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.

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’.

Type illustrations inspired by climbing.

Type illustrations inspired by climbing.

Skateboard design for the brand Nomad adding different illustration effects to typography.

The variable font Liana was designed by Aleksandra Samulenkova and Just van Rossum for Typojanchi 2019. They started their “Liana” project with a lighthearted approach: algorithmically drawing spirally stalks over elegantly handdrawn stems. After a while, though, the new letterforms started to overgrow their hosts, and nearly suffocated their makers, who faced engineering a font with 162 masters, which at 16 MB is barely able to support ten characters. Just enough to set the words “Лиана” (Cyrillic) and “Liana” (Latin).

Automat is a variable typeface system that offers a modular and grid-based approach to typography. It draws upon the works of designers such as Wim Crouwel and Karl Gerstner during the 1960s and 1970s, as well as later digital reinterpretations from the 1990s. This system provides a unique blend of influences that offer a new perspective on typography.

The primary goal of Automat is to complement the work of its predecessors by enabling designers to manipulate the typeface seamlessly within a broad design framework. With two adjustable axes, the system offers a wide design space that can lead to unique and unconventional compositions. Automat provides a fresh perspective on typography that