成人头条

Early Influences 

Dr. Irma Pu拧karevi膰鈥檚 journey to becoming a graphic designer wasn鈥檛 linear 鈥� but every step pointed toward a love for language, storytelling and the visual form of words. 

Before becoming an assistant professor of graphic design at 成人头条鈥檚 School of Art, Design and Creative Industries, Pu拧karevi膰  pursued a career in the humanities. 

鈥淚 was trained in linguistics and the English language,鈥� she said. 鈥淲e read extensively, held open debates, conducted inquiries 鈥� it was an environment that encouraged both critical thinking and creativity.鈥� 

Raised in a region rich in Serbia鈥檚 cultural heritage, Pu拧karevi膰 attended a grammar school founded in 1791, where she had a chance to explore the rare books and centuries-old materials. 

鈥淏eing surrounded by printed matter and immersed in the written word, I developed a deep love for everything related to printing and the visual display of language,鈥� she said. 

She eventually found her calling in typography and graphic design, enrolling in a newly established school for graphic engineering. There, she discovered 鈥渢he magic of publication design 鈥� a beautiful intersection of art, printing and semantics.鈥� 

Her passion deepened when she joined an extreme sports magazine team as a designer and photographer. That experience led to her thesis on deconstruction in magazine layout, which she described as 鈥渢he decisive moment that sealed my career path.鈥� 

Balancing Structure and Creativity 

Pu拧karevi膰鈥檚 background in teaching and documentary photography continues to shape her design philosophy. 

鈥淭eaching is methodical, while documentary photography is immediate and responsive,鈥� she said. 鈥淒esign, to me, is a blend of both.鈥� 

Her process begins with research, structured, systematic research and transitions into a free, creative flow. 

鈥淚 let ideas wander, almost like capturing snapshots,鈥� she said. 鈥淟ater, I reflect and shape them into something more deliberate.鈥� 

Industry vs. Academia 

After working in the fast-paced design industry 鈥� including as a music event organizer 鈥� Pu拧karevi膰 moved into academia. The shift required a new mindset. 

鈥淚n the industry, outcomes are immediate,鈥� she said. 鈥淚n academia, the pace is slower and more reflective. I had to learn patience and value long-term processes.鈥� 

Despite differences, she believes both fields share a collaborative spirit and a focus on progress 鈥� whether that鈥檚 a product launch or a published research paper.

Typography in the Digital Age 

As a scholar of typography, Pu拧karevi膰 sees modern tools as both transformative and nostalgic. 

鈥淲ith digital environments, typography can be interactive, responsive 鈥� even animated,鈥� she said. 鈥淏ut at the same time, there鈥檚 a renewed craving for tactility.鈥� 

She noted a cultural shift toward hand-lettered and craft-based design, reflecting a desire for authenticity and a 鈥渉uman touch.鈥� 

鈥淢y students recently visited grocery stores to study packaging. Several of them said how refreshing it was to look at real objects instead of just Googling design references,鈥� she said. 

Multilingual Design Roots 

Growing up in a region where both Cyrillic and Latin scripts are used daily, Pu拧karevi膰 gained a deep appreciation for multilingual and multi-script typography. 

鈥淭his background influences my research and teaching,鈥� she said. 鈥淚 encourage students to explore design in their native languages 鈥� not just English. It broadens their understanding of type and celebrates linguistic diversity.鈥� 

Cross-Cultural Design 

Her work has been exhibited internationally, and she finds that audiences bring their own cultural references to typography. 

鈥淭ypography is deeply tied to language and identity,鈥� she said. 鈥淓xhibiting globally encourages me to rethink my work and gain new insights.鈥� 

Advice to Young Designers 

For those who would like to use typography as an effective tool, Pu拧karevi膰 suggests diving into the details. 

鈥淓xplore the relationship between typography and language,鈥� she said. 鈥淲hen you choose a font, learn about its designer and why it was created. Dive into the history of type 鈥� and don鈥檛 limit yourself to one region.鈥� 

She recommends websites like Graphic Means and Alphabettes, as well as lectures from Type@Cooper. For more information, visit and .

What鈥檚 Next

Pu拧karevi膰 is currently preparing for the ATypI conference in Copenhagen, where she will present research on the history of typography in Southeast Europe 鈥� a region with rich but under-documented print traditions. 

鈥淢y goal is to help lay the groundwork for future research that relies on primary sources and historical material,鈥� she said. 鈥淚t鈥檚 an opportunity to connect with scholars worldwide and share stories that often go untold.鈥