Index Passport
1. Dust jacket
2024–2025
The dustjacket or reto-verso poster shows all included indexes, the libraries and publishers.
2022–2025
- the first indexes that appeared (1230, in print around 1450)
- the indexes that developed in the 'typographic golden age' with the first innovations in print (±1470–1540)
- the reflections in indexes of changes that occurred in information retrieval in the Age of Enlightenment (±1700–1800)
Through the research strategy of using a multiple-case study design, it became possible to gain an in-depth understanding of specific (proto-)typography and index features that were innovative throughout history. Multiple cases were already compared and contrasted in categories to identify patterns and commonalities in the index passport catalog.
It is also a longitudinal case design and studied over an extended period to understand how factors develop over time.
1499 Terrence's Comoediae (Digital Library of Wrocław), 1450-1459 Biblica – Petri de Rosenheym (University Library Gent), 1472 De civitate Dei-Epigrammata in S. Maximinum – Jacobus de Stephelt (University Library Gent), ±1473 Astrologische tractaten in het Latijn – commissioned by Raphael de Mercatellis (University Library Gent), End 15th century Epistolae-Tabula – Bernardus van Clairvaux (University Library Gent), 1578 Historia siue descriptio plantarum omnium, tam domesticarum quam exoticarum_Leonhard zum Thurn – Michael Hentzske (Allard Pierson Amsterdam), 1644 Tristani Chalci Mediolanensis historiographi – Joannis Petri (Erfgoedbibliotheek Hendrik Conscience Antwerp), 1746-1748 Dictionnaire universel de médecine, de chirurgie, de chymie, de botanique, d'anatomie, de pharmacie, d'histoire naturelle, Volume 1 – Diderot (University Library Utrecht)
The catalog is an ongoing project which is part of the PhD research. The first was printed by April 2024, a full printed and digital version will be published around January 2026.
The PhD project is made possible by Fonds Wetenschappelijk Onderzoek Vlaanderen – FWO 1146822N With special thanks to Allard Pierson Amsterdam (Special Collections), University Library Gent (Special Collections), Erfgoedbibliotheek Hendrik Conscience Antwerp (Special Collections), University Library Utrecht (Special Collections), National Library of The Hague (Special Collections).
Organic Timeline
A. RESEARCH SPECIFIC HISTORIC OVERVIEW
2022–2024
Running from 3000 BCE to 2024, a timeline is compiled (2021–2024) and designed to track the main historical developments of the book, with a specific focus on the evolving usability of index design, including index-typography and other (proto-)typographic access structures, until index standardization and convention settled around 1900. This timeline is intricately linked with the "index passport" — a curated catalog featuring noteworthy indexes from various periods, showcasing their innovativeness in facilitating effective search reading. These indexes exemplify unique systems, novel typographic design elements, alternative approaches to presenting book content, shifts in reading requirements, and changes in reader expectations.
Research magazines
Readers and index booklets #1 #2 #3 #4 – Test materials READSEARCH
2020–2022
The internet was used as an archival playground for re-posting discussions and making new connections in narratives for the content of the magazines. The relationship between the landscape and the beauty or distraction of functional artefacts is re-ensembled.
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Four readers
Four index booklets
Research Framework
SCHEMES
1. Reading strategies
2. Typographic navigation
The term typographic navigation was introduced by Robert Waller (1987) in the context of his Complete Genre Model, yet its use here differs conceptually; in this project it is not applied in relation to genres.
Issues 1
Periodical
Reading Mary Through Time & Space
Reading is like cycling, it needs a certain balance, order and direction. The research reviews the history and future of ‘the book’ as a medium. The structures of diverse religious books, other non-linear books and new media are reflected upon to design new interpretations of the book in a periodical of multiple parts. This edition comprises different viewpoints on Mary Devotion, its connection to religion and the role of women in society. It is intended, and can evolve further, as a platform where the participant interacts and discuss social issues.
My contribution to the (graphic)content is a personal research on the topic that took place in my surroundings, in tradition with the family heritage.
The publication aims to enlarge the interaction of the user with the content through several design parameters. In my presentation, I will set out the used text-image relations and grid systems, which were of importance to design and shape the periodical in micro levels and macro levels, based on non-linearity and navigation. The research results in a renewed, interactive and interlinked construction of the book, in which navigation is the key element.
Video of ISSUES no.
My contribution to the (graphic)content is a personal research on the topic that took place in my surroundings, in tradition with the family heritage.
The publication aims to enlarge the interaction of the user with the content through several design parameters. In my presentation, I will set out the used text-image relations and grid systems, which were of importance to design and shape the periodical in micro levels and macro levels, based on non-linearity and navigation. The research results in a renewed, interactive and interlinked construction of the book, in which navigation is the key element.
Video of ISSUES no.
Hedah
Hedah (1995 – 2015)
Center for Contemporary Art, Maastricht
Stichting Hedah, Center for Contemporary Art Maastricht is an artist initiative that offered a stage for current and international developments in the field of visual arts. The center has functioned as the missing link within the cultural institutions of Maastricht, with the Bonnenfanten-museum and galleries on the one hand. Attention has been paid to forms of art that are not so easy shown in the regular exhibition circuit, Hedah searched the fringes, often with a confrontation between different disciplines. This ranged from audiovisual installations, lectures, experimental projects, discussions or performances, to work by (young) artists from local and abroad.
