H set in Horizona Black (designed by Anita Jürgeleit and released by TypeThis!Studio) at 1,260 pt on a Horizontal-Halved Hot Orange and Hot Sunshine background

FIBER FONTS A–Z is a personal project that focuses on intentionality, materiality, and typography. It was unveiled during the popular Instagram challenge, 36 Days of Type (2024).

The project illustrates the alphabet through 26 handmade punch needle rugs – each adhering to the rule that its chosen adjective, typeface, and yarn color all start with the letter depicted on it. To highlight the gender imbalance within typography, I challenged myself to select typefaces purposefully and to seek out those designed by female typographers. In total, 16 female designers and 16 male designers created the 26 typefaces featured in this alphabet.

To help amplify female voices in type, check out my research (Google Docs).
View the rest of the alphabet!

I set in EF It (designed by Gerd Sebastian Jakob and Joerg Ewald Meißner and released by Elsner+Flake) at 1,410 pt in Islay yarn (Inverted)

J set in Jäger Master Bold (designed by Jérémy Schneider and released by VJ-Type) at 1,000 pt on a Jagged-edged Jewel background

Knockout K set in Kuga (designed by Reza Rasenda and Riska Chandra Dewi and released by Bagerich) at 1,415 pt on a Kelly Green background

Lowercase l set in La Contraste Horizontale (designed by Naïma Ben Ayed and released via Future Fonts) at 2,115 pt on a Lemonade background

Misaligned M set in Maelstrom Bold (designed by Kris Sowersby and released by Klim Type Foundry) at 1,070 pt on a Marled Mocha background

Tava is a recipe book about Eastern European baking and desserts from Romania and beyond, written by Irina Georgescu and published by Hardie Grant Books. Design by Evi O. Studio, using Jäger by VJ-Type throughout. Body copy is set in a combination of Klim Type Foundry’s National and Feijoa.

Staging the Table in Europe 1500–1800, curated by Deborah L. Krohn and shown at the Bard Graduate Center provides a window into the culinary spectacles created during Europe's early modern period. The exhibition and accompanying publication explore dining customs and practices of the time—showcasing carving knives and forks made of precious materials, exquisitely illustrated manuals on carving meat, fish, and fruit, as well as napkins folded into elaborate sculptural forms.

Design and typography inspiration were drawn from book layouts, ornaments, and typography of the era, as well as historical pieces featured within the publication and exhibition. Reflecting the essence of the content, the design incorporates elements of embellishment, intricate details, and a touch of playfulness.

Suat Derviş’s novel Kendine Tapan Kadın (“The Woman Who Adores Herself”) was written in the 1950s and is now being made into a film. This brochure with character illustrations combined on a double-sided poster reflects the spirit of the time to pitch the upcoming project of Turkish film producer Sevil Demirci. The brochure, which heralds the production, is a double-sided 33×48 cm (13×18.9 inch) area surrounded by illustrations drawn with traditional methods.