Which design intervention can ensue during the melting down of wax candles? How can this material residue be turned into a narrative object? Waxy is first and foremost the result of a collective production: the three designers of this typeface gathered around a table, lighting candles, and letting wax drip onto sheets of paper. Letters were formed one by one, each multiple times. The melted residues were scanned, digitized, and eventually turned into a typographic system.

This work examines how contemporary type design treats minority languages within the Cyrillic script. While thousands of fonts fully support dominant characters, a specific Belarusian letter is often missing. By repeating existing forms and translating them into 3D, the poster shows how absence in typography can lead to languages becoming unseen over time.

An in-progress typographic system tested through procedural mutation and rule based distortion.

Developed in a workshop by KITeGG researchers Francesco Scheffczyk and Paul Esser.
I wanted to express humanness through the eye – as a symbol of introspection and observation.
If you only prompt “human,” there are mostly human body parts. Furthermore, I wanted to express the flow of working together (human + AI) and the mimicking, which is what AI does for me.
This process was part of my project “Human Types” on AI and typography, which appeared in Re:Vision by Monotype.

Inspired by old monograms stitched on house linens, these typefaces merge the rigidity of the cross-stitch grid with the imperfectness of hand-stitching. Each typeface is first designed on a pixel grid, then stitched onto fabric, and finally scanned. From this slow and laborious process, an organic typeface emerges, transferring tactility and ancient hand-crafted processes to the digital realm.

Segmentor: a typeface you can drum
Segmentor is an exploration of what playing drums and designing typefaces have in common, and what links could be brought forward. During his year at Type and Media in The Hague, Mălin Neamțu wanted to combine his practices as a musician and designer to build a real time visual tool that rendered powerful and experimental typographic animations for any live shows he would have in the future.

Where are we going as human race (carbon footprint, anthropocene)?

What is the ratio of fiction versus reality today, in the digital world of social media, metaverse and AI?

As an inherent part of closeness, there is always a risk of losing the one we love.

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.