Due to the changing times, another subsidy climate and the need to conform to certain social relevance, it was no longer possible for the foundation to meet its goals. As a result, the foundation has abolished in December 2015.
From my interest as a member of the board and as a designer, a number of questions raised:
• How can we, as a board, deal best with the raw material that shows the history of this initiative?
• Can we find a method to make the archive insightful to a wider audience that stimulates interaction with the material?
• How would you, through digitization, give the archive a broader commitment and meaning?
• And how could you translate this back into a book?
This dual transfer from physical to digital and backward, I find a fascinating research trip. I have collected and digitized the material in cooperation with other employees in order not to lose this history. We have used scanners to maintain the authenticity of the documents as much as possible. In addition to this book, a digital environment has been created in which the interested public can explore the archive. Maybe it is possible in the future to using entered tags and parameters to construct a book.
In addition, a balance between the original and generated image has been sought and minimized in the design.
Some of the parameters have been investigated for this book:
1. Tags, the documents are encoded on a number of keywords that indicate and assign categories (intuitively, substantively or formally).
They stimulate the interaction of the audience with the material.
2. Grid structures; different grid structures can be selected
3. Scale; can be applied
4. The angle in which the documents are implied in the grid; this is ideal between 5 and 25 degrees (if the angel is too big the grid structure fails, if the angle is too small the grid structure is too visible).
Each new entry of tag, grid, scale and angle gives a completely different result. Therefore, no one book will be the same. The book consists of a succession of left and right pages and is held together as a whole. The left and right pages interact with each other, in this standing A4 book on the horizontal plane. Despite the minimal design, this can also be the identity of the book and also extended in other formats such as a A1 poster, A6 postcards, and various envelopes in which multiple corners are visible through the folding structure.
Specifications:
Format
A4
400 pages
Digital print
Inside
90 gr2 mc paper, satin finish
Cover
600 gr2 paper, matt
Due to the changing times, another subsidy climate and the need to conform to certain social relevance, it was no longer possible for the foundation to meet its goals. As a result, the foundation has abolished in December 2015.
From my interest as a member of the board and as a designer, a number of questions raised:
• How can we, as a board, deal best with the raw material that shows the history of this initiative?
• Can we find a method to make the archive insightful to a wider audience that stimulates interaction with the material?
• How would you, through digitization, give the archive a broader commitment and meaning?
• And how could you translate this back into a book?
This dual transfer from physical to digital and backward, I find a fascinating research trip. I have collected and digitized the material in cooperation with other employees in order not to lose this history. We have used scanners to maintain the authenticity of the documents as much as possible. In addition to this book, a digital environment has been created in which the interested public can explore the archive. Maybe it is possible in the future to using entered tags and parameters to construct a book.
In addition, a balance between the original and generated image has been sought and minimized in the design.
Some of the parameters have been investigated for this book:
1. Tags, the documents are encoded on a number of keywords that indicate and assign categories (intuitively, substantively or formally).
They stimulate the interaction of the audience with the material.
2. Grid structures; different grid structures can be selected
3. Scale; can be applied
4. The angle in which the documents are implied in the grid; this is ideal between 5 and 25 degrees (if the angel is too big the grid structure fails, if the angle is too small the grid structure is too visible).
Each new entry of tag, grid, scale and angle gives a completely different result. Therefore, no one book will be the same. The book consists of a succession of left and right pages and is held together as a whole. The left and right pages interact with each other, in this standing A4 book on the horizontal plane. Despite the minimal design, this can also be the identity of the book and also extended in other formats such as a A1 poster, A6 postcards, and various envelopes in which multiple corners are visible through the folding structure.
Specifications:
Format
A4
400 pages
Digital print
Inside
90 gr2 mc paper, satin finish
Cover
600 gr2 paper, matt
1. HEDAH - THE DIGITAL ARCHIVE
Documentation in collaboration with Suchan Kinoshita and Lyanne Polderman
Digital archive, coding, metadata, system in collaboration with Roy Vroemen and Lyanne Polderman
2. HEDAH - THE PRINTED ARCHIVE / IDENTITY
Workshop
READSEARCH – PXL MUSIC
immersive festival
Within an immersive, interactive reading experience, we seek to apply techniques to improve reading, no matter what skill within reading. Note that our different ways of reading can play an important role. Establishing an immersive reading experience offers the potential to improve ‘reading comprehension’ by providing/constructing a ‘new’ framework of knowledge. In this workshop, Ann Bessemans and Janneke Janssen set up a content-based foundation to create an immersive reading experience (based on the program that is offered within MAD MUSIC) after delineated but varied sources that participants offer through dialogue and critical attitudes. For each of these sources (theoretical, visual, musical...), an image will be sought or designed. Participation is contingent upon the participants that have enjoyed at least one reading/performance. In concrete terms, we want to actively ‘build’ with participants towards a publication. In addition, we will discuss with participants what an immersive reading experience is and how we can link reading -and knowledge- benefits to it.
