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.

typeface created out of twined-characters

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.

The project “Dark Matter” is my exploration of the positive connotations of the color Black. The goal of this project is to make people question how the color black has been historically associated with negativity. I love the usage of typography in my work and this project will implement phrases that I have written as layered with abstract patterns of pigment shades exploring Blackness as a rich, chromatic color, not just the absence of light.

Experiment 1.6 focuses on working with increased decorativeness and complex form plasticity.
Selected letters from earlier Midjourney generations, characterized by fragmented structures and high visual tension, were used as raw material. Based on these forms, a display alphabet of uppercase Latin letters was designed manually, preserving and structuring decorative features. Here, Midjourney serves only as a visual impulse, while form-making remains fully author-driven.

For the upcoming exhibition “Errata,” where error serves as both a creative engine and an aesthetic concept, Matthias Beck translates the digital glitch —artifacts of pixel errors— into the analog world. Overprinting partially inked letters, he generates new, unexpected shapes. This series of experimental 45 cm × 64 cm letterpress prints is produced on a proof press, rearranging the letters on their established grid to create entirely new alphabets.

Spline is a typeface conceived as an exploration of a monolinear skeletal structure. At its core lies a single continuous spine onto which different weights can be layered—ranging from conventional outlines to modular and experimental components that construct their own graphic logic on the same framework. Initiated in 2022, Spline continues to evolve alongside new tools and technologies, expanding its visual language and functional possibilities.

As an homage to the origins of graphic design, I used traditional lettering techniques. Since my work references printers and typesetters, it was also important to acknowledge calligraphers. The handwritten typeface was inspired by the calligraphers Gudrun Zapf and Hermann Zapf. It intentionally misuses the traditionally employed pen, challenging conventional calligraphic practice.

The “Intestine” font was developed by two creatives alternating between the roles of illustrator and typographer. It emerged as a postmortem alphabet based on original drawings, through unreflective style synthesis, surgical glyph extraction, and forcing hideous details – the only method to the madness being the utopian pursuit of textual uniformity. It was further explored in exhibitions featuring posters, murals, riso‑printed zines, hand‑sewn and 3D‑printed sculptures, and lettering workshops.

The project is based on an experimental approach to capital letterforms. The geometry of letters allows mirrored characters of differing styles to be paired while preserving legibility. The work explores this potential through visual play. The concept is realized in a 170 cm long leporello format.

This project was created during an Atype Workshop organised by the Erőmű Collective and inspired by the Atype Movement. (@_eromu @atype_movement)
The letters in this typeface can be identified by the positioning of the feet, the marking of the curved parts, and the sharp nodes. The elements (spaces) between the letters reduce legibility, making the text look like a pattern of lines.
The typeface is named ‘karc’, which means ‘a scratch or incision made by a sharp object’ in Hungarian.

Experiment 1.4. Author-Driven Form-Making Based on Generative Material Created with Midjourney.
Selected letters from earlier Midjourney generations were used as reference material. The characters F, S, O, and R served as plastic and structural guides rather than a predefined system. The alphabet was then developed manually, with full control over proportions, rhythm, and optical balance.

The project explores concealed bodily imperfections people often feel compelled to hide. An experimental alphabet appears on the cards through the removal of a covering layer. Each letter is disrupted by a faulty graphic element confined to a band. The work asks whether error can exist not as damage, but as an aesthetic extension of form.

Studies on Crossing Lines is a five-chapter audio-visual performance combining music for flute, saxophone, and electronics with responsive generative visuals. Inspired by the Cairo Geniza manuscripts, the work develops a visual language rooted in typographic gestures—stroke, rhythm, repetition—evoking the presence of letters without depicting them. Developed through a continuous dialogue between musical composition and brushstroke gestures, it explores their shared duality.

Letter compositions created as vector graphics explore arrangements created by the overlapping of shapes, duplication, interpenetration, repetition, and density. These are constantly recurring motifs, but each time in a different guise, a different configuration, seen in real life, read anew. Here, letters become an element of the thickening composition, hidden within a thicket of shapes. The arrangements are constructed from fragments of words, sentences, individual letters and signs.

Svitlana reflects on nature’s ability to reclaim and erase human-made abandoned structures. Through observations of erosion, decay, and overgrowth, typography is reduced to fragments and traces. Letters are no longer carriers of meaning but remnants shaped by natural processes of destruction and transformation.

The poster is created using hand-made typography. The letters are constructed from real branches and fixed in the composition as physical objects. I deliberately chose a natural, irregular material to contrast the living, organic form of the letters with digital and printed typography.

The project transforms the top view of a plastic stool into a modular typographic system. The stool – a symbol of Southeast Asian urban life and space scarcity – is used here as a design element to shape the font. Letters emerge as compressed micro-architectures, reflecting informal space-making, shared urban environments, and the tension between adaptability, density, and material reality.