LATEST PROJECTS—DIGITAL RELEASE COVER FOR TVC. 

TEACHING
2019–2020
–Academic Assistant and lecturer for
the Institute for interactive practices
of digital design at HfG Karlsruhe, GER
2019
–Workshop at STF Typefestival
2018
–Workshop with first year students
of HfG Karlsruhe
2017
–Workshop with first year students
of HfG Karlsruhe
2016
–Workshop with first year students
of HfG Karlsruhe
2013-2014
–Workshop series (Malclub)
with Larissa Mantel drawing,
Analogue Visuals, window display

LECTURES
–updated soon

FEATURES
2019
–Slanted Magazin, 'Europa'
–Its nice that, on my work, 
2018
–Poster Tribune, Issue 8
2016
–Its nice that, on my work
–Its nice that, Intrus Sympathiques
–Slanted Magazin

EXHIBITIONS
2020
–MAK (Museum für angewandte Kunst), group show, November 6, 2019, March 1, 2020, Vienna, AUT
–ZHdK+Museum für Gestaltung Zürich, group show, December 21, 2019, January 10, 2020, Zurich, SUI
2019
–In the Paper Gallery, group show, February 22–March 23, 2019, Seoul, KOR
–Kulturforum am Potsdamer Platz, group show, June 14–July 7, 2019, Berlin, GER
–Museum Folkwang, group show, July 19–August 11 2019, Essen, GER
–Quartier GÈnÈral, group show, July19–August 11, 2019, La Chaux-de-Fonds, SUI
–Schule für Gestaltung St.Gallen, group show, September 6–24, 2019, St.Gallen, SUI
–Staatliche Hochschule für Gestaltung Karlsruhe, group show, October 12–20, 2019, Karlsruhe, GER
–ECAL/Ecole Cantonale d'art de Lausanne, group show, October 30–November 15, 2019, Lausanne, SUI
2018
–Belli Gallery, Cellophane, Milan, IT
2017
–Ficciones Typografika, Minneapolis, US
–Intrus Sympathiques, Centre Cultural de Suisse, book launch, November 17, 2017, Paris, FRA
2016
–International Poster Exhibition,
–The Lighthouse, UK

AWARDS + SCHOLARSHIPS
2019
–100 Best Posters from Germany, Austria and Switzerland (PROTO MIGRAINE BUILDINGS), Berlin, GER
–100 Best Posters from Germany, Austria and Switzerland (LOOPHOLE), Berlin, GER
–100 Best Posters from Germany, Austria and Switzerland (FREMDKÖRPER), 2019, Berlin, GER
2018
–Certificate of Typographic Excellence, TDC New York, US
–Certificate, ADC Germany, GER
2017
–Most Beautiful Swiss Books (Intrus Sympatiques), Basel, SUI 
–Best Book Design from all over the World, Bronze Medal(Intrus Sympatiques), Leipzig, GER
–PROMOS Scholarship, for a semester at CAFA Beijing, CN
2016
–Bronce Nail, ADC,(Jahresbericht 14-15)

Before my graduation, I wanted to expand my field of vision again and spent a semester studying at the Central Academy of Fine Arts in Beijing. There were no plates in my first accommodation, but there was an Ikea not far from the university, which is the obvious place to stock up on cheap tableware. What struck me there was that superficially everything looked like I knew it from Germany, but the use of the furniture store was quite different from what I was used to from my visits.
IKEA.CN is the result of observations I made between August 2017 and January 2018 during a stay in Beijing, China.

Cars as status symbols are omnipresent––however, nowhere in the world have I ever seen more luxury cars than in Beijing. The same thing goes for designer clothes, shoes and handbags (most of which are fake, though it’s hard to tell as replicas have become virtually indistinguishable from originals). The effect of this constant exposure to luxury goods, however, is imminent indifference––yet another pair of Balenciaga sock boots here, another quilted Chanel bag there. Fake or real, who knows? 

Im Interview mit Peter Weibel, Direktor des ZKM Karlsruhe, und Siegfried Zielinski, Rektor der HfG seit Anfang 2016, geht es um die gemeinsame Geschichte und gemeinsame Zukunft der beiden Nachbarinstitutionen. Auch das Designkonzept des Bandes lädt zur Interaktion und zum Dialog ein, sowohl mit dem Buch selbst, als auch mit anderen, die es besitzen: Anstelle eines Covermotivs wurde ein Aufkleberbogen in acht Farbvarianten mit eingeschweißt, der die wichtigsten Informationen zur Publikation enthält – zum Beispiel Titel, ISBN und Erscheinungsjahr. Mit den Aufklebern kann das Jahresbericht-Cover individuell gestaltet werden.