Format.
Changing Attitudes
Z33 – Arts institution in Hasselt (BE) that works at the intersection of art, design and architecture
Format. Changing Attitudes
Exhibition catalog, campaign and signing, 2019
“For the graphic design of the campaign and catalogue of the exhibition Format, Janneke Janssen started off with the title and subtitle of the exhibition, Changing Attitudes. She designed one “blue print” that contains the total design of the campaign, which can be deconstructed and reformed by recycling its parts, keeping the same ratio’s. The implications of using a Riso-duplicator, its limitation of two colours and folding and cutting the material, led to a process-based design methodology. The material used in the design is used as a changing platform that can be divided or contracted and expanded. The publication contains sketches of the laureates projects and gives an inside look into their (changing) attitudes towards design and thinking processes. By giving inside into the process next to the final exhibited projects, the visitors’ perspective on the work and discern can be changed too, while looking, exploring and moving through the exhibition and the book from one point to the other. As an extra contextual and narrative layer in the book and exhibition, augmented reality is applied. Design and architecture are anything but gratuitous. The new edition of FORMAT centres on this crucial insight.
The laureates of the group exhibition are adopting an almost activist approach at Z33. With ground-breaking concepts, they challenge visitors to reflect on news, fashion, microbial clouds, herbal medicine, residual space, artificial intelligence, weaving techniques, ruins and radio masts. To this end, they have forged alliances with experts both within and outside their fields and they challenge us to rethink the classical methods of design.”
– Text by Kristoff Franken
Laureates: Cream on Chrome (Martina Huynh & Jonas Nepomuk), Lukas Claessens, Amandine David, Matthijs De Block, Sophia Holst, Legrand Jäger (Guillemette Legrand & Eva Jäger), Flora Miranda, Inès Leverrier Gborée, Bert Villa
Graphic design: Janneke Janssen
Scenography: Bram Vanderbeke
Curator: Heloen Van Loon
Photo’s: Selma Gurbuz
FORMAT was the coaching trajectory organized by Z33 for new and promising talent working in design and architecture. Every year, several designers are given the opportunity to enhance their artistic practice and to share knowledge and networks with one another. After a year of intensive coaching, the designs are brought together in a group exhibition. Time and space are essential components of this mentoring process, enabling the participants to explore boundaries and unconventional approaches. Z33 is a refuge where experimentation, learning and failing come together.
Group exhibition 15.9 – 24.11.2019
www.z33.be
Obey Pray
Pay
Layered stencil type
OBEY PRAY PAY
Layered Typeface, 2018
The project originates from an interest in how light shapes visibility and perception. A stained-glass window from the Basilica of Our Lady in Maastricht served as the visual and conceptual starting point. Its geometric structures, colour divisions and reflections informed a series of typographic experiments exploring how letterforms could be constructed, deconstructed and reconnected through systems derived from stained-glass design.
The research developed from tracking light throughout the day to designing a structural approach in which letterforms and shapes follow the logics of stained-glass construction. Working with grid systems, acrylic glass, cut-outs, laser-cutting and multi-layered compositions, I investigated how form, colour and spacing influence readability and visual rhythm.
References to Dom Hans van der Laan’s Alphabet in Stone, his geometric ratios and spatial proportions were used to build layered characters. Experiments in Glyphs, colour-font technologies and the study of linked outlines (Radim Pesko) shaped the transition from digital prototypes to physical cut-outs. By dividing characters into colour-coded layers—each with minimal connection points—the letterforms behave as both shapes and spatial separators, echoing the role of lead in stained glass.
The final design consists of compact, rounded, sans-serif letterforms cut from coloured acrylic plates. Words such as OBEY, PRAY and PAY were constructed within a three-part grid, functioning both as textual messages and as typographic structures that reflect light and cast layered shadows. The outcome sits between typeface, object and window, translating processes of (de)construction, connection and illumination into a typographic system.
Rite de Passage
Exhibition – ATypI Antwerp
10 years of Typography PXL-MAD School of Arts
1. POSTERS (endless booklets)
Invitations
The exhibition ‘Rite de passage’ featured typographic work from students who followed or are following (typo)graphic education in Hasselt. The exhibition showed:
a) typefaces designed by bachelor and master students from the past 12 years at PXL–MAD School of Arts (under the supervision of Ann Bessemans and her READSEARCH colleagues);
b) a set of splendid typographical artefacts created by students;
Beside, Rite de Passage also gave a platform to:
a) alumni who would like to exhibit more of their typographic work;
b) student Kenneth Vanoverbeke who received a TDC scholarship;
c) the work of Jos Geusens (former student of Kristoffel Boudens) — a Belgian stone letter-carver who gives workshops in Hoegaarden.
The exhibition took place from September 8th until September 21st 2018.
During the opening on September 13th, the public could experience legibility research, music and a workshop. I took the organisation on me — from concept, budgeting to the building and campaign. The teachers selected the presented works.
