Process Type is a conceptual typeface representing the vital feelings experienced within the design/creative process.

It consists of 6 fonts that each embody a particular feeling (emotional and physical) that I found brings the most impact on the process for me.

Together these fonts form a journey and a typographic visualisation of the human aspect of the design process, from the beginning to the end.

The poster bestows several questions regarding the truth, lies, disinformation and the version of reality we choose to believe. Type is distorted and blurred which furthermore underlines the very nature of disinformation.

Typographic experimentation with multiple graphic software and its possibilities. As a result, poster design not only displays transparent, water-like typography but also points the viewer to the environmental appeal of preserving water.

This font is a visual exploration of our ever-changing environment, a boundless source of inspiration. The road cracks, particularly, became the base for the typeface.

The font features five stylistic sets in both Cyrillic and Latin alphabets. Letters are replaced randomly, but you can control those variations by selecting glyphs yourself.

Each letter is a unique depiction of a road crack
Letters “O” are inspired by road hatches.
Symbols are based on road markings.

NOT Round One is a variable typeface inspired by racing — from rally and Formula 1 to off-road driving and trail running. Beyond the construction of the letterforms, it features a variable axis that expands the characters nearly twofold, evoking a metaphor of controlled drifting and motion on the track.

This open wall hanging drawing machine is using spray cans, markers and 3D printer hardware to draw typography and patterns – bezier curve graffiti – on walls. Unlike traditional graffiti, variation is achieved through code and hardware and can be reproduced endlessly.

In contrast to other polar graphs, the trolley contains all components including the can / marker. Installation only needs two nails for the fishing rods and power via cable or battery.

Flyer / Visual for the Basel Winter Summer Workshops 2026 conducted by the Institute Digital Communication Environments (IDCE), Hochschule für Gestaltung und Kunst FHNW.

Contact is a typographic practice that explores communication beside print and digital formats. Supasuta investigates physical touch as a medium, where form, texture, and residue become language. Fingerprints, scratches, and kisses act as marks, mimicking the way muscles interact with an individual. Connection unfolds without words and emerges through presence.

Writing with my Dinner is an exploration of the writing process using unconventional tools. This series features handwritten letters crafted with parts of crab, blending natural elements with artistic expression. This artwork captures the crab’s essence through pointy strokes and rigid joints. The Chinese lettering, 蟹螯 is inspired from Bird-worm seal script, while Latin lettering is shaped by controlled wrist movements to mimic the crab’s joints.

Writing with my Dinner is an exploration of the writing process using unconventional tools. This series features handwritten letters crafted with various seafood, blending natural elements with artistic expression. By incorporating these unexpected tools, the project introduces an element of unpredictability, challenging traditional notions of writing implements. It serves as a testament to the creative possibilities that emerge when embracing nontraditional methods of self-expression.

Scribbling becomes letter.
A typeface inspired by the automatic drawing one does while hanging on the phone.
Transcribes a movement, evokes an action.
The line draws both the outline and fills in the interior of the letters.

No breaks, still rolling.

This quote, heard at a funeral, deeply moved me and reshaped how I plan my life. I began to acknowledge mortality daily, valuing my thoughts, feelings, and relationships more deeply. Death is no longer a fear but part of life—it gives meaning to time, love, and what we cherish. The work is drawn on fragile Chinese calligraphy paper, bleeding with ink like our impermanence. The abstract calligraphy represents the unknown moments ahead, both good and bad, we will learn to find beauty in it.

This series investigates how typography can exist as sculptural or spacial objects using 3D printing and lasercutting.

The scarf was created during my exchange semester in Japan and is based on a well-known Japanese meme. The pixels of the digital image are translated into knitted patterns, connecting digital internet culture with the analog craft of knitting. In this way, a fleeting meme meets a time-intensive, tactile process of making.

This experimental modular typeface was created for a typographic installation on the facade of a private house, featuring a quote from the Gospel of Matthew (7:24). The letterforms are inspired by ancient runic scripts and reference Old Slavic writing, combining archaic visual codes with contemporary modular construction.

The typographic piece explores the inherent fragility of writing through a custom-made, fragmented web-based system. Within it, the glyphs are deconstructed, existing in a state of digital ‘primordial soup’, only as vague ideas hinted at by the font files pre-uploaded to the server. The definitive moment of the piece is the recognition of noise as glyph, when the eye deciphers the billowing pixels into the familiar outlines of letters, words, and sentences.

This atype font was created in a workshop by @_eromu. The main inspiration for this experiment was to recreate the aesthetic of ancient, Egyptian-like scripts but still maintaining the rules of atypography. The name comes from the word in ancient Egypt, Deshret, which refers to the “Red Land”.

The KnotBody Typeface translates the artist’s experience of lipedema into typography. A crocheted strand of knots is shaped into letters, echoing the feeling of heaviness, pressure and congestion under the skin. Through a slow process of photographing, editing and vectorizing, the fragile textile body becomes a digital type system. The alphabet wavers between legibility and bodily trace, turning hidden, chronic pain into a visible, vulnerable text body.

NOT Signalizer is an experimental color variable typeface that transforms the flags of the International Code of Signals into a bold, readable alphabet, turning a maritime coding system into a tool for visual communication. It includes a Color Variable version with signal flags for Latin letters and numerals, and a Black Letter version with a full character set, including Latin, Cyrillic, Georgian, and symbols. Designed for motion, web, and identity work.

This typeface is inspired by the structure of regional Cyrillic ligature scripts (also called »vyaz«), reducing them to minimal, essential strokes and almost completely rejecting connections. This approach can be read as a metaphor for the church schism, as well as for the existence of multiple paths toward one’s inner self.

Anna Malyar is a typographic experiment exploring the city and its visual “errors” caused by human intervention. The project is inspired by cracked building facades shaped by harsh weather and later covered with contrasting paint by city services — like wounds that will never fully heal. The typeface reflects these traces of repair, distortion, and fragile urban memory.

Popova is an experimental variable display typeface initiated during the international Bauhaus / Vkhutemas evening school in 2021 and later developed into an independent author project. The typeface functions as a modular grid that structures space, builds compositions, and generates constantly changing graphic forms through letter overlaps. Inspired by Constructivism, Popova explores the idea of “word” as a material form rather than meaning — typography as a tool for organizing visual systems.

An unconventional typographic expression of four numerics — inspired by the lost art of drop caps, but expressed through modern whimsy.