Booklet • bykajanerlo

First a toot!
Then a hoot!

Type of project Editorial Design · Typography · Booklet Design
Role Art Direction · Editorial Design · Typography
Details Diploma project at the Academy of Fine Arts in Łódź, Poland
Studio 109 — Publishing, Graphic Design and Digital Media
Typography · Prof. Sławomir Kosmynka
Tools Adobe InDesign · Adobe Illustrator

photo by @pelapstryka

A typographic interpretation of Julian Tuwim’s “Locomotive”, exploring how typography, composition and visual rhythm can translate the changing pace and character of the poem.

The project was developed as a diploma project at the Academy of Fine Arts in Łódź, with the aim of transforming the poem’s narrative, sound and movement into a visual and editorial experience.

Step 1 The Brief

The task was to analyse the content of “Locomotive” and create a semantic and typographic interpretation of the poem. The text was divided into three main narrative themes:

01 — The locomotive at the station
Static, descriptive and restrained.

02 — The wagons
An inventory filled with humour, wordplay and rhythm.

03 — The locomotive in motion
Dynamic, energetic and driven by sound, repetition and onomatopoeia.

The design was made in Polish.
Here you can read the translation, in order to better understand the project.

Step 2 Research & Visual References

I analysed the poem’s rhythm, structure, language and visual potential and explored how different avant-garde movements could translate its changing character into visual form. Each part of the poem became a starting point for a different visual direction, drawing on references from Constructivism, Neoplasticism, Bauhaus, Dadaism, Futurism and Neo-Futurism. These movements provided a visual vocabulary for exploring composition, geometry, typography, rhythm and movement, while keeping the original text at the centre of the design.

Step 3 Concept & Visual Interpretation

I translated the changing rhythm, mood and energy of the poem into different typographic and compositional approaches. The first part, describing the locomotive at the station, was treated as static and structured. The section about the wagons introduced more variation, humour and visual rhythm, while the final part became increasingly dynamic, reflecting the movement, sound and onomatopoeia of the accelerating train. Typography became the main visual tool — its scale, weight, position, spacing and rhythm were used not only to present the text, but also to visually express its meaning.

Step 4 Layout & Typography

I developed the layouts to reflect the changing rhythm and dynamics of the poem. Typography became an expressive element of the composition. Changes in scale, weight, alignment, spacing and placement were used to emphasise the meaning and sound of the text. The use of black and white, contrast and negative space created a clear visual structure while allowing the typography to remain the main focus.

Step 5 Print

The final stage focused on preparing the booklet for professional printing. I selected the appropriate paper stock to complement the typographic character of the publication and carefully prepared the black values to achieve the desired result in print. The files were adapted to the specific requirements of the chosen printing house, including technical specifications and print settings, ensuring that the final result remained consistent with the original design.

Summary

The project explored how typography can become a visual language for interpreting written text. By combining editorial design, typography and references to avant-garde movements, I transformed the rhythm, movement and sound of Tuwim’s Locomotive into a cohesive visual experience. The final booklet brings together concept, typography and print production, creating a physical publication in which the design becomes part of the narrative.

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Contact

Phone +48 509 111 371
Email bykajanerlo@gmail.com
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