Anna Malyar is a typographic experiment exploring the city and its visual “errors” caused by human intervention. The project is inspired by cracked building facades shaped by harsh weather and later covered with contrasting paint by city services — like wounds that will never fully heal. The typeface reflects these traces of repair, distortion, and fragile urban memory.

Popova is an experimental variable display typeface initiated during the international Bauhaus / Vkhutemas evening school in 2021 and later developed into an independent author project. The typeface functions as a modular grid that structures space, builds compositions, and generates constantly changing graphic forms through letter overlaps. Inspired by Constructivism, Popova explores the idea of “word” as a material form rather than meaning — typography as a tool for organizing visual systems.

An unconventional typographic expression of four numerics — inspired by the lost art of drop caps, but expressed through modern whimsy.

In this series, Sophie explored type as image, investigating how far letterforms can be pushed before they become abstract shapes and loose readability, creating speculative typographic forms. She designed layouts using her typeface Geo and experimented with Étienne Mineur’s AI-informed pattern website. From these results, she deconstructed the outcomes and reassembled the shapes into new compositions.

Systeme der Harmonie is an experimental graphic- and typedesign project, that generates shapes from randomly selected points within grids ranging from 3×3 to 10×10. First, the points are connected to form lines, which are then transformed into harmonious, flowing curves through geometric parameters The system produces an ongoing stream of unique shapes and is used to construct a typeface, with each letter derived from the same underlying system.

A Machine of Rhythm transforms the hidden cycles of GPU computation into dynamic black-and-white visuals. The real-time TouchDesigner application renders repeating frame intervals and clocked processes as layered patterns, exploring rhythm, structure, and form in digital time.

A Machine of Rhythm transforms the hidden cycles of GPU computation into dynamic black-and-white visuals. The real-time TouchDesigner application renders repeating frame intervals and clocked processes as layered patterns, exploring rhythm, structure, and form in digital time.

An experimental approach to multiscript design, exploring the deconstruction and distortion of typographic systems. By fragmenting and overlapping scripts, the work challenges readability and questions how meaning shifts when language collapses into a visual noise. (Materials used: Bi-Scriptual: Typography and Graphic Design with Multiple Script Systems)

Monarchia began as a typographic experiment defined by strict formal rules. Each glyph consists solely of a single curved stroke that never intersects or crosses. When extended beyond language and letters, the system makes it possible to apply the same rules to generate figurative forms, such as the typeface mascot Nova.

The photogram process is very delicate, precise, and wonderfully serendipitous. Any changes — such as adding a second to the exposure time, shifting the angle of the objects, or adjusting the darkroom temperature — can produce a radically different images. “Push Until It Falls Apart” is a typographic photogram series I began in 2018 and continue today. I continue pushing the process until the legibility is lost by manipulating the same objects and materials. Gelatin, vinyl, plexi, glass. SERIES.

Keep Warm in an exploration into transforming digital 3D type into a physical knitted object. Paul created a limited run of scarves with all proceeds going to a local food bank. This work documents part of the process – digital to physical and back to digital in the form of Illustrator brushes and swatches.

AAfter travelling to Brazil with her father to experience Oscar Niemeyer’s architecture firsthand, Sophie designed the typeface Geo, drawing on Niemeyer’s soaring archways and bold modernist geometries. While Geo is clean and precise, it contrasts with the deterioration of many of his buildings. Sophie tested diverse 3D printer settings to capture textures of damage and decay, inspired by weathered structures in Belo Horizonte, resulting in Geo Decay in lowercase from 30 print variations a–z.

NOT Signalizer is an experimental color variable typeface that transforms the flags of the International Code of Signals into a bold, readable alphabet, turning a maritime coding system into a tool for visual communication. It includes a Color Variable version with signal flags for Latin letters and numerals, and a Black Letter version with a full character set, including Latin, Cyrillic, Georgian, and symbols. Designed for motion, web, and identity work.

