Das antworten der Dinamo Student Survey hat mir irgendwie sehr spass gemacht und hat bisschen was gelöst in mir

* How do you feel?

Good, but anxious. Constantly having to prove myself weighs on me, puts pressure on me, and makes me doubt myself.

* What are you excited about?

Working with amazing creative people and learning from them.

* What are you worried about?

MAinly that im not good at what i do. I’ve always been afraid of the future, but studying graphic design has made that fear more intense. AI scares me. So does the shift to the right in Europe. In that context, my passion for graphic design often feels pointless, even though I know it isn’t. But when you’re studying or doing an internship, it’s damn hard to find the energy to also use your work to push back against it all.

* What’s the most precious thing about your studies?

The people and the friendships that develop, despite how competitive the study environment is.

* What are you missing in your studies?

THEORY. Critical thinking.

* How and where do you educate yourself besides your studies?

I read books and listen to podcasts or audiobooks ( while working ), especially about history, politics, and culture. These topics aren’t always directly related to graphic design, but they help me think critically and broaden my perspective. I’m particularly drawn to physical media because it encourages me to slow down and engage more deeply with what I’m reading or looking at.

I also learn through conversations with friends and creative people. Hearing different perspectives helps me question my own assumptions and discover new ideas. For me, educating myself outside my studies is about staying curious and understanding the world that my work exists in.

* How do you feel about the future of design as a profession?

I feel both anxious and hopeful about the future of design as a profession. With the rise of AI, the political shift to the right, and the pressure to constantly prove our value, I sometimes struggle to see where my own practice belongs. I worry about a future in which design is judged mainly by how quickly it produces something commercially useful.

At the same time, I see possibilities in practices that understand design as a form of research, care, and responsibility. Publishing, for example, can create space for critical thinking and marginalised narratives. This makes me feel that design can still contribute meaningfully to the world.

From a feminist perspective, I believe the future of design also depends on how we work together: how we collaborate, edit, share responsibility, and care for each other. I want feminism to be a continuous everyday practice, reflected in working conditions and relationships as much as in visual outcomes. I am still questioning what kind of designer I want to become, but I hope to help build a profession that makes room for dialogue, solidarity, and collective learning.

* What type of job do you imagine for yourself? How do you want to make money?

I imagine myself working in a small, collaborative studio or publishing collective, where graphic design connects with research, politics, and culture. I’m especially interested in books and editorial work, and in projects that give space to marginalised voices. I want to keep learning through dialogue and work with people who put feminist and critical values into everyday practice.

I want to earn a stable, fair income through this work, with enough time and energy left for my own projects and political engagement. I know that meaningful work still involves compromises, but I don’t want passion to become an excuse for unpaid labour or constant exhaustion. For me, a feminist practice also means working conditions that allow us to support ourselves and care for one another.

* Beyond fonts, how can we, as a type foundry, support you?

I would appreciate more honest conversations about perfectionism in design. As a student, I often feel that everything I make has to prove my ability, which can turn a process I love into a source of anxiety and self-doubt. Seeing unfinished work, failed experiments, and the uncertainty behind your typefaces would help challenge the idea that good designers always know what they’re doing.

Workshops or mentoring that leave room for mistakes and exploration would also mean a lot. For me, support means creating a space where we can develop our skills without feeling that our worth depends on producing perfect work.