Together with Maarten Renckens and Ann Bessemans I worked on the second edition of the two catalogues that accompanied the exhibition.
The exhibition was made possible by PXL–MAD School of Arts and initiated within READSEARCH.
2. OVERVIEW BOOKLET
2008 – 2018 student work typography
PXL-MAD School of Arts
3. EXHIBITION
Exhibition during ATypI Antwerp at Fameus
(Oud beursgebouw)
Artist Book #4
Catalog of small things
Travel Stories
Catalog of small things, 2017
The catalog grows from my typesetter’s case, a container of small objects and the stories attached to them. This use of the typesetter’s case relates to a 1970s phenomenon in which kitsch knick-knacks and small figures were displayed in such boxes as permanent fixtures in the living room (and yes, also type). It is a long-standing collection, and some (travel) stories are hidden behind it.
The catalog is structured in parts. The cover and the back cover each represent one half of the typesetter’s case. Only the item numbers are shown: they are placed on the pages according to the positions of the compartments, which differ in size, though the compartments themselves are not visible. This is followed by a spread that shows the same arrangement through images of the objects, revealing the underlying structure of the case. After this come half of the index, half of the image essay, categories with object descriptions and images, and longer object descriptions. Midway through the book, the categories reappear, again alternating with object descriptions, until the second half of the image essay, the remaining index pages, the typesetter’s case arranged by image, and finally, on the inside of the back cover, the other half of the case ordered by item number.
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The column structure follows this sequence. The series develops as follows from the index onward:
3, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 5, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 3.
All texts are set in Berthold’s Akzidenz Grotesk. This typeface was chosen because of its early status as a widely used grotesk, preceding Helvetica while retaining certain irregularities that suit the material presence of the typesetter’s case.
The item numbers (23 pt) remain consistent throughout the catalog. The written content alternates between short object descriptions and longer fragments. The typographic weight and line spacing of these two text types are adjusted so that their visual density remains balanced. Categories recur in different constellations, and certain objects appear more than once.
The chosen format is A3, which approximates the dimensional presence of a typesetter’s case. The paper (Cycle Offset, 115 g) reinforces the tactile, archival character of the material.
The work connects typographic thinking with the material and narrative structure of a typesetter’s case. By treating the case as both an archival system and a catalogue of lived objects, the work links personal history, collecting practices and the organisation of information. The resulting catalog explores how meaning emerges through order, description and typographic decisions, and how small objects can function as an index of memory.
Specifications:
Format A3+
72 pages
Full color print
Inside 115 gr2 Cyclus offset
Cover 135 gr2 Cyclus offset
Perfect bound
Beholding Troyan Ceramics
Beholding Troyan Ceramics
Essays on traditional ceramics &
contemporary sculpture
PhD thesis, 2018
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– Documentation of autumn
– Exploration in leprello book
Continuous Profile
Sculpture, 2004
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Typographic Design Research
(TYPO)GRAPHIC DESIGN STUDIO – info@jannekejanssen.nl
TEACHING– janneke.janssen@pxl.be
RESEARCH – janneke.janssen@uhasselt.be
Instagram / Linked in
Her main interests include typography, book design, editorials, indexes, archives, collections, modular systems, text-image relations, narratives, and transformations between analog and digital. These interests lead to explorations of archives and large-scale documentation. The sources of information form the foundations for renewed book designs and new ways of reading.
Janneke is currently extending typographic research in a PhD position and is in the final phase befor the defense. She explores reading in non-linear search reading within large-scale documentation in this era of digitization by means of texts, images, grid systems, indexes and their relations.
PhD Candidate FWO Fellowship, UHasselt/MAD-Research
• Legibility research based on typographic navigation in
search reading of texts by students
(Leesbaarheidsonderzoek op basis van typografische
navigatie in het zoekend lezen van teksten door
studenten)
• Expected defense in September 2026
• Pre-defense 5 December 2024 (green light for defense by
commission and Rector)
2017 – 2018
Master of Arts (International MA programme
Reading Type & Typography);
Graphic Design (diploma, with greatest distinction)
PXL-MAD School of Arts, Hasselt, Belgium
2016 – 2017
Bachelor of Arts – Pre-Master
Graphic Design (certificate diploma)
PXL-MAD School of Arts, Hasselt, Belgium
2002 – 2005
Bachelor of Design; Visual Communication
(diploma, with honour);
Academy of Visual Arts, Maastricht, the Netherlands
2004 January – April
Erasmus Exchange
Luca, School of Arts, Gent, Belgium
Graphic Design; Direct communication & Typography
(ECTS credits obtained)
2001
Propedeuse (equivalent to a foundation year)
– Fine Arts, Fashion, Product Design & Visual Communication (diploma)
1995 – 2001
VWO, Pre-university education (diploma)
Bouwens van der Boijecollege, Helden-Panningen,
the Netherlands
PXL-MAD School of Arts, Hasselt
Lecturer (55%)
• Coordinator Master thesis, Graphic Design, Object and
Jewellery, Fine Arts
(2025–2026) 15%
• Coordinator Bachelor papers, 3rd year BA Graphic
Design, Object and Jewellery, Fine Arts
(2025–2026) 10%
• Final project and paper, 3rd year BA Graphic Design
(2025–2026) 10%
