ANDREA BÜTTNER
Exhibition Identity for Walker Art Center, 2015

Various materials: vinyls, folded gallery guide, invitation, exhibition labels, title wall, web-images, custom logo font
Offset printing: Allegra, USA


Personally, I was particularly captivated by the complex details in Büttner’s prints and woodcuts (many of which can be seen here). My initial design sketches for the visual identity explored the combination of typography and woodcut patterns and an attempt to use fragments of Büttner’s works and her carved forms/line-work. What I found interesting was the complex markings that were left-behind by the sharp edge of Büttner’s carving tools and which range from hairline markings to triangular, gouge-like markings.

 

An important step in designing the visual identity was finding an appropriate typeface—ideally a classical, but not boring, serif typeface. The chosen typeface, Noe Display, responds to the pronounced and crafted feeling of Büttner’s work. Designed by the type foundry Schick Toikka, the typeface is a Transitional-style, high-contrast headline typeface. Noe Display’s sharp triangular serifs and terminals give it strong and distinctive characteristics, echoing the similar shapes which occur within Büttner’s etchings and woodcuts.

 

To emphasize a connection to Büttner’s sharp woodcuts within the typographic treatment, I slightly altered the height and appearance of the umlaut. Rather than keeping the two dots that typically appear within the umlaut, I instead swapped-in two triangle shapes that derived from the top, triangular part of the letter “t” in Noe Display. These triangles also replaced the dot above the letter “i”.

 

Intrigued by the small details in Büttner’s work, I then decided to respond by creating my own level of typographic detail through a series of customized punctuation marks that would subsequently be embedded within the texts associated with the exhibition. As a base for the punctuation, I used the same Noe Display-derived triangle shape to then create a comma, colon, period, and apostrophe. The resulting punctuation marks, which appear throughout the typeset materials connected to the exhibition, make a small intervention on the space, yet are elements that may go easily unnoticed upon first glance. This subtle intervention was made in order to focus more attention on the detailed and contemplative nature of Andrea Büttner’s work.

Baugeld Spezialisten
2017
Concept, branding, signage, website and graphic design
Made at Moby Digg Studio

 


A grid-based identity for finance consultancy company in Munich. Baugeld Spezialisten aims to bring the idea of a person’s ‘dream home’ to reality, by focusing not only on the financial hurdles, but also on the human and emotional perspective. The final result is a beautifully minimal, monochrome design with a highly flexible identity system that can easily be adapted to any new or existing format. The geometric logo is inspired by this combination of rational and emotional perspectives. The square acts as a frame, the circle as the ‘focus’ and the perspective as the human point-of-view. Combined together they form a grid, and therefore build a bridge to the conception of many ideas: The drawing-pad.

Baugeld Spezialisten
2017
Concept, branding, signage, website and graphic design
Made at Moby Digg Studio


Website design combines both emotional and the rational part of getting or renting a home. Specially curated Journal with interview of company client’s at their apartments is bringing a unique, atmospheric touch to the website. User can read stories about people and their houses, and their ways to live.

Website also contains few possibilities to get in touch with consultants, by phone, chat bot or via custom build online questionnaires. Furthermore users are able to calculate their financial options, in a easy and visual way by using two custom designed calculators integrated on the website.

SIMA DEHGANI
2017
Concept and website design
Made at Moby Digg Studio


Sima is a photographer based in Germany. Her main work is portrait and documentary photography. In her art projects she is interested in new ways of visualizing social issues.

Main objective for this project was to create a minimalistic website, with a lot of white space, where main focus lies on the photographs. Dots on the top of the screen comes from point of the letters ‘i” in the photographers name. Those points also symbolised a shutter trigger in the camera, that’s why whole page navigation is happening thought them. Left point leads to home scree, and right one to about page.

Inside of the project page order of the images was chosen to create a story, which ends with project information. Line bar on the left shows, how many images are left to view.

AVANT GARDEN (ANNUAL BENEFIT)
Walker Art Center, 2016

Concept, identity, postcard, accessories, invitation, event design
Paper: 130# Options 100%
PC White Vellum Cover
5 Pantone color+ black
blue foil stamp


This year’s event will mark the opening of the Walker’s new entry pavilion, which includes an extended lobby, restaurant, and accompanying art acquisitions. Coinciding with the museum’s expansion, the identity for Avant Garden (AG) 2016 is based on the Walker’s outstanding architecture, which has many unique construction elements such as skylights, windows, and slanted walls. The design process started with gathering images of the building and architecture plans. I outlined the windows and skylights from the images and filled them with a pattern similar to the rainbow terrazzo/marble stone used on the Walker’s floors. This flexible pattern used at various scales evokes associations with confetti and the various architectural elements of the Walker’s interior architecture.

