H. Burak Yel (b. 1994, Istanbul) is a designer based in Frankfurt. He works independently and collaborates with cultural workers, organizations, and institutions on websites, publications, identities, typefaces, and research-driven design commissions.

Feel free to reach out for project discussions via email, instagram, studio abo, or are.na.

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This web project visually maps the migration of artefacts from Global South cultures, exploring the intersection of archive, cartography, and critical analysis in digital spaces. It uses hyperlinks from institutional websites to uncover connections and employs a counter-design approach to reappropriate and expose museums' collection policies, contextualizing and re:presenting practices for the digital age. You can check out the project on https://mappingartefactmigration.org.

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Typesetting for "Institut für Kunstkritik", designed by Markus Weisbeck and published by Sternberg Press.

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This website, designed for performance artist Selin Davasse, features a custom typeface with specific glyphs (S, E, L, İ, N, D, A, V), punctuation marks, and symbols. The system automatically complates the remaining glyphs from the default font when in use. You can check out the website on https://selindavasse.com/.

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This digital clock is coded with CSS and JS languages. A self-made font serves as the operating system on a dot-matrix. You can check out the clock on http://hburakyel.com/clock.html.

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Poster and exhibition flyer for Goethe University lecture series "Deutsche sind Schwarz! Faschisten können keine Deutschen sein. Schwarze und queere Perspektiven auf deutsche Geschichte, Politik und Kultur" by James Gregory Atkinson and Antje Krause-Wahl.

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Proposal for redesigning LUX's website and digital archive, showcasing the world's largest collection of artists' moving images, comprising over 6,000 works from the 1920s to the present. The proposal includes the implementation of a new taxonomy and filtering system to improve content organization and user navigation.

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This typeface, which was specifically developed together with Markus Weisbeck for the project Die Neue Altstadt (in Frankfurt am Main), quotes the graphic language of Ernst May’s journal Das neue Frankfurt, which appeared from 1926 to 1931. For the new font, capital letters—based on the Futura—were designed in different widths and inspired from buildings of the New Old Town.