Maciej Przyłęcki
Maciej is a graphic designer working in print, editorial design and exhibition design. Through his practice he explores themes of immigration, personal relationships and nostalgia with narrative storytelling being at the forefront of what he creates. Maciej also keeps a critical writing practice where he has researched different eras of critical graphic design and their impacts on the contemporary graphic design profession. He enjoys working with graphic ephemera and is a keen documentary photographer, often using the images in his work.
Contact:
przyleckimaciej@gmail.com

Instagram:
@mprzyl

Education:
BA (Hons) Graphic and Media Design
London College of Communication
First Class Honours
2021 – 2025

MA Graphic and Media Design
London College of Communication
2025 – 2026 
Employment: Graphic Design Intern
SIRPLUS
2023 – 2024

Freelance Graphic Designer
National Centre For Social Research
Present

Laughing Mouse Press
Designer and Editor
Present
Exhibitions:
BA Graphic and Media Design 
Graduate Showcase  

Helsinki Analog Festival 
Handmade Books Exhibiton
2026

Taipei Art Book Fair
Exhibitor (Laughing Mouse Press)
2026
Talks:Fourteen Voices: Contextual and Theoretical Studies Symposium
“From Cranbrook Academy of Art & Emigre to Valiz NL: 3 Eras of Criticism in Graphic Design and Their Failures to Reconcile Graphic Designs Relationship with Capitalism”

London College of Communication
2025



































































Last Updated 26.05.25

1. Hot Metal Cold Type
Format: 170 mm x 250 mm
104 pages

Printed using RISO Black
Typeface: Crystal by newglyph
Paper: Shiro Echo
Hot Metal Cold Type is a visual essay looking at historical examples of automation, their impacts on the graphic design industry and its workers and comparing it with present day fears of Al automation. 

Using archival images from the last day of the Linotype at the New York Times, paired with Adobe Max Keynote images it aims to question the hype produced by Al technology, and urges designers to think more critically about technological advancements and their possible impacts on the profession.



2. Dreams of Normal Underwear
Format: 110 mm x 175 mm 
256 pages

Printed using RISO 3 colour separation
Typeface: Herbik by Counter Forms
Paper: Munken Design Pure Rough Cream & 
GF Smith Max

Currently held in the Univeristy of the Arts London 
Special Collection ArchiveThis book contains recipes inside, but it is not a cookbook. ‘Dreams of Normal Underwear’ is a memoir of my grandmother’s cooking, inspired by her failed colonoscopy, and her mistreatment at the hospital which subsequently left her with a stoma and a restrictive diet. 

The first chapter is a photographic documentary of her experience in the hospital during the time where she had the stoma put in. The rest of the book focuses on the memories of her cooking through interviews with family members and scans from her old recipe books, as well as scans from the very first cookbook she used to learn how to cook from 1959. The book is held together using an elastic band and is unbound to mimic the aesthetic of her personal notebook where various recipes and sheets of paper were tucked into an already overflowing notebook.


3. Can you come translate this for me?
Format: 2 x 105 mm x 148 mm

Xerox Red and Blue
Typeface: ABC Arizona Variable
Paper: Munken Design Pure Rough Cream

Currently held in the London College of Communication 
Special Collections Archive

Platinum Originality Jury Award Selected by 
Chen Zhengda
This book is an exploration of the conversations I had with my parents growing up as an immigrant in Scotland. The conversations are centred around the experience of having to translate everyday situations for my parents, from our arrival in Scotland to my departure from my family home to university, and how these conversations have progressed over time from being conducted in-person to being largely through online messages.

Nuances within the conversations have been reflected through the way this book has been designed. The grid used throughout the book allows for the text to be positioned in a way which reflects the time passed during the conversations as well as the things that were said but the reader cannot directly see on the page. The typeface allows to showcase the progression from in-person conversations to online ones through its subtle transition from serif into sans serif. Images and printed ephemera are scattered throughout the book as a means of connecting the reader and immersing them in the time period in which the conversations are taking place. 



4. Original Machines
Format: 594 mm x 420 mm

First layer screenprinted using metallic silver ink
second layer printed using inkjet
Typeface: Tor Grotesk Mix 
Paper: Shiro Echo Bright White
  By not knowing exactly what sources are used by generative AI, lines of ownership and authorship become blurred. Similarly without revealing the information about the images used in the identity, the viewer is unable to tell which image used in the background is the original. Through obscuring the images hidden beneath the text I aim to question the methods LLMs use to gather and collect data.


5. Sedesowce Typeface
Format: 594 mm x 420 mm

Printed using Offset Lithography in Pantone Metallic Silver
& Pantone Process Black
Paper: GF Smith Naturalis Typeface inspired by the Sedesowce estate in Wrocław, Poland. 
Using it's smooth edges, rounded corners and modernist character to form the typeface.

All photographs my own — taken during a visit to the estate in 2023.


6. SIRPLUS Intern Work
Format: Mixture of social media ads and print A selection of the work created during my internship at SIRPLUS


7. Polish Shops
Format: 148 mm x 210 mm

Digitally Printed
Typeface: ABC Maxi Sharp & Crystal by newglyph
Paper: Mohawk Superfine & GF Smith Colourplan In 2024 I decided to photograph the storefronts of almost all of the Polish shops in London. From this a book was born.

This book celebrates the shopfronts and signs of Polish Shops around London. Taking a deeper look at the visual language of these establishments and showcasing the interesting nature in what most people even Polish people outright don't pay attention to. The book is divided into 4 sections North, East, West and South to celebrate just how different and varied the designs can be.