Form Farbe Material is Felix Bareis’ diploma project. The visual research experiment was finished in July 2018 at ABK Stuttgart. From Felix Bareis:

The first part is a theoretical reader (40 pages | 11.25×28 cm) dealing with everyday-life-objects as a source of inspiration and finding new ways of creating visual output by categorizing the personal environment.

The second part is a visual archive (452 pages | 22.5×28 cm) containing 3,000 images I did during the last four months showing everyday-life-objects ordered by visual attributes form, color and material. The book can be seen as a daily-life source of inspiration to generate new ways of graphic output by merging different things through classification in categories.

The third part [not shown here] is a screenprinted, black & white poster-series of 14 posters – handpulled [by Felix Bareis (3.1), Daniel Peter, Marcel Häusler, Brando Corradini (3.2), Vrints-Kolsteren, Jan en Randoald, Benoît Bodhuin (3.3), Studio Lindhorst-Emme, Sascia Reibel, Pouya Ahmadi (3.4)].

Supervised by Daniel Martin Feige and Uli Cluss. Also thanks to Patrick Thomas, Gerwin Schmidt, Marcus Wichmann & Hans Georg Posspischil.

The whole project is set in Suisse Int’l Light by Swiss Typefaces and Clarendon Graphic Light by Optimo.

Suisse Int’l is part of the Suisse collection available from Swiss Typefaces.

Club 57 was a countercultural hub located in the basement of a Polish church at 57 St. Marks Place in Manhattan’s East Village where artists, musicians, performers, and curators met to exchange ideas, party, and show new work. The exhibition at MoMA presents their accomplishments across a range of disciplines—from film, video, performance, and theater to photography, painting, drawing, printmaking, collage, zines, fashion design, and curating.

Inspired by the the club’s cheaply made xerox flyers, Damien Saatdjian and Eva Bochem-Shur designed an identity system with large, graphic typography, and a neon title wall. The advertising, posters, and flyers used photographs from parties and performances, along with works of art created by attendees.

For more information, visit damiensaatdjian.com and evabochem-shur.com.

Creative direction for the graphic identity of La Bâtie, a performing art festival in Geneva Switzerland, 2018. The body is treated in a pictorial way on a grand scale, symbolically suggesting the woven links between the audience and the performers. It is placed in a scene and a script, stripped of an individual personality, a body which materializes the festival itself. — Twice

Suisse Int’l is part of the Suisse collection available from Swiss Typefaces.

Posters for the “Freie Kunst lecture series 2017” at the Bauhaus-University Weimar. Design by Erik Sachse, with Starla by Napoleon Typefaces. Each speaker could suggest objects for their poster. Those objects were ‘inflated’ digitally with 3D-software.

“The event design of the exhibition, posters, leaflets, merchandise, window lettering, catalog and website were designed by Studio ItYt in collaboration with designer Ilina Catana, who went for a typographic solution.

In particular, they used two very different fonts which are paired in each of the media, and which shape the visual identity. On one hand there’s the angular, radical font BRRR by Swiss Typefaces, on the other hand the seriffed FF Scala, designed by Martin Majoor.

ItYt’s Melanie Rosenauer and Kiriakoula Kremantzouli explain that within the printed matter, ‘texts and images are crowded together and fill the available space, type is rotated or set vertically, images are placed without gutter, they tilt or bleed off the page.’ This approach creates whitespace and areas of high density.

The title ‘In Your Face’ is presented in stacked initials, giving rise to a vertical typographical axis that is picked up in all media. This axis is just as idiosyncratic, irritating and immediate as the photographs shown.” — Sabine Danek, PAGE