Website for photographer Massimiliano Corteselli, whose work explores the interplay between history, mythology, and perception. He examines the influence of these elements on social and political realities and demonstrates how narratives shape reality.

The website allows visitors to explore the works both spatially and thematically and features the photographs, as well as research, references and further information about the artist.

Over three decades, Marica Schaafhausen intuitively collected plants and flowers, allowing them to become an archive of memory. Illuminated and photographed, the fragile structures appear both monumental and delicate, inviting viewers into spaces of resonance. The artistic exploration is accompanied by texts in three languages, as well as a dialogue with the artist.

An index of the plants and blossoms, printed on the back of transparent paper, features silhouettes of the photographs. It echoes their illumination on the light table and provides additional information about the specimens.

The website was designed and programmed in collaboration with → Louisa Victoria Clever.

The exhibition „This is no Life-Saving Device“ at 1822-Forum in Frankfurt examines inflatable floatation devices as sculptures that negotiate the boundaries between the body, material, and shaped nature. It explores the promise of safety and lightness and its dissolution, as air, form, and control escape.

The catalog uses typography to depict the transformation of plastic objects at lakeside resorts.

The exhibition poster plays with the same transformative momentum, almost becoming one of the deflated floaties itself.

Lyricist Manon Hopf approached me with the idea of ending each year with a small, unpretentious publication, containing her poetry. The zine series Reflexionen / Nachfalter emerged, the first issue features the text „ich weiß das nicht was“.

Inspired by concrete poetry and mail art, the graphic design responds directly to the content, working with notions of distortion, posture, and orientation. The zine was printed in silver with a risograph.

For the font shop Contemporary Type, I developed short social media videos.

Titled „Fonts For Use“, the videos playfully reinterpret familiar workflows of font research, combining analog and digital tools, sound, and humor. Exploring the processes behind choosing a typeface, the concept shifts focus from finished applications to what comes before: inspecting, comparing, testing, printing, saving, revisiting.

For the second series „Hot Summer at Contemporary Type“ I developed a playful generative type tool with Processing. The sentence is placed on videos of summery scenes, sending out of office vibes.

Camping sites – places that exist between everyday life, vacation, and DIY aesthetics. The exhibition „Ohne Platznummer keine Brötchen“ (No Number No Rolls) is dedicated to these places and uses various photographic series, objects and found items to tell stories of community, retreat, routines, and the aesthetics of the camping site.

The exhibition poster shows a small fragment of a caravan, with distinctive textures, that make the setting immediately recognizable. The surfaces are contrasted by large, clear white letters. On closer inspection, subtle details emerge: a cord stretched across the typography, a shadow, a spider climbing one of the letters.

For my diploma exhibition „a bag full of […]“ I developed a transformative poster.

At first sight it is a normal poster in DIN A2, hung on the wall and providing information about the date and location of the exhibition. Folded in a specific way, it could also be mailed as an invitation card. Visitors could then bring their invitation along or fold a new one in the exhibition, to carry the gathered modular publication.

This way, the poster referred to Ursula K. Le Guins essay „The Carrier Bag Theory of Fiction“ (1986), which was the main inspiration of my diploma. Read more about it here.

Following the thoughts of Ursula K. Le Guin in her essay „The Carrier Bag Theory of Fiction“ (1986) I applied the carrier bag theory to design in the sense of a carrier bag practice.

I opened up my bag / work through an open call, collecting works by artists from different disciplines, places and contexts. The result was an interdisciplinary exhibition of artistic explorations of bags, the act of collecting, holding and keeping, and of feminist utopias.

Like the inside of a bag unfolded the spatial design: works hovered on surfaces at varying heights or drifted along walls and ceiling. A curtain, resembling an inner lining, transformed the space into a bag itself.

The exhibition was accompanied by a modular publication, which could be collected and compiled individually on site.

VASMAZ – Vier Augen sehen mehr als Zwei (four eyes can see more than two). And yet they always focus on the same thing.

While on a field trip together, Helene and I noticed that we tend to photograph the same things – situations, architecture, moments. This resulted in a publication of 126 pairs of visual notes, taken unintentionally and without planning, but consistently showing the same subjects. By shifting the focus of what is considered important, the publication becomes a shared, collective memory.

The title of the publication is composed of letters found within the photographs. 42.42 h Vienna 21.11 h Budapest 16.35 h Belgrade 24 h Skopje 72.30 h Pristina.

„gute aussichten – junge deutsche fotografie / new german photography“ is an annual competition awarding outstanding projects and supporting emerging talent in photography in Germany.

Since 2021, I have been designing the accompanying catalog together with and for Pixelgarten. It presents the winning works with texts in german and english and provides background information on the awardees, exhibitions, events and more. In addition, a website dedicated to the competition is launched each year.

