This typographic poster commemorates the conferral of the title of full professor on Aleksandra Maria Chrapowicka at the Belweder Palace in 2025. Its minimalist form carries symbolic meaning: the background recalls the palace roof, while the vertically arranged name resembles architectural columns. The white date and red “Belweder” reference the Polish flag. Yellow accents and fairy-tale-inspired typefaces allude to the artist’s creative work.

LTTR/AI explores the potential of regularised datasets in training AI models to generate typefaces. Based on Filip Paldia’s doctoral research, the project developed LTTR/SET, a standardised dataset used to train generative models based on the DeepVecFont-2 architecture. The project generated 468 fonts, evaluated through systematic visual inspection. Empirical findings suggest that dataset regularisation significantly improves the quality of AI-generated fonts.

Dächer Mono is a monospaced typeface inspired by urban structures. The foundation for both the monospace design and the stylistic set lies in distinctive roof shapes.The result is a typeface full of intriguing visual interruptions that subtly weave into the flow of reading. The typeface includes 468 characters across five weights, ranging from Light to Brutal.

I created a typeface for the Mike Johansen book that reflects the key traits of constructivism: sharp, geometric letterforms that carve out space for each symbol. This strict, geometric character communicates a decisive and resilient attitude — a determination to live and create despite incredibly harsh conditions.
The aesthetics of that era are energetic, bold, and confident — they express a proactive stance.

Translation of Body Archives explores the human body as a living archive shaped by memory, labor, and repetition. Rooted in growing up within a family-run restaurant, the project uses grease as a material and metaphor to trace bodily imprint, time, and work. Typography is treated as material and residue rather than stable text, shifting between legibility and abstraction through layering, fragmentation, and loss.

MULTIVERS is about modular letters that can have many variants (for fun) but keep their basic structure (for function). It’s like wearing different clothes while remaining the same person. The letters are based on a 3×7 grid. The modules for corners, T-junctions, inner lines and end lines are based on straight lines and arcs to keep the overall look somewhat coherent in this early stage of the project. The letter A has over 40 million variants, so the simple components create extreme complexity.

System Level Failure is an experiment in distilling, to its simplest form, what may be the dominant truth of our time: simultaneous dependence on and manipulation by global corporate interests. A situation most of us willingly place ourselves in, comprehending it, yet shying away from confronting its full spectrum.

An animated lettering experiment driven by chance and iteration. A hand-drawn logotype was animated using a single effect in Cavalry, producing unpredictable letterform variations. By selecting, cleaning, and vectorizing these results, Claudio Beretta built a fluid typographic language. The system allows continuous transformation, generating monograms and textures that translate motion into static, printable typographic forms.

This master’s thesis experimentally examines how automation and digital technologies affect the traditional role of the qalam and their impact on the form and characteristics of Arabic letters. By integrating calligraphic principles with contemporary technology based methods, it explores the creative possibilities and limitations of digital tools in Arabic Persian type design, resulting in innovative typefaces that remain grounded in historical identity while expanding new creative approaches.

This is a web-based type distorter that directly manipulates Bezier curve data using custom algorithms, featuring real-time interaction where the cursor dictates the position and range of the effect.

This is a meditation for when everything is collapsing under the weight of uncertainty. This is an affirmation. This is a chant. This is a reminder to self. In the midst of struggle and fog, we are asked to turn inwards, because everything we are searching for already lives within us. And it is worth asking, are we really listening?

In an odd way, we grow attached to the relationships that hurt us most, not out of choice but familiarity. They feel safe because they are known. “Pedestal”, taken from Shrey Kathuria’s poster archive Mindspill, is inspired by realisations in hindsight, the death of relationships, the rebirth of self and the slow choosing of ownership over our own happiness.

this is a lettering design for a community even, which is now used on a store front and packacking design.

This is a ornamental and experimental lettering for merchandising and video titles.

This poster promotes graphic design minor courses offered in the summer at Auburn University’s School of Industrial + Graphic Design. The viewer can activate the poster animation by downloading the Artivive app and hovering the viewfinder over the printed poster. This overall design is the result of experiments in AR and creative coding with AI, and was further developed in After Effects. It was distributed across the university campus in locations specifically targeted at the intended audience.

Kunstkammer is a display typeface designed to catalogue the unexplained. Presented in the silhouette of the Rosetta Stone, the project draws a parallel between deciphering ancient languages and archiving modern curiosities. The heavy, blocky glyphs act as new hieroglyphs, turning the text into a monumental, cryptic artifact.

This concept typeface for KNU’s Institute of Biology and Medicine features letters sprouting roots. The design references the iconic ivy covering the institute’s building. It is a speculative exploration of organic forms within the university’s visual identity.

This poster is part of the zine “Mama” by Ukrainian artist Hristina Novykova. It is composed of digital messages from the artist’s mother, who is currently living under temporary occupation. The correspondence poignantly blends everyday maternal advice and health worries with the stark, surreal reality of war and indefinite separation.

Perfectionism is a trap that prevents moving on to the next thing. By embracing quantity, Wille Larsson Kangas shifts focus from flawless outcomes to continuous making. Quantity becomes a method for learning, refining intuition, developing taste, and discovering unexpected directions that would otherwise remain hidden.

The project deconstructs and rearranges content from well-known publications to reveal new perspectives and connections. Instead of simply breaking structures apart, existing material is bundled, reinterpreted, and redesigned. By challenging conventions in typography and printing, the work becomes experimental—testing boundaries, exploring new design approaches, and questioning established norms.

Students explored the alphabet as an open system rather than
a fixed set of characters. The focus was not on legibility or individual letters, but on experimental variations and possibilities in letter and character construction. By combining two letters, new forms
and meanings emerged, challenging conventional typographic structures. The resulting alphabet exists in a loose, non-linear order, emphasizing process, transformation, and visual experimentation.