Logotype, design and art direction for the release of Munich-based electronic trio Dear Tom’s EP II. “The trio Dear Tom takes its time. Time for detail, time for their music to evolve and develop. The three friends took eight years to finish the follow-up to their debut EP Kranich: EP II. Quiet, fast, simple and complicated, melancholic and euphoric.” Animation: Hanna Viellehner. Music: Dear Tom. Mixing: Phillip Nemmert. Mastering: GKG Mastering. ©2020

Logotype for Studio Berkheim – a new contemporary art gallery in Southern Germany. Studio Berkheim shows, collects and celebrates young contemporary art from all over the globe. ©2020

Orbitea is a display typeface feeling somehow eco, somehow artificial. Historic, built from memories, but also contemporary and futuristic. Round orbits, imperfect circles circling around new potential worlds. Supervision: Marie Lusa. Additional Feedback: Malte Bentzen. Drawn at ECAL MATD. ©2020

Label design for RUEI-01: the concept of a robotically recyclable shoe. “By conventional recycling, objects arrive at facilities as unknown entities, with no communication of ingredients, they are fed into shredders smashing objects to smaller pieces which are then attempted to be identified and sorted by countless, painstaking steps. Endless variants in object compositions mean it is impossible to identify exactly what materials are, particularly in plastics where sub-variations and full colour spectrums are present. This inaccuracy of separation results in recycled material of the poorest quality, unable to compete with virgin materials.”. Product designer Maxwell Ashford’s diploma project done at ECAL, completed with support of ABB Robotics. Photography: Nikolai Frerichs. ©2021

Editorial design for Maxwell Ashford’s MA thesis “Fractions”. A research project investigating recycling, the realities of today’s processes, what are the current innovations and future. Photography: Olivia Wunsche. ©2021

Twirl was born out of the search to find new tools and techniques for writing letters. Based on a polar coordinate system its shapes live in a world built from circles. A stroke is made by rotating around a center point while varying the distance to it. In reality this is done by drawing onto a rotating surface and only moving the pen along an imaginary line crossing the center point. A straight stroke is impossible, a new principle of constructing letters needs to be applied. Supervision: Kai Bernau. Drawn together with Paul Christ and Romain Tronchin at ECAL MATD. ©2020

Publication design with Anne Seseke for the workshop of Jan Horčik, together with Ondřej Báchor and Malte Bentzen. The five day workshop was structured around creating new identities for territories claiming their independence. Through exploring the territory through google street view, the participants drew inspiration from the landscapes in order to design an identity applied to flags, letterings, mottos, posters, currencies and souvenirs. ECAL MATD. ©2020

human-808 is a modular typeface visualising and linking the sound of human beatbox and analogue drum computers. Its extreme style variations break the rigid pattern of the grid. Supervision: Matthieu Cortat. Drawn at ECAL MATD. ©2020

A survey of moments in history when social, political and economic systems change in parallel with typography. Typography is a substantial part of visual identities and thus a means of identification for countries, corporations and communities. Type can be used as a transporter of aims and values. It can provide orientation and a sense of purpose. Once you see a certain type connected to a particular era, style or area it immediately evokes certain feelings and tells you its narrative. It is a very powerful means. So on the one hand, whenever there is change, type can play a leading role in expressing this change and on the other hand, a new type can be introduced in order to cause change. Examples of such changes could be: A political ideology is associated with a certain style of type, a country switches its script from Arabic to Latin or a type design studio designs a multi-script typeface. All these changes are triggered by different intrinsic or extrinsic motivations and reasons: e.g. historical, economic, political, educational, aesthetic or modernisation reasons. In these cases type is used to embody these changes and socio-political shifts as a transporter of ideas. This thesis consists of three parts, the transition from Fraktur to roman, the world political topic of changing type through alphabet reforms as well as challenges in type design for a global market today with focus on designing for scripts someone did not grow up with reading or writing. Research project at ECAL MATD. ©2020–2021

Aufstiege (“Ascents”) light art festival organized by KulturRegion Stuttgart enabled visitors to discover flights of steps, vantage points, Stuttgart’s famous “Stäffele” steps, towers and other ascents from a new perspective. 37 light art installations from 45 light artists from 13 different nations were displayed. The visual appearance for this festival was created simply through a typographic light projection onto paper crafted steps. The night version (black), comlemented by a day version (white), build the main appearance of the festival throughout the whole communication. Designed with Tobias Held, together with Superultraplus. Sound design: Felix Buhler. ©2016

No other group of people is as far away from typography as illiterates. To bridge the gap between type design and illiteracy we interviewed experts from these fields. We found illiterates and conducted artistic typography workshops to create letters together in a playful way. By shaping beautiful letters the illiterates lose their fear of type and gain a sense of achievement. Supervision: Prof. Dr. Klaus Birk, Prof. Betty Schimmelpfennig, Prof. Martin Hesselmeier, Thomas Sali. Final BA project together with Tobias Held at DHBW Mediendesign RV in collaboration with Technische Akademie Schwäbisch Gmünd and Volkshochschule Stuttgart. Support by Arthelps e.V., Metapaper & DCT GmbH. ©2017

Custom lettering based on Phrase Condensed for de frakto, a short film by Max Fohrer and Josh Witt. ©2021

Kakushibori (Common Shape Pools) is a collaboration between type design and fashion design. Its aim is to enrich each other’s design process through creating a common shape pool. A dialogue to find intersections and overcome borders between two design disciplines revolving around questions like: How does the impression of a lettershape change when it becomes wearable? How does body language or a garment change when it’s informed by the shapes of a letter? How can the human body be a tool of change and transformation around language and definition of the word itself? Through the shape pool and by connecting with a different field of design, the way shapes are created are influenced from type to fashion and vice versa. Collaborative project with Anna-Deller Yee between ECAL MATD and RCA Fashion. ©2020–2021

Our aim is to celebrate the relationship between grandchildren and grandparents and encourage young adults to contact them, because they often forget to stay in touch. Our idea: Grandstories. We gather real stories from all over the world and give them a strong visual voice for the attention they deserve. We developed a display typeface with two complementary character sets to illustrate a typographic hug of those generations. Supervision: Prof. Dr. Klaus Birk. Done at DHBW Mediendesign RV together with Tobias Held, Viola Konrad, Tilman Koppert. ©2017

Logotype and typography for SAMPLE, solid shampoo and organic soaps by Margo Clavier and Amandine Gini. SAMPLE is the result of a liaison between designer and craftsman, aiming to create a local and sustainable product, packaged and designed in an ecological way. Swiss made in Valais. Photography, first picture: Adrien Sgandurra ©2020–2021