My final project began with a simple question: what if handwriting disappears? At first, I was thinking about handwriting as something we use less and less in everyday life. But the more I looked at it, the more I realised the project was not really about penmanship or nostalgia alone. It became about something much deeper: what handwriting carries that digital text cannot. As I researched, collected material, and began designing, I became increasingly interested in handwriting as a physical trace of a person. A handwritten page does not only communicate words. It carries pressure, rhythm, hesitation, correction, and touch. It shows pace, mood, and presence. In every uneven line, smudge, crossing-out, or signature, the body remains visible on the page. That shifted the project for me. What began as a question about disappearance became an exploration of memory, intimacy, identity, and human connection. This led to Trace, a three-book series exploring handwriting through loss, love, and war. Each book approaches the subject from a different emotional angle, but all three are connected by the same central idea: handwriting is more than language. It is a human mark. It can preserve nearness, carry feeling across distance, and remain as evidence that someone was once here. 'Loss' examines handwriting as remainder, the fragment that survives after a person, moment, or relationship has passed. It looks at memory, nostalgia, signatures, and the emotional power of handwritten objects that become impossible to throw away. 'Love' focuses on intimacy, asking how handwriting can carry tenderness, longing, devotion, and closeness. It explores the letter as a substitute for touch, something that can be held where a person cannot. 'War' considers handwriting as witness, exploring letters and personal documents as records of survival, separation, fear, and endurance under pressure. My practice is rooted in editorial design, typography, photography, and print. Visually, I wanted the books to feel contemporary, intimate, and tactile. I worked with monochrome imagery, close crops, layered text, experimental type, and archival references to create a visual language that feels both restrained and emotional. I was especially drawn to surfaces such as skin, paper, folds, marks, and worn edges, because they hold time in visible ways and echo the idea of handwriting as trace. Across the series, I wanted to show that handwriting matters not only because of what it says, but because of what it leaves behind. In a world shaped by speed, clarity, and digital convenience, handwritten marks continue to feel deeply human. Through Trace, I wanted to create work that asks the viewer to slow down and consider what may be lost when these marks fade from daily life, and why they still move us so deeply when they remain.