W0RK

LEEG

“So Called Neutral”

June 2024

Paper: Barierepaper 80g

plotter, A1 folded.

In typography, there is often

a reference to a ‘neutral’ typeface, an ‘objective’ form to convey a message.

But to what extent is it possible to consider a typeface as neutral? Is this even achievable? During three different lectures with individual designers/design studios, we questioned this term and incorporated our own opinions and interpretations of neutrality (in it’s whole) into the form & content.

DRIEENDERTIG

As I Write, I Listen

September 2023

Leporello

A mixed physical-digital narrative sequence that translates, describes, and illustrates a personal listening experience. It utilizes different

media, including images, scans, films, and sounds.

The approach is based

on associative thinking, emotions, and impulses.

FYI: DENK DAT IK VERLIEFD WORD

Photobook- Sandy

June 2024

Paper: Munken Pure 90g

Munken pure 300g

Wire-O

170x240

A collaboration with

the photography

students of KASK. Through conversation and discussion,

the photos were developed into this graphic object that supports the form and content of the projects.

FRAGIEL BETON

Catalogus D possesions / Danai Anesiadou

June 2023

148x210

Scrappaper

Catalogue for

the exhibition at WIELS D POSSESSION / Danai Anesiadou. She made a collection of all her work for this exhibition.

She wanted to give this all away - D POSSESION -

The idea for this catalogue is the feeling of walking around and being able to take and collect everything (just like in the shop). (school assignment)

DE MAAN IS ROZE

Street Typography

December 2022

A1 Posters glossy,

plotter

A typographical study of street typography.

Fanzine: Why have there been no great woman artists?

Linda Nochlin

December 2024

In response to Linda Nochlin’s groundbreaking 1971 essay Why Have There Been No Great Women Artists?, I explored how institutional exclusion has shaped art history. Nochlin revealed how women were systematically left out of museums, archives, and education, which explains their absence from the canon—not their lack of talent.

As part of my research, I focused on Anna Sipkema, a Dutch book cover designer whose work remains largely unrecognized. Despite her clear skill and artistic legacy, little has been written about her. I reconstructed her biography through archival research and used her ornamental designs to create a custom typeface for my fanzine, giving her work new visibility.

This project is a small act of resistance against historical erasure and a call to rediscover and reframe the work of forgotten women artists.