Scribbling becomes letter.
A typeface inspired by the automatic drawing one does while hanging on the phone.
Transcribes a movement, evokes an action.
The line draws both the outline and fills in the interior of the letters.

No breaks, still rolling.

This quote, heard at a funeral, deeply moved me and reshaped how I plan my life. I began to acknowledge mortality daily, valuing my thoughts, feelings, and relationships more deeply. Death is no longer a fear but part of life—it gives meaning to time, love, and what we cherish. The work is drawn on fragile Chinese calligraphy paper, bleeding with ink like our impermanence. The abstract calligraphy represents the unknown moments ahead, both good and bad, we will learn to find beauty in it.

This series investigates how typography can exist as sculptural or spacial objects using 3D printing and lasercutting.

The scarf was created during my exchange semester in Japan and is based on a well-known Japanese meme. The pixels of the digital image are translated into knitted patterns, connecting digital internet culture with the analog craft of knitting. In this way, a fleeting meme meets a time-intensive, tactile process of making.

This experimental modular typeface was created for a typographic installation on the facade of a private house, featuring a quote from the Gospel of Matthew (7:24). The letterforms are inspired by ancient runic scripts and reference Old Slavic writing, combining archaic visual codes with contemporary modular construction.

The typographic piece explores the inherent fragility of writing through a custom-made, fragmented web-based system. Within it, the glyphs are deconstructed, existing in a state of digital ‘primordial soup’, only as vague ideas hinted at by the font files pre-uploaded to the server. The definitive moment of the piece is the recognition of noise as glyph, when the eye deciphers the billowing pixels into the familiar outlines of letters, words, and sentences.

This atype font was created in a workshop by @_eromu. The main inspiration for this experiment was to recreate the aesthetic of ancient, Egyptian-like scripts but still maintaining the rules of atypography. The name comes from the word in ancient Egypt, Deshret, which refers to the “Red Land”.

The KnotBody Typeface translates the artist’s experience of lipedema into typography. A crocheted strand of knots is shaped into letters, echoing the feeling of heaviness, pressure and congestion under the skin. Through a slow process of photographing, editing and vectorizing, the fragile textile body becomes a digital type system. The alphabet wavers between legibility and bodily trace, turning hidden, chronic pain into a visible, vulnerable text body.

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.

This typeface is inspired by the structure of regional Cyrillic ligature scripts (also called »vyaz«), reducing them to minimal, essential strokes and almost completely rejecting connections. This approach can be read as a metaphor for the church schism, as well as for the existence of multiple paths toward one’s inner self.

Anna Malyar is a typographic experiment exploring the city and its visual “errors” caused by human intervention. The project is inspired by cracked building facades shaped by harsh weather and later covered with contrasting paint by city services — like wounds that will never fully heal. The typeface reflects these traces of repair, distortion, and fragile urban memory.

Popova is an experimental variable display typeface initiated during the international Bauhaus / Vkhutemas evening school in 2021 and later developed into an independent author project. The typeface functions as a modular grid that structures space, builds compositions, and generates constantly changing graphic forms through letter overlaps. Inspired by Constructivism, Popova explores the idea of “word” as a material form rather than meaning — typography as a tool for organizing visual systems.

An unconventional typographic expression of four numerics — inspired by the lost art of drop caps, but expressed through modern whimsy.

In this series, Sophie explored type as image, investigating how far letterforms can be pushed before they become abstract shapes and loose readability, creating speculative typographic forms. She designed layouts using her typeface Geo and experimented with Étienne Mineur’s AI-informed pattern website. From these results, she deconstructed the outcomes and reassembled the shapes into new compositions.

A Machine of Rhythm transforms the hidden cycles of GPU computation into dynamic black-and-white visuals. The real-time TouchDesigner application renders repeating frame intervals and clocked processes as layered patterns, exploring rhythm, structure, and form in digital time.

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.