KRULLA.SANS

Projects MA TYPE DESIGN

Hólmfríður Benediktsdóttir – KRULLA.SANS

What is the difference between a curl, a swirl and a whirl? What about a whirl and a whorl? What about a swash, a flourish, a spiral, a twist and a twirl? Using the curl as an experiment in expression and disobedience in text, KRULLA.SANS is a sans serif typeface that comes in three weights with corresponding curls. Inspired by the original drawing of Antique No. 8 by Miller and Richard, KRULLA is an endeless exploration of contemporary curls taken to a curly extreme. With its condensed proportions and unexpected curves throughout the styles, KRULLA evolves from a Bold Confused and arrives at a disobedient Crazy Light that reimagines the relationship between curve, curl, spiral, twist and a twirl. Can a curly letter be repurposed and shown as a tool to signify resistance and disobedience?

Diploma project (2024)

Students
Hólmfríður Benediktsdóttir
MaTD_3_creditsMarvinMerkel.jpg
Exhibition
KrullaSans_ECAL_HólmfríðurBenediktsdóttir_02.jpg
Specimen

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Chandra Sperle – Gradual

MA TYPE DESIGN

Chandra Sperle – Gradual

by Chandra Sperle

How we perceive and interpret the world is influenced by scale—by the distance, size, and the spatial relationship between observer and object. This project explores how scale influences meaning and perception through an experimental dialogue of type design, photography, and visual art. At its core is Gradual, a typeface that remixes Ladislas Mandel’s Galfra and Adrian Frutiger’s Roissy, reversing their original scale of habitat. In collaboration with artist Pai Litzenberger and the design duo Scinema (Leidy Karina Gómez Montoya and Tonda Budszus), the project expands the typographic concept of optical sizes from nano to macro dimensions. Together, Gradual offer a multi-layered reflection on our spatial interactions with the world.
Giulia Zanzarella – Minut

MA TYPE DESIGN

Giulia Zanzarella – Minut

by Giulia Zanzarella

How long does a Minut last? Time is standardized, but its experience follows no rules, being mathematically equal for all, but felt differently by each. Minut explores this gap: a play on words between “minute” and “unit,” it is a type family built around four styles defined by width constraints—72 units (proportional), 9, 3, and 1 (monospace). Each style reflects a degree of mechanization, inspired by unit systems used in proportional spacing typewriters. Celebrating the beauty of constraint, the characters of Minut find their own rhythm, generating textures with subtle variations. Rather than being interpolated, each style of Minut is drawn individually, prioritizing the overall texture of each font—going against the limitless flexibility of digital design.
Jamie Michiki – Dutyfree

MA TYPE DESIGN

Jamie Michiki – Dutyfree

by Jamie Michiki

Dutyfree is a bi-script sans-serif typeface that supports both the Latin alphabet and Japanese scripts. It includes eight weights and covers the full range of Hiragana, Katakana, and Kanji characters. Designed to harmonize the atmosphere of both writing systems through shared skeletal structure, detail, and contextual nuance, Dutyfree bridges two distinct typographic origins: the Latin typeface Venus and the Japanese Ishi Chu-Futo Gothic.　With a theme of overlap and crossover between writing systems and design cultures, the project was developed under the concept of "logistics graphics." Beyond just a typeface, Dutyfree also includes symbols and signage elements designed for use in logistics and packaging contexts.
Jonathan Bruun – Sekvens

MA TYPE DESIGN

Jonathan Bruun – Sekvens

by Jonathan Bruun

Sekvens is a typeface family of five weights with corresponding italics shaped by a continuous dialogue between perceptions of time and the design of letterforms. Revisiting early digital aesthetics and humanist sans serifs, Sekvens balances a standardized structure with subtle, idiosyncratic details. It navigates the familiar, embracing defaults, norms, and conventions, while simultaneously questioning how the inherited connotations of these forms are aging within the current landscape of type design. Embracing this duality, Sekvens represents both a documentation of past tendencies and a search for new proposals.
Lucas Portron – Dialectic

MA TYPE DESIGN

Lucas Portron – Dialectic

by Lucas Portron

Dialectic is a multi-script typeface family supporting, Latin, Greek, Cyrillic, designed to allow different writing systems to coexist in harmony. Developed side by side, the scripts share a common design foundation, encouraging a visual dialogue that respects their individual identities. With seven weights and matching italics, the family explores a balance between controlled visual disruption, within the letterforms themselves, and a consistent text color. These subtle tensions challenge established norms of legibility and reading habits, opening a critical reflection on legibility and readability. In doing so, Dialectic invites us to reconsider our relationship with text and how we engage with written form.

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