An experimental approach to multiscript design, exploring the deconstruction and distortion of typographic systems. By fragmenting and overlapping scripts, the work challenges readability and questions how meaning shifts when language collapses into a visual noise. (Materials used: Bi-Scriptual: Typography and Graphic Design with Multiple Script Systems)

Monarchia began as a typographic experiment defined by strict formal rules. Each glyph consists solely of a single curved stroke that never intersects or crosses. When extended beyond language and letters, the system makes it possible to apply the same rules to generate figurative forms, such as the typeface mascot Nova.

The photogram process is very delicate, precise, and wonderfully serendipitous. Any changes — such as adding a second to the exposure time, shifting the angle of the objects, or adjusting the darkroom temperature — can produce a radically different images. “Push Until It Falls Apart” is a typographic photogram series I began in 2018 and continue today. I continue pushing the process until the legibility is lost by manipulating the same objects and materials. Gelatin, vinyl, plexi, glass. SERIES.

Keep Warm in an exploration into transforming digital 3D type into a physical knitted object. Paul created a limited run of scarves with all proceeds going to a local food bank. This work documents part of the process – digital to physical and back to digital in the form of Illustrator brushes and swatches.

AAfter travelling to Brazil with her father to experience Oscar Niemeyer’s architecture firsthand, Sophie designed the typeface Geo, drawing on Niemeyer’s soaring archways and bold modernist geometries. While Geo is clean and precise, it contrasts with the deterioration of many of his buildings. Sophie tested diverse 3D printer settings to capture textures of damage and decay, inspired by weathered structures in Belo Horizonte, resulting in Geo Decay in lowercase from 30 print variations a–z.

NOT Signalizer is an experimental color variable typeface that transforms the flags of the International Code of Signals into a bold, readable alphabet, turning a maritime coding system into a tool for visual communication. It includes a Color Variable version with signal flags for Latin letters and numerals, and a Black Letter version with a full character set, including Latin, Cyrillic, Georgian, and symbols. Designed for motion, web, and identity work.

The Lumber typeface is part of the “Nietypowe” (Un-Typed) project exploring the abstract potential of letters — from readability to barely decodable shapes. The attached PDF* shows Lumber’s deformation and blending with other authorial typefaces. As a variable font, it expands or contracts at will. Its name refers to the chopping motion of a lumberjack, and the design focuses on subtracting form to reveal the letter. *If there is too much material, I can select 1–2 pages.*

This A4 poster is a specimen for the font Reader. Inspired by Fuse, Reader questions an attempt to optimize signification, by halving the Latin letterset. The result is an alien texture, a typeface with uncanny familiarity and inviting strangeness. Reader’s allure: an experience that lies between the acts of reading and puzzle-solving. It demonstrates the joy when the reader’s eyes and mind conspire and conquer the previously illegible.

Reader. Enquiry.
To optimize. To see forms. To read.

Soft Play emerged from experiments with translucent gradients and took its first colourful shape during the last #36daysoftype in 2023. Glass-like effects and transparency brought a fresh sense of freedom, play, and curiosity inot my work during that time. The project explores how soft (and calm) a typeface can become, how much transparency (still) makes tension, and the (undefinded) line between readability and the viewers projection on surface and space.

The thesis project presents an experimental variable font, exploring the relationship between digital typography and organic natural structures. Inspired by the morphology of microorganisms, it translates biological principles such as modularity and growth into a dynamic typographic system. Letters are designed to act as living organisms, with cells that mutate along axes of variation. This explores the potential of variable fonts and proposes an evolutionary and contemporary visual language.

Symbiotype is a collection of 60 punctuation marks, letters, and numbers divided into four sections. The name refers to the symbiotic relationship between the sections. “Reionization” presents punctuation marks evolving into cell-like letters; “Matter Dominated Era” features more complex forms of materials; “Artificial Urban” is a leap toward building-like constructions; and “Beyond” removes materiality, reducing characters and numbers to vector-like structures.