This year’s winning works all explore boundaries, between self and society, human and machine, inner and outer worlds, touching on themes like exclusion, revenge, dreams of youth, the hidden logic of digital technology, and personal struggles with mental illness. Awardees: Béla Avi Beinhold, Massimiliano Corteselli, Lea Greub, Matthias Grund, Lia Lehmkuhl, Denisa Poteca, Maya Vieth.

The film „Verbogene Zeit“ (Bent Time) by Paul Haas is a reflection on his youth in East Germany and his experiences with the local Neo-Nazi scene in the early 2000s. It explores identity conflicts, vulnerability, and different conceptions of masculinity.

The accompanying artist catalog contains the film’s screenplay along with related image and text fragments referenced by the artist. Written in both English and German, the catalog intersperses the text with pages of photographic works. It not only translates the film to paper, but also provides deeper insights into the artist’s work and his references.

Printed with the Risograph in black and silver ink.

The Plattform™ is a teaching format and an initiative for academic exchange, which I founded at HfG Offenbach. It is an opportunity for exchange, toolkit, get-together, network and workshop. The focus is on collaborative learning, mutual feedback, space for questions, disclosure of processes and sharing of resources.

During the class Plattform™ Portfolio, the students developed their self-presentations, while I gave input on visual language and editing, documentation of the work, repro photography, writing project descriptions and developing a graphic concept and layout.

As part of Plattform™ I also initiated and moderated the lecture evening „Real Talk“ on internships in the field of art and design. Three students gave insights into their portfolios, talked about their internships and answered questions about application processes, projects, working hours, challenges, salary, learning experiences… Open to all semesters, departments, subject areas, specializations. No more gatekeeping!

The graduate exhibition The Call includes works by 26 students from seven classes, presenting paintings, sculptures, installations, film and video, sound works, and performances.

In contrast to conventional art catalogs, this publication was conceived as a utilitarian object. Its format references classic paperbacks: lightweight, portable, and meant to be carried, used, and worn over time. The choice of cover material recalls traditional paperback series, while the rough interior paper is intended to age, yellow, and bear traces of use.

The typographic system draws from the columned architecture of Städelschule, subtly embedding the institution’s physical space into the publication’s structure.

nomo is a monospace font with variable advance width. This translates to the font being of the same weight within a style (mono), but in total different along this width (nomo). Each style is mono in weight, but the total spectrum varies, allowing exploration of both form and content through design.

The font challenges fixed structures, showing that systems shape reality rather than merely reflect it. Experiments and reflections are collected in a zine, exploring how disobedience, individuality, and stubbornness can disrupt, expand, and reveal beauty within rigid systems.

Find cases of nomo in use on → Fontsinuse.

„gute aussichten – junge deutsche fotografie / new german photography“ is an annual competition awarding outstanding projects and supporting emerging talent in photography in Germany.

Since 2021, I have been designing the accompanying catalog together with and for Pixelgarten. It presents the winning works with texts in german and english and provides background information on the awardees, exhibitions, events and more. In addition, a website dedicated to the competition is launched each year.

This year’s selection spans themes from our natural environment to a young generation’s digital lives, touching on ambivalent identity, the mother-daughter bond as a social metaphor, and resistance to facial recognition technology. It also investigates political intrigue within a European democracy, reflecting a generation grappling with self-doubt as it searches for constructive visual solutions. Awardees: Charlotte Helwig, Jette Held, Allegra Kortlang, Luzi, Agata Szymanska-Medina, Hyejeong Yoo.

The catalog showcases the diplomas from HfG Offenbach for the years 2021 and 2022 in the fields of art and design. In doing so, the cube-like object in vivid orange challenges traditional norms and embraces innovative book design principles.

The names of the 82 graduates form the spine of the book. The catalog separates text and images to give the content a new room for unfolding. It consists of two equal parts, connected by the graduates names, emphasizing their unity. The layout is clear and precise, with an orange guiding system for navigation.

164 diploma projects in art and design, six theoretical and 18 practical subjects, texts in German and English, various visuals, on 400 pages total. Accompanied by a preface, an essay and an index, the catalog encourages readers to actively immerse themselves in the content and engage with the presented works on a deeper level.

In the group exhibition „Ein Haufen Holz“ (A Pile of Wood), presented at Haus der Stadtgeschichte, students from HfG Offenbach explore the question of what photography can achieve in today’s time and how artistic statements can be made through a medium which goes far beyond the boundaries of classical photography.

The exhibition poster acts as a visual punch by merging image and text. The key visual photograph of a literal pile of wood becomes inseparable from the exhibition title, which conveys the same message. The text almost disappears typographically, letting the image take over, so that title and photo form a single, unified expression – image and text become one.