Verschiedenfarbige Aufkleber können mit anderen Jahresbericht-BesitzerInnen getauscht und rekombiniert werden. Designt wurde der Jahresbericht von Anna Cairns, Sascia Reibel und Lino Santo, Studierenden aus dem Kommunikationsdesign. Clemens Jahn zeichnete für die Projektleitung und Redaktion verantwortlich und führte Interviews mit Volker Albus, Jonathan Bepler, Michael Bielicky, BLESS, Anja Dorn, Daniel Hornuff, Andreas Müller, Matteo Pasquinelli, Sereina Rothenberger, Heike Schuppelius, Rebecca Stephany, João Tabarra, Peter Weibel und Siegfried Zielinski.

The year 2014-2015 marked a change in the university history of the HfG Karlsruhe: After the departure of the rector Peter Sloterdijk, an initially unfilled personnel gap opened up - the simple cover of the annual report is a symbol of this break. We wanted to turn the annual report back into an object that students would also like to own, and then decided that we wanted to make the cover unique over the course of the print run. After some design tests, and the idea to produce the cover in digital printing, in order to be able to print 1000 different covers with the edition of 1000 pieces, we decided to intervene in the printing process instead of digitally creating 1000 different covers. The cover starts in print as a full-face red front. During printing, the printer turned off the machine's inking unit, but the sheets were still printed. Since less and less color hung on the bobbin, the course of pink turned out to be almost white, so that almost every copy has a different color.

The design of the annual report of the HfG has been done by 2xGoldstein since 2004. In 2014, the report was then announced for the first time as a project for students. Anna Cairns, Lino Santo and I formed a group and got the opportunity to work as a design team. We did not have a project together in this formation - but in collaboration we worked well as a group and enjoyed working together. Being three was a good size to do this job.
We had no restrictions, and so we basically had a carte blanche. We decided to first analyze how the reports worked in previous years and then figure out what we can do differently to represent the HfG. It was important for us to give both image and text decidedly more space, which we took literally and therefore chose the largest possible format, which leaves 16 pages of space on an offset printing plate with optimum paper utilization.

We noticed a little late that the books were then too heavy and too big for normal shipping bags. The generous font sizes convey the idea of space, and in the individual department chapters, the photo and text of individual projects are linked with each other via cross-references. We kept the typography and the layout simple, which logistically proved to be the right decision, because the whole coordination and the tasks in the background still had to be managed. In doing so, we learned a lot about print production and dealing with a high print run, managing budget, communicating with printers, and what kind of co-ordination effort is invisible behind the end result.

The concept and design for Intrus Sympathiques was developed by Tatjana Stürmer, Phil Zumbruch, Simon Knebl and myself in close collaboration with Olivier Lebrun and Urs Lehni. The book was published in conjunction with the first monographic exhibition of Chadebec's work in the Écomusée Creusot Montceau at Rollo Presse Verlag. Chadebec himself has only collected his work loosely and has not built up a consistent archive. His relationship to his work does not correspond to the "classic" of a graphic designer, a neat documentation pretty much did not happen at all. The documentation was then finally done by us; we took care of the poster repro-photography and also the image processing and print preparation. The starting point for the concept of the book was that it is not possible to imitate the striking effect of a poster in its original size in a print object, but that is not really necessary anyway.

An isolated presentation of the posters did not make sense, as that would cause them to artificially inflate their importance, snatched from their context within the factories and placed on a high pedestal. The clean repro is in contrast to the actual handling and the origin of the material. The reproductions were printed in 3 special colors and black, and any mistakes in the original print productions, such as color overlaps and shifts, were deliberately not removed as a charming detail. Instead of clinging to the poster, we decided to fold the reproductions of the posters and then integrate them folded into the book, creating interesting juxtapositions of type and shape and color. Repro photography also resulted in the format, which was based on the proportions of the dimensions of the posters, and then ultimately resulted in the quadfold and the highest possible resolution of 300 dpi. 

By folding, we broke with the usual fact that there are bound pages and page sequences in a book due to the binding, because one leafs through printed and unprinted pages alternately with folds and non-folds. The feeling for the actual size of the unfolded poster is still present the book, and not infrequently people tried to unfold the posters, and then accidentally tore out some pages. The Safety Museum Écomusée Creusot Montceau was also quite sure when received the book, that something must have gone wrong. The posters are supplemented by monochrome reproductions as an appendix and, among other texts, by an essay that records the history of accident prevention and prevention in the workplace and examines how hazard warnings are conveyed and why Chadebec is unique in this regard. We have worked mainly in coming up with the concept, discourse, the image sequences; finally, handling the typography Urs and Olivier have taken over.