Minal is monolinear curveless strict angled cursive display typeface.

Plasticine is inherently three-dimensional. In this work, the word “Workshop” is written using forms inspired by Ukrainian cursive writing. The natural volume of the material allows the letterforms to exist as sculptural objects. Beyond formal research, the project aims to encourage fellow designers to experiment with plasticine as a typographic medium and explore its unique physical qualities.

Pxstncl is a pixel oriented grid based stencil styled display type loosely inspired by Nikon FM10 camera logo.

The word “Children” –” Дети “– was written on the ground in front of the Drama Theatre in Mariupol in 2022, where civilians were sheltering during russian attacks. Despite the inscription, the theatre was bombed by russians, killing more than 600 people. This work recreates the lettering to preserve the memory of this war crime and to resist forgetting.

What modules can a letter be built from? Potentially anything. This number 6 is composed of small plasticine blades of grass and leaves. The work explores modular construction and questions the boundaries between letterform, ornament, and organic structure.

Salutei is a pixel oriented grid based display type loosely inspired by Soviet Constructivist typography.

I coined the term plastilligraphy to describe my way of combining plasticine and calligraphy. Calligraphy today is often a meditative practice, focused on flow and bodily engagement. When combined with the tactile resistance of plasticine, the process becomes slower, more physical, and deeply immersive.

“Black Friday” is a phrase repeated endlessly once a year. I chose to experiment with both the form of the word and its texture by creating black lettering on a black surface. The work questions visibility, excess, and the visual noise surrounding consumer rituals.

“Starchris” is a visual interpretation of an electronic music album by the artist “Body Meat.” The main component of the key visual is the experimental custom font used on the vinyl cover. The pixels represent the technical components of the album. The sharp spikes and corners represent the loud, aggressive, and uncertain passages. The intensity and mood differ slightly from song to song. Therefore the slight differences in the look of the letters.

Slime Grotesk is a haptic typographic experiment made from real slime, developed for a science-fiction concept album cover. It explores an unusual materiality—fluid, governed by its own physical laws, yet distinctly tangible. The Letters emerge through direct, sensory interaction with the material, forming shapes that exist only temporarily, like matter that seems to originate from outer space.

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.