Doorkijkvers (“see-through verse”) is a self-initiated participatory poetry project by designerLaura Brouxcreated forPoëzieweek 2026. The project was developed and realized in collaboration withCreatief Schrijven vzwand printerZwartopwit.The project takes the form of an A6 card with a circular cut-out that functions as a lens. By framing a small detail in their surroundings, participants are invited to slow down, observe differently and write a short poem inspired by what they see.Responding to the Poëzieweek 2026 theme ‘Metamorphosis’, printed on the front of the card, the intervention explores how a simple shift in perspective can transform everyday scenes into language. Distributed across Flanders (Belgium) and activated in schools, libraries and literary spaces, #doorkijkvers connects visual perception, writing and public space. Thousands of people, including numerous schools and language institutes, took part in the project, contributing to a wide and diverse engagement with poetry across Flanders.
The typography communicates contemplative, literary sophistication with a distinctly European sensibility. The curved text following the circular die-cut creates an intimate, almost whispered quality that invites close reading and reflection. This typographic approach feels meditative and deliberately unhurried, perfectly matching the project's goal of encouraging participants to slow down and observe.
While specific fonts aren't identified, the curved text treatment demonstrates thoughtful consideration of how typography can reinforce concept. The circular text arrangement mirrors the physical cut-out lens, creating typographic unity with the object's function. The choice to set type on a curve rather than straight lines suggests fonts with good letterspacing and likely sans-serif construction to maintain readability at small sizes when following the circular path.
The curved text treatment creates its own hierarchical system through positioning and size relationships around the circular form. The typography likely employs weight variations to establish information hierarchy within the constrained circular format, with the most important messaging positioned at optimal reading angles. This approach transforms a single typeface into a dynamic system through spatial arrangement rather than relying on multiple font families.