthetic. The consistent structure allows for seamless mixing and matching of styles.

The goal of the redesign was to modernize the brand identity of a small, family-owned company specializing in compact timers for ski racing. Balancing their reputation as an engineering-driven, self-sufficient team with a futuristic yet nostalgic aesthetic, the rebrand reflects their unique values and market niche. A custom typeface and corporate design system were created to embody the fusion of traditional craftsmanship and forward-thinking innovation. The logo is inspired by a clock face and a snowflake, symbolizing the core elements of ski racing. This cohesive design establishes a compelling visual identity that honors the company’s legacy while positioning it for future growth.

The Kompakt typeface conveys speed, boldness, and modernism, all while maintaining compactness and versatility. It maximizes space efficiency without sacrificing style or legibility. Through its variable contrasts, Kompakt delivers clear readability at all sizes and reliably performs in diverse applications.

A magazine that provides a platform for presenting research work, sharing work-in-progress insights, and fostering constructive criticism. The publication encourages interaction and dialogue, creating an open space for collaboration and exchange of ideas. The concept of “in-between” (the interaction and connection between people, ideas, and processes) inspired the magazine’s design language. This is reflected in how spaces are treated throughout the publication. The space between columns of text is intentionally disrupted, creating unconventional layouts that invite exploration. Design elements occupy unusual places, breaking traditional boundaries and encouraging the reader to view the content from fresh perspectives.

This project involved designing the yearly publication for the ORF to present internal data, highlighting its contributions to diversity and society through reporting and broadcasts. The goal was to create a visually engaging yet professional format that emphasizes the trustworthiness and significance of the data. The inner layout was designed with a focus on modesty and clarity, mirroring the precision of the numbers it presents. The brick on the cover represents numbers as solid, reliable entities, echoing the ORF logo’s rectangular shape, often humorously called the “ORF-Brick.” This motif extends into the interior, where it appears in information graphics, creating a cohesive visual language throughout the publication.

As part of the new FWF identity, a set of icons was developed to complement and align with the updated visual language. The design process centered around integrating the distinctive angle and stylistic features of the new logo into the icon set. The angle of the logo influenced not only the overall forms but also the way lines intersect, how corners are shaped, and how line endings are executed. This consistent approach creates a cohesive visual system that ties the icons seamlessly to the broader identity. The resulting icon set balances clarity and sophistication, offering a visually unified and easily recognizable representation of the FWF brand across various applications.

The redesign of the ÖAW Yearly Report focused on creating a layout that combines flexibility with a cohesive visual identity, ensuring that diverse information could be seamlessly integrated while maintaining a professional and polished appearance. The design takes inspiration from the original design language of the ÖAW, preserving key elements such as the blue color palette, typefaces, and the distinctive style of the logo. Special attention was given to the use of integrated lines, which appear consistently at the top of the page to introduce text and at the bottom to signify its conclusion, creating a structured and recognizable visual rhythm.

This project addresses the challenge of today’s information overload. While information is easily accessible, many people lack the time or ability to properly understand, filter, and connect it. To counter this, the newspaper “Der Störenfried” (“The Troublemaker”) was designed. It presents complex topics in a clear and structured way through chronologically arranged articles and a reference system that highlights connections between content. A custom design language, infographics, and typography support quick comprehension. The first issue focuses on the “War on Terror”, examining the development of conflicts, victims, costs, war crimes, and their consequences. Due to its engaging design and thoughtful structure, the project generated strong interest, even among readers who would not usually engage with such topics.

During my studies at the New Design University in St. Pölten, Austria, I attended the Craftstudio course led by Hermann Seiser. During the course, I designed this sculpture. The work began with the design of the letter, for which I drew inspiration from knife and trident shapes. The construction started with casting a plaster block, which I roughly shaped using a saw, before refining the details with a file.

Brachial is a modular display typeface inspired by traditional Fraktur letterforms. Constructed from vertical and diagonal strokes, its structure is raw and geometric. Designed as a variable font with a single axis, it transforms from ultra-narrow to ultra-wide by extending its diagonals and compressing its verticals, or vice versa.