A major part of Just in Case was exploring expressive typography as a way of telling a story. I wanted typography to do more than communicate information, using it instead to reflect the atmosphere, mess, and unpredictability of studio life. The letterforms became a response to the lockers themselves, overflowing, layered, distorted, and 
constantly shifting.

Through physical experimentation, I created typography using found materials and objects collected from the studio environment. Paper scraps, packaging, tape, damaged prints, and discarded materials were arranged, scanned, layered, and manipulated to build compositions that felt tactile and imperfect. Starting with physical processes allowed the outcomes to feel more human and spontaneous once translated digitally.

I was interested in pushing typography beyond its traditional function and treating it more like image-making. Some compositions become oversized, fragmented, or partially unreadable, allowing the type to communicate emotion and atmosphere rather than just text. The layouts reflect the feeling of searching through an overfilled locker where objects overlap, disappear, and build up over time.
Experimentation became central to the process. By distorting scale, layering forms, and breaking conventional grid structures, the publication captures the energy and disorder of the studio environment. The typography moves between moments of structure and chaos, mirroring the creative process itself, unfinished, instinctive, and constantly evolving.

Rather than separating typography and imagery, I treated them as part of the same visual language. The type behaves like an object within the compositions, interacting with textures and materials to create something immersive and expressive. This approach allowed the publication to document not only what exists inside the lockers, but also the atmosphere and experience of art school studio culture itself.