The Lumber typeface is part of the “Nietypowe” (Un-Typed) project exploring the abstract potential of letters — from readability to barely decodable shapes. The attached PDF* shows Lumber’s deformation and blending with other authorial typefaces. As a variable font, it expands or contracts at will. Its name refers to the chopping motion of a lumberjack, and the design focuses on subtracting form to reveal the letter. *If there is too much material, I can select 1–2 pages.*

This A4 poster is a specimen for the font Reader. Inspired by Fuse, Reader questions an attempt to optimize signification, by halving the Latin letterset. The result is an alien texture, a typeface with uncanny familiarity and inviting strangeness. Reader’s allure: an experience that lies between the acts of reading and puzzle-solving. It demonstrates the joy when the reader’s eyes and mind conspire and conquer the previously illegible.

Reader. Enquiry.
To optimize. To see forms. To read.

Soft Play emerged from experiments with translucent gradients and took its first colourful shape during the last #36daysoftype in 2023. Glass-like effects and transparency brought a fresh sense of freedom, play, and curiosity inot my work during that time. The project explores how soft (and calm) a typeface can become, how much transparency (still) makes tension, and the (undefinded) line between readability and the viewers projection on surface and space.

The thesis project presents an experimental variable font, exploring the relationship between digital typography and organic natural structures. Inspired by the morphology of microorganisms, it translates biological principles such as modularity and growth into a dynamic typographic system. Letters are designed to act as living organisms, with cells that mutate along axes of variation. This explores the potential of variable fonts and proposes an evolutionary and contemporary visual language.

Symbiotype is a collection of 60 punctuation marks, letters, and numbers divided into four sections. The name refers to the symbiotic relationship between the sections. “Reionization” presents punctuation marks evolving into cell-like letters; “Matter Dominated Era” features more complex forms of materials; “Artificial Urban” is a leap toward building-like constructions; and “Beyond” removes materiality, reducing characters and numbers to vector-like structures.

Where does legiti end and graffiti begin? The people draw. The canon sings. Typographic legends, giants, have danced on the line that separates form and space, pushed against the edges of the legible mark. This series of drawings explores the interaction between line and curve, taking Latin letterforms to illegible heights, transforming them into novel totems, dynamic marks with symbolic weight.
Key: 1 – Style, 2 – hunger, 3 – JERK, 4 – mainstream

Where does legiti end and graffiti begin? The people draw. The canon sings. Typographic legends, giants, have danced on the line that separates form and space, pushed against the edges of the legible mark. This series of drawings explores the interaction between line and curve, taking Latin letterforms to illegible heights, transforming them into novel totems, dynamic marks with symbolic weight.
Key: 1 – Style, 2 – hunger, 3 – JERK, 4 – mainstream

Where does legiti end and graffiti begin? The people draw. The canon sings. Typographic legends, giants, have danced on the line that separates form and space, pushed against the edges of the legible mark. This series of drawings explores the interaction between line and curve, taking Latin letterforms to illegible heights, transforming them into novel totems, dynamic marks with symbolic weight.
Key: 1 – Style, 2 – hunger, 3 – JERK, 4 – mainstream

This is an experimental poster based on my font design ‘PPN’.

The artist deconstructs intuitive drawings into an abstract typographic system. While standard fonts are processed effortlessly, the raw, uncontrolled shapes demand “harder work” from the brain. The work questions if these erratic fragments evoke a deeper resonance by disrupting learned patterns. It is a visual experiment where reading becomes a conscious search for meaning within complex, abstract lines, exploring the boundary between artistic intuition and functional communication.

DOTTEXT treats text as both message and material. By converting typographic images into .txt files, deliberately corrupting the data, and then converting it back into images, the poster uses chance as a design tool. The resulting errors call into question the concepts of control and legibility. Building on these random phenomena, DOTTEXT shows how meaning is transformed when text loses its usual function.