ROBCA is a typeface sketch as an experiment in mixing calligraphic features with purely constructed geometries. Some kind of Paul Renner/Friedrich Neugebauer-Frankenstein.

My poster is a visual representation of the interconnectedness of language and typography. By experimenting with Greek and Latin characters and overlapping common characters, I aimed to showcase the connection between the Greek alphabet and the international keyboard positions, highlighting how different languages and scripts can come together to form a cohesive whole. This project was created as an illustration for my book ‘Graphic Stories’ and serves as a reminder that language is a unifying force that transcends borders and connects us all.

Barrio Triana is the name of a new neighborhood in a central area of Santiago, Chile.
For the development of the visual identity, an arrow was designed together with the typography of the name. The arrow is used as a geographical marker, simultaneously alluding to the letter T. The typography includes a series of traditional urban gestures from this area of the city, as a visual experiment.
Despite the fact that there were initially doubts, especially on the part of the residents and the most traditional institutions of the neighbourhood, the spatial typographic proposal was a key driver.

“HOPE” is more than just a poster; it’s a message of resilience and positivity that speaks to the power of hope. This design captures the essence of hope as the key to unlocking the heart, soul, creativity, and new paths in life. By using clever typography and letter positioning to create the shape of a key, “HOPE” evokes a sense of unlocking new possibilities and potential. This thought-provoking piece of art has the potential to uplift and inspire those who see it. “HOPE” serves as a constant reminder that even in the face of challenges, hope is always within reach. It encourages us to keep moving forward, to never give up, and to keep striving towards our goals.

Poster made for an invitational exhibition.The aim of the Typozone exhibition series is to introduce visual works, experiments using typography as the main means of expression. The title of this 3. exhibition was Copy Paste. Teachers and students of Hungarian art universities were invited.

Poster made for an invitational exhibition.The aim of the Typozone exhibition series is to introduce visual works, experiments using typography as the main means of expression. The title of this 3. exhibition was Copy Paste. Teachers and students of Hungarian art universities were invited.

This is an analysis of the letters ‘A’, ‘R’, and ‘T’ through rhythm and movement caused by sequential changes in their proportions—one unit at a time. The poster shows the individual letterforms of an animated sequence for each letter.

The poster, realized as an offset and limited edition screen print, was part of the 23rd issue of the magazine “FORMAT” of the School of Applied Sciences Schwäbisch Gmünd with the theme “The Experiment”. The inspiration for the design are air bubbles that rise to the surface as natural lenses in a (laboratory) glass and optically refract and deform the object behind them.

This short brings awareness to the millions, who are challenged to have a family. Infertility affects all, no matter race, religion, sexuality, or economic status. The intent is to help individuals understand they are not alone.

I created a typeface by enunciating each letter in the English alphabet.

So what is a typeface in this case? Is it the sound that I make? The shape of my mouth? The movement of my lips, tongue and teeth? Or is it the color of my skin? What is the equivalent of type size in this case? How loud my voice is? Or how wide my mouth opens? Or how intense I feel at that point?

Can a typeface be sonic or performative? Can it be emotive?

Does my mouth open the same every time I say “A”? Does my body react the same every time I say “B”? Do emotions create different fonts?How can I present this type other than regular, bold and italic? Perhaps “sad”, “happy”, “angry”?

Can it be transient?

This is a selection of digitally generated variations of the letter ‘X’ using Processing. The tool is built on the principles of parametric design, which can generate an infinite number of variations. Each of these experimental letterforms is created from the same origin by changing the existing parameters of the base form. The functionality of the letters was not the focus of this exercise; rather, the focus was laid on the range of expressions.

Inspired by ballroom- and hiphop flyers from the eighties, I wanted to create a typeface that in itself invites to an inclusive and worry-free environment, with room for pure expression, breaking away from the norms.

life is a combination of tough problems and people you see hope through.

CASE-M is a variable display font which contains the lower case letter and the upper case letter as the variable axis. Due to the interpolation from one extreme to the other, the „mid case letter“ is formed. CASE-M is based on a circular grid, which gives the font its organic attribute fitting to the process of growing.

Visual Identity.

BUNK.a.i.r. is a group of Chilean/ Dutch artists/ designers.

Open to international visual artists, is an experimental art laboratory, a nuclear test site for creativity, initiating and supporting cross disciplinary art projects.

The purpose of BUNK.a.i.r. is the creation of temporary and permanent art projects, presented through various physical and virtual global platforms to worldwide audiences.

Type illustrations representing each track from the EP by Leo Enemy called ‘No Hero’.

Type illustrations representing each track from the EP by Leo Enemy called ‘No Hero’.

Type illustrations representing each track from the EP by Leo Enemy called ‘No Hero’.

This series of (moving) posters was created for a TYYYPOëzie project organized by Graphic Matters showing collaboration between designers and contemporary Dutch poets. In order to render the poignant lines from Elianne van Elderen’s two poems, Aleksandra let her subconsciousness do the work and developed a lettering style which she prefers to describe as awkward, reckless, naive, wild, inconvenient, genuine, and potent. This lettering style is Aleksandra’s take on adolescence, which Elianne often reflects upon in her texts, and memories of which Aleksandra savours from the safe distance of her current age.