Vila Real is one of the oldest cities in Portugal. The old part of the city is being updated in order to become more friendly for pedestrians, children and old people. It was necessary to communicate this to the population, transmitting the new feeling of the renewed and updated city – specially to younger generations. The idea was to create a communication system that could adapt to all kinds of supports in a young and attractive way. Communicate the city renewal in a way that made the population proud of the reconstruction projects. Simple and bright composition modules with strong colours and simple shapes. The endless graphic possibilities were quickly adopted by the city.

Built between 1936 and 1946, Matosinhos Market was projected by ARS. A Portuguese modernist architecture icon, characterized by its white strong light and the seaside lifestyle. Matosinhos Market maintains its original function, and has been open since the first half of the 20th century. Famous for the fresh fish, it succeeds in allying the tradition of ancient markets – where visitors are confronted with a cornucopia of different delicacies and multicoloured stalls – with the architectural beauty of the surrounding space. Vestígio designed the graphic identity system of the market.

“After all, the best way to travel is to feel.” wrote Álvaro de Campos, one of the identities of Fernando Pessoa, Portugal’s most famous poet. We want the LGBTQ tourist to feel proud to be unique, as we feel about our country’s colourful landscape, a leading LGBTQ destination. Among the 20 most visited countries in the world and considered one of the safest, in Portugal you will feel the warmth of the sun and of our people, discovering tastes and textures of a unique and rich culture. “Proudly Portugal” is the first initiative to promote Portugal as a leading LGBTQ friendly travel destination.

I thought it would be fun to take a historical figure like Abraham Lincoln and portray him in rich, primary colours in oil pastel, as Lincoln is most frequently seen in muted tones on five dollar bills or as a statue.

Artistic installation for the KM3 Festival for the 375th anniversary of the city of Montreal. This installation is a collaborative game that can be played intuitively by many.

let’s celebrate the diversity of the LGBTQ community and its colorful existence – true to the motto: Pride never stops. Stay proud!

Artistic installation for the Centre Pompidou and the West Bund Museum in Shanghaï.

Interchange is a course game that is played alone or with others. It is intuitive, which makes it accessible to everyone. The paths cross, drift apart, and get closer. Each route is different and creates a new experience. We can follow, be followed, become decision-makers, change our minds, or even turn back. The piece, like a musical score, is a metaphor for the richness of human interchanges.

Series of posters promoting the first participatory budget for the city of Antony (France) in 2018.

A series of process/sketch books showcasing the development of the master thesis/project. The books are designed to function on their own, but also as a part of a system. Varied number of pages, 210 x 260 mm.

Bangkok is animist. Supernatural beings dwell in trees, water and other natural features, but also vehicles, building and bridges. In Thailand, we strongly believe in the two type of land spirits, Deity of the Land and Lord of the Place. These spirits love to snack, and they’re believed to eat for the duration that the incense burns. From common rice and water, offering cuisine rises through money, taxes and rental fee. Ordinary Thais who live in the kingdom of Thailand, especially in Bangkok, we are working for paying the rental fee for our whole life to the Lord of the Place and Deity of the Land.

Greetings card originally printed on metallic stock and using a custom type.

Rhythmic logo, identity and posters for Powerhouse… It’s all in the name. Energetic posters with a focus on motion and animation to cover the vibe properly. All bright and bold Riso printed on A2.

Rhythmic logo, identity and posters for Powerhouse… It’s all in the name. Energetic posters with a focus on motion and animation to cover the vibe properly. All bright and bold Riso printed on A2.

„Of Mood“ is part of my semester project “Soft Hair and Rough Cars”, created at the class of guest professor Stefan Marx in summer 2020 at HfG Offenbach. It´s a poster series with merging photos of the city and experimental, illustrative typography inspired by the cities mood.

These four images form part of a larger body of work titled: ‘ISOMETRIC SYSTEM’. By combining flat colour planes with planes of gradient colour, an illusion of a three-dimensional form is created on a two-dimensional plane. Colour choices have been selected with a light and dark sensibility that highlights the relationships and contrasts between abutting colours and planes. Isometric projection isn’t the way we usually view objects, and the shading and colourisation of the planes don’t conform to any logical light source, rendering the work somewhere between the pictorial and the abstract.

‘SEAN HOGAN: 30 WORKS: 2014 – 2020’.
This book spans my interest in coded visual languages, grids, pattern, music, and systems. In these conceptual works, I explored methods of ocular colour mixing, investigated the subversion of colour and words by the manipulation of the International Code of Signals, and developed sets of rules to inform and guide the work’s formal aesthetics (geometry, colour, proportion, line). In reciprocating a form of algorithmic thinking, these works embody and embrace the evolution of humans’ increasingly symbiotic relationship with digital technology.

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