Literally Anything overlays my personal life with global events and ponders how to make sense of both intimate and broadcasted experiences. The prints, collages and aluminium objects I present scramble public coverage with private meaning through type, texture and colour — contrasting global news headlines with private quotes of for instance friends, family, and professionals.

Strategy, creative direction and brand identity for ITEM Amsterdam, a Dutch furniture label producing high-end, uncompromising design furniture. The identity emphasizes iconic and monumental pieces through a bold, sculptural logomark and a precise typographic system, reflecting the founders’ extensive expertise and passion for heritage and outstanding design.

Concept, design and art-direction for the 2020 Design Academy Eindhoven Graduation Show catalogue, structured by an algorithm that generates imaginary news items from the project texts. Examples such as “2020 Dictator Fights Exclusion” and “Drone Signals Disrupt the Self” highlight overarching themes and depict a speculative future imagined by the graduates.

Concept and design for the visual identity of “Fold and Crease,” an exhibition at the Issey Miyake showroom in Milan. The design draws inspiration from We Make Carpets’ installation of dyed skewers, with a textured letter treatment set in bright yellow and pink to reflect the exhibition’s sculptural and playful qualities.

Research and design of In Light of Recent Events, a self-initiated and self-published publication. The book explores the role of graphic design in news reporting and visual culture, magnifying the archetypical ways news images and headlines communicate urgency and immediacy, and amplify the state of alertness in contemporary society.

Type design and brand identity for Waiting for Ideas, a Paris-based creative studio operating at the interface of art and design. The branding revolves around a custom display typeface combining sharp angles with rounded corners. Letter alternatives for sentence initials and names create playful, ever-changing combinations, reflecting the studio’s experimental approach to creative processes.

Design and art-direction for a monograph documenting the work of Arno Hoogland, a product designer and artist based in Amsterdam. The publication presents a curated overview of his designs from 2019 to 2023, including three-dimensional wall panels, delicate light sculptures, and high-end furniture, emphasizing clarity and precision in both design and presentation.

Concept and design for “Selling Nothing,” a contribution to the Post – The Poster exhibition at Onomatopee. The poster explores the dual role of posters as information carriers and design objects, contrasting commercial visual language with ornate patterns to create a playful tension between advertisement and artifact.

Graphic design and art direction for FEU!, a group exhibition organised by the design collective Meet Met Met during Paris Design Week 2023. The exhibition featured twenty emerging designers from France and abroad, each presenting their own interpretation of one of the most ambiguous design objects: the ashtray.

Visual identity and art direction for Club90, a Utrecht-based pop-up music venue hosting monthly house and dance events at Filmcafé Utrecht. The identity combines clear typography and minimalist layouts with bold, evolving shapes and colours that change for each event, reflecting the dynamic and playful spirit of the venue.

Brand identity and logo redesign for École Internationale de Mode et Luxe. The flexible identity builds on the school’s original crest and signature purple, featuring a logo system with a diamond on the ‘i’ to symbolize excellence. Supported by a versatile colour palette and dynamic graphic elements, the identity reflects both the fashion industry and the vibrant university environment.

Visual identity and campaign design for the 2021 Design Academy Eindhoven Graduation Show during Dutch Design Week. An elaborate index compiled from project descriptions is used throughout the communication, offering glimpses of the conceptual framework. Inspired by paper-cutting, a second layer selectively reveals parts of the index, emphasizing the editorial process behind the show’s presentation.

“Truth’s Triptych” is a series of three silkscreen prints examining the 2018 U.S. Embassy move from Tel Aviv to Jerusalem. Each print displays a different news headline from the same day, illustrating the same event through contrasting narratives—ranging from peace to conflict. The series explores how political gestures are interpreted in radically different ways, revealing the parallel realities constructed by media coverage.

Design and art direction for “Photobooks,” a critical inquiry by Matt Johnston into the development, circulation, and reception of photobooks. The book is presented in a compact reader-sized format, with references and notes in the margins, allowing multiple ways of engaging with the content. A gradient pattern of diaphragms on the cover blurs letters and numbers, reflecting the layered and experimental nature of the work.

Visual identity and exhibition assets for “Cairn,” a solo exhibition by Laurids Gallée in collaboration with Gallery Collectional during the inaugural Design Biennale Rotterdam. The exhibition presents seven light sculptures that explore how light interacts with transparent materials and their surface treatment.

Visual identity and invitation design for ‘Fold and Crease Extended’. After its debut at the 2024 Milan Design Week, the installation by We Make Carpets, a Dutch artistic collective, traveled to the Ginza (Tokyo) and Semba (Osaka) showrooms of Issey Miyake. The visual identity interprets the fluid forms and shapes of the installation, translating them into a dynamic graphic language in bright yellow and pink that mirrors the experimental and playful character of the work.

Book design for the Design Academy Eindhoven Master accreditation report of 2024. The publication presents the plans for Master education while contextualizing the content with interviews of department heads. Through varied page lengths and a structured layout, the report visualizes different types of content, balancing detailed academic information with accessible and engaging interviews.

