The light blue colour marks a health and hygiene emergency by closely relating to the colour used for water, sterilisation and hygiene representations.

The poster’s visual impact is subtle while eliciting reliability, acceptance and safety to the viewer. For conveying the message, the widely recognisable font Helvetica is applied on a large scale. Its use relates to the simplicity of the instruction, communicated on a global level, calling for vigilance and adherence. The illustration of crossed arms, found in the letter B of Typefesse Pleine, represents the body part that should be thoroughly disinfected according to state instructions.

In order to promote a dialog on the theme “Equity” and “Differences” on Campus, and with the goal to support the wish of his university to integrate awareness on themes such as “Racial Equality” and “Inclusivity” in the curriculum, Jean-Benoit Levy has taken the opportunity of a simple exercise where his students work on their own portrait to tackle this delicate subject. Can we openly communicate about the different color of our skins ?
Working with the tone of their own skin, limited to four single colors, each student have been asked to translate their portrait into a colorful halftone effect. By doing so, they found themselves embracing naturally their differences.

As a vibration in the electromagnetic spectrum,
colors appear in an optical window, within the visible light after microwaves and before x-rays, just between infrared and ultraviolet.
As colors are rarely working individually, they
must take their best expressive individuality
when they act together.
Like a ongoing sound that is transforming, this composition mutate itself from the straight
cold dark edges of the rectangular format to become a circular glowing element in its center.
Morphing slowly from one shape to the other with small variations, this composition symbolize the surrounding changes in the natural order that is permanently transforming us.

This is a very blocky alphabet. Initially, I made it as a silkscreen in a series of 12″ square typography posters (https://dastner.com/typography-posters/). It turned into the cover of a DJ mix I made with my new german records. At one of the NYC TypeThursday critiques, an idea turned came up to rebuild the layers using laser-cut plexiglass and then have lights shine through it. It was easy to construct it but hard to photograph it, which resulted in so many reflections.

Fun project: what if bananas were green instead of yellow and cucumbers were suddenly pink? Would they still taste good then? And if the toadstool and the STOP sign no longer appear in warning red … what happens to us then? Form follows function or rather colour trumps form?! And would pink sheep feel more fashionable or are they just no longer accepted as part of their group …? When does colour become more than just colour? Politics and psychology always play into it – but just in spite of – that the colouring variant for everyone: Make your world (colourful) as you like it!

In cooperation with the Stadtwerken Saarlouis, ten power houses in the Saarlouis urban area were artistically designed. These form a permanent open-air exhibition.
The context of the found power house is characterized by open spaces that are exclusively declared as private parking areas and thus do not provide for any public use. Based on this deplorable state of affairs, the typographic supergraphic “Nur Parken, Nur Parken” was created.
By using found symbols and signs as well as barriers to mark parking spaces, a lettering was developed that aims to draw attention to the waste of public space caused by parking areas.

This anamorphic painting is named and inspired by “The Dark Side of the Moon”. The original design is inverted, first of all by working on an off-white background instead of a black one. The circular “dark side” reveals all its colors with, on the furthest plane, a fade progressing from a mauvish purple to melon yellow. On the foreground the colors shift, going from lemon yellow to light blue. The round “moon” acts as a lens, magnifying the triangular prism. Acrylic colors were combined with spray paint to create clean and smooth gradients.The palette was directly sampled from the stained-glass windows which filter the daylight into the room, an elegant 1800’s interior.
Photo by Luca Farinet

Death By Rainbow is a Berlin based Queer Clublabel.

Illustrated selection of flyers for a Berlin based party series called “Acid ist Fertig” which is always showing a new variation of the trademark smiley/pill-illustration.

Based on the Japanese Kanji character for “水 water”, I created this image to show the generative changes of the character.

A happy and playful event identity designed for The Swiss Poetry Slam Championships of 2019. In order to visually accommodate the fun cultural event a bright colour scheme was paired with playful typography, abstract illustrations and animations which were used throughout the event.

