Started in 2023 with the 36Dot and became a font project in 2024. Helm draws inspiration from the cadel calligraphy of Marc Antonio Rossi (1958) and combines this with the inspiration of the dark fantasy body armour worn by the Nazgûl in The Lord of the Rings.

The font was first drawn by hand and then digitised.

What happens when a plasticine letter is placed in water? The surface becomes covered with air bubbles, creating a soft, velvety layer around the form. The letterform itself was not predesigned; it emerged spontaneously through the process and coincidentally resulted in the shape of an F. Chance plays a central role in this experiment.

This piece is a tribute to the song I Got Myself by Nina Simone. The words “NINA SIMONE” are embedded in the upper and lower rows of floral elements. The lettering becomes part of an ornamental structure, where text is discovered through careful observation rather than read immediately.

This work explores the contrast between raw, unpolished plasticine and refined ornamental details. I was interested in how these opposing qualities coexist within a single letterform. The experiment also involved photographing the letter M in mid-air, treating the character as a floating object rather than a static sign, emphasizing its physical presence and weightlessness at the same time.

Janka is a typeface inspired by the music of French composer Janko Nilovic, particularly “Le vent dans les algues” (The Wind in the Algae). Wordless, this music leaves room for poetry, much like its title suggests. The design process began with the drawing of organic shapes, which were then systematized to achieve an almost structured coherence. Janka embodies a controlled form of chaos: a monospaced typeface that deliberately steps outside its rigid framework.

An interactive type experiment loosely based on the movement of a chandelier. Coded in p5.js.

POST-TYPE explores generative design applied to typographic creation, by asking: can we envisage a new way of thinking about letters thanks to these new tools (AI)? Moving away from their primary purpose and legibility towards expressiveness?
Emma is creating a generative typographic creation process, allowing the non-verbal to be reintroduced into typography by using it to directly modify parameters in character creation. Your face, voice and mood will be the material to create unique fonts.

This work is the result of the workshop “Visual Alchemy” at FH Potsdam, led by Prof. Susanne Stahl and Robert Radziejewski. During the workshop, students explored the intersection of text and image. How letters can form images, and how typography can be extracted from pictures.

The project “Dark Matter” is my exploration of the positive connotations of the color Black. The goal of this project is to make people question how the color black has been historically associated with negativity. I love the usage of typography in my work and this project will implement phrases that I have written as layered with abstract patterns of pigment shades exploring Blackness as a rich, chromatic color, not just the absence of light.

The project “Dark Matter” is my exploration of the positive connotations of the color Black. The goal of this project is to make people question how the color black has been historically associated with negativity. I love the usage of typography in my work and this project will implement phrases that I have written as layered with abstract patterns of pigment shades exploring Blackness as a rich, chromatic color, not just the absence of light.

At the annual Werkschau, students from all design disciplines at FH Potsdam present their work. The illustration and typography express the curiosity and joy of exploring the exhibition and discovering new perspectives. The simplicity of the hand-drawn letters symbolizes playfulness and accessibility for all ages.

The poster features a quote from ancient Aramaic and the original inscription: “We sought a quiet refuge for our love, and the road led us to the realm of the dead.” This phrase reflects the realities of modern life of Ukrainian families during the war.
This text was found carved on a stone above the entrance to an ancient Armenian temple in the 9th century.

The Werkschau at FH Potsdam is an annual exhibition presenting the work of all design students. It’s typography reflects the spirit of the university, the fluidity of people with diverse skills and backgrounds coming together, crossing disciplines, and shaping projects collectively.

Field is an experimental typographic system developed in After Effects, transforming any text—across fonts, weights, and styles—into a dynamic, grass-like field. Adjustable parameters such as width, density, thickness, and a noise-driven displacement map control motion and structure, simulating wind. Fully animated, the system generates endless variations and can be used for moving images, generative patterns, and video-based typographic applications.

“The Uncertain Forming of Shapes” is a project focusing on the path of studying communication design. It reflects ups and downs, while representing a metamorphosis of identity and visual expression. In the same way we look back on the mistakes of past projects and search for learnings, this project explores new and unseen shapes hidden in the shadows of prior work, shaping who we are today.

NoTech is an experimental typeface derived from a 5×5 grid system. Instead of discarding the structure after forming characters, the letterforms and most of the framework are removed, leaving only the segments once occupied by the glyphs. Proportions and stroke weight were refined using custom tools and sketches. The design was later skewed and layered to create a subtle 2.5D effect.

The typographic outcome is a fragment of text from Chapter 11 of James Joyce’s Ulysses, aiming to interpret its context and highlight the unique musical fugue structure of this specific Chapter. This inspired the use of a technique called data bending, which converts text into a sound file and then back out as an exported image. No visual aid is available while editing the sound files, which can lead to involuntary design decisions, giving the text a new form of experimental expression.

For this project, a controller from the brand 8bitdo was used to semi randomly draw an experimental typeface. This brand specifically allows for remapping of buttons on controllers, and with the Enjoyable free software, the controller was turned into a mouse with a specific speed, that was then used in Glyphs 3 to draw a typeface with a specific, slightly pixellated aesthetic. Moving the buttons on the controller is difficult, and the result was then semi controlled.

ONBOARDS BIENNALE 2025 presented contemporary art on Antwerp billboards, centering on a typographic campaign. Using the letters R and S, intersecting strokes formed a grid-like, relational system. Generated through coding, the design acted as dynamic infrastructure, connective, procedural, and mutable mirroring the biennale’s theme of relationships, continuously reconfiguring across physical and digital spaces in public view.

This project explores latrinalia—toilet wall writings—as raw artistic, emotional, and typographic expression. It examines how anonymous individuals use walls to communicate through spontaneous, imperfect, and honest typography. Inspired by a quote calling toilet writing “the purest form of art” and personal experiences of reading strangers’ stories online, the project views these messages as quiet acts of connection that declare presence, existence, and meaning.

The project explores the intentional misuse of graphic design tools to break habitual workflows. By working against software’s intended functions, familiar tools become unpredictable and shape the visual language themselves. Play, limitation, and friction act as design strategies. The submissions include a poster campaign made only in Illustrator’s path view, a logotype and jersey created with InDesign tables, and an animated poster developed in Glyphs.

This collection of motion type experiments was created during 36 days of type in 2021. The motions were inspired by rhythmic gymnastics ribbon, a sport in which gymnasts perform individually on a floor with an apparatus.

At that time, I wanted to understand more about movement as I was exploring and experimenting with motion type. This sport inspired some of my creative process about motion type experiment. So I began to create this set of type in motion.

This poster juxtaposes a personal handwritten message with stamped letterforms carved from potatoes. While the text communicates directly, the stamps remains unresolved, functioning as rhythm, trace, and form. Abstract ink marks made with an EZA pen and a piece of fabric create a gestural background. Using improvised tools, the work explores materiality, repetition, and the tension between readable language and abstract typography.

Design as a process is rarely linear and is often frustrating, seen as a “mess” or a constant work-in-progress. This project treats the process itself, through multiple iterations of the artist’s modular M, as the work, shifting focus from the final outcome to the beauty and significance of development. The resulting piece playfully acknowledges the long, frustrating journey of the project, turning the evolving letterforms into a humorous dance shaped by this trial and error.