Design for Highsnobiety BERLIN, BERLIN, 2021 — Virtual fashion week and Augmented reality exhibition. Design Director Chloé Techoueyres.
Art direction for Chapter Magazine, Issue N° I – IV, 2018 – 2021 — Chapter Magazine is a large size print magazine covering the core topics design, innovation and automotive in an interdisciplinary approach: Acceleration vs. deceleration, opulence vs. understatement, luxury vs. minimalism, comfort vs. adventure — in Chapter different perspectives and a multitude of genres are blended into a harmonious whole. The core topics are linked through a mix of references and approaches. This is reflected in the visual language of the magazine, that Creative Director Timo Schmitt and I, in my role as Art Director, developed: A magazine defined by generous visuals and extensive photo spreads, while also focusing on seemingly inconspicuous details that often hold the most interesting facets of a story. The graphic design is a balance between a grid-based layout with a complex type hierarchy referencing the look and feel of scientific journals, and more bold elements like the application of the characterful typeface Droulers by Bureau Brut as well as a superior paper and print quality using two contrasting papers. Creative Director Timo Schmitt, Editor-in-Chief Clemens Steinmüller.
Design for Highsnobiety Staples — A complementary collection of HS-branded basics in three tonal colorways, released alongside the Highsnobiety x adidas Originals ZX 8000 “Qualität”. Creative Director Commerce Herbert Hofmann.
Design for Highsnobiety Jazz TV, Merch design, visual identity and video graphics, 2020 — Highsnobiety teamed up with the iconic Newport Jazz Festival for a charitable three-day musical program that turned Highsnobiety into a public access television station dedicated to the art form of jazz, and also included a merch drop, encompassing tees, hoodies, and accessories. The program featured a line-up of performances, DJ sets, and panels from across the worlds of music and fashion, including Virgil Abloh, Alex Da Kid, Tremaine Emory, Ali Shaheed Muhammad, among others. Design Director Chloé Techoueyres, Video editing Louie Mcpherson, Creative Director Commerce Herbert Hofmann, Editor-in-Chief Thom Bettridge.
Textile Graphics for MCM AW20 collection ‘Hypertechnoreality’, 2019 — Global Art Director Timo Schmitt, Creative Director Dirk Schönberger.
Various editorial graphics and illustrations for Highsnobiety, 2020 – 2021 — [1–3] Illustrations for HS Insights Week Q2 ’The fashion industry answers: How much will we actually change?’ [4–6] Branding for HS Zine series  Instagram template: Live Announcement  HS ‘Flyest in theZoom’ logo, Design with Hampus Frage  ‘Highsobiety Drives’ logo [10–13] HS ‘The Best Dunks of All Time’ logo, Collage Hieronymus Bosch: ’Garden of Earthly Delights’  Illustrations for Highstyle – A Magazine by Highsnobiety  Animation for Salomon Drop
‘Iconic Chairs’ series for Chapter Magazine Issue N° IV, 2020
3D-Render Artworks for Highsnobiety ‘Summer Shorts Hub’, 2020
Visual identity for CRONE Side, 2018 — The booklet was conceived as part of the visual identity for Galerie CRONE’s offsite group exhibition “A Fist Of Pure Emotion” featuring 22 artists. The visual language is based on the usage of two contrasting typefaces. We were involved in the design of printed matter as well as signage. Concept and design with Timo Schmitt.
Design for INDIE Magazine, Issue N° 58 – 61, 2018 — INDIE is a Berlin-based fashion and lifestyle magazine launched in 2003. Originally rooted in sub-, youth and pop culture, INDIE set out to create a new visual language to communicate trends in society and consumer culture. It is one of the few original international style magazines created in the German language market. We developed a comprehensive re-design starting from Issue 58. Though the overall design guidelines such as the basic structure, grid and typefaces are consistent throughout all issues, each issue is adapted to the overall theme (“Nonsense”, “Work”,“Home” and “Dark”) through the use of an additional typeface, illustrative or textual elements: Limericks by English poet Edward Lear can be found in Issue 58 “Nonsense”, whereas Issue 59 “Work” features scans of classic office artifacts and a typewritten scanned editor’s letter. Re-design and graphic design for Issue 58 – 61 with Timo Schmitt.
Max Faber: Klapp-Stullen, Book, 200 pages, 170 × 240 mm, 2019 — In “Klapp-Stullen” (English: sandwich) the trained chef and food stylist Max Faber dissects and analyzes the cultural heritage of the sandwich using a scanner. We paired the high resolution images with statistics, infographics and essays. Thus, creating a unique mix of art book, cookbook and encyclopedia. Hardcover with black thread and open spine. Concept and design with Timo Schmitt. The book was shortlisted and awarded Silver in “The Most Beautiful German Books 2019” competition by “Stiftung Buchkunst” (Book Art Foundation).
LeadAwards 2018, Overall Visual Identity including print invitation, banners, winner certificates, 2018 — LeadAwards is one of Germany’s most important media awards for newspapers, magazines and online media. After a one year hiatus, the format was restructured to particularly honour publishers and chief editors in seven categories. In times of fake news debates, manipulation allegations and hate-post escalations, the LeadAcademy sees the personalization of the award as a necessary signal to strengthen a free, independent, high quality journalism. The visual identity centers around the keyvisual, a sculptural rendering of a blank newspaper that is interpreted in different ways. For the winner certificates, white UV-ink was printed on gold, platinum and bronze paper. Concept and design with Timo Schmitt.
