I'm Teynur. I write code, design digital experiences and enjoy building things you can actually touch. That combination suits me. I don't just want to know whether something is possible, but why it's needed, how it works and what people get out of it. So I keep asking questions, trying things out and improving them, even when the first version already works.
I like to start by understanding what is needed. Who will use this? What might they struggle with? What do I want to make clearer, or help them discover? Only then do I think about design, a programming language or a particular technology.
It might be something small, like a form that finally makes sense. Or it might be an installation that sparks curiosity. Not everything needs to be big or spectacular. There should simply be a good reason for it to exist.
I learn a lot by looking at other people's work, but I don't want to simply copy a style or solution. I want to understand why something works and then find my own way to make it fit the idea. That usually involves some experimenting.
I can spend a long time working on something that still doesn't feel right. The first design doesn't have to be the final one. Sometimes I need to start again, simplify something or admit that a different approach is better. I don't see that as wasted effort. It's how I learn.
There can be a lot of technology behind one simple action. But the person using it shouldn't need to think about that. They should understand what they can do, trust that it works and feel curious enough to keep exploring.
You can see that in my projects, too. Het Geheim van het Paaskonijn is about play and wonder. TakeASide lets people literally choose a side and think about how a question influences them. In Het Fossielenspoor, discovery starts with a physical action. The subjects are different, but the participant's experience comes first every time.
I don't see these as three separate boxes. While I'm designing, I'm already thinking about how to build it. And once I start building, I often discover what needs to change in the design. That back and forth is exactly what I enjoy.
I like figuring out how things work behind the scenes. I write code, look for clear structure and want to understand why something works or breaks. My experience with software testing has shaped that, too: something that works once isn't necessarily a good solution.
I pay attention to the things that make something easier to use: the order of information, a readable heading, clear feedback or leaving out a detail that distracts. To me, design isn't just the finishing touch. It helps determine how people understand an experience.
I love seeing an idea become something real. Sometimes that's on a screen; sometimes it's made of wood, electronics or a prototype that's still rough around the edges. By handling things, testing and rebuilding, I often notice things I wouldn't have found by planning alone.
These three sides strengthen one another. I don't just want to come up with an idea or present it nicely. I want to work out how to make it work myself.
My work ranges from websites and software to interactive experiences. A logo tied to one job or one kind of project wouldn't really fit. So I kept it close to me: a lowercase t and a dot. For me, it doesn't need anything more.
The t is simply the first letter of Teynur. The lowercase letter feels direct and not overly formal. I don't need my logo to shout about everything I can do. It's a recognisable mark I can take anywhere, while the work itself has room to speak.
The dot is deliberately a square rather than a circle. It brings to mind a pixel: one small part of a bigger digital whole. That fits my development background and the grids and shapes on the site. On its own, the square can also reappear in illustrations and animations. That gives the whole identity a visual connection.
The dot from my logo appears elsewhere on the site, alongside lines and squares. I use these shapes because you can do a lot with them without making things busy. You can move them, combine them and let them grow. That's similar to the way I work: I often start small and figure out what something can become as I go.
There's a question, a problem or simply something I'm curious about.
I try to understand what is needed and who I am making it for.
I make it concrete through sketches, decisions and early versions.
I create it, try it out and fix what isn't working yet.
I check whether it feels clear and comfortable for the person using it.
That order isn't a fixed checklist. I often go back to an earlier step. Sometimes an idea falls short once you build it, or you only notice what's missing during testing. That's part of the process. My shapes keep moving, just as my ideas change while I make them.
My projects don't all have the same atmosphere. So I want my site to feel familiar without stealing the attention. The almost-white base keeps things calm. The darkest shade helps text and important elements stand out. The softer purples tie the different pages together.
Space and clarity
Subtle details
Secondary accents
Focused emphasis
Depth and surfaces
Text and contrast
I use the brighter purple sparingly, for example to draw attention to an important detail. That makes colour a recognisable part of my identity, while the work I'm showing still comes first.
I use Sora because it has character without becoming hard to read. The typeface was developed with digital screens in mind. Its relatively tall lowercase letters and open spaces inside the letterforms help with that. The clean, solid shapes also sit well alongside my simple t. logo and the geometry of the website.
I use the same type family for both headings and body copy, changing the size and weight to create rhythm without making the page feel messy. First, people should be able to read what's there. The visual character comes after that.
I won't always make the same kind of project. And I don't need to. What stays with me is my curiosity, my attention to detail and my urge to figure things out and build them myself. The logo, shapes, colours and typography give that a recognisable face. Not because every detail has a hidden meaning, but because the choices all fit the same way of working. Mine.
Explore my projects