• Research project, 2nd year BA Graphic Design, Object
and Jewellery, Fine Arts
(2025–2026) 5%
• Visual Grammar – responsible for the development
and coordination of a new curriculum component
(practice/context), 1st year BA Graphic Design
(2025–2026) 7,5%
• Concept & Stragegy, 1st year BA Graphic Design
(2025–2026) 7,5%
• MA Studio TypoType, Master students Reading Type &
Typography (2024–2025) 10%
• POP (Personal Development Portfolio, mentor), 1st
and 2nd year BA Graphic Design, Jewellery and Fine Arts
(2024–2025) 5%
☞ pxl-mad.be
2019 November – 2024 December pre-defence – now
FWO (Flemish Scientific Research Foundation) Fellowship ,– UHasselt/MAD-Research, Hasselt
(Typo)graphic researcher (100%)
• Conducted legibility research focused on typographic
navigation
• Designed (typo)graphic materials for research
purposes
• Education; curriculum, lectures, feedback sessions,
studio,and workshops typographic design (Bachelor &
Master students)
☞ pxl-mad.be/readsearch
2019 January – October
Marres – House of Contemporary Art, Maastricht (freelance based)
Floor manager
> coordination of volunteers
> guiding visitors
> book archive(r)
☞ marres.org
2018 November – 2019 September
Z33 – House of contemporary art, Hasselt, Format 2019 (freelance based)
Laureate
> part of coaching talent program design
> concept & graphic design
☞ z33.be
2018 January – October
READSEARCH (partly, voluntary based), Hasselt
Assistant
> organization exhibition, design, research
> coordination of interns, curating and building of
exhibition
☞ pxl-mad.be/readsearch
2017 September – December
Internship at READSEARCH, Hasselt
> organization exhibition with collection educational
materials, design, research
2016 September – now
Studio Janneke Janssen, Maastricht
Freelance research designer
> (typo)graphic design specialized in text navigation,
book design, and collection and archival material
curator
> clients: PXL, PXL-MAD School of Arts, Hedah, artist
Ivan D. Dobrev, Z33, artist Toon Lëen, Bureau Europa
☞ www.jannekejanssen.nl
2007 March – 2017 March
Badly Designed Suitcase, Maastricht
Visual communication studio
> visual communication, illustration, animation, video,
artists books, photography, graphic prints and
painting
> clients: Het Huis van Bourgondië, Museum Het
Domein, Zuyderzigt, Stichting Ateliers Maastricht,
Fairfin, T.G. Ilay, Kompas Foundation, Media Group
Limburg, University of Maastricht, Toneelgroep
Maastricht, UN-BOXED festival, Löss Foundation
for Motion Theatre, Schunck* Museum for
Contemporary Art
> workshop making your own flyers, posters (with
paper, pencils, paint, collage, stamps, etc.) at
elementary schools
2009 January – 2015 December
Hedah, Centre for Contemporary Art, Maastricht
Board member
> programmer, public relations and visual
communication
> various tasks in communication
> film programmes
> student advisor (art academies Germany, Belgium,
The Netherlands) in the collaboration project Colabs
> art director and preservation of the archive (print
and online publication of 20 years’ artist initiative
Hedah
2013 September – 2016 June
Flyeralarm, designer (NL), Maastricht/Würzburg
> art director graphic assignments (internal for
company and extern for clients in shop)
> advisor products and design for clients in shop
(Maastricht) and online (Europe)
2010 May – 2011 May
Matt Mullican, NYC/Berlin
> concept & execution of re-coding Matt Mullicans
performance video archive and presentation
> in commission of the Emond Hustinx Foundation, in
collaboration with the Van Eyck and Hedah)
2006 June – 2010 February
Schunck* Museum for Contemporary Art, Heerlen
> museum guide
> several workshops (collage art) for scholars from high
schools
> re-structure archival system book collection
2005 October – 2006 January
Ontwerpbureau B2B, Maastricht
> communication design studio, art-director Bernhard
Bulang
> internship
> design and concept for Kook!boek (client Brainstudio),
theatre posters Het Laagland, agenda Centre
Céramique (library and exhibitions), birth book
2005 April – August
Zildt, Amsterdam
> audio-visual design studio, creative director Joost Meyer
> internship
> audio-visual project, concept and design show reel
and interface
> various; design of corporate identities; showroom
presentation (KEMBO), newsletters (Tourism
Noord-Holland), animation presentation (Hollandse-
Nieuwe, MTV)
2005 January
Motion graphic animation (2d)
> in collaboration with sound artist Rutger Zuydervelt
a.k.a. Machine Fabriek
2004
Photobook – overview 3rd year photography class
> concept-booklet for the Department of Photography
at the Academy of Visual Arts Maastricht
Certificate for Presentation & Document Design selected by ODA award (world-wide online design award), for the Index Passport
> The Index Passport catalogs 128 (proto-)indexes
from 500–1950. Using a matrix of design parameters
and multiple-case analysis, it maps the evolution of
index-typography, information retrieval, and
navigational accessibility
> The work has been made for research purposes
during a PhD trajectory (FWO, Flemish Scientific
Research Foundation)
> included in the publication Annual of the ODA
awards (publishing date in April 2026)
☞ https://www.onlinedesignawards.com/winners
2022
Certificate of Typographic Excellenceselected by TDC, New York City for the test materials ‘New ways of search-reading magazines’
> the test materials ‘New ways of search-reading
magazines’, a work for that has been made for
research purposes during a PhD trajectory (FWO,
Flemish Scientific Research Foundation),
has been selected by the jury to receive the
“Certificate of Typographic Excellence” in the TDC
Communication Design Competition
> included in the publication Annual of the Type
Directors Club #44, The World’s Best Typography
> on show at the 68th Awards Exhibition (TDC68),
New York City
> on show in a traveling exhibition around the world
☞ https://www.tdc.org/competitions
2020
Certificate of Typographic Excellenceselected by TDC, New York City for the catalog ‘FORMAT. Changing Attitudes’.
