This Master’s thesis explores how gender-inclusive language can be visually supported and expanded through typography. Focusing on the German language, it examines how grammatical gender, societal norms, and linguistic habits intersect – and how these intersections become visible, and negotiable, through type design. While the grammatical structure of German enforces binary thinking, typographic interventions can open up new spaces for inclusion, visibility, and transformation.

The research combines linguistic analysis, design theory, and practical experiments. Drawing on workshops, surveys, and conversations with designers, type creators, and activists, the project investigates existing strategies and develops new non-binary glyphs. These visual experiments are tested for functionality, readability, and conceptual clarity. Rather than offering a fixed solution, the work understands itself as a starting point: a visual and theoretical exploration of what gender-inclusive design can be.

The thesis also reflects on the lack of standards, awareness, and implementation in current typographic systems. It highlights the importance of collective authorship, open tools, and collaborative formats.

Typography is never neutral. It carries meaning, reflects power structures, and shapes how language is perceived. This work shows how typographic design can contribute to the ongoing negotiation of language – offering visibility, questioning norms, and creating space for more voices to be seen, read, and recognized.

As a result, it proposes the creation of an open platform as a digital space that brings together research, tools, and visual material – supporting designers and educators who want to engage with inclusive typographic practices.