Early Influences 

Dr. Irma Puškarević’s journey to becoming a graphic designer wasn’t linear — 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 Wichita State University’s School of Art, Design and Creative Industries, Puškarević  pursued a career in the humanities. 

“I was trained in linguistics and the English language,” she said. “We read extensively, held open debates, conducted inquiries — it was an environment that encouraged both critical thinking and creativity.” 

Raised in a region rich in Serbia’s cultural heritage, Puškarević attended a grammar school founded in 1791, where she had a chance to explore the rare books and centuries-old materials. 

“Being 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,” she said. 

She eventually found her calling in typography and graphic design, enrolling in a newly established school for graphic engineering. There, she discovered “the magic of publication design — a beautiful intersection of art, printing and semantics.” 

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 “the decisive moment that sealed my career path.” 

Balancing Structure and Creativity 

Puškarević’s background in teaching and documentary photography continues to shape her design philosophy. 

“Teaching is methodical, while documentary photography is immediate and responsive,” she said. “Design, to me, is a blend of both.” 

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

“I let ideas wander, almost like capturing snapshots,” she said. “Later, I reflect and shape them into something more deliberate.” 

Industry vs. Academia 

After working in the fast-paced design industry — including as a music event organizer — Puškarević moved into academia. The shift required a new mindset. 

“In the industry, outcomes are immediate,” she said. “In academia, the pace is slower and more reflective. I had to learn patience and value long-term processes.” 

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

Typography in the Digital Age 

As a scholar of typography, Puškarević sees modern tools as both transformative and nostalgic. 

“With digital environments, typography can be interactive, responsive — even animated,” she said. “But at the same time, there’s a renewed craving for tactility.” 

She noted a cultural shift toward hand-lettered and craft-based design, reflecting a desire for authenticity and a “human touch.” 

“My 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,” she said. 

Multilingual Design Roots 

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

“This background influences my research and teaching,” she said. “I encourage students to explore design in their native languages — not just English. It broadens their understanding of type and celebrates linguistic diversity.” 

Cross-Cultural Design 

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

“Typography is deeply tied to language and identity,” she said. “Exhibiting globally encourages me to rethink my work and gain new insights.” 

Advice to Young Designers 

For those who would like to use typography as an effective tool, Puškarević suggests diving into the details. 

“Explore the relationship between typography and language,” she said. “When you choose a font, learn about its designer and why it was created. Dive into the history of type — and don’t limit yourself to one region.” 

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

What’s Next

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

“My goal is to help lay the groundwork for future research that relies on primary sources and historical material,” she said. “It’s an opportunity to connect with scholars worldwide and share stories that often go untold.”