This project is a celebration of digital typography from the past, through to the future. The first stage of the project surveys the timeline of the subject and how references are drawn were apparent in the development of the custom type design made for this submission. True to modernist principles, a modular grid system was introduced for the generation of type based on Dutch Designer Wim Crouwel’s mode of practice.

(1) Origins—Wrouwel Pixel: The first milestone refers to the starting point, where hardware could only cover vertical and horizontal output of graphics. This cut can spot the obvious pixel detail where intersecting strokes take place. (2) Now—Wrouwel Diagonal: The current advances in digital typography looks at adaptability, where such design challenge​s​ a prescriptive form of type design. The simplification of the pixel details is a transition towards higher resolution in digital technology. (3) Future—Wrouwel Round: A speculation into what digital typography can ​be in the future examines how type can be used expressively through the inclusion of different cuts that could be used concurrently.

The New Universal Alphabet is an attempt to reconcile different ideologies of the "Universal Alphabet" based on the principles of The New Typography developed during the heydays of Modernism from 1919–1933. All the referenced type are confined to a modular grid to co-exist as one font. Through the use of OpenType Technology, the font carries the history into the future that randomises the occurance of different cuts with each letter. This alphabet exists to speculate the possibilities the pioneers could have achieved with current technological innovations. The New Universal Alphabet is a family of 11 cuts made up of 4 primary faces with more than 600 unique glyphs for infinite combinations.

The system is inspired by the face, angles and function of a clock to generate all letters and numerals in endless ways—just as how a clock can display time using the same interface. The stencil is a linear adaptation of Joseph A. David's Plaque Découpée Universelle (PDU) without the use of any curves.