AVANT GARDEN (ANNUAL BENEFIT)
Walker Art Center, 2016
Concept, identity, postcard, accessories, invitation, event design, poster, interior design

Folded Invitation:
Paper: 180# Options 100%
PC White Vellum Cover
5 Pantone color+ black
silver foil stamp+ die cutting
send in A6 & A7 Envelops


The colors in (AG) identity are taken from diverse aspects of the Walker’s building and from the new acquisitions in the lobby and Sculpture Garden: the yellow and copper from a new illuminating entrance, the oranges and pinks from a Frank Big Bear work, and the Reflex blue from a Katharina Fritsch sculpture.

The chosen serif typeface: Gletscher, balances the playful and illustrative feeling of the architecture-inspired pattern, giving a more elegant feel to the identity. The secondary typeface —relates to the diagonals used in the dramatically sculptured ceiling skylights.

 

Performing Art Season 2016–2017

Walker Art Center, 2016

Tote bags, ads, buttons, video trailer, 9 posters featuring selected performances and brochure:

 

Brochure:
printed on web-press by John Roberts (US)

38000 copies, stapled
34 pages gate folded with self cover and a long flap
size: 12,25 x 8,5 in
uncoated offset paper: #80 Opaque Smooth
typeface: Chap(alternated) by Sckich-Toikka & Theinhardt by Optimo

 


Central to this year Walker Art Center’s programming is the exhibition Merce Cunningham: Common Time, the largest survey of his work yet mounted. Cunningham-connected movement and music performances will span Musuem’s stages, galleries, and public spaces, highlighted by new commissioned. Cunningham make individualistic forms of rigorously abstract movement art propelling today’s dance forward.

 

During the design process I realised that, for me most important are two ideas contrast and the rythm: contrast between still and animated elements, rigour and freedom of arrangements, colors and grey-tones as well as using distinctive typefaces.

 

In order to break the rhythm, I needed to create one—that is why, I used Metronome as a reference. A tool used both by musicians and dancers to practise tempo. The mechanical machine besides sound has as well a visual component: swinging pendulum, based its movement I have created a line pattern. The line systems is presented in the video trailer and on  the tote bags.

 

LEE KIT: Hold your breath, dance slowly

Walker Art Center, 2016
Identity, invitation, ads, title wall, images, gallery guide with map
Printed material: offset with 2 Pantone colors on recycling paper

 

 


First Lee Kit US solo exhibition curated by Misa Jeffereis.
The gallery guide contains not only the traditional three-dimensional drawing of walls, but also contains discrete elements in the exhibition, such as lamps and a TV-rack to both help navigate in the space and to underline the domesticity of the exhibition.

I applied Stanley to the exhibition title “Lee Kit: Hold your breath, dance slowly,” and composed it so the viewer could feel the space and motion. Due to various material sizes on which the title would be displayed and various routes to move in the gallery space, I decided that it should be rearranged each time. This small intervention allows the viewer both to read each word separately and connect them into the original title in various orders. As I realized later on during the two weeks working with Kit, this way was also his way of creating installations: finding objects, rearranging them, and making associative connections between elements until they create a substantial entity.

FICTIONAL JOURNAL.COM
2016–Ongoing
PR Communication materials / Print materials / Website Design
Collaboration with: Sophie Rzepecky and Heini Lehtinen (Editor/Curator)


FJ is an online publication for design theory and practice that navigates the societal contexts of design. Publishing 2–3 issues a year, the journal opens a theme for investigation, collecting works from the Fictional Collective and invited guest contributors through open calls. Each issue consists of a range of contributions, including: text-based and image essays, illustrations, film, objects, performances, and interventions. The platform first introduces the viewer to issue descriptions and later shows related contributions. In order to present the potential range of content from contributors, we created a flexible system. We took advantage of the full width of the screen, dividing it between areas for notes, images, and text. In combination with two different typefaces, this allows for an enhanced online reading experience.

