Redefining Rules & Freedom!

Oh, that has been quite a long and intricate journey. I founded the studio back in 2009 and initially worked solo for about seven years. Then, we gradually brought on our first employees, although we never grew larger than four people. It has always been essential to me to remain a part of the design process, so even today, I often work solo on projects. Over the years, we have had the opportunity to work on a diverse range of projects, each one feeling like a unique adventure. The studio has become a part of my home, a place where I continue to learn, create, and explore the world.

That's a great question. I believe a genuine interest in the new is crucial. Additionally, the ability to learn from mistakes and to see errors as something entirely normal in the design process is certainly important. Remaining true to one's style isn't a significant concern; it naturally happens independently.

Yes, that can be hard to grasp if you're not part of the studio yourself. But for me, these ventures into unknown territories feel quite natural. They simply happen. It usually starts with meeting someone new and realizing that we'd enjoy creating something together. And then, off we go. It's an integral part of my creative process. I design out of pure joy. That positive energy permeates at the beginning of a project, that's also why I do this work.

Well Observed! That describes our approach quite accurately. I always aim for balance. I need order for clarity and disorder for surprise, for entertainment. What interests me is creating an engaging dialogue between these two states. Much of what we do in the studio stems from experimentation. We often draw from a wealth of experiments. I've accumulated countless half-baked ideas and sketches, waiting for the right project to give them meaning.

Some clients have a clear vision; they approach us wanting something in a style they've seen from us before. Others are intrigued by our versatility and seek surprises from us. Both approaches can be interesting. However, our design language has evolved over the years, likely heavily influenced by my love and interest in colours and shapes. For me, maintaining the style takes no effort, it just happens.

I strive to connect with viewers on an emotional level in my work. I often use abstract forms that do not have specific symbols or cultural meanings. Instead, I rely on universal visual languages. For example, round and soft shapes can be employed for a pleasant effect, and angular, sharp shapes can be used for something more menacing. This approach transcends cultural boundaries, as it speaks to fundamental human perceptions. Additionally, I aim for my design language to resonate across various cultures, continually testing and refining it to ensure its effectiveness. My deep interest in understanding how my designs are perceived undoubtedly drives this pursuit.

Oh, that's a tough one. I cherish all our projects deeply. Each holds its unique qualities and significance for me. It's impossible for me to pick just one; I value the diversity they bring. I love the variety and contrast they provide; the combined experience of all our projects truly enhances our studio.

Indeed, that is very accurate. I received a very traditional education, where the principles of Swiss design, known as the "Swiss Style," were instilled in me. For me, these rules are second nature, and I do make use of them. However, I also strive to think beyond them and establish new rules for myself. While the Swiss Style emphasises reduction, I also aim for simplicity, but I'm not opposed to incorporating decorative elements when appropriate. Sometimes, I'm more interested in the emotions a design evokes rather than the pedantic order that characterises the Swiss Style, in my opinion.

That's an excellent question. In truth, it's a challenging endeavour. Over the years, we've had to turn down about 90% of inquiries we receive. Being a small studio, we've never been able to take on many projects at once. It's a fortunate situation, and I'm grateful for it. But it's also difficult to say no - I would love to be able to work on all of them. But since you asked, two types of projects particularly pique my interest: Firstly, large projects where my design language is sought after, essentially author projects where I have creative freedom. Secondly, projects that grant me access to design areas I've yet to explore, allow for significant learning opportunities.

Indeed, with the advent of various AI applications, we're witnessing the emergence of numerous new areas within the design landscape. This undoubtedly paves the way for the development of innovative design languages. Simultaneously, I believe there's a resurgence in interest towards handmade craftsmanship. Interestingly, trends tend to oscillate in both directions, and I anticipate seeing this dynamic play out in the design world as well.

I believe our next major project will be the publication of the research work. I'm currently collaborating with Josh Schaub. It's a research project focusing on animation and graphic design. Although there's still a lot of work ahead of us, I'm confident it will be a great release.