Bauhaus Centenary, Campaign visuals, Renderings and animation — The key visual of the number “100” is characteristic for the visual identity of the 2019 centenary and consistently brands the many projects and events that are part of it. Stan Hema developed the corporate identity for the Bauhaus Centenary “100 years of bauhaus”. For and with Stan Hema.
Poetic Critique conference, hosted by Freie Universität and Indiana University, Poster options, 594 × 841 mm, 2018 — For this academic conference poster I developed three options, each is reminiscent of the design language of mid-century Swiss poster design, playing with space and negative space in different ways.
Morgen und davor, Book, 192 pages, 140 × 205 mm, 2017 — Exploring a decade of graphic design within the visual communication class of Fons Hickmann at Berlin University of the Arts, the anthology is a comment on the past and future of teaching. Featuring 100 works by students as well as essays by designers Fons Hickmann, Franziska Morlok and others. The layout is dense, colorful and varied while allowing the individual works to make an impact. Overlapping images and text are compiled differently on each page. Concept and design with Lena Drießen, editing with Fons Hickmann, Pascal Kress and Lena Drießen, published by Verlag Hermann Schmidt.
VEIT, Corporate design including logo, stationary, printed matter, website, product-photography, 2016/2017 — VEIT is a vertically integrated furniture brand. Its first product is a modular furniture design system. I was part of VEIT from the start and was involved in developing the brand idea and visual identity reflecting the minimalist design, high quality and adaptability of the system in the corporate design. The timeless wordmark is complemented by a minimalist graphic interpretation of the corner-connector, the key element of the furniture design system.
Staatstheater Hannover, Poster series, 2018 — The Staatstheater Hannover (Hanover State Theatres) is a repertory theatre offering several theatrical genres: drama, opera and ballet. Stills from video recordings and other material are arranged into pairs creating visual references. Concept and design for and with Stan Hema.
Michael Wolf: Life in cities, Branding for Urania Berlin, 2019 — I created the overall visual identity for the exhibition Michael Wolf: Life in cities. Wolf’s works explore living conditions in major cities such as Hong Kong, Tokyo, Chicago, and Paris and address issues such as population concentration, mass consumption, privacy, and voyeurism. I chose to base the visual identity around the neon orange colour that is a common theme in the series “Architecture of Density” in which Wolf depicts the concentration of soaring buildings in Hong Kong. The poster and flyer layouts appear purposefully cramped with very little white space to further reflect the exhibition’s main theme. Spatial and curation by chezweitz.
A-B.international, Cultural journal, 176 pages, 210 × 280 mm, 2018 — A-B.international is the first independent magazine in Greek and German to deal with political and social matters from both countries. The content of the first issue was created in collaboration with journalists, photographers and writers to encourage intercultural exchange and reinforce unity and solidarity between Greece and Germany and across Europe. The relations between Greece and Germany have suffered enormously in recent years. There are many prejudices and misunderstandings on both sides. A-B.international asks: How do people cross-culturally perceive each other? How do they proceed living their lives after the crisis has been forgotten in the media? The magazine was set in German and Greek. It contains sociopolitical essays, interviews and poetry as well as documentary and fine art photography. The challenge of multilingualism is addressed differently in each category with various layout approaches. The layout is dominated by a strong grid with horizontal and column lines, which is softened by images that are arranged more freely. As well as being a co-founder and part of the editorial team, I was responsible for the art direction and graphic design of the magazine. Editing with Danai Moschona and Theodor Hillmann.
Dr. med. Reiter, Branding and packaging, 2019 — Upcoming organic cosmetic brand Dr. med. Reiter provides natural skincare for women during pregnancy. The visual profile takes cues from medical journals and is based on the graphic elements of the circle and vertical lines. The importance of transparency and safety is translated into a strong focus on text with all information placed on the front of the packaging. Concept and design with Timo Schmitt.
Summer University of the Arts (proposal), Poster, 594 × 841 mm, 2017 — The Summer University of the Arts is the summer workshop programme of the Berlin University of the Arts. I developed the artwork by referencing paintings of David Hockney and Edward Hopper: The colour palette is based on Hockney’s “A Bigger Splash”, the spatial experience is inspired by Hopper’s “Office in a Small City”.
Die Entfremdung im Raum (“spatial alienation”), Exhibition, 2018 — “Die Entfremdung im Raum” evokes connotations of a tour through displaced model scenes of social housing projects in a state of timeless purity. The project explores the feeling of alienation in urban living spaces. The images are the result of a multi-stage process of transformation: Based on photographs taken in Berlin, Tokyo and Hong Kong, the cityscapes are reconstructed as 3D-models, which are then rendered and displayed as large format prints. Thus, architecture is preserved at the moment of its creative perfection. Pristine building reliefs linger in a suspended state between fiction and reality, which persists even when the viewer has recognized the difference between rendering and photography. In this parallel world, there is an uncanny beauty and melancholy of the absence of men in man-made structures. Developed within the frame of my bachelor’s degree in 2017 at the University of the Arts Berlin, the work was nominated for the IBB-Preis für Fotografie (Karl-Hofer-Gesellschaft and Investionsbank Berlin) and was subject of a solo show in the gallery space of Fotopioniere in August/September 2018.
Die Entfremdung im Raum (“spatial alienation”), Book, 132 pages, 300 × 340 mm, 2017/2018 — Developed within the frame of my bachelor’s degree in 2017 at the University of the Arts Berlin, the work was nominated for the IBB-Preis für Fotografie (Karl-Hofer-Gesellschaft and Investionsbank Berlin) and was subject of a solo show in the gallery space of Fotopioniere in August/September 2018.