Artists: Lena Bils, Daniela Kaiser, Lea Kulens, Sungsoo Lee, Ruth Maren Neubert, Mike Schäfer, Johanna Schlegel, Marie Schwarze, Madlen Strebel, Luis Sulzmann, Tatiana Vdovenko, Jule Wertheimer.

For the Open Day of the Hochschule für Gestaltung, we designed and conducted a workshop for school classes and prospective students, which conveyed the basics of graphic design and the functionality of the Risograph – experimental and playful.

The posters for the workshop were created by overprinting macula sheets from other student’s projects.

Time To Gather 2025
An excessive table of 365 dates and days, gathered on a single sheet of paper, to collect time, space, thoughts. Printed in white and black on neon yellow and recycled off-white paper. Find other cases of nomo in use on → Fontsinuse.‍

Happy Nomo Year 2024
Riso printed calendar in bold red using the variable monospaced font nomo. Read more about nomo → here.‍

Fingers Crossed for 2023
AI generated shapes that remind of letters but resemble nothing. The pool of forms and symbols illustrate and give name to a riso-printed poster calendar. Featured in → Slanted Magazine #40 Experimental Type

Die Schönsten Deutschen Bücher (The Best German Book Design) is an annual competition organized by Stiftung Buchkunst, selecting twenty-five outstanding books across five categories. The competition showcases the creative and innovative work of publishers, designers and printers, highlighting the artistry and craftsmanship that goes into producing outstanding books. The winners, along with three recipients of the prize for young book design, are presented in this catalog.

The catalog is based on a graphic and typographic concept, which I applied across the publication. The catalog itself foregrounds print as a sensory medium – combining multiple reading levels, tactile interaction, and carefully staged photography to bring the award-winning books into everyday contexts and highlight the craft of contemporary book design.

„gute aussichten – junge deutsche fotografie / new german photography“ is an annual competition awarding outstanding projects and supporting emerging talent in photography in Germany.

Since 2021, I have been designing the accompanying catalog together with and for Pixelgarten. It presents the winning works with texts in german and english and provides background information on the awardees, exhibitions, events and more. In addition, a website dedicated to the competition is launched each year.

Growing up in precarious conditions, teenagers engaging in war games, threats and alienation within one’s homeland, complexities of foreign cultures, the culture of model home parks, meticulously crafted chapters of photography, fusing analog and digital techniques, the taming of viral internet language, the award winners navigate their work along a timeline spanning past, present, and future. Awardees: Tamara Eckhardt, Natalia Kepesz, Vanessa A. Opoku, Zoyeon, Fiona Körner, Maximilian Gessler, Alexander Kadow, Max Dauven.

PICA is a small shop born from a shared love of found objects. The name comes from pica pica, the binomial name for the magpie. Like the bird, we collect items that tell a story, and restore, style and share them.

The project brings together our shared passion of vintage hunting, design history, sustainable practice, set design and photography into a curated collection of second-hand objects.

basis e. V. is a Frankfurt-based production and exhibition platform that has been supporting and presenting international contemporary art since 2006.

Together with Pixelgarten, I have been co-designing the visual communication for several years: applying a fixed visual identity flexibly across exhibition contexts, developing posters, flyers, banners, outdoor formats, and social media assets for solo and group shows.

A central part of the process is pushing the existing design system and exploring new visual approaches while staying within its framework. In addition, I design animations and graphics on social media for open calls, funding programs, events, and self-promotion.

„Wesen oder Vasen“ (Creatures or Vases) is a catalog accompanying and documenting a series of ceramic sculptures of the same name by artist Jale Somer.

The publication documents the body of work that oscillates between object and organism, vessel and being. In its design, the catalog gives space to the sculptures themselves. Close-up photographs emphasize their abstraction and invite the reader into the tactile world of the experimental ceramics. Two essays frame the visual narrative, an index momentarily grounds the wild creatures in technical language. Repeated on the back cover, this list closes the series.

With photographs by Zoé Hopf, Lars Schwabe and Robert Schittko and texts by Setareh Alipour and Jale Somer.

ABORTION IS OKAY! No one should have to justify an unwanted pregnancy or an abortion.

This anti-stigma poster provides accessible information on the legal situation, financing, access to care, and the physical and mental health aspects of abortion. Designed for both private and public spaces, it raises awareness, supports destigmatization, and encourages personal and political conversations around a highly stigmatized procedure.

The papaya was chosen intentionally: in size, shape, and texture, it closely resembles a uterus and is used by medical students in self-organized workshops to practice abortions.

Over time, the poster has become widely distributed and displayed across Germany, turning the papaya into a recognizable symbol for abortion rights and visibility.