Specimen sheet, set in Lisbon by a Creative director. Booking autumn projects now.

Type thatmoves people.

Oskar Lindgren sets letters in motion for brands that want to be felt, not just seen. Big type, tight grids, and a little mischief on every page.

move over the letters, click one to flip ittap a letter to flip it
type, moving
01 / Manifesto axes in flux

Letterforms are alive if you let them breathe.

Watch the weight, width, and optical size stretch as the page moves. Same words, new posture.

02 / Rearrange scroll drives the composition
FORM FOLLOWS feeling GRID NOISE HAND ink RHYTHM
03 / Poster grid asymmetric on purpose
Exhibition · Sample study

Loud quiet loud

A show about contrast. Dense blocks of black type next to airy serifs that almost float away.

01
Identity · Sample study

Night market

Signage that glows after dark. Condensed display face, warm paper stock, a little grit.

02
Editorial · Sample study

Margin notes

A magazine redesign where the white space does half the talking.

03
Campaign · Sample study

Soft launch

Type that leans in. Wide optical sizes for the billboard, tight ones for the tea tin.

04
Album · Sample study

Static hymn

Cover art built from one word, three weights, and a stubborn baseline grid.

05
04 / Selected work hover the titles
01 Copper & Clay Brand type system for a ceramics studio Sample 02 Field Record Album packaging and tour posters Sample 03 Paper Lantern Editorial redesign for a quiet culture magazine Sample 04 North Window Wayfinding and poster series for a gallery Sample 05 Slow Signal Campaign type for a ceramics and tea shop Sample

hello, I am Oskar Lindgren

A creative director who still sketches letters on the back of receipts. I care about the space between characters as much as the characters themselves.

Clients come for the big type and stay for the details. I work closely with founders, editors, and small teams who want work that feels handmade even when it scales.

Based in
Lisbon
Practice
Creative director
Currently
detail obsessive
Elsewhere
@studio.nova
05 / How a project runsfour moves

  1. Read the room

    A call and a walk through what exists. I listen for the voice before I pick a single typeface.

  2. Sketch loud

    Three directions on paper and screen, one of them a little too far. That one usually teaches us the most.

  3. Set the system

    Type scale, grid, motion rules and the few moments that should move. Written down so your team can use it.

  4. Ship and tune

    Files, posters, the site, the tin. Then a round of tuning once it meets real people.

06 / Said out loudsample quotes
The posters went up and people started photographing the letters.
Sample quote, gallery director, placeholder client
Our shop finally sounds like us, even on the receipt paper.
Sample quote, shop owner, placeholder client
07 / Before you writefair questions
Do you design custom typefaces?

Sometimes, for a logo or a headline set. Most projects pair a carefully chosen existing family with custom lettering where it counts.

Will the moving type work on phones?

Yes. Motion is tuned for small screens, pauses when you scroll past, and switches off for anyone who prefers reduced motion.

Can you work with our existing brand?

Of course. Often the brief is to give an existing identity more rhythm, not to replace it.

How do we start?

Send a note with what you are making and when it needs to exist. I reply with questions, then a short written proposal.

Got a story
worth setting?

Tell me about the book, the show, the shop, or the half formed idea in your notes app. I read every message and reply within a couple of days.

Write to @studio.nova See the work again

Got it. Expect a reply within a couple of days.