On Building TOML: A Conversation with the Founder
I spoke with Virtyt Pula, the founder and creative director of TOML, about how it all started — the early bits, the slightly messy building phase, and what’s still holding everything together now that it’s grown.
TOML didn’t follow a traditional path. It started from a need to work differently. To build something more honest around the work and the people behind it. What began as a small, self-built network has grown into a global collective, working across design, branding, strategy, and production, bringing together talent from different places to work with both established organisations and early-stage teams.
What stands out isn’t just the work, but the thinking behind it. Collaboration that feels deliberate. And a clear belief that the work depends on who’s involved, not how big the system is. In this conversation, we get into where that came from, what it took to build, and what’s still being held onto as it grows.
D: What inspired you to start your business?
Virtyt:
TOML started as a rebellion against the 9–5 grind, against creativity being confined to four office walls, and against an industry that too often sidelines the very talent it depends on. As a creative myself, I saw how big, traditional agencies demanded long hours, offered little credit, and left brilliant people burnt out and in the dark. I wanted to build something different — a collective where talent comes first, creativity is respected, and collaboration isn’t restricted by borders or bureaucracy. But it wasn’t just about improving the agency model. It was more personal. In 2017, I moved to London from Kosovo with no connections, no safety net, and English as a second language. I didn’t follow the well-worn path into the industry. I carved out my own, building a creative collective that connects people through design and production, and tells stories with real cultural insight.
The early days were a hustle. I reached out to young graduates across UK universities, brought new talent into projects, connected with industry experts, and knocked on doors — sometimes literally. From that intention came trust. Bit by bit, TOML grew from a personal mission into a professional network, from side projects into full-scale collaborations with some of the UK’s best production agencies like Unit9 and Waste Creative, and later with Red Bull Media House and IDEO, working with companies like Accenture, McKinsey & Company, Xbox, and more.
D: What makes your business different from competitors in your market?
Virtyt:
We don’t compete for attention; we co-create. We partner with other agencies and bring brilliant minds together to tell stories that elevate brands culturally and competitively. What sets us apart is both the depth of our network and the intention behind it. We curate from a pool of 50+ world-class creatives, including designers, writers, animators, and strategists, whether from the UK or around the world.
Every team is bespoke. Every collaboration is built on trust, transparency, and mutual respect.
Our impact goes beyond just client work. We’ve just launched TOML Journal —
a space for creative insights, conversations, and interviews that spotlight the people behind the craft. We’ve also built Children’s Planet (Planeti i Fëmijëve), our self-funded educational YouTube channel for children, now reaching over 7 million views. Clients choose TOML for the craft, but also for the values, diverse teams, thoughtful work, and honest collaboration.
D: What do you wish you’d known before starting your business?
That it’s okay to ask for help, and that doing everything yourself doesn’t necessarily make you stronger. It just makes you slower. At the beginning, I thought I could figure everything out on my own. Not out of ego, but out of habit, and a genuine love of challenge. I came from big agencies like Publicis, where things run smoothly behind the scenes. As a creative lead, I focused on the work and assumed that was the business. It’s not.
Running a studio means wearing every hat, from finance and operations to HR and legal, while trying to protect the creative. You learn a lot by doing, but focus matters more than the hustle. TOML didn’t follow an existing model, so there was a lot of trial and error. At some point, I stepped back, joined a management programme, and did one-to-one mentoring with an industry expert. It felt like therapy for the business. That reset gave me structure and clarity, and helped me pick the right battles. Most importantly, it showed me that asking for support isn’t a weakness. It’s how you build something that lasts, and create space for others to grow, too.
D: What excites you most about the future of your business?
Virtyt:
The industry is catching up to how we’ve always worked: remote-first, talent-driven, purpose-led. Audiences expect more, and more global brands are turning to indie agencies for sharper, more agile partnerships. That shift plays to our strengths. We’re working with forward-looking clients, from ETH Zurich’s space research to Siebert Financial’s next-gen finance. We turn that complexity into brand and digital experiences that resonate with today’s audiences. It’s exciting, and at times challenging, as we step into new markets and industries.