A LINE, HOWEVER SHORT, HAS AN INFINITE NUMBER OF POINTS

Andrés Ramírez Gaviria, 2016

 

Book design

size: 21 x 26 cm
128 pages, 9 sections
quantity: 500
offset printing: Paul Gerin GmbH & Co KG
paper: Munken Lynx 100g (B&W Pages) and Claro Bulk 135g (image Pages) cover: Munken Lynx 300g


This catalogue was published on the occasion of a solo exhibition at the Museum of Modern Art, Santo Domingo, Dominican Republic, 24 February—29 May 2016. The work of Andrés Ramírez Gaviria borrows cultural references from the histories of art, design, science, and technology, reconfiguring them through methodologies that imagine alternative modes of perception and thought. The notion of decoding information and issues of communication are highly present in the artist’s works. The book cover and title pages play with this problem of decoding through readability by the individual letter forms that act like points on a grid. This also simultaneously refers to the title itself and the structural arrangements of the work.

 

YEB WIERSMA.COM
2015/2016
Concept and web design, CSS stylesheet, portfolio, cv, grant application, and business cards.

 


A website for a Dutch artist, whose body of work consists of exercises in reading, movement, and acting as engaging catalysts to re-enter the present in a more compelling, playful, and vital manner. The diversity of these various forms relates to the ways in which we understand and perceive the world and the serendipitous interactions that influence our human condition. Wiersma’s work often involves collaboration, combining efforts to re-arrange language and use different media to create new narratives. As the work is heavily referential an important part in the design was emphasizing another referential form, the footnote. Hovering a cursor over the footnotes enlarges and duplicates images. In this way text and images overlay each other, creating a cohesive unity with her artist practice.

EXHIBITION FLYER
Onomatopee, 2016

size:  21 x 14,8cm
recycling paper, digital printing
copies: 1000

 


Invitation for two exhibition opened on 28th November, Spielraum part of Radical Aesthetics #2 by Slovenian artist Jasmina Cibic and Paper is a leaf that will destroy us in its fall, by Sarah Van Lamsweerde.

DUTCH DESIGN WEEK PROGRAM FLYER
Onomatopee, 2016

size: 21 x 27 cm
digital printing
copies: 1000


Flyer made for Onomatopee featuring gallery program during Dutch Design Week 2016 in Eindhoven.

WALKER’S MAGAZINE
Walker Art Center, 2016

Offset printing by Shapco, USA
quotation:4000


Each two month Walker Art Center releases 24pages magazine featuring information about exhibitions, performances, Walker Cinema and much more.  Designers works with established grid, creating new layouts, arranging photo-shooots, selecting images and proofing them.

 

 

Meredith Monk Show Flyer
Walker Art Center, 2016

Offset printing by Carslon, USA
quantity: 3500
One Pantone printing, Landnáma typeface by Or Type

 

 


Meredith Monk’s groundbreaking exploration of the voice as an instrument in what is now called “extended vocal technique” expands the boundaries of musical composition, building landscapes of sound that unearth feelings, energies, and memories for which we have no words. My design captures the experience of her performances, which despite their seeming simplicity are quite complex compositions. The type mimics this quality, spreading out in playful and dynamic arrangements. Each separated letter functions like the individual, emphasized voices of a Monk’s performance. The selection of a single light pink color serves uniting image and type while playing with the subtle differences between it and the white font.

WALKER CINEMA FLYER
Walker Art Center,  2016

Flyer: quantity:3000
Offset printing by Shapco, USA
CMYK+ Pantone
Typeface by Briefcase Type Foundry


The Walker Cinema features a wide range of contemporary moving image artists and explores the history and creative use of the medium, while representing our global community and engaging our audiences with artistic approaches to the ideas that define our times.

ORDINARY PICTTURES EXHIBITION DESIGN
Walker Art Center, 2016

offset-printed and debossed printed by Shapco Printing, USA
paper: Mohawk Superfine Ultrawhite
Smooth Cover, 65lb and Lynx Opaque
Smooth Cover, 100lb
various dimensions

 

 


Featuring works by some 45 artists, Ordinary Pictures surveys a range of conceptual picture-based practices since the 1960s through the lens of the stock photograph and other forms of industrial image production. Focusing on the industry’s distinctive modes of production, distribution, and presentation, Ordinary Pictures foregrounds the work of artists who have done much to probe, mimic, and critique this overlooked aspect of our visual environment.  Identity plays with repetition and multiplication of images.

