PWLC is a brand project I created at the end of 2025 with the aim of designing my own clothes. The project began with textile customization. Using existing items (T-shirts, jeans, sweatshirts), I made manual alterations by sewing elements onto them and printing visuals onto the clothes myself. To do this, I set up a small screen printing workshop in my garage and invested in a sewing machine, which I used to add and assemble elements onto the garments. The first completed project was a cap, developed with industrial production in mind. I created the entire tech pack and liaised with the factory to develop the sample, which I approved. I am currently working on a first capsule collection, in which this cap will be included alongside other items currently in development.

“Signature Parisienne” is my Master's degree final project. The goal was to revamp digital font design by drawing inspiration from graffiti aesthetics. The project consists of four editions that trace my process. The first is a photographic report on Parisian tags. The second edition presents the different vectorized “signatures” of Parisian graffiti artists, with each page containing one “signature.” From among these signatures, I chose one, that of the graffiti artist “O'feu,” to create a font based on his tag, which I named “Au Feu” in reference to his name. It includes 640 glyphs, with each letter having several versions, allowing users to compose their own ligatures and arrange their words as they wish. It also contains 676 ligatures composed by me. The third edition is therefore a specimen of my font, and the fourth edition uses my typography to rewrite the names of the graffiti artists from the second edition. These four editions are collected in a folder entitled “Signature Parisienne.”

At the end of 2024, I collaborated with the clothing brand Vacarme. They contacted me to work together on designing a scarf. I had complete creative freedom; I could do whatever I wanted, as long as I respected Vacarme's visual identity and included their various logos in my design. For the first side of the scarf, I combined two custom fonts that I had created. They interlock with each other: one reads forwards, the other backwards. I then integrated the brand's logos into the composition. For the second side, I started with their main logo, aiming for a more minimalist look. I rearranged the letters differently and added a side stroke to create a subtle 3D effect. As part of this collaboration, I also provided artistic direction for the Instagram posts announcing the project. I produced 3D animations in which the two sides of the scarf move and align with each other (they can be seen on my Instagram account: @dounsarchive). However, I did not participate in the photo shoot.

My passion is typography, and I love designing and composing logos. Each time, I try to draw different letters to achieve a variety of styles. Here is a selection of some of them, some are personal projects, others are designs for people/brands. I drew each of these logos on paper before transferring them to the computer.

In 2024, the clothing brand Unlock contacted me to design their logo and some graphics for their clothing. I created a custom logo in which each letter is drawn using a simple grid structure. They also wanted a handwritten-style font, “Believe in your dreams,” which I drew by hand and then vectorized. More recently, I collaborated with them on their latest capsule collection, “unlock since 2024 until...” I created the typography featured on the clothing, which was entirely hand-drawn.

My stepbrother is currently coding and developing his own video game. I thought it would be interesting to create a font for it. So I created the “NES” font, which can be downloaded from this site. This font contains ligatures because I thought it would be interesting for a pixelated font to have them. I also created two specimens for my font. The first is a classic black and gray specimen. The second is more special: the idea is that each page is a map, and each map represents a letter. At the top of each card, it says “Color the right boxes,” with numbers and letters next to it (E 4, B-2, F 0, etc.). These numbers and letters correspond to the boxes below, from A to I horizontally and from +2 to -2 vertically. If B-2 is checked, I look at the point where line B intersects line -2 and color it. When all the boxes have been colored, the final letter appears (a letter from my font). These cards contain all the uppercase letters, lowercase letters, and numbers. There is an additional card containing all the ligatures.

During my first year of my master's degree, I did an internship at Smartex, a company specializing in textile printing. Givemefive, a sports-focused textile printing company, was also based in the same location. Givemefive wanted to launch its own clothing line to sell to its partner teams. I was asked to create visual designs and logos for the brand. I designed several custom fonts and logos, and some of my visuals were selected to be printed on various products (T-shirts, sweatshirts, tote bags, etc.). Together with another intern on site (@tinmar.off_), we managed all the artistic direction for the project, including Instagram, the website, and overall communication. We were the ones who launched the brand. I personally created 3D animations of the T-shirts so they could be posted on their social media accounts.

In 2024, I decided to create a calendar using transparent sheets. All the months of the year were printed on transparent sheets, with all the days in each month. To structure the calendar, there is a white sheet with a grid and numbers on the back. When the transparent sheet containing the month is superimposed on the white sheet containing the squares and numbers, the calendar is structured and complete, with the squares appearing behind the transparent sheet, on which it is then possible to write. Once the month is over, there is a small clip that can be removed so that the sheet for the completed month can be removed and the sheet for the following month can be placed in front of the white sheet. An illustration on the back of my calendar explains how to do this.

36 Days of Type is a project that invites designers, illustrators, and visual artists to express their unique interpretation of the letters and numbers of the Latin alphabet. The goal is to design one letter or number each day for 36 consecutive days, in order to create a complete alphabet, including numbers. So I decided to participate in this project. I thought it would be interesting to create a leporello edition, so that when you unfold the entire edition, you get a kind of poster. The cover of this book can be detached, revealing a square poster displaying my entire alphabet. The cover can also be left in place to preserve the book format. I first drew all the letters by hand, then traced them on the computer.

As part of a class assignment, we were asked to create a project on a wooden board, incorporating elements of our lives that led us to the studies we are pursuing today. I drew several elements that were part of my life. First, I drew all the elements on the computer, then I used a projector to redraw everything on the board, and finally, I painted it by hand./p>

The fixie manual is a leporello edition. The aim of this manual is to show which parts you need to buy to build your own fixie. The manual is humorous, as all the brand-name items I mention in it are very expensive and are not compulsory for riding a fixie, they just look better and cooler. The entire manual was initially created by hand, including all the drawings and typography. I then redrew everything on the computer to get a more professional look.

FF is a collective project that I co-created with Benjamin Franssen, Hannah Dürnholz, and Benjamin Dupuis. Other people have since joined us. This project was set up at my former school, ESA Saint-Luc in Liège (CVG section). It brings together students, teachers, and supporters around the practice of typography in the broadest sense. All of its members aim to initiate, deepen, perfect, critique, and share their approach(es) to lettering. The foundry brings together all the characters and fonts created by members of the collective within and/or outside the school. These characters can be published at different stages of development. We have also carried out various projects, such as a candle, a scarf, and a T-shirt, with the aim of selling them to finance and advance the project. These various items were produced collectively.