> the catalog ‘FORMAT. Changing Attitudes’, a
commissioned work for Z33. House for
Contemporary Art, Design and Architecture
(Hasselt, BE), has been selected by the jury to
receive the “Certificate of Typographic Excellence”
in the TDC Communication Design Competition
> included in the publication Annual of the Type
Directors Club #42, The World’s Best Typography
> on show at the 66th Awards Exhibition (TDC66),
New York City
> on show in a traveling exhibition around the world
☞ https://www.tdc.org/work/format-changing-attitudes
2019
Fellowship grand, Flemish Scientific Research Foundation (FWO)
> overall score very good (5)
☞ https://www.fwo.be
☞ https://www.fwo.be/nl/actueel/resultaten
2019
Certificate of Typographic Excellencefor the book ‘Reading Mary through Time & Space’ selected by TDC, New York City
> the periodical ISSUES 1 ‘Reading Mary through
Time & Space’, has been selected by the jury to
receive the “Certificate of Typographic Excellence”
in the TDC Communication Design Competition
> included in the publication Annual of the Type
Directors Club #41, The World’s Best Typography
> on show at the 65th Awards Exhibition (TDC65),
New York City
> on show in a traveling exhibition
2019
Silver certificate – Indigo Design Award in book design, ceremony at the Picasso Museum, Malaga
> the periodical ISSUES 1 ‘Reading Mary through
Time & Space’, has been selected by the jury to
receive the “Silver Certificate” in the Indigo Design
Award competition in category book design
> the project is included in the ceremony’s publication
☞ https://www.indigoawards.com/winners/1411
2019
Silver certificate – Indigo Design Award in book design, ceremony at the Picasso Museum, Malaga
> the book ‘20 years Hedah, the archive’, has been
selected by the jury to receive the “Silver Certificate”
in the Indigo Design Award competition in the
category book design
> the project is included in the ceremony’s publication
☞ https://www.indigoawards.com/winners/975
2019
It’s a Book – best student work publication fair,HGB Leipzig, Academy of Fine Arts Leipzig
> the periodical ISSUES 1 ‘Reading Mary through
Time & Space’, has been selected by the jury as one
of the most interesting book projects and will be
presented at the independent publishing fair
> included in the publication It’s a Book
☞ http://itsabook.de/2019/ueber-2
2018 – 2019
Format 2019 – Z33 House for Contemporary Art, Hasselt
Laureate talent mentoring trajectory organized by Z33
☞ https://www.z33.be/blog/2018/11/20/format
2018
Best Belgium Graphic Design project (MA and BA education)
Flanders DC Magazine, Best Design class of 2018
☞ https://www.flandersdc.be/nl/magazine/afstudeerprojecten-design-2018
2018
Wannatoe nominee for best Master project
Het Belang van Limburg, Z33, Flacc, LUCA School of Arts, UHasselt, and PXL-MAD School of Arts
☞ https://www.hbvl.be/stem-voor-de-wanatoe-publieksprijs-2018
Graphic Design, mid-term 3rd year Bachelor students jury
Catalog subject COPY, Type Design subject TYPO, PXL-MAD School of Arts
2020, 2021, 2022, 2023, 2024 June
Master Type & Typography, final-term jury
Master and studio projects, international master Type & Typography, PXL-MAD School of Arts
2022 May
Graphic Design, final-term Bachelor jury
Bachelor projects and papers, PXL-MAD School of Arts
2019 November
FORMAT 2020, Z33
Design talent program
Photographs by Moniek Wegdam
ODA 2025 (Online Design Award), Annual 2025
> The Index Passport catalogs 128 (proto-)indexes
from 500–1950. Using a matrix of design parameters
and multiple-case analysis, it maps the evolution of
index-typography, information retrieval, and
navigational accessibility
> The work has been made for research purposes
during a PhD trajectory (FWO, Flemish Scientific
Research Foundation)
2025 December – 2026 February
In Absence #2, Folded memory, KADOC, Leuven (BE)
> Curated group exhibition in collaboration with the City
of Leuven, KADOC, and Sereni
> Textile-based exhibition on remembrance and
consolation, centered on the handkerchief as a symbolic
and material object. Featuring historical and
contemporary works, the project stems from the Voices of
Things research and includes public programming and
student collaborations.