OUT THERE
Performance Flyer for Walker Art Center, 2015

Offset printing by Carlson Print, USA
details: Silver Metallic Pantone, double Gate folded
Paper: 100lb Gloss Text
5,5 x 7 7/8 in
quantity 16,000


A Festival of Performance Alternatives: Out There brings startling, vital, provocative, and often joyous new forms of theatrical expression to the Twin Cities. Beginning as a modest two-weekend series, Out There has grown into a full-fledged monthlong festival featuring new global performances, workshops, dialogue sessions, salons, and other activities throughout January.

INDEPENDENT SPIRIT AWARDS
Walker Art Center, 2016

 

size: 6.5 x 10.25 in
2-sided flyer, offset-printed
Paper: Springhill Tag White 150lb
Quantity: 8,700
printed by Allegra Printing, USA
Typeface: Topol by Heavyweight combine with  ITC Franklin Gothic


Film Independent Spirit Awards is a celebration of the forward-thinking pioneers who bring an exclusive vision to filmmaking. For this postcard, I wanted to create a clear, adjustable structure that could contain the program and festival description. As the festival supports visual storytelling, I thought the form of the newspaper—with its huge headers and images fitting the grid and columns with information—seemed the most appropriate and flexible format for narration. The condensed and bold typeface underlines the uniqueness and sharpness of the awarded movies. The font is balanced with thick grid lines, creating an impactful strong design, compacted with information.

Publication: 21 Objects for Hesitation and Reimagining Their Many Selves
Onomatopee  2015

Dimension: 148 x 210 mm
Paper: 100gr cyclus offset recycyle
Pages: 32 pages with self-cover
Editions: 400
Details: Red staples
24 pages in black and white and 8 in colour


Publication, printed on occasion of performative exhibition in Onomatopee, Eindhoven. Each day one of the 21 ceramic objects is place outside of the gallery space, to be taken by a passing by person or visitor. Publication features selected works of the artist and two essays, which reflects on her new body of work.

21 Objects for Hesitation and Reimagining Their Many Selves
Onomatopee, 2015


Posters: A3 size 
printed in black on Risograph.
Flyers: A5 size, printed digitally on recycle paper


PR communication material for exhibition of Helen Cho at Onomatopee. Helen Cho’s performance 21 Objects of Hesitation (2013-ongoing) explores the materiality of ceramics and the poignancy of their dissemination, in relation to her experience of diaspora and Korean roots.

IDENTITY  LANDSCAPE ARCHITECTS VAN BEEK, RIETVIELD, BEAUFORT
Commission for Kade 05, 2014

Branding: logo, letterhead, envelopes, business cards, website, project booklets.


Visual identity for a landscape architecture bureau Van Beek Rietveld Beaufort, based in Amsterdam, Netherlands. Bureau practices a multidisciplinary approach to landscape design, art and urbanism. The identity derives from a symbolic line that refers to various landscape forms. The line has a second meaning: it connects the names of three company partners: Van Beek, Rietveld and Beaufort with their specialisation.

AUTOMOTIVE WEEK


Commission for Kade 05

2015


Branding: logo, website, flags

business cards, flyers,

badges, ect.


Identity for Automotive Week in Helmond, NL. This identity relates to smart mobility, new automotive technologies and eco-friendly cities. The logo is a dynamic typographic solution based on the letter ‘A’ which bends to create ‘M’ and by rotating  ‘W’  creating abbreviation AMW (Automotive Week).

Passings to Presents.

Silence and Golden in the work

of Filippo Minelli

(first artist monograph)
Onomatopee 2014


Dimension: 17 x 24 cm

Cover: Soft

Paper: Muncken rough 120 grams

Pages: 128

Editions: 1000

Details: Japanese Binding, perforation,

inside pages in full colour, outside pages

in grayscale.


Texts are featured on neutralized “white cube” pages, which allow you to focus on the text.Images are purposely hidden between perforated pages. Discovering images inside Japanese folded perforated pages evokes curiosity and surprise. The book encourages interaction and invites you to tear apart pages, adding character and a feeling of uniqueness. Once open, the book never looks like it did in the beginning.

