first of all portraits - all seen in the negative.
· These pieces engraved into plaster were compositions of simplified - hence accented - forms also required by the technique. He had few tools available in making the likenesses of Petőfi, Renoir, Liszt, Tolstoy, but he put these few in the service of characterization. Soon afterwards, upon his father's initiative, he replaced plaster with steel. In Hungarian medallic art, engraving steel in the negative has its tradition, yet few are its practitioners today as it requires a keen eye and a sure hand - at a high level of artistic quality. His experience in plaster guided him to describe animals, mainly birds. The style of few - but prudently chosen - forms was still predetermined by the technology as well as the small size, since these pieces were struck by hand, and hand-minting delimits the size. The other great field offering themes for these medals of 30-40 mm in diameter included great Hungarian historical personages: King Matthias Corvinus, Széchenyi, Deák.
· In the mid-'80s, Biblical scenes and figures of a peculiar atmosphere began to appear in his medals. His compositions entitled Saint Christopher, Saint George, The Magi, Golgota were also built from few elements, with thin dainty lines containing the forms. This lucid, pure, almost ethereal style is perfectly suited to the theme. The lucky marriage of theme and representation is attested by the pieces