This purely typographic poster was created for an exhibition by Polish artist and professor Aleksandra Chrapowicka, known for her hand-drawn animated fairy tales. Instead of directly illustrating her work, the design evokes its fairy-tale atmosphere through typography, in line with the Łódź School of Poster Art. All typefaces are by Polish designers, and the central motif—a character’s face—is formed from typographic symbols, using a child-friendly palette for clarity and quick readability.

This poster was designed for the solo exhibition of Professor Jakub Balicki, one of the key figures of the Łódź School of Poster Art, a branch of the Polish Poster School with a strong focus on typography. The exhibition took place at the UTP Gallery at Humboldt University in Berlin. The design combines typographic composition with QR codes, directing viewers to new areas of the artist’s practice as well as to university-related platforms, expanding the exhibition beyond the gallery space.

This poster was created for the solo exhibition of Polish artist Mila Belino at the UTP Gallery, Humboldt University in Berlin. The exhibition features photographs combining the female body with organic sculptures. The purely typographic design uses typefaces by Polish designers. A central letter “B” refers to the artist’s name and the female form, enclosing the title Erotisch – Erotycznie. The color palette reflects the artist’s photographs and ensures clear readability.

TILE is a typeface built from (the side view of) street tiles, reflecting the Dutch movement of removing pavement to make space for green. What once covered the ground becomes a graphic system, questioning how urban surfaces can shift from hard infrastructure to climate-adaptive landscapes.

Alexandra Stelmashonok explores experimental lettering through materiality, gesture, and contrast. Working by hand with both conventional and unconventional tools such as coal, markers, embroidery, and charred sticks, she treats letters as physical traces of process and emotion. Her work balances control and chance, intimacy and spectacle, using black and white to reveal transformation, fragility, and hidden narratives.

turning typography into a playful and surprising experience.

Dance The Alphabet is an interactive programme that merges digital writing with the body’s movement in space. A dancer’s pose is tracked in real time and visualised as a green skeleton at the position of the blinking cursor on screen. With each keystroke, the programme draws the corresponding letter (in this case an ‘A’) from the dancer’s current body points.

Hiroshi Imaeda explores the gap between digital connection and true understanding. While instant access creates an illusion of closeness, it often amplifies isolation. Across works like PAINBOND and UNSHAREABLE, typography is treated as a body—stretched and distorted. Letters become sites of tension where proximity manifests as pain. Imaeda visualizes the “silent noise” of our bio-digital existence, questioning what it means to connect without truly being seen.

Graffiti and Lettering is a typographic experiment layering script and graffiti letterforms to create a dense, grain-like black and white texture.

Booom, an experimental typeface inspired by visual bloating of the letters.

American Romantic translates Pookie and Jett—a viral TikTok couple— into a typeface. The couple is known for their luxurious lifestyle and particularly Jett’s unabashed devotion to his wife Campbell “Pookie” Puckett. As a phenomenon, Pookie and Jett reflect contemporary constructions of masculinity, femininity, and the dynamics between the two. Structurally American Romantic is based on Copperplate, but visually and conceptually redrawn after Pookie and Jett.

ONGOING EXPLORATION OF LETTERFORMS IN THREE-DIMENSIONAL SPACE.
STUDIES IN VOLUME, TACTILITY AND STRUCTURE—TYPE THAT FEELS GROWN RATHER THAN DRAWN.
AN ATTEMPT TO TRANSLATE LANGUAGE INTO OBJECT, FORM, AND SURFACE.

A kinetic typographic poster designed for an exhibition of kinetic objects created by students of the Composition Studio at the Strzeminski Academy of Fine Arts Lodz. The experimental type concept involved creating four letters that spell out the exhibition title “ruch” (“motion” in polish) from the time-varying trajectory and ghosting of a bouncing ball, thus expressing the essence of movement and illustrating timing.

And the Forests Sing is a project that brings experimental sound installations into public parks. In the visuals, the letters shift like leaves in a warm summer breeze.

Scutts’s practice explores the intersection of typography, materiality and minimalism. As a designer and multidisciplinary maker, she works across 2D and 3D, transforming language into sculptural and tactile forms. Her background in graphic design informs every stage of production, from the precision of layout to the material compositions. Typography becomes both medium and message; it is deconstructed, abstracted and rebuilt through material play.

Nufiniq is a response to the normative influence of the Latin script in a divided world. It proposes a new script as an expression of merged cultures, a dynamic and connective alphabet, whose letters follow Arabic typographic principles and adapt to their context.

In a world that is becoming increasingly interconnected, typography is no longer a neutral tool for communication. It reflects our shared history and cultural identity. It is more than form; it is a cultural and social statement.

This typographic poster commemorates the conferral of the title of full professor on Aleksandra Maria Chrapowicka at the Belweder Palace in 2025. Its minimalist form carries symbolic meaning: the background recalls the palace roof, while the vertically arranged name resembles architectural columns. The white date and red “Belweder” reference the Polish flag. Yellow accents and fairy-tale-inspired typefaces allude to the artist’s creative work.

LTTR/AI explores the potential of regularised datasets in training AI models to generate typefaces. Based on Filip Paldia’s doctoral research, the project developed LTTR/SET, a standardised dataset used to train generative models based on the DeepVecFont-2 architecture. The project generated 468 fonts, evaluated through systematic visual inspection. Empirical findings suggest that dataset regularisation significantly improves the quality of AI-generated fonts.

Dächer Mono is a monospaced typeface inspired by urban structures. The foundation for both the monospace design and the stylistic set lies in distinctive roof shapes.The result is a typeface full of intriguing visual interruptions that subtly weave into the flow of reading. The typeface includes 468 characters across five weights, ranging from Light to Brutal.

I created a typeface for the Mike Johansen book that reflects the key traits of constructivism: sharp, geometric letterforms that carve out space for each symbol. This strict, geometric character communicates a decisive and resilient attitude — a determination to live and create despite incredibly harsh conditions.
The aesthetics of that era are energetic, bold, and confident — they express a proactive stance.

Translation of Body Archives explores the human body as a living archive shaped by memory, labor, and repetition. Rooted in growing up within a family-run restaurant, the project uses grease as a material and metaphor to trace bodily imprint, time, and work. Typography is treated as material and residue rather than stable text, shifting between legibility and abstraction through layering, fragmentation, and loss.

MULTIVERS is about modular letters that can have many variants (for fun) but keep their basic structure (for function). It’s like wearing different clothes while remaining the same person. The letters are based on a 3×7 grid. The modules for corners, T-junctions, inner lines and end lines are based on straight lines and arcs to keep the overall look somewhat coherent in this early stage of the project. The letter A has over 40 million variants, so the simple components create extreme complexity.

System Level Failure is an experiment in distilling, to its simplest form, what may be the dominant truth of our time: simultaneous dependence on and manipulation by global corporate interests. A situation most of us willingly place ourselves in, comprehending it, yet shying away from confronting its full spectrum.

An animated lettering experiment driven by chance and iteration. A hand-drawn logotype was animated using a single effect in Cavalry, producing unpredictable letterform variations. By selecting, cleaning, and vectorizing these results, Claudio Beretta built a fluid typographic language. The system allows continuous transformation, generating monograms and textures that translate motion into static, printable typographic forms.