A bookproject with Joseph Han. Since the days of radical printer-pamphleteers, design and designers have a long history of fighting for what’s right and working to transform society. The rise of the literary form of the manifesto also parallels the rise of modernity and the spread of letterpress printing. ‘Manifestos’ aims to bring these manifests together in pocket size format. 2014.
Visual Identity, designed at G2K, Amsterdam. “On Tuesday June 24th, 2008, The IJsseldelta region in The Netherlands waved its flag, unveiling the new identity. The visual style was inspired by the nautical alphabet and the coats of arms of the cities in the area, a rich and fitting source.”
Posterdesigns with Joseph Han compiled in Newspaper format. ‘WCSS’ is an acronym for the Speaker Series at Interbrand, New York. Simply headlined by ‘WCSS’, the typographic designs change from speaker to speaker. 2014 — 2015.
Eventdesign with Joseph Han at Interbrand, New York, for ‘The Power Of True Stories’ Hosted by Yale and Interbrand. The design focusses around the idea of re-using existing material, reducing waste. #SMCstories. 2013.
Why is an artistic masterpiece worth millions more than a convincing forgery? Pleasure works in mysterious ways, as Paul Bloom reveals in this investigation of what we desire and why. Drawing on a wealth of surprising studies, Bloom investigates pleasures noble and seamy, lofty and mundane, to reveal that our enjoyment of a given thing is determined not by what we can see and touch but by our beliefs about that thing’s history, origin, and deeper nature.
Bookdesign as part of the Visual Identity for Maven Publishing. Designed at G2K, Amsterdam. 2010/2011. How is the internet changing the way you think? That is one of the dominant questions of our time, one which affects almost every aspect of our life and future. It’s what John Brockman, publisher of Edge.org, posed to more than 150 of the world’s most influential minds. Brilliant, farsighted, and fascinating, How Is the Internet Changing the Way You Think? is an essential guide to the Net-based world.
Research on Public Space. With advisor Daniel van der Velden (metahaven) at the Jan van Eyck Academy. With fellow researchers Katja Gretzinger, Gon Zifroni and Matteo Poli. Logo Parc investigates the political and economical impacts on and through design in the new business district ‘Zuidas’ in Amsterdam. With placing the real space into a virtual game-environment we created a ‘clone’-space in which we were able to experiment with the aesthetic material found in situ. Personal impressions and the found material shaped the symbolic gestures in the virtual space. The space works as a discoursive space, which allows a critical reflection on current symptoms of post-modern city-planning. Hybridity of the Post-Public Space in Open!. 2006 — 07.
Bookdesign (Dans Met Kans / Dance With Chance) at G2K, Amsterdam, as part of the Visual Identity for Maven Publishing. A field of clover-fours covers the front of this book about ‘Making Luck Work for You’. 2010.
The Brafman brothers look at sway, the submerged mental drives that undermine rational action, from the desire to avoid loss to a failure to consider all the evidence or to perceive a person or situation beyond the initial impression and the reluctance to alter a plan that isn’t working.
Campaign design at G2K, Amsterdam. 2010. Vabi software assists architects and engineers on calculations in architectural models and installation technique. ‘Building blocks’, a metaphor for the way the interface of their software functions and actual buildings are constructed was the keyword in design.
Campaign design at G2K, Amsterdam. 2008. Press: ‘BMW-MINI The Netherlands invites young designers to enter a design to be published on a MINI-Cooper roof. The jury is lead by dutch renowned designer Richard Hutten, and Amsterdam based design-office G2K, who are also in charge of the overall-design of the competition.’
Brochure-design for G2K on Branding and Visual Identity, designed at G2K, Amsterdam. 2010/2011.
Your Visual Identity is a first meet and greet. Your Visual Identity shows who You are. Your Visual Identity Enriches. Your Visual Identity is No Logo. Your Visual Identity is a Result. Your Visual Identity is Your Future.
Campaign design at G2K, Amsterdam. 2010. A simple but effective slogan: We Love Finance. Putting the ‘finance professionals’ of Brunel (job recruitment) in the spotlight. A teasing and frank statement in todays financial context. Website, twitter, hugs on location for financial specialists and national newspaper-ads. (various media)
Visual identity at G2K, Amsterdam. 2009. MW3 founded by a ‘wealthy’ collective of men, aims for providing a safe webinterface, when one deals business outside the office. The tickertape which covers all the stationary, repeats MW3.
Book design at G2K, Amsterdam. 2010. Part of the Visual Identity for Maven Publishing. Het idee M/V / The M/F concept. In short and humorous anecdotes Asha counters the popular theories of ‘men are from mars, women are from venus’ as nothing but old prejudices wrapped as modern insight. Her conclusions are both confronting and inspiring: the latest developments in genetics and brainscience shows that man-woman-differences are not a part of our genetics but re-created within every new generation.