2025 December 30
Paradiso, Amsterdam – Night of the Absurdism #2
Lecture about the desgin research into indexes
2025 November
Universidad de Belles Arts (typography and product design), Barcelona
Lecture about the practical design research in typographic navigation
ERAM (graphic and multimedia design), Girona
Lecture about the practical design research in typographic navigation
Passage (architecture and art faculty, UHasselt), Hasselt
Presentation about the practical design research in typographic navigation and experimental publishing
2025 January – June
Editorial Design in ’t Scheep (cityhall), Hasselt (BE)
> Group exhibition featuring alumni of PXL-MAD
School of Arts specializing in Editorial Design
> The work reflects research-driven approaches to
typography, narrative structure, layout, and
conceptual design strategies
2022 July – 2023 August
Type Directors Club (TDC), NYC (USA)
> Test material 'New ways of search-reading
magazines’ (4 magazines that comprises a reader
and an index booklet) exhibit at the 66h Awards
Exhibition (TDC68) at The Cooper Union, New York
City, 13th of July 2022 (USA) of the 'World's Best
Typography' organized by TDC
> 1-year worldwide traveling exhibition (diverse
locations at galleries, conferences and art schools/
universities), e.g., Nagoya Zokei University Gallery,
Tokyo (JP) in August 2022, Verlag Hermann Schmidt
Publishing House, Mainz (DE) in August/September
2022, Sala La Pecera (Escola Superior de Disseny de
València) in September/October 2022
(☞ www.wdcvalencia2022.com)
> included in the publication 43th Annual of the Type
Directors Club, The World’s Best Typography
2020 July – 2021 August
Type Directors Club, NYC (USA)
> FORMAT catalog of Z33 exhibit at the 66th Awards
Exhibition (TDC66) at The Cooper Union, NYC
> Showcased in eight exhibitions that are touring cities
in the United States, Canada, France, Germany,
Japan, New Zealand, the Philippines, Poland, South
Korea, Spain and Taiwan
> included in the publication 41th Annual of the Type
Directors Club, The World’s Best Typography
2019 September – November
FORMAT. Changing Attitudes, Z33, Hasselt (BE)
> Group show, as designer
> Talent program
2019 August – October
Public Secrets, Bureau Europa, Maastricht (NL)
> Group show
2019 May
Indigo Design Awards, Malaga (ES)
> Two Silver winning (BA & MA) projects are included
in a publication
2019 July – 2020 July
Type Directors Club, NYC (USA)
> Master project exhibit at the 65th Awards Exhibition
(TDC65) at The Cooper Union, New York City
> included in traveling exhibition around the world,
33 countries between 2019 & 2020
> 4 – 28 March 2020, ST PAUL St Gallery Two,
Auckland, New Zealand | 4 – 28 March 2020, École
de Communication Visuelle & Ecole Nationale
Supérieure d’Architecture de Nantes , Nantes,
France | 25 February – 27 March 2020, Francis
Marion University, Human Fine Arts Center,
Florence, South Carolina, USA | 22 February – 27
March 2020, Ateneo De Manila University, Manila,
Philippines | 22 November – 27 December 2019, Dom
Słów-Izba Drukarstwa (House of Words-Print
House), Lublin, Poland | 1 October – 1 November
2019, Sheridan College, Trafalgar Library, Oakville,
Ontario, Canada | 4 – 7 September 2019, ATypI 19,
Koto City, Tokyo, Japan | 17 July – 9 August 2019, The
Cooper Union, New York City, USA | 1 July – 30
September 2019, PJITK (Polish-Japanese Academy
of Information Technology), Warsaw, Poland | 20 –
29 June 2019, École de Communication Visuelle
(EVC), Lille, France | 12 June – 10 July 2019, Takeo
Mihoncho Honten Gallery, Tokyo, Japan | 13 – 22
May 2019, Under Stand Avenue, Seoul, South Korea
2019 March
It’s a Book
> Master project exhibit at the publication fair by It’s a
Book publishers at HGB Academy of Fine Arts,
Leipzig, Germany
> The project is included in the fairs’ publication
2018 November
PXL-MAD School of Arts
> Master project bought and exhibit at PXL-MAD
School of Arts, Hasselt, Belgium
2018 September
Rite de passage
> video, acrylic glass type window, catalog / group
exhibition
2018 September
New Crystal Goblets
> publication of selected works, a selection of student
work over 10 years of typography at PXL-MAD
School of Arts, Hasselt, Belgium
2018 August
Eburon Hotel
> books / group exhibition / during MoMeNT,
Tongeren, Belgium
2018 June
EXIT
> books / group exhibition / CCHA, Hasselt, Belgium
2018 April
KABINET
> installation / group exhibition / PXL MAD School of
Arts, Hasselt, Belgium
2017 – 2006
