Aksai is an experimental bitmap font inspired by graffiti — its styles overlap and layer like marks resisting erasure. Hand-drawn with flat brush and ink, then scanned and built in a font editor, it includes five styles based on graffiti forms and layering methods. Aksai isn’t about readability, but about vibrant form and expression.
Typeface commissioned by Danila Kuchum.

The editorial project “Wer bin ich?” deals with the challenges of searching for one’s own identity. Especially in our twenties, we are preoccupied with the question of our place in life. Who do I want to be in the future? How do I want to present myself? Who or what do I love? Do others accept me as I am? Is what I am doing the right thing? The magazine addresses feelings of doubt, trust, fear, acceptance, and courage.

Experiment 1.1 explores generative form in display typography.
The project investigates partial alphabet generation using Midjourney not as a tool for producing a complete type family, but as a source of expressive display forms. Letters were generated individually in an iterative process, with Midjourney acting as a form-finding instrument, while selection, consistency, and authorship remained with the designer.

A complete lowercase alphabet hand-sewn from Czech glass beads in two contrasting colours. Each letter is constructed as a modular beaded form that functions both independently and as part of a unified typographic system. The alphabet serves as a template for creating wearable typography—such as bracelets and necklaces—supporting the consistent construction of each character and ensuring coherence across the entire typeface.

This animated poster was created for the anniversary edition of Hytek, a Ukrainian electronic music event series. Because the electronic music scene is all about freedom of expression and unrestricted movement driven by feelings, I explored a kinetic type composition to convey this state of flow, expressive bursts, and energy that fills the dancefloor. The letters’ animation is mapped to the system of all the shapes that form the composition, contributing to feeling of synergy.

Bachelor thesis encompasses geometric systems, deficiency in the optical balance of individual characters and analysis of workflow potentiality with specified systems, and subsequent implementation into the type forms. The realization in the form of author’s grids defines the space in which it is possible to create character sets, abstract or concrete shapes and symbols. It thus becomes a comprehensive tool for graphic designers. It is available as open source files at robertpucek.sk/downloads.

A series of experiments pushing the boundaries of digital typography and legibility as seen through art and image. Using the online browser tool Endless Tools (http://endlesstools.io).

SURROUND lifts its immersive qualities, sweeping through countless variations so unexpected that everything feels tingly, as if the words for the first time had butterflies in their stomachs. The underlying pixel font fragments into mesmerizing forms and patterns. All neatly packed into a Variable Font file that comes with three axes: AMPLITUDE controls the impact of the wave, ANGLE the direction, and LOOP introduces movement, allowing the wave pattern to cycle through time.

Roots reimagines typography as a living system. Through custom-built, node-based 3D processes, digital roots grow to form letters and words, revealing type through organic structures. This process-driven approach embraces unpredictability to generate typographic forms that challenge convention and expand the visual language of type.

No_violence refers to the pursuit of social change under all circumstances without causing harm to others. It may stem from the conviction that harming people, animals, and/or the environment is not necessary to achieve desired outcomes, and it can also denote a broader philosophical commitment to the rejection of violence. Violence begets violence, creating an ever-expanding and increasingly dense network of wounds that ultimately spreads and engulfs everything.

No_violence refers to the pursuit of social change under all circumstances without causing harm to others. It may stem from the conviction that harming people, animals, and/or the environment is not necessary to achieve desired outcomes, and it can also denote a broader philosophical commitment to the rejection of violence. Violence begets violence, creating an ever-expanding and increasingly dense network of wounds that ultimately spreads and engulfs everything.

No_violence refers to the pursuit of social change under all circumstances without causing harm to others. It may stem from the conviction that harming people, animals, and/or the environment is not necessary to achieve desired outcomes, and it can also denote a broader philosophical commitment to the rejection of violence. Violence begets violence, creating an ever-expanding and increasingly dense network of wounds that ultimately spreads and engulfs everything.

No_violence refers to the pursuit of social change under all circumstances without causing harm to others. It may stem from the conviction that harming people, animals, and/or the environment is not necessary to achieve desired outcomes, and it can also denote a broader philosophical commitment to the rejection of violence. Violence begets violence, creating an ever-expanding and increasingly dense network of wounds that ultimately spreads and engulfs everything.

The project explores typography created through mechanical error. An imperfect stamp impression distorts the logo and letterforms, revealing accidental shifts, overlaps, and losses of shape. Error becomes a design tool, generating new typographic structures and alternative versions of the mark. The work treats failed reproduction as an autonomous typographic process driven by chance and intentional imprecision.

This experiment is part of a project called Action Cleaning. The typeface is created on thermal paper using cleaning tools and alcohol-based products. It was made for the 14th anniversary of the International Day of Domestic Workers in 2024 as a provocation. The specimen shows scans of the typeface forming a text that explains the concept and demonstrates its readability. Each cleaning tool draws a glyph, shown in the example on the front where the coloured object was used to make the number 3.

Inspired by public-space artworks—primarily sculptures—from the Normalization period (1960s–1980s) in Czechoslovakia, the typeface derives each letterform from a specific object. Archival research was used to identify sculptural shapes resembling individual letters, drawing from the Aliens and Herons archive, a project dedicated to documenting and preserving these artworks.

Experiencing a new digital dark age, Arc Grotesque rediscovers medieval letterforms for contemporary use. Uppercase letters act as initials. Based on manuscript letters, but constrained by a strict grid. The lowercase letters follow the same grid, which is a width-unit system distilled from patterns used by old master punchcutters. Unlike historical models, a narrow sans-serif is forced into this pattern. The project uses the LeMo software as a base to apply the logic of self-spacing type.

This project was created at Potsdam University of Applied Sciences during a workshop with Giulia Schelm of imBurrow. We worked with a digital type tool, experimenting with form and legibility. The publication brings together the experimental outcomes of all workshop participants. Ben Raisic and I designed the publication, including the cover shown here.

A fleuron is a flower-shaped ornament used in typography and lace knitting, connecting both worlds. Following this overlap, the experimental typeface Fleuron is based on a grid system composed of diamond shaped units. Its form is inspired by the traditional textile weaving of letters while the font itself is purely digital. It was designed with the recently published online tool GRID-TYPE.COM.

Between Echo and Resonance is a bachelor thesis exploring typography as a tool for visualizing digital echo chambers. A custom ellipse-based type system transforms each letter’s outline into point clusters, progressively dissolving legibility as content becomes more polarized. The installation displays Reddit posts across four screens, with typographic parameters—shape, density, color—mapped to an “echo chamber score.” 68 visual dialects emerge: they can see each other, but never understand.

“Forms of Protest” explores the power of the printed word as a medium of empowerment. The typeface “Protest Mono,” developed specifically for this project and crafted as a printable font from pear wood, combines aesthetic diversity with accessible application.
The workshop is understood here as a site of manual thinking, exchange, and revolt. Through participatory workshops, the project invites participants to give expression to diverse forms of protest and to position them within public space.

The work is generated with the Dynamic Design Instrument, a custom openFrameworks tool developed by Dina Silanteva for live visual performance. DDI includes a custom modular typeface, where each letter is built from a grid and animated in real time. Typography is approached as a flexible, performative system rather than a fixed form. The work is shown as static poster, animated GIF and video animations.