Visual Communication
I am multidisciplinary communication designer based in Germany. My practice revolves mainly around typography, editorial- and type design, as well as the conception and implementation of creative visual identities and systems. I am open for freelance works and collaborations.
For more information or a full portfolio, feel free to contact me via e-mail.
For more information or a full portfolio, feel free to contact me via e-mail.
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Zwischen künstlicher Kreativität und digitaler Dummheit:
Artificial Intelligence und die Kunst
Under the title “Zwischen künstlicher Kreativität und digitaler Dummheit: Artificial Intelligence und die Kunst”, I dealt with artificial intelligence in the context of creativity, which has always been considered an exclusively human ability. Through artificial neural networks that try to imitate human consciousness, imagination or creativity, so far unique human characteristics, hold potential for conflict. With the help of so-called GANs, which are algorithms that generate synthetic content on the basis of datasets, I developed “artificial images”. The aim was to translate human creativity into the digital or to imitate it artificially. In addition, the publication documents further experiments that approach the question of whether AI can be attributed a kind of creative will or whether a computer-created work is art. From different positions, the publication invites us to critically question technical progress.
Zwischen künstlicher Kreativität und digitaler Dummheit:
Artificial Intelligence und die Kunst
Under the title “Zwischen künstlicher Kreativität und digitaler Dummheit: Artificial Intelligence und die Kunst”, I dealt with artificial intelligence in the context of creativity, which has always been considered an exclusively human ability. Through artificial neural networks that try to imitate human consciousness, imagination or creativity, so far unique human characteristics, hold potential for conflict. With the help of so-called GANs, which are algorithms that generate synthetic content on the basis of datasets, I developed “artificial images”. The aim was to translate human creativity into the digital or to imitate it artificially. In addition, the publication documents further experiments that approach the question of whether AI can be attributed a kind of creative will or whether a computer-created work is art. From different positions, the publication invites us to critically question technical progress.
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Orléans Serif
“Orléans Serif” is a reinterpretation of a lost typesetting font. A French book printed in Paris at the beginning of the 20th century inspired the naming of the typeface and served as a reference for the digitisation of the lead letters. Orléans Serif consists of the Regular and Regular Italic weights. Due to the narrow letterforms, the relatively large stroke contrast and the vertical axes, the typeface appears elegant and classic. It can be used as a display font, but also for body text.
Orléans Serif
“Orléans Serif” is a reinterpretation of a lost typesetting font. A French book printed in Paris at the beginning of the 20th century inspired the naming of the typeface and served as a reference for the digitisation of the lead letters. Orléans Serif consists of the Regular and Regular Italic weights. Due to the narrow letterforms, the relatively large stroke contrast and the vertical axes, the typeface appears elegant and classic. It can be used as a display font, but also for body text.
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Gabriele Space
Space for young creatives is rare and expensive, especially in Munich, Germany. The interim use project “Gabriele” aims to counteract this problem and temporarily creates space for studios in buildings that are slated for demolition. The programme offers a place for meeting, discussion and exchange, for exhibitions and workshops. The values of the participants and the philosophy of the project are characterised by a strong sense of community, openness to the world and sociability. The graphic design, however, does not push itself too much into the foreground in order to give the protagonists and the existing diversity a free stage.
Collaboration with Salomea Wörner (@woefo.studio)
Gabriele Space
Space for young creatives is rare and expensive, especially in Munich, Germany. The interim use project “Gabriele” aims to counteract this problem and temporarily creates space for studios in buildings that are slated for demolition. The programme offers a place for meeting, discussion and exchange, for exhibitions and workshops. The values of the participants and the philosophy of the project are characterised by a strong sense of community, openness to the world and sociability. The graphic design, however, does not push itself too much into the foreground in order to give the protagonists and the existing diversity a free stage.
Collaboration with Salomea Wörner (@woefo.studio)
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Einerseits ist es klar
“Einerseits ist es klar” shows photographic works by 19 students, created in a semester project at Augsburg University of Applied Sciences. On the topic of “Photography and Artistic Intelligence”, the works explore the boundaries of digital and analogue photography, collages or text-image combinations in classical or unconventional ways.
Einerseits ist es klar
“Einerseits ist es klar” shows photographic works by 19 students, created in a semester project at Augsburg University of Applied Sciences. On the topic of “Photography and Artistic Intelligence”, the works explore the boundaries of digital and analogue photography, collages or text-image combinations in classical or unconventional ways.
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Portugal
When the Corona pandemic paralysed the world during my semester abroad in Portugal, I captured my surroundings with analogue photographs. People disappeared from the scene due to exit restrictions. What remained were empty “stages” - natural ones, such as rock formations and stretches of coastline, or man-made ones, such as industrial areas and residential districts.
Portugal
When the Corona pandemic paralysed the world during my semester abroad in Portugal, I captured my surroundings with analogue photographs. People disappeared from the scene due to exit restrictions. What remained were empty “stages” - natural ones, such as rock formations and stretches of coastline, or man-made ones, such as industrial areas and residential districts.
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Playground
Playground
