This poster, one of a series, was designed as a flyer for the street culture music festival, DCBL x VYHOR. Featuring grills, a type of dental jewellery, the concept and implementation are heavily inspired by hip-hop culture. DCBL (short for «Де Це Було» in Ukrainian) is a non-governmental organization that hosts music events in Lutsk, Ukraine. The organization promotes progressive cultural development.

The poster depicts a mnemonic phrase that helps to memorize the spelling rule of the Ukrainian language.
The phrase is iconic for everyone who has ever studied at a Ukrainian school, and it often evokes not very pleasant associations, while being senseless.

The poster proposal breaks typography into fragments that together compose new textures and rhythms. In the animated version it is possible to see the fragments returning to their original position, revealing the text.

Logo, visual identity, environmental signage and motion graphics for “Amor é Amor” [Portuguese for “Love is Love”], a campaign for Sesc Avenida Paulista (a cultural and community center in São Paulo, Brazil) about Gay Pride Month, with modular letters in different formats and shapes, representing the different ways and manners of love.

The whole concept of GHOST TYPOGRAPHY is based on the drill holes and leftover screws on public walls. It is an experimental approach to the remains of former shop signs. This work consists of 352 pages of experimental typography, design and typography theory, shape and color research, as well as the applied use of the experimental results in the form of poster designs. The whole work also serves as a type specimen for the font family “Screws,” including 49 fonts.

Lit_inerante (a mix in Portuguese of the words “literature” and “itinerant”) was a literary writing workshop series. His identity was inspired by graphic language of the maps, especially those of subways and navigation apps, in order to highlight the main feature of the workshop: itinerancy. Other aspect of design that emphasize attributes of the workshop is its adaptive logo: each layout, a different logo arrangement, visually representing both the variety of paths that could be explored, as we

Experimental versions of a p5.js based font project called »shakshuka«.

This piece is collateral for The Automation Lab brand. The symbol is an iteration of the letter A with extensions as arms and legs. Repetition is the representation of repetitive tasks that the automation makes.

A project inspired by Whitechapel Road, using grid systems found in the area. These grids formed the basis to create a variable typeface and inform the identity design. A workshop was held to create the letterforms, aiming to input a sense of community and collaboration into it’s design to reflect the areas diverse and multifaceted nature. The type specimen uses a calendar fold allowing the user to flip between the different letterform variations, further reiterating the area’s diverse nature.

This book illustrates the maddening adventure of exploring the boundaries between type and illustration. Stretching and blurring the lines of letter and image, readability and pattern. To re­create the joy, confusion and madness that was experienced during this journey, Lewis Carroll’s words from ‘Alice in Wonderland’ were borrowed. Illustrating an ever changing adventure with endless possibilities of what may come. After all we’re all mad here! Come with us down the rabbithole…

Scripted Stories is a body of work inspired by Anagha Narayanan’s font ‘Ilai.’

Ilai embodies a modern take on 60s psychedelia. Through this project, I aim to investigate the threshold at which the font seamlessly integrates into the composition, potentially diluting its distinctive structure, character, and allure. Ultimately, I’m gauging how the font transitions from a unique typographic form into a fundamental building block for artistic exploration.

The EGO project began as a university project and evolved into a study of light and shadow as natural phenomena. Inspired by Hussler’s philosophy, it creates an unusual alphabet that transforms into patterns, offering endless fun with these letters.

Domino Mono is an experimental monospaced variable typeface that allows users to adjust weight and angle to achieve the desired look. Inspired by toppling dominoes, its oblique letter shapes are designed by tilting or dismantling fragments instead of shearing or reforming.

“Kali billi dhiskyaon” (काली बिल्ली धिस्क्याओं) in Hindi translates to “black cat boom.” In India, black cats are often associated with superstitions and considered omens of bad luck. The word “dhiskyaon” is an onomatopoeic expression mimicking the sound of a bullet, often used in old action movies when technology wasn’t very advanced.

This is a zine that explores various cat idioms commonly used in northern India. This particular page focuses solely on the black cat and the phrase “Kali billi.

Whatnot is an exploration of the peculiarities of human language. This project explores how an idiom may suggest a geographic region while the term’s meaning may remain ambiguous.

Justine created INKBLOT to visually mirror the sounds from the radio station WESTREX on Stegi Radio, which features trance, drum and bass, and electronic music. The genres combine fluid sounds with rigid beats, which she translated visually by combining organic liquid shapes with geometric rules. Her method was an experiment in shapes and form, tweaking each letter within its grid until it was right, ultimately resulting in a mesmerizing typeface that combines organic with orderly.

This was created to explore how graphic design can communicate the nuances of emotions. It shows how our emotions are complex and uncertain. I intended to create each letter negatively, yet some of the words I randomly created do not look negative. I realised that emotion is quite similar to this phenomenon. This work tells emotion is just how we observe ourselves.

This alphabet was created for an ADHD play poster to depict the inner experience of ADHD. The font’s shallow, loopy strokes symbolize how ideas interconnect and multiply, mirroring the rapid flow of thoughts and tasks in an ADHD brain.

“A qué horas?” is a colloquial expression that denotes surprise at the speed of time and its passage. This poster was made to mark a friend/collaborator’s studio’s 15’s year anniversary. The lettering was made of equal rectangles as a strategy to fill up the page minimizing the negative space and each letter shape stems from quick impulsive ideas. The circle from the studio’s logo appears as the dot on the question mark and it’s used as a punch hole to create the counters inside the letters.

Sympoiesis means ‘to make together,’ highlighting collaboration. This exhibition critiques ecological harm, promoting interdependence inspired by Thoreau and Morris. Artists explore serendipity, randomness, and the balance between copying and originality, emphasizing nothing exists in isolation. These graphic pieces are part of the exhibition’s identity. We explored repetition as a form of copy, where organic or human errors emerged, attempting to create industrial shapes.

This project showcases the process of creating lettering proposals used as logos for the electronic music event Galattica. The client requested a design with cosmic and dreamlike qualities, featuring intentionally rough shapes with dusty textures. The designs are based on either grid and module systems (including derivations) or purely organic shapes.

Lanage, a made-up word made up of latex and drainage, comes from the creation process of this experimental typeface. In plexiglass plates, screws with long nuts were turned according to a certain grid and a balloon as you know it from circus clowns was braced and inflated in the shape of the letters. The font is a tribute to the contrast of man-made and nature, soft and hard, cold and warm, artificial bone and flesh…

The project explored an irregular, randomly spreading rhizome form, analyzed through graphic experiments and implemented in typography. The goal was to represent type abstractly and explore the boundaries between type and graphics. The investigation focused on whether type retains its identity when it loses readability. The type evolves from an indistinct point to a complex form, where poor readability allows glyphs to overlap and interfere.