Magdalena Marchocka – on Instagram @magda.march – is a Polish illustrator who grew up between graphic design, animation, and what we could call an instinctive feel for typography. In her images, the hand is always visible: digital brushes with a rough touch, fills “done by hand,” negative spaces that become form. The result is warm, familiar, tactile. And above all, the lettering is not an accessory: it is the very structure of the image, an elastic alphabet that bends to the rhythm of the narrative.

Behind that aesthetic lies a process that seeks the living imperfection of the mark. Marchocka now works mainly in digital, but she keeps an analog approach: she prefers to “cover” mistakes rather than erase them, to fill with a brush instead of laying down flat surfaces, to return again and again to the same old brush that gives the stroke its grain. It’s no surprise, then, that her typographic experiments—from 36 Days of Type to sets of sinuous letters—carry the energy of something handmade, letter by letter. 

Her visual world inhabits a rare balance: soft, “squishy” forms, rich colors, plants and animals emerging from patterns and textures, while the lettering converses with illustration, branding, and publishing. Projects like the series “Illustration — prints,” “A Better World,” or packaging such as Zao Coffee speak clearly to this synthesis between typographic marks and figures, between pop lightness and control of visual rhythm. 

Looking at Marchocka’s work, you get the sense that the boundary between letter and figure has already been surpassed: letters become characters, glyphs turn botanical, and animation (when it appears) is simply the natural step of an alphabet that knows how to move. It’s an invitation to reread typography as a living material, capable of tenderness and surprise, far beyond the function of text.