Brand identity for The Medallion, a high-end long-stay hotel in Madison, Wisconsin. The branding reflects the hotel’s bespoke interiors, quality materials, and sustainable production, drawing from the patterns and colours of the spaces to create a distinctive and refined identity.

Brand identity for Voyageur Extended Stays, a series of long-stay hotels in Madison, Wisconsin. The identity highlights the focus on design and hospitality, while reflecting the connection between the hotels and their local surroundings.

Visual identity and type design for Gardening Amelisweerd, a cultural program and exhibition organized by Creative Coding Utrecht, exploring how technology mediates the relationship between humans and nature. The identity revolves around the theme of “growth,” with a custom typeface, Garden Display, that forms and deforms as small bits and pieces coalesce into letters, reflecting the dynamic interplay between natural and technological systems.

Visual identity and custom typeface for the Amsterdam-based creative studio Post Neon, specializing in 3D content for video and imagery. The typeface PN Display features angled lines and tapered verticals, and includes a logo that works both abbreviated as “P.N.” or fully as “Post Neon,” with spacing dynamically derived from the full logotype.

Meanwhile in 2020 is a series of three prints edited and sold by Pieza Art. The series highlights news-events that were overshadowed during the Covid-19 pandemic, illustrating how daily information channels were dominated by a specific type of news. By bringing attention to these alternative events, the prints explore the relative and selective nature of informational value in contemporary reporting.

Obelisk Loops is a series of three prints edited and sold by Pieza Art. Inspired by marble and minerals, the series abstracts the century-long process of layering and growing rock formations through flowing lines and color. Each print features a unique composition with different combinations of three colors, creating shifting textures and visual depth that change depending on the viewer’s perspective.

Graphic design and art-direction of “Paradise Recalled,” a magazine exploring the future of holidays and travel, initiated by Post Neon. It features a short story imagining a world in 2065 where vacations are experienced virtually, alongside works by Post Neon and their network of young creatives. The visual identity emphasizes typographic headers that mimic landscapes, reflecting both the concept of travel and its digital reinterpretation.

Design of symbols for the Amsterdam Palace of Justice, a new courthouse in the Zuidas district designed by KAAN Architecten. Inspired by the building’s welcoming and open character, the symbols maintain a similar clarity and simplicity, blending in with the architecture while ensuring effective communication throughout the space.

Visual identity and campaign for the 2020 Design Academy Eindhoven Graduation Show. The identity is structured by an algorithm generating hypothetical news headlines from all project texts. These headlines depict speculative futures imagined by the graduates, providing a conceptual framework for the show while highlighting the overarching themes of their work.

Custom typeface design for Guilty Studio, the design practice of Tijs Gilde, based in Eindhoven. Guilty Display draws inspiration from the form language of Gilde’s work, particularly his ‘Gravel’ series. Bold and robust forms are combined with cylindrical elements and rounded edges, creating a distinctive typographic identity that reflects the craftsmanship and material exploration in his furniture and product designs.

Book design documenting François Duquesnoy’s ‘special room’ at the Volkshotel in Amsterdam-East, a space created entirely from discarded materials found across the city. The project emphasizes the connection between the hotel and Amsterdam, offering visitors a way to experience the city through the lens of the room. The book retraces the origins of the furniture and objects, guiding readers through Duquesnoy’s creative process while revealing hidden corners and stories of the city.

Visual identity for Filmcafé Utrecht, a cultural hotspot housed in an industrial warehouse just outside the city centre. The system interprets film rolls as banners and posters, combining colour, typography, and graphic elements into a flexible toolkit. This playful yet structured identity allows the Filmcafé to visually communicate screenings, events, and activities in a consistent but adaptable way.

Visual identity for De Tribune, an Utrecht-based event platform hosting screenings of sports events, from football to speed skating, in the Filmcafé Utrecht. Taking the name “De Tribune” as inspiration, the identity mimics stadium stands by cutting and displacing the typography in a stair-like manner. This principle creates a simple wordmark while also generating a dynamic poster system for announcing events both inside and around the venue.

Brand identity for Q Square Consultants, an agency with over thirty years of experience in the bicycle industry. Mobility and dynamism are expressed through the uneven use of upper- and lower-case letters, paired with a dynamic color palette, reflecting the agency’s consultancy across e-mobility and professional bike racing.

Brand identity, strategy, art-direction and website for South Point, a bicycle brand specialising in compact electric mobility. Inspired by the first compass pointing south, the brand positioning emphasises new ways of travelling and commuting. The visual identity breaks with typical cycling industry aesthetics, using colour, typography, and composition to define a distinctive image for folding e-bikes and the future of mobility.

Thesis writing and book design for Read Between the Lines {of Code}, a thesis investigating how technological practices shape individual and communal learning. The project examines free and open source software development to reveal the inherently social and cultural dimensions of technology, highlighting flows between individuals and communities.