The typographic treatment of this version of Dostoevsky’s Crime and Punishment reflects Heidegger’s existential philosophy. By analysing the varying positioning of the characters in the text, the project suggests that the layout symbolises different modes of existence (Dasein) and the characters’ relationship to the world.

Dostoevsky’s exploration of moral and existential dilemmas anticipates Heidegger’s later philosophical inquiries into authenticity and being. This project connects their ideas, proposing that the main character’s prominent placement on the page mirrors his direct confrontation with existence, aligning with Heidegger’s concepts of being-in-the-world. In the novel’s final chapter, a shift to a more traditional layout represents the main character’s journey toward self-discovery and reconciliation with his existence.