Die
Lorem Ipsum
What, Lorem Ipsum is not real Latin?
I <3 ME
I am popular and powerful. Society accepts me. My work is important. I am seen. Everyone listens to me. I <3 ME is a project about privilege, oppression and abuse of power. It plays with the underlying meaning of a suit. The ironic shift that happens when applying the privileges of a white cis-gender male onto a minority, makes the observer question their own position.
Three Kings – visual_busy/ _pleasure/ _culture
The present is full of problems, the zeitgeist is confused and scared, the day is full of experience. The way of seeing is the process of translating visual informations. The question of the significance of the visual is negotiated in many places and within many discourses at the same time. Seeking a conclusive answer feels urgent, yet acknowledging underlying issues and their implications may suffice.Three vestments one attempt.
anti police violence
Police violence has endured through the ages, these shirts are regarded as a bold proclamation against such brutality.
TR-808 Mixtape
Kunsthochschule Mainz Rundgangsparty
Robert Johnson
New York ain’t Berlin, Paris ain’t Berlin, Frankfurt ain’t Berlin – and neither is Offenbach. Yet we take pride in running a club for 23 years now that most of you wouldn’t expect to be situated in Frankfurt’s not so popular neighbor city.
Try & Error
Making mistakes is the best way to learn.
First Drop Soon
Is Normecore still a thing in graphic design and fashion? Is it just an outdated trend or a permanent counter-movement to overloaded visual aesthetics? This is the first drop [1/4] of a small, experimental collection series. The longsleeve is durable with a thick neck, thick elastic sleeve cuffs and boxier cut.
Öksüzler
Dark comedy, violence, colorful-dark, everyone is manipulative, everyone is complicit, The Dark Triad.
Inner Structures – Outer Rhythms
The exhibition Inner Structures – Outer Rhythms: Contemporary Arab and Persian Graphic Design at the Museum für Kunst und Gewerbe Hamburg (MK&G) showcases current developments in Arabic and Persian typography. On view are posters, videos, animated films, murals, installations, books and typefaces by 33 designers and studios from South-West Asia and North Africa (SWANA), as well as the diaspora.
The exhibition demonstrates how currents in Arabic and Persian graphic design are of equal relevance, providing mutual inspiration and contributing significantly to the global design discourse.
The springboard for the show is the idea that the 28 Arabic characters and the 32 Persian letters derived from them form an inner structure that ties them together as related scripts. At the same time, they follow an external rhythm that is shaped by music, poetry, cultural dynamics, and the force of political movements. Despite religious, linguistic, ethnic, political and social differences in the SWANA region, the Arabic, and Persian writing systems serve as unifying elements across national borders.
The tension between structure and rhythm unfolds in four design themes. Contrasting current graphics with classical Islamic calligraphy, which adheres to strict rules, the theme Beyond Calligraphy looks at works that probe the limits of Arabic and Persian script by devising unconventional lettering. While rooted in local aesthetics and traditions, these designs are also inspired by typography, abstraction, spatial illusion, and minimalism. Lara Assouad, for example, develops modular characters that draw on geometry and early Arabic calligraphy. Graphic and type designer Tawfiq Dawi (Hey Porter!) is likewise renegotiating the relationship between calligraphy and typography as part of his 1000-Poster Project (2017–20). His work displays an innovative mix of calligraphy, typography, and imagery.
The theme Design for Culture and Art introduces designers and studios that are helping to shape the vibrant arts and culture scene in the SWANA region. Works such as posters and books by Studio Kargah in Tehran, Studio Safar in Beirut, and Kemistry Design in Dubai serve in the global design discourse as visual ambassadors of the local scene.
The exhibition also offers a reading room with magazines and reference books, inviting visitors to delve into the relevant research on the history of Arab and Persian graphic design.
Inner Structures – Outer Rhythms: Contemporary Arab and Persian Graphic Design
When? Friday, 26th April, 2024 to Tuesday, 22nd April, 2025
The Ajot font
This unique font “Ajot” was developed for printing on textiles. Each letter is an individual artwork itself, radiating freedom, playfulness, experimentation and fun when worn.
The lettering was applied to the textile using a transfer printing process to preserve the clear outer shapes and fine lines, which is further enhanced by a single-color print on a monochrome textile. The font is planned to be extended into an entire character set.
æsthetics collection
The æsthetics collection not only embodies æzone’s thematic pillars of design, haptics, audio & visuals but also showcases shirts with cuts crafted by æzone themselves.
