Course overview
Description generated based on course syllabus and open data.
The program focuses on practical typography: composition, font classification, pairing, hierarchy, text–image relations, licensing specifics, and intentional rule-breaking. Practice includes sketching spreads, designing headings, footnotes, and annotations, building dynamic layouts, and preparing files for print. Lecturers: Snizhana Chernetska (Banda Agency, Roosh AI House, Form, Bezgust, UFW, Monobank, Superhumans, MacPaw Space, Reface) and Lera Hanicheva (An Asterisk, ZBIRKA workshop, Senate Agency, Puma Ukraine, Mate Academy, BMW, Odesa Green Theatre, newkinco, OSNOVY).
Typography — program overview
- Principles of typography and expressive tools.
- Composition, rhythm, contrast, and hierarchy.
- Font classification and pairing (display/text, grotesque, serif, etc.).
- Text styling: headings, subheads, footnotes, annotations, grids.
- Prepress and technical parameters.
- Experimental typography and reasoned rule-breaking.
- Workshops, feedback sessions, and case presentations.
Who this typography course fits, and who it does not
Suitable for working with fonts and layout
- Graphic and communication designers who systematize typographic approaches.
- Digital product designers who need stable text systems and modular grids.
- Illustrators and art directors combining text and imagery.
- Editors and layout practitioners optimizing readability and content hierarchy.
Not the best fit
- If deep typeface creation (from-scratch font engineering) is required — out of scope.
- If only software training without composition and licensing is expected.
- If hands-on layout, hierarchy, and prepress are not planned.
Problem → what is addressed in typography
- Missing heading hierarchy → levels, scale, line-height, tracking.
- Visual noise in layouts → white space, rhythm, contrast, modular grids.
- Poor font combinations → compatibility criteria, roles of text and display faces.
- Readability issues → size, line length, line-height, optical alignment, kerning.
- Unclear legal status → font licensing sources and usage terms.
- Static spreads → compositional dynamics, pacing, attention focal points.
Comparison with alternatives in type and layout
- Self-study via articles: fragmented knowledge → here the material is modular and structured.
- Books/theory only: limited practice → this program includes workshops and prepress.
- Short workshops: cover isolated tricks → this covers an end-to-end layout cycle.
- Video-only without feedback: hard to assess solutions → feedback sessions are included.
Learning outcomes in typography
- Structured hierarchy for headings, subheads, and auxiliary elements.
- Configured font pairs for different media and scenarios.
- A set of layouts with balanced composition and dynamics.
- Print-ready files: formats, profiles, completed spreads.
- Understanding grounds for deliberate deviations in experimental typography.
Course Description
Lecturers
Snezhana Chernetskaya
- ex-graphic designer at Banda Agency, art director of artzin "Sinner"- made spreads for the oldest German design magazine Form, as well as for Bezgust, the magazine Flood and Kunsht- worked with Ukrainian Fashion Week, Monobank, Superhumans, MacPaw Space, Reface, Ronald McDonald House Foundation and others- Snizhana's works can be seen at exhibitions in the USA, the Netherlands and Canada
Lera Ganicheva
- art director of the poetic zine An Asterisk, founder and art director COLLECTION workshop- created designs for Senate Agency, Puma Ukraine, Mate Academy, BMW, Odessa Green Theater- worked as a designer in newkinco, where she was engaged in projects with WEB 3.0, Metaverse and NFT- Together with the publishing house OSNOVY published a children's book about inclusivity
