Many of Bajtlik’s projects represent a highly critical point of view and act as social campaigns in public space. He has been involved in creation of projects such as Społecznicy Warszawscy / Warsaw's Social Workers, Weź się do Kupy / Keep Your Crap Together, and Wiosna Ludów / Spring of Nations.
Warsaw's Social Workers (2011) was created in collaboration with Stocznia / Shipyard – The Unit for Social Innovation and Research. The purpose of the campaign was to bend the ideas about archetypical inhabitants of Warsaw – the organization thus chose a selection of quotes by significant figures from the pre-war period, that would capture the eye of the modern audience and fulfill the concept. The design employed by Bajtlik exposed the quotes on yellow background as if they were slogans dedicated to the city, at the same time including an outline of each person, in order to highlight the historical and personal significance of the words.
Keep Your Crap Together and Spring of Nations (both 2011) were, on the other hand, series conceived by the artist from the very beginning, as well as distributed by him around the streets of Warsaw. The former, made together with his friend Konrad Trzeszkowski, was a springtime project that intended to agitate the city's pet owners to remember to clean their dogs’ dung year-round. For Spring of Nations, Bajtlik designed a sign that acted as his own comment to civil-disobedience movements.
Bajtlik’s style is marked by minimalism and hand-drawn symbols – whether he draws figures or letters, they immediately attract one’s attention and constitute the main message in the design – sometimes haunting, at other times funny. One could associate the effortlessness and intimacy of form and content with the great names deriving from the Polish poster school, such as Jan Młodożeniec and Lech Majewski (the latter was a teacher of Bajtlik). However, despite listing this famed phenomenon as an important trigger that made him purse the career of graphic designer, he refrains from feeding on this tradition. He claims:
To me, the Polish school of poster is a generation of artists, one of the chapters in art history. The humour, wit and salient message that is typical for the Polish school still appears in contemporary designs, in an altered form.
When applying hand-drawn, painterly forms I don't want to make a direct reference to that period. My posters tend to manifest a bitter irony, a kind of hilarity, they are sketch-like and lapidary in form. Nevertheless, street art has been a more important inspiration for me – it communicates the concise messages by means of mediums such as stencil, stickers, or 'imperfect' screen-prints. [...] I try to pay a lot of attention to the genuine and most basic form of poster, i.e. a print distributed in the cityscape, which shouts at the viewer. It's a street-art activity. My intention is to pierce through and overcome the aggressive billboards, large-scale advertisements, shop signboards and miniature notices.
Bajtlik has also been involved in creating book illustrations – he wrote stories for two publications, which he also illustrated: Europa Pingwina Popo / Popo the Penguin’s Europe (2011) and Sztuka Latania / The Art of Flying (2012). As in the case of his posters, he skilfully combines typography with drawing in these publications.