Brochure design at G2K, Amsterdam. 2008. ‘Land in sight!’. ‘Houthaven’, an Amsterdam area under construction; living & working. The design is based on the very visual metaphor of looking through binoculars towards undiscovered land.
Book design at G2K, Amsterdam. 2010. One of the greatest discoveries of recent times is that the complex patterns we find in life are often produced when all of the individuals in a group follow the same simple rule. This process of “self-organization” reveals itself in the inanimate worlds of crystals and seashells, but as Len Fisher shows, it is also evident in living organisms, from fish to ants to human beings. The coordinated movements of fish in shoals, for example, arise from the simple rule: “Follow the fish in front.” Traffic flow arises from simple rules: “Keep your distance” and “Keep to the right.”
Research. 2009/2010. Detached from habitat and uncovered of their smiling messages, these ‘plastiques’ transform into a anonymous collection of shapes and mass withholding their original purpose; what’s left is a almost ‘typographic’ series of seemingly well-familiar objects. Positive/Diapositive.
Small visual-research-document on the identity for Amsterdam Creative Crossings: A spiderweb-esque structure in which the ‘logo’ isn’t fixed, but acts as a dynamic interface; symbolizing the intention of ACC: establishing (side)connections between business and culture.
Post stamps, in which the style of the Dutch stamps of Peter Struijcken is used to tell a new story. The portrait of Queen Beatrix is replaced by those of several dubious world leaders. Rebel-leader of the Kurdish Abdullah Öcalan, President Mobutu of Zaire, Yassar Arafat, leader of the Palestinians and Ayatollah Khomeini, spiritual leader of Iran. 2000.
Term paper Graduation. 2002. Executed on actual newspaper size (DIN A2). The term paper researches cultural/typographical qualities in newspaper design. The newspaper as cultural phenomenon and blueprint of a culture.
Type design, Graffiti. 2007/2009. Urban graffiti meets Theory on Urbanity and Public Space. First version created during Logo Parc, finished in 2009. The anonymous tags and graffiti are replaced by the names of philosophers, politicians and architects reflecting on Urbanity and Public Space, who in themselves become anonymous and encrypted again. As a contrast to street vs. theory. Alain Badiou, Chantal Mouffe, Bernard Tschumi, André le Nôtre, Francois Mitterrand etc.
Visual identity, in collaboration with Gerco Hiddink. for ‘CityJam’, a project by Hooghuis, Arnhem, The Netherlands. The identity is formed by a collection of images brought together on an associative base. Some are directly related, others with the blink of an eye. The A2-poster can be printed directly, but is also designed with the possibility to be cut up in four pieces. Each piece (A4) tells a part of the bigger story. These pages can be used as stationary. Maximum effect is created by the use of Neon colors. 2004.
Book/Magazine design. 2002. The content of the catalogue, the student-projects, are placed in a broader cultural frame, which contextualize the projects. The frame creates an extra editorial layer within the design.
Visual Identity for a six-day debate on the influences of 9/11 on art and design. In collaboration with Gerco Hiddink. 2004. Underneath the information-layer lies a ‘live’ CNN-NEWS-stream from during the disaster. Within the website this layer is animated. Typography is set in IBM Orator, a classic matrix typeface.
‘Stad in de Wolken’ is a series of debates by the stage LUX in Nijmegen. In this debate high-rise building is discussed in the region Arnhem-Nijmegen. (KAN-Area). We created an image referring to ‘The Tower of Babylon’. An accumulation of designs from the international ‘architectural discours’ form the ultimate architectural design. Within the design of the website parts of the collage interact in a playful way with the cursor.
Commissioned by Felix Janssens and the Observatorium. (Foundation for the arts. Developing Art projects in relation to urban planning and landscape.) Main function of the website is that of archive. The design moves around a ‘simple’ but effective 3×3 grid in which all information can be obtained. Important aspect is that the ‘photographed’ archive at the same time functions as site-navigation. Certain objects like filmrol, script, photo and scrapbook function as main theme headers. Searching in this way for information becomes like a ‘unguided missile’; no idea where you’ll end up. Unexpected confrontations.
Eliminating any possible doubt about ‘The Netherlands as a Multicultural Society’. On different levels symbols are exchanged and appropriated. The entrance of the Lower House is covered with stickers as a metaphor in which appropriation and integration are expressed. A publication on exchange and appropriation of cultural characteristics accompanies the images. It describes the exchange on a local and global scale. Streetpictures, magazines, stickers and ‘objets trouvés’ express the feeling of a multicultural world. Architecture which visually links to Arabic Mathematical Patterns, Chinese filmposters who copy western depiction of moviestars or a Japanese character (Hello Kitty) which resembles our Nijntje. 2002.