KOLORIT is an open platform that realizes concerts in the fields of experimental sound, electronic music and audiovisual art. The campaign represent a new chapter of its concert series, turning Schleuse Zwei into a space where sound becomes reflection. This time, the question is no longer just what we remember – but how memory takes shape when we listen.

Inspired by ideas from philosophy and psychology, KOLORIT explores memory as something fluid and alive. A constant negotiation between what stays, what fades, and what transforms. Between echo and silence, recollection and invention, music becomes a way to sense what usually remains hidden.

The line-up for the show on November 29, 2025, included Kuoppamäki & Herbst, Multipolar, Phasenmensch & Antoine Saint-Martin, Eyal Talmor, and Laktose Intolerant (DJ).

(Text by KOLORIT, with slight edits. See also the press release by Hochschule Düsseldorf.)

The promotional materials were designed by Jan Schmidt Bist and present the first use of Memoir, a free all-caps typeface by Daniel Gremme. The KOLORIT logo (not part of this design) appears to use Futura Bold.

The Hofvijver Regatta is a rowing event held at the eponymous Hofvijver in The Hague (Den Haag). Every year, local rowing teams come together to row for the good cause.

This was the first use of Grandessa and features a numeral 2 with a closed counter, which has been changed by now. Especially for this event I’ve also added the Dutch IJ to allow for a slight increase of the headline size.

Originally it was planned to print all three posters in A1, but the management didn’t manage. In addition we produced a sweater and stickers.

Hailing originally from Curacao, fashion designers practice Marc Martha is thoroughly inspired by their Caribbean and African heritage. A recent graduate of the prestigious Royal Academy of Fine Arts Antwerp, founder Marc Martha Pengel reshapes traditional garments to encourage self-expression.

Studio Böreck developed a minimalistic but distinct identity for the brand that is used throughout all media. In addition to designing their website, they also created a webshop to promote their unique editions online.

Outward is scaled up for maximal size and sometimes vertically extended on desktop/mobile devices, resulting in a typographic pattern which creates sort of a landing page moment. Skanaus is used for smaller display sizes, reflecting on the expressive quality Martha's outfits perform, while Neue Haas brings shape to most of the content in a modest manner.

The website is coded by Panadda Manarata and Ilias El Makrini.

From Tellie:

The Beat is a Q&A-style docuseries on creativity. Featuring interviews with working artists and creators, from painters and poets to filmmakers and musicians, The Beat explores the highs and lows of being a creative professional. What drives our need to make art? How has the pandemic affected our creative process? What advice would we give our younger selves if we could? See a spectrum of answers to these questions and more in this beautifully filmed interview series from director Ryan Essmaker, brought to you by Tellie.

Next to lines and color-coded backgrounds, Skanaus is a binding element, both for display in uppercase and information layers in lowercase. It is applied mostly in Regular and partly in Display style. Black Dragon SVG Regular is used for name tags on the website. Tell.ie's corporate typeface Suisse Int’l holds it all together.

Tell.ie is a Web3 site builder for creators where art can be marketed, music released and merchandise be sold.

Poster series for an autumn break party organized by Non Linear Narrative first year students at the KABK, the Royal Academy for the Arts in The Hague, Netherlands.

Sketchy, bright and vivid elements embrace fun and failure. Dance as wild as you like! As the posters were mounted briefly before the evening, pointing out it’s “this Friday” actually makes sense. We chose Magiel from Warsaw Types due to its heavy, straightforward but somehow lovely appearance, and set it in lowercase to have a very compact counterpart of the wild and uncontrolled illustrations.

It was a lovely evening. Thanks for coming everyone!

Poster hanging inside of KABK.

Playlist Cover

Social Media Promotion

Desired Landscapes by founding editor and creative director Natassa Pappa is a magazine reading into a diverse mix of cities. Each issue explores the sense of a place and the visual representation of the urban experience. It is a pocket-sized collection of person-to-place bonds, urban observations, and poetic snapshots, seen through the eyes of people who write the stories of today’s cities.

This research expands to further printed matter having the city as a source, such as maps and guidebooks, but also to walking tours and urban research workshops.

Issue 04 arose “from the urge to create a vehicle to travel without traveling. As an unfortunate surprise, that became even more relevant during Covid-19 days. Instead of designing maps of routes, we now count walking distances, to see who are we allowed to see. With this issue, we rethought walking, the hotel, online meetings and telepathy. Sometimes, the experience of reading a text about a city can be more enlightening than an actual visit. And a city's image can be more rewarding.”

The use of Skanaus can be mentioned here especially, as one reason why It came to use is the fact, that it was designed by Daniel Gremme during an exchange semester in Vilnius — one of the cities explored in this issue. Skanaus is a guest typeface alongside the magazine’s stalwart typefaces Farnham and Averta.

In Search of a Common is the process documentation of a student group project, as documented by Gabija Bubnytė. She says about it:

The map and the publication are developed to conclude the RASL minor 'Re-imagining Tomorrow through the Arts and Sciences'. During the minor, we worked in transdisciplinary groups with people from the art and the music academies, alongside university students from various disciplines. The core principles were engagement, collaboration and equality of knowledge. The map and the publication are a synthesis of the project I took part in, which explored the questions of ecologies, symbiotic living within the city and reconciliation with the current climate crisis. I am reflecting upon my own contribution in the project and how I believe we managed to combine theoretical, visual and embodied knowledges in our process.

The typography uses the Regular cut of the recently released Skanaus as the main typeface. Find more images of the project on a temporarily available website.

Pretty Ugly was made as a student project at Hochschule Düsseldorf, under the supervision of Victor Malsy.

35 short stories, once written as a column for DU magazine, summarized in one volume. Misanthropy, irony and panic join here in cheerful brutality. Sometimes more, sometimes less. Each story has its own trick and bites the nerves of the reader harder and harder.
The volume is divided into five chapters of seven stories each, with each one increasing in content and visual appeal to pain. However, the dosage of that pain is left to the reader’s discretion, each story works on its own, as does the image created by five different experimental layout systems.

Together with found-footage images of celebrities and extending serifs, the visual level supports the textual one.

I took Ronaldson, originally drawn by Alexander Kay in 1884 and digitized by Canada Type, and, with permission of the foundry, made a variable version by lengthening the serifs of selected uppercase letters. The serifs cut more and more into the sentence.

Each story has its own title page with the title on the left, set in Jabin, and a page filling image on the right.

The author chose celebrities as potential actors if the stories would be turned into films. The analogue processed images play an important role, as they reflect each respective chapter in increasing processing. In the appendix you can find all 81 images.

Poster for a introduction of works to other exchange students at the Vilnius Academy of Art. Due to the large diversity (16 countries, 9 departments) of participants, I decided to mention everyone and let their names shape an abstract, for each line individual but indefinable form, visualizing the expected variety of presented projects.