Where does legiti end and graffiti begin? The people draw. The canon sings. Typographic legends, giants, have danced on the line that separates form and space, pushed against the edges of the legible mark. This series of drawings explores the interaction between line and curve, taking Latin letterforms to illegible heights, transforming them into novel totems, dynamic marks with symbolic weight.
Key: 1 – Style, 2 – hunger, 3 – JERK, 4 – mainstream

Where does legiti end and graffiti begin? The people draw. The canon sings. Typographic legends, giants, have danced on the line that separates form and space, pushed against the edges of the legible mark. This series of drawings explores the interaction between line and curve, taking Latin letterforms to illegible heights, transforming them into novel totems, dynamic marks with symbolic weight.
Key: 1 – Style, 2 – hunger, 3 – JERK, 4 – mainstream

Where does legiti end and graffiti begin? The people draw. The canon sings. Typographic legends, giants, have danced on the line that separates form and space, pushed against the edges of the legible mark. This series of drawings explores the interaction between line and curve, taking Latin letterforms to illegible heights, transforming them into novel totems, dynamic marks with symbolic weight.
Key: 1 – Style, 2 – hunger, 3 – JERK, 4 – mainstream

This is an experimental poster based on my font design ‘PPN’.

The artist deconstructs intuitive drawings into an abstract typographic system. While standard fonts are processed effortlessly, the raw, uncontrolled shapes demand “harder work” from the brain. The work questions if these erratic fragments evoke a deeper resonance by disrupting learned patterns. It is a visual experiment where reading becomes a conscious search for meaning within complex, abstract lines, exploring the boundary between artistic intuition and functional communication.

DOTTEXT treats text as both message and material. By converting typographic images into .txt files, deliberately corrupting the data, and then converting it back into images, the poster uses chance as a design tool. The resulting errors call into question the concepts of control and legibility. Building on these random phenomena, DOTTEXT shows how meaning is transformed when text loses its usual function.

Where does legiti end and graffiti begin? The people draw. The canon sings. Typographic legends, giants, have danced on the line that separates form and space, pushed against the edges of the legible mark. This series of drawings explores the interaction between line and curve, pushing Latin forms to extremes.
Key: 1 – Style, 2 – hunger, 3 – JERK, 4 – mainstream.

Imprint is an experimental typographic tool inspired by industrial printing techniques, where a visual language emerges from imperfection. The tool transfers text onto a digital canvas through an interactive printing process. The way users interact with the canvas directly shapes how type appears, making each imprint a unique result of both human input and machine-like behavior. By shifting functional, utilitarian type into an expressive space, Imprint explores typography as a physical form.

My contribution to the exhibition “Revolution (Typography for Change)” at the Wschodnia Gallery in Łódź, Poland.

ORNACLINK is a pinball-inspired art tool that brings historic typographic ornaments back to life through hands-on interaction. By treating typography as modular shapes, it invites experimentation through movement, chance, and rhythm. Participants tilt and shake the box, guiding marbles and paint to create unique abstract compositions. An accompanying booklet showcases the different outcomes and possibilities that emerge through interaction with the tool.

This (not) type specimen is the result of an experimental light-painting process using a scanner and a flashlight. I developed this technique accidentally, I wanted to take a selfie in my scanner. The flash created interesting textures making me able to create type out of them. In the specimen the letters work as symbols in an alternative world.

During their internship at Raquel Quevedo’s studio, Clara and Eulalie (Centre de Formation Professionnelle des Arts, Geneva) developed work within the Algorithm Vegetal project. They experimented with the grid as a coded system, reworking it through vegetal and algorithmic logics to generate hybrid typographic forms.

Marrying analogue and digital type as an act of positioning in between. Digital design and fabrication are brought into letterpress. Intentionally combining touch, imperfection and traditional craft with the precision and experimental potential of contemporary tools. Modular, digital type sketches were translated into physical, 3D printed letterpress forms. Creating a dialogue between digital flexibility and analogue tactility, while simultaneously engaging critically with letterpress history.