Ideas and Thoughts

by Helmut Smits

Book published alongside artist

Exhibition at Onomatopee, 2013


Dimension: 140 x 100 mm

Softcover: Wibalin Buckram cover

Paper: Muncken rough 120 grams

Pages: 144

Editions: 2500

Details: Type in foiled print,

70 black illustrations


The sketches in the notebook ‘Ideas and Thoughts by Helmut Smits’ capture bright solutions and inventions in the conditions of our daily routines, perceived both within our social and our visual horizon.

Chaos, 2014


Illustrations- limited edition

– self published

Size: A5

Paper: Biotop 100gr


Form, 2014

 
Illustrations limited edition

– self published

Size: A6

Paper: Biotop 100gr


PUNT.POINT

A self-guided tour at Van Abbemuseum

2013 – 2014 (still on display)

Internship

Assisting artist Sara Wookey & Rennie Tang with developing concept of the tour, design of the tool-kit: The yellow felt bag contains a round pillow, red crayon and two round  booklets. Notebook, invites visitors to leave notes and comments, while guide contains further instructions and map with points. These points indicates where you can perform proposed body positions to experience space and artworks in the museum differently.


‘Point.Punt’ is a project that questions our awareness of the way that our bodies inhabit, move through, organize and choreograph public space, of Museum. Wearable tool-kit, special designed for this tour invites the participants to explore different ways of moving through the architecture of the Museum. The Tool-kit permitted new modes of behaviour and social interaction in a restricted environment.

TOOLSHOP

Communication & display

at Van Abbemuseum, Eindhoven 

2013 – 2014 (still on display)

Internship

 
Installation, communication

and display furniture including:

– Communication system

– Materials, tools to use

– Designing furniture

– Wooden panel system


‘Toolshop’ is a room inside of the exhibition, where visitors could come and choose their tour, which had coinciding tool, displayed there. I have designed wooden panel system, with holes that could easily adjust to all display needs. Alongside, I designed simple furniture, and communication materials, which were printed on the wooden panels, while vinyl stickers were used on  the wall. The main goal was a clear and simple communication that encourages visitors to pick up a tour.

Book Selling Catalogue


Lecturis 2012


Dimension: A5 size

Paper: Houtvrij offset

Pages: 48

Editions: 1000

Details: Offset printed, in colour


During my internship at Lecturis Publisher and Printer, I designed their very first selling catalogue. They continue to use this template till now, just increasing the size.

MA graduation project

at Design Academy Eindhoven, 2014.

Exhibited during Dutch Design Week

in Eindhoven, Netherlands


Dimension: A5

Paper: Biotop paper

Pages: 128 

Details: Glue binded, digital print in colour

Limited edition, self-published


This project questions non-verbal communication by presenting a series of staged pictures that analyses’ the behaviour and body movement of politicians. Title inspired by Amy Cuddy, a social Psychologist, who research on body language. She claims that: “your body langue shapes who you are”. So by using simple tweaks to body language, she had helped people become more powerful.

This Is Work: Redefining Creative Life Stability.

Fictional Collective, 2015
• Images for PR communication & social media
• Graphic materials for exhibition: handouts, invitation, information text & window display text


A participatory exhibition, were in each event dealt with different aspects of precarious creative work by creating debates, workshops and performances. With the goal of creating “living knowledge”,  we have develop a visual language related to communication via internet:such as google docs, chats, ect.


PR materials Onomatopee 2015

Posters: A3 size,  printed in black on Risograph.

Flyers: A5, printed digitally on recycle paper.

PR communication materials for few exhibition at Onomatopee.

Civil Provision!
Exploring subjects of relational property.

Newspaper published alongside exhibition in Belgrade, curated by Onomatopee 2014
Logo, flag, exhibition design.
Newspaper featuring all the materials that showed the process of the artist’s work and the research done on location.


Dimension: A4 size
Paper: verbeterd courantruk ISO 72 52g/m2
Pages: 32
Editions: 400
Details: English with some parts in Serbian,
printed on a risograph in three colours.


Civil Provision! is part of A.C.T. Democ(k)racy project curated by Onomatopee, and exhibited in Belgrade, Serbia. The project stimulates the desire of people for exchange and production. Artist were working with Roma settlers using garbage and waste materials. Rather than showing productions in a gallery space, the artistic services was shown in the streets of Belgrade, providing transcending and poetic opportunities to people’s public wishes.