PANORAMA explores typography’s function and potential for visual expression. By pushing font technology’s limits, it investigates alternative uses of alphabetical systems, transforming letters into dingbats to compose new narratives.

By diverting the conventional glyph system, PANORAMA becomes a tool for composing abstract landscapes through the design and construction of a monospaced font. Beneath this collection lies an alphabet opening new possibilities for creating visual languages.

Onigiri is an experimental display typeface inspired by the triangular Japanese rice ball snack. Each letterform fits the silhouette of an onigiri, exploring the boundary between geometry and legibility. In Onigiri Black, the letters flip and interlock automatically, creating a zipper-like flow, while Onigiri Mono’s static rhythm works ideally for patterns. OpenType features allow switching between each glyph’s upward- and downward-facing variant, turning the typeface into a playful design tool.

This work explores monograms in motion: making letters dance and giving them an almost 3D dimension. Using the Mon Nicolette Toscane typeface, I experiment with distortions that generate hybrid forms, oscillating between legible and illegible, to question the boundary where letters become images.

Scanner distortion and digital collage of found vintage type visually exploring the discord in America.

Bloco is a modular typeface born from code and shaped by hand. It started in Processing, where an algorithm built pixel forms on a strict 9×9 grid. From those raw blocks, each letter was refined in Illustrator, adding rhythm and intention. The result feels both engineered and human — a mix of math and emotion. Bloco honors structure, repetition, and the small imperfections that make geometry alive.

Candy Display is a vibrant display font designed for impact and personality. Its characters work together in harmony, creating a playful and cohesive rhythm for your creations. With generous curves and a bold, joyful energy, Candy Display is ideal for pop-inspired branding, eye-catching titles, and expressive visual identities. The font includes three distinct styles — Regular, Italic, and Backwards — giving you creative flexibility to shape bold and memorable compositions.

In the ’80s, São Paulo’s COHAB projects sat on the city’s outskirts with limited services and rising violence. I spent 20 years in one of those buildings—four kids in a tight home, with parents working hard to keep us safe. Despite the challenges, I still carry good memories. The blocky, Bauhaus-inspired architecture shaped my eye as a designer and inspired this typeface.

Born and raised in Kolkata, Ananya grew up moving fluidly between Bengali, Hindi, and English, shaped by local speech and a strictly English-speaking convent education. While her spoken language became a seamless blend, her written Hindi felt detached from her voice. This poster explores the first five Devanagari consonants — fragmented, inverted, and overlapping — as a personal attempt to reclaim written Hindi as her own.

n Human Typer, I wear a suit that turns my entire body into a writing instrument, and I type onto a vast, segmented room The paper field functions as the field of action, the room where the writing happens. Some of the words will be fading, an allegory of the efforts we make, efforts that sometimes work and sometimes do not, sometimes fading into the past or holding the fragile quality of a dreamlike, future vision but also referring to memories.

digital nature — a concept about the blurring between the natural world and digital reality

ABCD practice.

experimental typography on a rainy day. The letters taken apart and then reassembled.

experimental typography in honor of Hungarian film director Béla Tarr, who directed, among others, Sátántangó, Damnation, and The Turin Horse.

experimental typography for the 100th anniversary of Hungarian poet Endre Ady

What does trauma do to a society, how are wounds in-scripted into our bodies and carried through generations? This poster translates the reoccurring and intertwined nature of wounds for the dance performance by ‘ensemble ben rentz’. By stacking the title and moving it closer together, the word gets a fence-like appearance – cold, hard and closed-up, as well as meant to be broken and opened. An invitation to escape.

Atlantic is a typographic hybrid, born from the union of opposites. A shape-shifter that exists in the in-between—between left and right, between motion and rest, between tradition and reinvention. Atlantic is on its way to becoming a variable type-system, consisting of a regular and two double-slanted cuts.

“Zweite Sphäre” presents a lyrical world between synthetic material and organic typographic design, installed and projected in space. At its core is the search for chance in the given form and the acceptance of imperfections in an age of smooth displays and frictionless digital interactions. The layout of the text inspired by classical letterpress were laser-etched into the polyurethane, creating a tacky residue on the otherwise slick surface, inviting viewers to engage physically with the text.

Slowres is a modular type system built from rescued letterpress mounting blocks, printed by hand and digitised without retouching. Each glyph emerges from worn metal pieces whose scratches and machining marks —traces never meant to be seen— create its rich texture. By exposing the workshop’s hidden surfaces, Slowres turns overlooked industrial fragments into a raw, pixel-like alphabet that celebrates materiality and slow craftsmanship.

Can absurdity be methodized for type design? Through interviews with type designers and two experimental typefaces based on tennis and Satanism, this project investigates how absurd moments emerge or can be deliberately provoked in the design process. United by ritual excess and self-dramatization, these disparate test cases explore absurdity as a systematic approach to form-finding and storytelling in type design.

the idea was to do something with our hands. instead of using a computer, we transformed and manipulated printed letters and created shapes with experimental tools. photoshop was only used to put the composition togehter. the idea of playing with things that are already there, without having a concrete vision, is something very inspiring.