Poster inspired by Melanie Bonajo’s short-film Night Soil/Fake Paradise, 2014.
“Can ayahuasca have the same significance for our day as LSD had for the 1960s? Exploring this question Night Soil/Fake Paradise presents an amalgama of personal accounts on the spiritual and bodily experiences with the Amazonian substance, giving particular weight to the feminine voice and point of view, traditionally neglected in psychedelic research.”

With the ‘Tanzkamera Obscura’ movements of dancers are caught and transferred into light-drawings. The arms and legs of the dancers are—like a puppet on strings—connected to a hand-built machine that registers them into a drawing. The camera is a self-designed 3D printed camera obscura with an integrated light drawings system. Pictures are taken with long exposure times on light-sensitive colour photo paper. Included in the camera is a fiber-optic light-drawer, that traces the movements of the dancers. The final photo shows the different reactions from the different light sources on the photo paper.

In collaboration with Felix Pape, Agnes Storch and Veerle Vervliet.

I enjoy painting wobbly characters in bold striking colors.

La villa Noailles art center in Hyères, southern France, promotes contemporary art, fashion, photography, design & interior design with a focus on emerging talents.
Its unique location, surronded by the Mediterranean, luxurious nature and precious colors & light, has been the starting point of the creation of its visual identity, translating these components into highly sun-concentrated graphics.

Printing Marks is a wrapping paper designed for the bookstore of the french Centre National du Graphisme de Chaumont. the pattern is composed of a collection of colors print markers collected from industrial packaging.

Nebula is an abstract illustration made in code. By using feedback loops and noise, digital textural moments are generated. I make those analog by intervening at the right time and pulling high quality prints from it. ✌️

This book tries to depict the future of museums trough multiple projects of transformation of the Museum of Art and History of Geneva. Each designer presents a new energetic and climatic influence on architectural reflection and evolution. Colours intervene as a visual cue to navigate the three chapters (light, humidity and heat) in which the projects are organised.
Photographs by © HEAD Micheal Giesbrecht

This series was designed as an investigation of my relationship with control versus surrender. A series of life events left me feeling out of control. My process: experimental methodologies in material explorations, layout techniques, and “blind” elements that create chance outcomes. Chance methodologies can produce unexpected results, which are integrated with both analog and digital techniques.  

BeigeNotBeige documents overpaintings on building facades in order to hide minor damages. Not every repair work justifies the repainting of the whole building. The repaired patches aim at “striking the right tone” of the facade, sometimes insisting on its original color and sometimes considering the patina the building has collected over the years. Yet in every case the repair work is distinguishable from the original facade. The edges of the newly painted areas begin vibrating almost in a “Rothkoian” manner. The resulting shapes start leading a life of their own. They appear as a deliberate intervention, sometimes as a site specific comment, sometimes in dialogue with other facade elements.

For the European network for higher arts education we created the visual identity for this years biennial in Zurich with the title „Expanding the Arts“. The Expansion of the art terms as a goal of the biennial is visualized with the flexible yellow brackets. The colour is getting a very high importance in this concept because the yellow together with the shine is the center of the events identity. We have a very wide range of developed applications that could be showed in the magazine, from printed matters over digital elements to signage design.
We would love to see it printed in a reflective bright yellow, for example a fluorescent colour.

In 2017 I worked on a poster series for the upcoming German federal election. The goal was to increase the usually pretty low turnout in the Cologne district Kalk. The result is a poster series with 4 different colorful gradients, which represents all parties present in the government at this time and also had a high chance to be reelected. Above the notable gradient, you can see the word “Wähl:” which means “vote:”. To guarantee a neutral, impartial design I made a series of 4 posters in which the gradient is turned by 90° each time. Also, the color gradients are supposed to represent the fluent transitions that exist between the parties and their wings. (Find more details on my website.)