Textile Graphics for MCM AW20 collection ‘Hypertechnoreality’ — Art direction Timo Schmitt, Creative direction Dirk Schönberger.
Art direction for Chapter Magazine, Issue N° I – III, 162 pages, 230 × 340 mm, 2018/2019 — Chapter Magazine is a large size print magazine covering the core topics design, travel 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 an interdisciplinary innovative mix of references and approaches. Automobile and motorcycle features meets photo spreads that picture architecture and design from fascinating angles, travel reports highlighting exciting aspects of social and cultural politics, personality stories and interviews presenting unconventional characters in involving profiles. All of this aims to not just excite and inspire the reader but also break outmoded stereotypical moulds in language and imagery, thereby creating space for new impressions and perspectives. Chapter, therefore, doesn’t just reflect the past or the current zeitgeist, but goes on the look-out for people and products that will shape our future in the fields of mobility, technology, design, society and culture. 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 by internationally renowned teams that speak of big ambitions while also pointing to those 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 borrowing from 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. Thus, Chapter positions itself as a state-of-the-art coffeetable magazine and collector’s item. Chapter Magazine N° IV will be in stores in November 2020.
CRONE Side, Booklet, 28 pages, 105 × 297 mm, 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.
INDIE Magazine, Issue N° 58 – 61, 160 – 260 pages, 230 × 280 mm, 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, 594 × 841 mm, 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 (“spacial 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 (“spacial alienation”), Book, 132 pages, 300 × 340 mm, 2017/2018 — “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.