This poster is a reflection of the year 2020, which allowed us to pause, reflect, and look within. Designed in response to the La Bienal del Cartel Bolivia BICeBé brief, No Course to the Interior Space. The texture in the background and linear typography symbolize roots and our journey. The fragmentation of the type is a reflection of ourselves and the many sides we have.

Poster for the 2024 spring edition of Fiction Tuesdays – a film screening series organized by the Czech Centre Bucharest.

Its first publication was in 2022-2023. It is based on the basic principle of visual literacy to create glyphs with different reading possibilities from the same base. Using morphological tables (which are a tool used for creating isotypes), this grid is assembled or decomposed, forcing the mind to interpret recognizable glyphs. In addition to that, he also used the technique of variable sources to create different forms, framed in the same concept of experimental types.

Factory Street in Lviv gathers many different people around it, from creative people. I looked at this street as a ready-made identity, collected all its signs, traces of its inhabitants, collected its cracks and smell and fit it into this identity. I was an observer, I just looked carefully and turned what I saw into an identity.

“Svit i molod”. Republican Art Exhibition of 1985.

I felt inspired to create a font based on this discovered typeface. To me, it’s a real find. Over time, I want to build a complete font that can be used in projects and reflect all the letters that could exist.

For now, I’ve displayed the letters that are available – this can be seen in the poster. A pixel font based on a completely different typeface looks.

Distort and decay art challenges us to confront our obsession with perfection, inviting us to embrace the transience of life and the allure of imperfection. It encourages us to appreciate the inherent beauty in the flawed and the ephemeral, offering a fresh perspective that goes beyond our conditioned desire for flawlessness.

In augmented reality, two-dimensional text leaves the screen and is displayed spatially. The readability of this text is influenced by the viewer’s perspective and the surrounding real-world environment. Adaptive Type demonstrates how variable font technology can change the use of text in three-dimensional space. The properties of variable fonts are simulated by generating static font files and displaying them sequentially based on the mobile device’s viewing angle, distance, and ambient light.

HV 100 font redesign glitch experiments. My aim is to transform my rigid geometric digital typeface into a unique and unrepeatable version.

​​My experimental typography series deals with different feelings. Each feeling shows its weight, its interweaving and its strength. The typography is created with iron-on beads by hand.

Biuro (“Office”) is a periodical published by BWA Wrocław Galleries of Contemporary Art. The latest issue is titled “Glossary of Institutions” and comes in the form of a case-bound book.

The dictionary is the result of discussions about the current situation and issues of art institutions in Poland among representatives of the art world. More than 120 slogans and their definitions assign goals for the future of the cultural world. The publication was curated by Maryna Tomaszewska and Anna Mituś

NO Plytype is a typeface designed for the identity of Project 14.9, a furniture workshop specializing in working with plywood. As Renzo Piano once said, “The beauty of plywood lies in its simplicity & versatility”, it allows to experiment with new forms. Non-Objective asked the Project 14.9 team to cut out some plywood modules to experiment with. Using an ink pad, these modules became letters, the letters became words, and then an entire font was created.

​​My experimental typography series deals with different feelings. Each feeling shows its weight, its interweaving and its strength. The typography is created with beads by hand.

Imagination describes the ability to create mental images and recall them in the mind’s eye. This ability varies and can sometimes be absent. Aphantasia refers to this: limited or absent visual imagination. Visions remain abstract, with no word-to-image translation.
In “Without Image”, Rhoda Herold explores the visual translation of this phenomenon. The result is code-based deconstructed type that metaphorically represents imagination with aphantasia.

Feel the Burn is an experimental typeface made from discarded waste produced by a mechanical machine tool. A day-to-day working laser cutter uses selective burning away of material to create precision-cut artwork. The surplus produced is saved in the leftover tray. The offcuts, embers and detritus are collated, digitally scanned and constructed into letter forms. The use of byproducts and speculative production techniques makes the works an ambiguous piece of visual communication.

For this project, they revived the Latin Antique typeface from the *Book of Specimens* by Franklin TYPE Foundry, 1889. Alongside the classic design, they developed a variable version with pixels adjustable via three sliders. This feature allows for dynamic customization, making the revival, named Antiku, versatile for various design needs.

In her bachelor exhibition “Without Image”, Rhoda Herold presents code-based deconstructed type as well as the resulting digital design tool “Image without Image”, which translates text into abstract images.
The exhibition also shows an endless dot matrix print installation that gradually deconstructs a text about the artist’s personal background over a period of five days in order to make aphantasia visible.

The project explores growth and decay through experimental typography. Using nutrient mediums in Petri dishes and laser-cut wooden letters from Neue Haas Unica pressed into yeast culture, mold growth was documented. This blend of nature and design highlights the transient nature of forms and materials, challenging traditional typography and reflecting on ephemeral beauty. Created in my 3rd semester, 2022, under Professor Uli Braun’s guidance.

The “Machine View” experiment, part of a master’s research, analyzed typefaces for readability from both machine and human perspectives. A font from OffType Foundry was selected, and its character anchors were converted into letters using AR image feature recognition. Decoding requires the same AR technology used to create the typeface. Custom-built AR software with open-source tech enables decoding by scanning the letters.

This work is my typographic experiment. I was looking for a balance where a letter can be part of a graphic and be more decorative than functional while not losing itself and still being readable. This letter is part of an experimental modular font I am currently working on.

During the pandemic, the Museum of Modern Art in Warsaw created a virtual space for artists, called Home Office. This is an illustration of one of the slogans appearing in the manifesto of the event’s curator: Be careful with each other, so we can be dangerous together.

Working with the Cyrillic historical heritage and various sources, I found forms that inspired me to create the letter “Л” that would have the serifs of the past, but at the same time fit into a modern context. The letter is complemented by a graphic that complements its accentuated forms and enhances its contemporary vibe.

​​My experimental typography series deals with different feelings. Each feeling shows its weight, its interweaving and its strength. The typography is created with wax by hand.

This typographic work was created using an experimental modular typeface. The typeface is constructed from simple geometric shapes, giving the final work a bright personality. The poster itself reflects on the importance of what we say and the fatal consequences it can have.

This work is part of a B.A. Thesis entitled „the sin of decoration“, in which the gender constructions inherent in modernism and the role played by the rejection of the decorative in relation to this, is revealed. By analyzing design-theoretical texts from a feminist design-historical standpoint, the positioning of the term decorative was revisited in a critical way. „[…]Typography and decoration – is nonsense.“ is a quote by Max Bill from 1953, directly inspiring the Liga Typeface.