PROJECTS


2025


BU MFA 2025 ExhibitionVisual Identity
Scroll(s)
Exhibition Design
Index—Open / Index—ClosedExperimental Book Design
111 FT
Participatory Design
Linear Loop
Experimental Book Design


2024


BU MFA 2024 ExhibitionVisual Identity
Tara Donovan: HyperobjectsPublication Design
Typographic Constraints
Participatory Design
Shifting Perspectives
Publication Design
BU GD Studio Website
Website Design
REACT
Experimental Book Design
Craquelure
Typeface Design
What If / Then
Generative Design
Research & PublishPublication Design

Angular AntiquaTypeface Design
Angular Antiqua, specimenExperimental Design

AI__&&__MEZine

Meet Me in MontgomeryInstallation, Publication

A Designer’s Guide to Pricing 
Risograph WorkPublication Design
Ashley James Keynote LecturePoster

Enclosed Conversations: Levels of Exchange Between FriendsPublication Design

StorefrontsPoster, Risograph

Words In Translation: My Life in FrancePublication Design

Multiple WorkshopsPoster

Selected Voices from Native America
and Syllabics TypographyPublication Design
Prem Krishnamurthy LecturePoster

2023


Script & ScreenPublication Design

Designing ProgressPublication Design

Animal BooksOrigami Books

APhotography Book

Graphic Design is Serious, 
Not Solemn Publication Design, Risograph

2022


Family TreePoster
Jewelry CollectionPoster


Craquelure
Typeface Design
2024

    SIZE:     12 x 9 in. 
    BINDING: Folded     Craquelure is a type design project that began as a daily walking and journaling practice. During these walks, I started noticing shapes in the environment—cracks in the sidewalk, tree branches, shadows—that resembled letterforms. What began as casual observation turned into a focused process of collecting, sketching, and documenting naturally occurring typographic forms.

    Over time, I built an archive of these found shapes and began digitizing them into a typeface. The result is Craquelure, a speculative typeface made entirely from fractured, irregular forms sourced from the built and natural environment. The name references the fine cracking that occurs in aged paintings; a nod to both the texture of the forms and the act of close looking.

    The letterforms are intentionally inconsistent and imperfect. They retain the unevenness and ambiguity of their origins, resisting the standardization typical of traditional type design. Each glyph in Craquelure functions as both a letter and a trace of a specific place or moment in time. The typeface doesn’t aim for legibility in a conventional sense, but instead becomes a record of noticing.




    AMANDA MUNDY DESIGN

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