Even the care label has its unique design and the æzone logotype is on its way to becoming a complete typeface.
Screenprinted on a blend of 50% recycled and 50% organic cotton – made in Czech Republic. All textiles are 100% molecularly recyclable, ensuring a circular lifecycle where they can be returned once worn out.
Go with the flow
Shine bright like me
Recap see conference #16
The see conference in Wiesbaden unfolded on Saturday, April 6th, drawing over 800 attendees and solidifying its status as one of Germany’s premier design gatherings. Since its inception in 2006, the conference has championed the power of visualization in understanding data and information. This year, it delved deeper into the realm of sustainability, recognizing that effective presentation is key to illuminating societal truths amidst the deluge of information.
Bringing together a diverse array of disciplines, including design, art, architecture, business, journalism, sociology, philosophy, and technology, the see conference serves as a nexus for individuals committed to shaping a better future. Its interdisciplinary curation fosters fresh perspectives that highlight the impact of our actions on future generations, galvanizing attendees to translate insights into action.
Organized by the association Bilder der Zukunft (Images of the Future), the conference not only sparks creative innovation but also emphasizes our responsibility to society. It is a platform where pressing issues are dissected, and solutions are explored through the lens of design.
Among the notable speakers was Jörn Menge, whose initiatives such as Laut gegen Nazis (Loud against Nazis) underscored the conference’s commitment to social activism. Mark Benecke’s impassioned plea regarding the climate crisis resonated deeply, urging attendees to take concrete steps toward sustainability.
Bonnie Hvillum and M/M Paris offered compelling insights into material innovation and the complexities of human expression, respectively. Tereza Ruller’s exploration of performative design challenged conventional norms, while Neville Brody provoked introspection on the role of design in shaping perceptions and promoting democracy.
Neville Brody, a luminary and trailblazer in graphic design, captivated attendees with his talk address. Reflecting on the conference theme, Brody posed a poignant question: “Are we contributing to the fairness in democracy or not?” He emphasized the profound influence of design in shaping public perception and underscored the responsibility of designers to uphold ethical standards. Brody urged for more experimentation and innovation in design to address societal challenges, lamenting the cultural loss that comes with complacency. His insights resonated deeply, challenging attendees to consider their role in promoting equity and democracy through their work.
The see conference, in partnership with the World Design Capital Frankfurt 2026 initiative, represents a holistic approach to design, recognizing its profound implications for democracy and societal progress. As the call for participation for the next conference in 2026 opens, attendees are encouraged to reflect on the transformative power of design and their role in shaping a brighter future.
Looking forward to the next conference in 2025!
There is always sunrise after the darkest night
Cotton blanket blanket with Ukrainian typography. It’s inspiring text is extremely important in cold and dark times, when missile strike outside your window. It helps to cope with this at home in Ukraine.
Hannnes Roether FW20 Newspaper
Publication for fashion brand Hannes Roether that appears twice a year.
Printed on 60 g/m2 newsprint (24 x 36cm).
Hannnes Roether SS21 Newspaper
Publication for fashion brand Hannes Roether that appears twice a year.
Printed on 60 g/m2 newsprint (24 x 36cm).
Mother Tongue and Foreign Language
In a mother tongue, one finds identity. It is natural, familiar, and easy. A foreign tongue feels unnatural, strange, and clumsy. Everything about a foreign tongue, especially when one deals with East versus West, is alien – alphabet, grammar, culture, and flavor. When one identifies a mother tongue, any other language becomes the “other.”
LAW OF ATTRACTION
My Body,
beyond this world
Vibrating Energy
I am more than skin and bone and internal organs
The Universe is represented by me
Personified
A garment, close to my frequency
Rays of sun infuse me
What belongs to me, will simply find me
Part of Words Clothes Expression project
Klasse Roberts @klasseroberts
ABK @abkstuttgart
Ms. Lauryn Hill – Merchdesign
I was commissioned by Ms. Lauryn Hill to design her merchandise. In the design process I had direct contact with her. Ms. Hill continues to perform at festivals and always offers a wide variety of merchandise. I designed apparel graphics for her that were meant to be a homage to Jean-Michel Basquiat. For this reason, Ms. Hill was illustrated with the simplest means and depicted in combination with handlettering. The 2 dimensional representation made it optimal for screen printing the graphics on