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.

Experiment 1.2 explores an attempt to recreate the visual character of an experimental typeface using ChatGPT. As a result, Experiment 1.2 is not a continuation of Experiment 1.1, but the creation of a different typeface. Even with a visual reference, ChatGPT is unable to generate forms that fall outside typographic conventions, instead gravitating toward familiar display structures and replacing experimental plasticity with normalized, recognizable forms.

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.