January 2017, Trade Marks, City Triennial Hasselt-Genk, Belgium (poster / group exhibition / Jenever Museum, Hasselt) | November 2016, WASTELAND, The Netherlands (installation / group exhibition / Landbouwbelang, Maastricht | December 2014 Nightclub II Nightscapes Productions (video / group exhibition), ZZP Fabriek, Boschstraat 45, Maastricht, The Netherlands September 2012, Part of Matt Mullican’s exhibition 'Organizing the World', Haus der Kunsten, München, Germany (coded performance video's archive installation | 2012 January, 50 years Edmond Hustinx Foundation 1961-2011 (NL) (book publication, interview about the coding project of Matt Mullican’s performance video archive (in cooperation with Hedah en the Van Eyck academy under supervision of Koen Brams) | October 2011, EXPLOSITIE VI Stichting Raspoetin / Explosief initiative (Diaprojections / group exhibition / Centuurbaan 254, Amsterdam, The Netherlands) | April – May 2009, Cabinet of Time III (paintings and collages / solo exhibition / Café Zondag, Maastricht, The Netherlands) | January 2009, UNBOXED (paintings + collages / group exhibition / Landbouwbelang, Maastricht, The Netherlands | November 2008, ShopStop Refreshed (polaroid booklet, zines and paintings / group exhibition / Old Hickoryplein, Maastricht, The Netherlands) | June 2008, Expats Night (video-installationBallroom Dance Ainsi, Maastricht, The Netherlands) | April – May 2008, Le Doggy Bag (video and animation project / group project / Galerie Wansinki, Teuven / Galerie 42 m3, Maastricht, The Neterlands) | November 2007 – January 2008, Kunstsupermarkt(artist-books, digital art prints and paintings / group exhibition / *Schunck – Museum for Contemporary Art, Heerlen, The Netherlands) | May 2007, Cabinet of Time II (paintings, graphic prints and animations / exhibition together with Kerstin Emonds / Artspace B32, Maastricht, The Netherlands) | March 2007, Cabinet of Time I, (paintings and graphic prints / solo exhibition / Vitrine / Notgerusweg 12, Maastricht, The Netherlands) | May 2006, Kunsttour 2006, (animation (motion graphics) and illustration / group exhibition / Art studio’s, Lucassingel 50, Maastricht, The Netherlands) | May 2006, Secret Agenda (project in the context of Planet Gender / concept, design of invitations, posters and video / in co-operation with Hedah, Centre for Contemporary Art Maastricht, The Netherlands and Suchan Kinoshita)
ATypI 2018, Antwerp
Guidance, manual work
2023, 2022, 2019, 2018 November
Science Day, UHasselt
Testing experiments, workshops, presentations to diverse public, with legibility research group READSEARCH
2015 February – 2016 August
Lumière (arthouse) Cinema, Maastricht
Film projectionist and technical assistant
2008 March – 2015 September
Foundation Samen Onbeperkt Netherlands
Board member, communication
2009 June – 2014 June
Kitchen crew & barista
Cooked for up to 1000 individuals as part of a team of 10 at festivals and events
Social, team player, independent, authentic, collaboration, mutual respect, empathic, loyal, reflective, motivated, enthusiastic, analytical, experimental, and eager to learn new things
Likes
Traveling (meeting new people, old friends and cultures), nature, music, films, art, food, typo/graphic design, (maga)zines, books and reading, cats (and other animals), coffee
Courses / Masterclasses
PROFESSIONAL TRAINING
• Magflow (specialized in complex typographic
editorial design) – Gustav Soares (Typographics,
NYC)
• The History of the Book – Goran Proot (Platin
Institute of Typography, Antwerp)
• Bookbinding – Cathy van der Maelen (PXL-MAD
School of Arts)
• Glyphs (basic and advanced) – Rainer E.
Scheichelbauer (Glyphs)
• Excel with Business – web design (Microsoft)
EDUCATIONAL TRAINING
• Knowledge Clips and Screencasts (OODI, Hasselt)
• Peerfeedback and Assessment (UHasselt, Hasselt)
RESEARCH TRAINING
• Negotiating skills (True Colours / UHasselt, Hasselt)
• Writing articles for international peer-reviewed
journals in the humanities and social
sciences (Lucian Consulting / UHasselt, Hasselt)
• Writing a Data Management Plan (UHasselt, Hasselt)
Digital skills
• Experienced with Windows and macOS systems
(preferred platform: macOS)
• Experienced in Adobe Creative Suite: including,
Photoshop, Indesign, Illustrator, After Effects,
Première
• Skilled in Riso-printing, Glyphs and Microsoft Office:
PowerPoint, Word, Excel
• Familiar with tools like Final Cut Pro and Cinema 4D,
AR
• Knowledge of web technologies, including HTML,
CSS, and WordPress
• Starting with TouchDesigner
• Open to learn more
Driving License
Yes (no car, yes public transport)
Languages
Dutch • Fluent – native (speaking, writing)
English • C2, advanced – fluent (speaking, writing; PhD research/presentation, IELTS test)
German • B2, upper intermediate – proficient
(speaking, writing; professional
experience in German-speaking
environments)
Last Updated 15.07.25