Poster for the 60 years of Esdi – Escola Superior de Desenho Industrial, Rio de Janeiro.

Caltrop explores typography as a defensive form. Built natively in 3D modeling software, the typeface draws from natural and man-made defense mechanism—sea urchins, plant burrs, and caltrops—to produce letterforms that repel, snag, and resist. Across digital and physical contexts, the forms shift from animated and material-driven objects on screen to spatial elements that respond to their environment. The project includes a 3D-printed model measuring 8″H × 10″W × 4″D.

Rottura is a broken, dramatic typeface that instantly captures attention through its distinctive form and strong visual impact. Its sharp angles, abrupt lines, and unconventional contours create a sense of tension and movement, making the text feel vivid, expressive, and emotionally charged.

The Mindpuzzling typeface was created to capture the feeling of having thousands of thoughts at once, intertwining into one larger picture, like a puzzle coming together. Built on a grid, it is a monospace font designed for layering, overlapping words and sentences to create new shapes through their interaction.

This is a work in progress in which oil in a frying pan was photographed over a period of more than a year while cooking. This image material now serves as a graphic element to examine the extent to which everyday liquid forms can be used in typographic design.

To create this poster, Hester combines new and “dead” technologies. Each letterform is made in the darkroom using photo-sensitive paper and physical objects (vinyl, plexi, glass, and gelatins). The photogram process is very delicate and experimental. Small changes can produce radically different photogram prints.

The photograms are scanned, lightly edited in Photoshop to remove things like dust and fingerprints, and composed in InDesign.

The project explores living typography found on gravestones where carved letters are gradually overtaken by moss. Originally rigid, human-made forms are transformed by organic growth into irregular, unpredictable shapes. Treating moss as a co-author of the letterform, the work documents typographic decay and regeneration, proposing these evolving structures as a starting point for experimental processes, from photography to potential digitisation and new type systems shaped by nature and design.

This work showcases “Blob”, a typeface I designed for my typography class last year. The concept behind Blob is rooted in the idea that everything can be typography, and that typography itself is a form of language. It is constructed entirely from interconnected circles, symbolizing the way language and typography are inherently linked, not only to one another, but also to the people who create and use it.

“Waxperients” focuses on abstract wax forms created through accidental processes during candle destruction. The material develops flat, bubbly and broken structures that result in new interpretations, balancing distortion, structure and flexibility.

HvyColumn Slice draws inspiration from unearthed archaeological architecture. Derived from a cross-section of a 20-fluted Roman Doric column, the typeface follows a radial grid that echoes the play of light and shadow found in stone. Designed as an experimental, concept-driven system, it explores legibility, form, and designing type for 2D, 3D software, interaction, and environments. Letters are carved through negative space and can stack, collapse, or tumble like architectural ruins.

Experiment 1.8 focuses on curatorial generation of a typographic composition in Midjourney.
Earlier personal generations were used as stylistic anchors via the –sref parameter. A neutral phrase allowed attention to shift toward form, rhythm, and plasticity. Downgrading to –v 6.0 preserved irregularity and expressive freedom. The final image was selected curatorially, based on compositional balance and typographic expressiveness rather than formal correctness.

The project explores typography created by an educational toy robot that draws using simple programmed commands: up, down, left, right. The restricted movement system defines the structure of each letter, reducing them to basic trajectories and angles. Mechanical imprecision and drawing errors cause every character to differ slightly. The machine becomes a co-author of the alphabet, while error and limitation shape the typographic form.

Poster for music concert at Quintavant/Audio Rebel, Rio de Janeiro.

Trigon Grotesk is a font family with nine styles. In addition, the Trigon Angular style was created, which consists of triangles that form the letters. While experimenting for this project, I also developed my Typetool Trygon. There, you can upload your own font and have it reinterpreted in the logic of Trigon Angular.

To create this poster, Hester combines new and “dead” technologies. Each letterform is made in the darkroom using photo-sensitive paper and physical objects (vinyl, plexi, glass, and gelatins). The photogram process is very delicate and experimental. Small changes can produce radically different results.

The photograms are scanned, lightly edited in Photoshop to remove things like dust and fingerprints, and composed in InDesign.

Experiment 1.7 focuses on constructing a lowercase alphabet based on a single letter.
A lowercase “m” from Midjourney generations was chosen as the sole formative reference. Its proportions, plasticity, and stroke logic were translated into the remaining glyphs. A lowercase Latin alphabet was developed manually, with attention to rhythm, x-height, and legibility. Here, Midjourney provides the initial visual impulse, while structure and form remain author-driven.

Poster for music concert at Audio Rebel, Rio de Janeiro.

Excidenz-Grotesk is the identity-shaping typeface for “About Repetition”, a non-profit organisation concerned with transdisciplinary projects in art and design. Its core element is a stylistic set of alternative uppercase “A” characters, referring to the vagueness of the word “About”. It can be used as a headline, logo, moving type or interactive web element. Rather than a font in the traditional sense, it is conceived as an ongoing transmedial project.

Inspired by Lumby Space Princess from the Adventure Time series, the typeface is a result of confidently experiment with pen drawing techniques, express innocence, break conventions, and strive to create new images and typography.

An experimental typography project consisting of 26 letters. Each character is generated through individually developed prompts, exploring form, material, and structure. The visuals shown here represent selected examples from the series. The complete alphabet, including all prompts, is published on Instagram. The project explores typography as a visual system and as a playful field between design and AI.

Both the cover and content of this publication engage with brain frequencies. The two booklets are connected by strips of tracing paper, reflecting the duality of the brain’s hemispheres. In the work, flowing thoughts appear as lowercase letters which, when placed under tension, form a capital letter—referring to a complex and unified line of thought.

«AteryTool» is a browser-based application for parametric type design. The tool generates new glyph sets based on an existing font. To do this, it parses the font file, rasters the characters and places shapes on the grid. Various parameters can be used to define and modify the aesthetics of the generated glyphs. The generated glyphs can be shared or downloaded as an OTF font file or SVG. The tool is based on a series of exploratory programme sketches.

A monolinear, geometric system rooted in the architectural tectonics of Madagascar’s Central Highlands. Named after King Radama I—who claimed the Latin script as a tool of sovereignty—the typeface replaces polished curves with raw, offset junctions and intentional modularity. By channeling the logic of traditional woodwork and bricklaying, the system provides a massive, block-like structure designed for monumentality. A display typeface designed for bold voices to assert their identity.

‘Readme’ explores fonts as procedural, collective sign systems. The browser-based application generates glyphs from a continuously transforming 3D-curve with random coordinates. In a collective voting process, glyphs are interpreted and assigned to characters. These assignments are merged into a continuously evolving OpenType font. A dynamic consensus emerges from the plurality of perspectives.