This is a web-based type distorter that directly manipulates Bezier curve data using custom algorithms, featuring real-time interaction where the cursor dictates the position and range of the effect.

This is a meditation for when everything is collapsing under the weight of uncertainty. This is an affirmation. This is a chant. This is a reminder to self. In the midst of struggle and fog, we are asked to turn inwards, because everything we are searching for already lives within us. And it is worth asking, are we really listening?

In an odd way, we grow attached to the relationships that hurt us most, not out of choice but familiarity. They feel safe because they are known. “Pedestal”, taken from Shrey Kathuria’s poster archive Mindspill, is inspired by realisations in hindsight, the death of relationships, the rebirth of self and the slow choosing of ownership over our own happiness.

this is a lettering design for a community even, which is now used on a store front and packacking design.

This is a ornamental and experimental lettering for merchandising and video titles.

This poster promotes graphic design minor courses offered in the summer at Auburn University’s School of Industrial + Graphic Design. The viewer can activate the poster animation by downloading the Artivive app and hovering the viewfinder over the printed poster. This overall design is the result of experiments in AR and creative coding with AI, and was further developed in After Effects. It was distributed across the university campus in locations specifically targeted at the intended audience.

Kunstkammer is a display typeface designed to catalogue the unexplained. Presented in the silhouette of the Rosetta Stone, the project draws a parallel between deciphering ancient languages and archiving modern curiosities. The heavy, blocky glyphs act as new hieroglyphs, turning the text into a monumental, cryptic artifact.

This concept typeface for KNU’s Institute of Biology and Medicine features letters sprouting roots. The design references the iconic ivy covering the institute’s building. It is a speculative exploration of organic forms within the university’s visual identity.

This poster is part of the zine “Mama” by Ukrainian artist Hristina Novykova. It is composed of digital messages from the artist’s mother, who is currently living under temporary occupation. The correspondence poignantly blends everyday maternal advice and health worries with the stark, surreal reality of war and indefinite separation.

Perfectionism is a trap that prevents moving on to the next thing. By embracing quantity, Wille Larsson Kangas shifts focus from flawless outcomes to continuous making. Quantity becomes a method for learning, refining intuition, developing taste, and discovering unexpected directions that would otherwise remain hidden.

The project deconstructs and rearranges content from well-known publications to reveal new perspectives and connections. Instead of simply breaking structures apart, existing material is bundled, reinterpreted, and redesigned. By challenging conventions in typography and printing, the work becomes experimental—testing boundaries, exploring new design approaches, and questioning established norms.

Students explored the alphabet as an open system rather than
a fixed set of characters. The focus was not on legibility or individual letters, but on experimental variations and possibilities in letter and character construction. By combining two letters, new forms
and meanings emerged, challenging conventional typographic structures. The resulting alphabet exists in a loose, non-linear order, emphasizing process, transformation, and visual experimentation.

Moving beyond the limits of printed experimental type posters, this project explores typography as a three-dimensional, spatial medium. A typographic inflatable environment transforms letterforms into an immersive architectural experience—one that can be entered, inhabited, and explored, allowing type to be perceived through scale, space, and physical interaction.

Collection of personal lettering projects by Victoria Englund Leijon, from 2021-2025.

This work explores the translation of graffiti’s raw energy into a digital-analog hybrid. Created for the TOP2BOTTOM magazine, the typography reflects the modern consumption of subculture: a fast, vertical scroll from top to bottom. By distorting letterforms through intentional imprecision and layering, the design mirrors the fleeting nature of the “feed”. It’s an experimental documentation of the southern avant-garde, turning transient fragments into a lasting typographic archive.

The Beginning is a series of artworks united by the story about one small beginning.

For a long time, Nautilus the Human has been reflecting on what it means to be a designer — who others expect a designer to be, how a designer sees themselves, and, most importantly, who he wants to be. He decided to let this work serve as the first step in his journey toward finding those answers.

He says, “Stay true to yourself, and if it doesn’t work — go back to the beginning.”

This open modular system turns the Unicode classification order of a common font file into a powerful controlling tool for all visual applications. Based on a simple 5×5 grid, it provides more than 400 glyphs for Latin and Cyrillic script, plus numerous graphical elements, wildly combinable in an almost infinite manner.

This work explores density through typography, where rigid, grid-based letterforms collide with a chaotic image captured in Ecuador.

This work stems from the idea that being love is a supreme creative act. The typography is conceived to transmit the vibrational presence of love as a state of consciousness rather than a romantic gesture. Each letter embodies an inner, soulful condition that transcends cultural conventions and becomes a universal language. In a context marked by global violence, the piece asserts love as an active, urgent, and political force.

Menu is a custom display script typeface designed for the installation Design Menu, presenting the Innovation Design Studio team of the Department of Design (Faculty of Arts, Technical University of Košice) at Designblok in Prague. In its experimental form, the typeface expands into large-scale letterings that shape the installation’s distinctive visual identity.