This typeface was inspired by the Mi Zi Ge, or Rice Character Grid, which is utilized to practice Chinese calligraphy. The characters of Lattice are created by filling in the individual shapes of a matrix adapted and modified from the Mi Zi grid.

This poster was created for the solo photography exhibition of Katarzyna Leszczyńska-Kaszuba at the UTP Gallery. In a simple yet expressive way, it visualizes the concept of Wirkung (impact). The artist’s name forms a vessel-like shape, holding the word “Wirkung,” which resembles a flower. Although minimal in form, the poster is highly suggestive, conveying the idea of interaction and influence through restrained typographic composition.

This poster was designed for Bernard Mailer’s solo exhibition presenting his graphic works at the Conductor Rooms of the Regional Society for the Zachęta. The word “graphics” is divided into two parts: “gra” (game, rules) and “fiki” (playful fun), highlighting the balance between conscious structure and creative joy in the artist’s practice. The “gra” section uses a typeface designed by renowned Polish graphic designer Professor Jakub Balicki, reinforcing the concept of rule-based creation.

This poster was created for Photosensitive, an exhibition of laser photography by Mariusz Korzeniowski at the Kontakt Student Gallery in Łódź. The design is purely typographic, set against a black background. The artist’s name and exhibition title are arranged to allude to the abstract laser photographs, with text cutting through the darkness in a way that echoes the movement of laser light in the exhibited works.

This poster was created for the 2025 Wielkopolska Concert Tour of OSTY, a folk music ensemble drawing on Polish folklore. The band’s sound references 1980s electronic music, reflected in the poster’s cosmic aesthetic. Although seemingly kitschy, the design is entirely typographic and carefully composed. The text-only layout captures the group’s distinctive style while clearly communicating information about the concert tour.

Abstract Landscape 5 is a digital collage from a series of the same title, created from fragments of the artist’s earlier works. Elements from projects such as a carnivorous plant motif, photographs from the Inni Ludzie series, and graphics from Interaction are reconfigured to remove their original context. Combined into a unified composition, they form a self-contained abstract landscape with a new visual identity.

This poster was designed for Little Shop of Horrors (1986), the musical film directed by Frank Oz and associated with B-movie aesthetics. Instead of traditional illustrative posters, the design uses restrained typographic means to tell the story of the bloodthirsty plant. Built from commonly available typographic elements, the composition is intentionally minimal, functioning like an overture—suggesting the film’s atmosphere rather than illustrating it literally. The typographic structure serves

This purely typographic poster was created for an exhibition by Polish artist and professor Aleksandra Chrapowicka, known for her hand-drawn animated fairy tales. Instead of directly illustrating her work, the design evokes its fairy-tale atmosphere through typography, in line with the Łódź School of Poster Art. All typefaces are by Polish designers, and the central motif—a character’s face—is formed from typographic symbols, using a child-friendly palette for clarity and quick readability.

This poster was designed for the solo exhibition of Professor Jakub Balicki, one of the key figures of the Łódź School of Poster Art, a branch of the Polish Poster School with a strong focus on typography. The exhibition took place at the UTP Gallery at Humboldt University in Berlin. The design combines typographic composition with QR codes, directing viewers to new areas of the artist’s practice as well as to university-related platforms, expanding the exhibition beyond the gallery space.

This poster was created for the solo exhibition of Polish artist Mila Belino at the UTP Gallery, Humboldt University in Berlin. The exhibition features photographs combining the female body with organic sculptures. The purely typographic design uses typefaces by Polish designers. A central letter “B” refers to the artist’s name and the female form, enclosing the title Erotisch – Erotycznie. The color palette reflects the artist’s photographs and ensures clear readability.

TILE is a typeface built from (the side view of) street tiles, reflecting the Dutch movement of removing pavement to make space for green. What once covered the ground becomes a graphic system, questioning how urban surfaces can shift from hard infrastructure to climate-adaptive landscapes.

Alexandra Stelmashonok explores experimental lettering through materiality, gesture, and contrast. Working by hand with both conventional and unconventional tools such as coal, markers, embroidery, and charred sticks, she treats letters as physical traces of process and emotion. Her work balances control and chance, intimacy and spectacle, using black and white to reveal transformation, fragility, and hidden narratives.

turning typography into a playful and surprising experience.

Dance The Alphabet is an interactive programme that merges digital writing with the body’s movement in space. A dancer’s pose is tracked in real time and visualised as a green skeleton at the position of the blinking cursor on screen. With each keystroke, the programme draws the corresponding letter (in this case an ‘A’) from the dancer’s current body points.

Hiroshi Imaeda explores the gap between digital connection and true understanding. While instant access creates an illusion of closeness, it often amplifies isolation. Across works like PAINBOND and UNSHAREABLE, typography is treated as a body—stretched and distorted. Letters become sites of tension where proximity manifests as pain. Imaeda visualizes the “silent noise” of our bio-digital existence, questioning what it means to connect without truly being seen.

Graffiti and Lettering is a typographic experiment layering script and graffiti letterforms to create a dense, grain-like black and white texture.

Booom, an experimental typeface inspired by visual bloating of the letters.

American Romantic translates Pookie and Jett—a viral TikTok couple— into a typeface. The couple is known for their luxurious lifestyle and particularly Jett’s unabashed devotion to his wife Campbell “Pookie” Puckett. As a phenomenon, Pookie and Jett reflect contemporary constructions of masculinity, femininity, and the dynamics between the two. Structurally American Romantic is based on Copperplate, but visually and conceptually redrawn after Pookie and Jett.

ONGOING EXPLORATION OF LETTERFORMS IN THREE-DIMENSIONAL SPACE.
STUDIES IN VOLUME, TACTILITY AND STRUCTURE—TYPE THAT FEELS GROWN RATHER THAN DRAWN.
AN ATTEMPT TO TRANSLATE LANGUAGE INTO OBJECT, FORM, AND SURFACE.

A kinetic typographic poster designed for an exhibition of kinetic objects created by students of the Composition Studio at the Strzeminski Academy of Fine Arts Lodz. The experimental type concept involved creating four letters that spell out the exhibition title “ruch” (“motion” in polish) from the time-varying trajectory and ghosting of a bouncing ball, thus expressing the essence of movement and illustrating timing.

And the Forests Sing is a project that brings experimental sound installations into public parks. In the visuals, the letters shift like leaves in a warm summer breeze.

Scutts’s practice explores the intersection of typography, materiality and minimalism. As a designer and multidisciplinary maker, she works across 2D and 3D, transforming language into sculptural and tactile forms. Her background in graphic design informs every stage of production, from the precision of layout to the material compositions. Typography becomes both medium and message; it is deconstructed, abstracted and rebuilt through material play.

Nufiniq is a response to the normative influence of the Latin script in a divided world. It proposes a new script as an expression of merged cultures, a dynamic and connective alphabet, whose letters follow Arabic typographic principles and adapt to their context.

In a world that is becoming increasingly interconnected, typography is no longer a neutral tool for communication. It reflects our shared history and cultural identity. It is more than form; it is a cultural and social statement.