A series of posters representing Deadly Sins.
A project by Molnár Péter.
Article by Benedicte.

Bestiarium of Everyday Sins is a personal poster series by Molnár Péter where abstract human emotions take physical form through experimental typography. Each poster represents one of the seven deadly sins; envy, wrath, greed, gluttony, lust, sloth, pride, and is structured around the corresponding day of the week and its planetary association. The result is a visual language where typography becomes more than a tool for communication, turning abstract human behavior into something tangible and almost alive.

What makes this series particularly interesting is how typography is used to construct different creatures through human anatomy, communicating the emotion each creature represents. The letters of each sin are transformed into the creature's eyes, nose, mouth, and neck, making the word itself a visual representation of the emotion it describes. The creature becomes the first visual point of recognition, before the word itself is read.

In the first poster “Envious Monday", the creature’s eyes and nose are made up of the “dia” in the word “invidia”, creating the impression of someone looking enviously towards another person. The expression is displeased, and creates a judgemental side-eye with a tight mouth. In this poster, envy isn’t expressed through an exaggerated emotional reaction, but through subtle judgement and restraint.

On the other hand, the poster “Greedy Wednesday” uses the letters “ava” in the word “avaritia” to show the feeling of dissatisfaction, suspicion and opportunism. The lifted eyebrows combined with the creature’s downward gaze create the impression of someone who is observant and looking for an opportunity to gain something.

In all seven posters, the typography is carefully manipulated to fit the creatures’ faces, using different scales, weights, and positions to help communicate their individual expressions.

All seven posters share the same design foundation, with colorful and wavy hair, facial features made up of typography and an overall similar structure. While typography plays a central role in constructing the creatures’ physical form, it is not the only element that communicates the characteristics of each sin. Their expressions, colors, positions, and body language all work together to distinguish the seven sins and give them their own personality. They do not only look different; they behave differently.

The poster design “Wrathful Tuesday” is a red creature made up of the word “ira”. The poster depicts a creature with minimal emotional expression, almost appearing bored, with subtle hints of anger that can be noticed if you look closely. The creature’s eyebrow is turned inward and close to the eye, giving the face an angry quality, while the mouth is tight and controlled. The designer’s comment for this poster was “An internal reaction. Does it surface, or stay inside?”, which is clearly shown in the creature's facial expression, creating tension between what the creature shows and what it appears to feel.

In contrast, the “Lustful Friday” poster that represents the sin of lust, depicts a more feminine-looking creature, with features such as long, pink hair and a long neck, fuller facial features and a flirtatious expression. The “a” in the word “luxuria” can be read as a mouth almost forming a kiss, reinforcing the flirtatious and inviting character of lust. By using all of these different design elements, the project creates consistency through a shared visual system, while individuality comes from how that system is manipulated for each sin.

The visual system creates consistency between the posters, but the project extends beyond their visual similarities. Each creature is also connected to a specific day of the week and its corresponding planet, creating a larger system of classification. In this project, Envy is connected to Monday and the Moon, wrath to Tuesday and Mars, greed to Wednesday and Mercury, gluttony to Thursday and Jupiter, lust to Friday and Venus, sloth to Saturday and Saturn, and pride to Sunday and the Sun. By incorporating these associations, the seven posters become part of a larger classification system rather than functioning as seven individual poster designs.

This also connects to the title Bestiarium of Everyday Sins, as a bestiarium traditionally presents a collection of creatures, each with its own characteristics and place within a larger system. Here, instead of classifying animals or mythical creatures, the project turns human behaviors and emotions into its own collection of visual creatures. The planetary and weekly associations therefore give the creatures a conceptual structure that complements the visual system used to differentiate them.

Ultimately, Bestiarium of Everyday Sins shows how much character can be created from something as familiar as a letterform.
By combining typography with color, expression, composition, and body language, Molnár Péter turns seven abstract concepts into a collection of creatures that feel almost alive. The typography is no longer simply something to be read; it becomes the eyes, mouths, expressions, and personalities of the creatures themselves. In doing so, the project turns invisible human behavior into something tangible, visual, and surprisingly easy to recognize.

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