At the same time, we’re also integrating AI to streamline workflows, investing in our R&D capabilities to develop new IP, tools, and smarter ways of working. But our future is exciting, and we're not chasing growth for the sake of it. We’re building a company with purpose, deeper impact, smarter systems, stronger community. Our own platforms are growing too. TOML Journal is expanding into events and partnerships, while Children’s Planet is being translated into multiple languages to reach more families globally. Looking ahead, we’re also planning a creative and tech hub in North London, along with a small run of sustainable, UK-made garments designed by our network, with profits shared across the talent.
D: You moved to London without a network and built things from scratch. What were those early years like?
Nertil:
A lot, honestly. Product design, sculpture, motion graphics, and even fashion play a huge role. We’re constantly looking at how materials, shapes, and textures behave in different contexts.
But one of the biggest influences on this typeface came from graphic design principles—using simple geometric forms structured within a strict 5×5 grid system to guide proportion, rhythm, and consistency, while keeping the forms clean and modular. It all connects to the roots of graphic design influence from 1950 called swiss style.
Can you walk us through your creative process when designing typefaces in general? Where do you usually begin? Was it different for this particular project?
Nertil:
We usually start by exploring the form, sketching shapes, testing proportions, or experimenting with 3D models. For Deepyellow Alphabet, we started by experimenting with abstract 3D shapes, figuring out how they could be broken down into modular letterforms. Then, of course we applied a 5x5 grid system to keep everything balanced and consistent.
We used 3ds Max to model the forms, giving us the control to build and fine-tune each structure with precision. Once the core shapes were in place, we used V-Ray to render them and see how light and shadow played across the surfaces. This helped us fine-tune the details and ensure that the typeface maintained its dimensional character. Once the 3D forms felt right, we transitioned the designs into Glyphs to refine the letterforms and finalize the typeface.
What conversations have you been having lately about typography?
Nertil:
Lately, the conversation has been shifting toward how typography can move beyond being static. With 3D, AR, and interactive design becoming more accessible, there’s growing interest in how letterforms can live and respond within dynamic, spatial environments.
We’re also thinking more about how AI is reshaping the design landscape. Not just in terms of speed or automation, but how it might influence the creative process itself, where it helps, where it challenges, and how to keep the human touch alive in an increasingly automated space.
Can you give us some insight into your techniques, like were there any specific tools that played a big role in designing this typeface?
Nertil:
Absolutely. The process started in 3ds Max, where we modeled the core forms using basic geometry as a foundation. The platform gave us precise control over proportions, which was essential for testing structural variations and refining spatial relationships within each character.
Once the base models were shaped, we moved into V-Ray for rendering. This helped us simulate lighting conditions and observe how highlights, shadows, and surface depth would read in different environments—critical for understanding how the type would perform off-screen or in motion.
After we locked in the 3D structure, the final vector work was done in Glyphs. That’s where we fine-tuned the letterforms, ensuring balance, alignment, and legibility. Throughout, we worked within a strict 5×5 grid system, a framework that helped us maintain visual rhythm and coherence across the entire typeface. It wasn’t just about aesthetic consistency but also about systemizing form, space, and function in a way that held up across mediums.
How do you see AI shaping the future of design or typography in this case? Do you see it as a tool for creativity or a challenge to traditional design?
Nertil:
I see AI as a powerful tool that can handle repetitive tasks like kerning and spacing, giving designers more freedom to focus on creative thinking and the bigger picture. It speeds up the process and opens up new possibilities. But the real magic still comes from the human touch.
AI can generate ideas, but it can’t replace intuition or emotional nuance. So, while AI is a great collaborator, I don’t think it’s a threat to creativity. It’s more like a tool that helps us push boundaries faster.
Written by Debora Deva
Debbie is a writer, art director, and multidisciplinary creative at TOML Collective. With a background in advertising, she brings fresh perspectives to the journal — aiming to educate, question, and spark new ideas.
Get in touch with debora@tomlcollective.com