AnalogFest is a festival that celebrates analogue techniques with workshops, exhibitions, pop-up shops, parties and lectures by international artists including Anthony Burrill and Jon Burgerman. The festival would take old techniques and bring them back to life.
For the identity wise old Dutch sayings are designed in an old typeface that is transformed into a quirky modern version. To promote the festival the studio collaborated with local designers to make a large illustration on the venue’s windows.
The website needed of course to be as analogue as possible. Therefore, banners hand painted with the content were taken out into the street and each person presented a different banner in front of existing street webcams. This was recorded and placed into the site. On the site these videos are looped to give the impression of a live feed.
Initiated from the studio’s background in traditional print design and interest in new emerging technology, the Sound Posters are an ongoing research into creating new levels of interaction within the medium of the poster.
Stemming from the desire to involve people more and create new, exciting and memorable experiences, the Sound Posters push the boundaries of conventional print design. The inquiry re-appropriates both new and old technology for different and inventive applications to enhance the poster yet keep it close to its acknowledged form.
Aside from investigating the possibilities, the posters present future developments that combat the argument that ‘print is dead’.
With thanks to David van Gemeren, Alice Stewart, Jiawei van Kleef & Rachel Rosenson.
Silver | 2014 European Design Awards
Ship of Fools was a gallery initiated by the studio to showcase graphic art and illustration. At its conception there were no galleries of this kind in the Benelux. Graphic art or illustration was never presented in the ‘white cube’ gallery context, yet it had the quality and skill to be. Ship of Fools presented work from established artists but also new, upcoming artists. Both international and local. It showcased work that was bold, honest and striking.
Ship of Fools helped to build the creative scene in The Hague providing a place holding regular exhibitions where people could go to enjoy new, exciting work. It was a way to share inspiration and talent.
The name Ship of Fools comes from the painting of Hieronymus Bosch, the first real character designer. The painting depicts a ship filled with fools wasting their lives playing cards, drinking, flirting, eating instead of spending it in ‘useful ways.
For now, the gallery is on pause while the studio focuses on the Flags of Peace foundation. An initiative gathering peace flag designs from across the globe in order to exhibit them.
Ship of Fools exhibitions:
Deadorama | Solo exhibition by Mc. Bess
Bring it on! | Group exhibition of more than 50 designers and their favourite works
Trial & Error | Solo exhibition by Brecht Vandenbroucke
Going Places | Solo exhibition by Andy Rementer
Music to My Eyes | Group exhibition with 160 record sleeves
Black and White are not Colors | Group exhibitions of 100 designers and 100 posters in cooperation with fontanel.nl
Really Shit | Solo exhibition by Ian Stevenson
Don’t Believe the Type III | Typography festival with workshops, lectures, exhibition | Niessen en de Vries, Mario Hugo, Sean Freeman, Si Scott, HORT, Jeff Canham, among others
AnalogFest | Festival on analogue techniques with workshops, lectures, exhibition | Jon Burgerman, Anthony Burrill, among others
More is a Bore | Group exhibition on minimalistic graphic design | Buro Destruct, Noma Bar, Leandro Castelao, Gorilla, among others
Summer School | Group exhibition of old school maps | ROA, Ian Stevenson, Merijn Hos, among others
Absurdism is our Religion | Group exhibition on absurdism | Gummbah, Andrew James Jones and Mudwig, among others
Don’t Believe the Type II | Typography festival in Shanghai with workshops, lectures, exhibition | Underware, Trapped in Suburbia, Yomar Augusto, among others
Bode, Botlek, Erosie | Exhibition of Luuk Bode, Daan Botlek & Erosie
Don’t Believe the Type I | Typography festival with workshops, lectures, exhibition | Alex Trochut, Luca Barcellona and Job Wouters, among others
Jackyll & Hyde | Solo exhibition Superoboturbo
You Give Me Fever | Solo exhibition of Erwin van Amstel
Ship of Fools | Opening group exhibition with Jon Burgerman, Andy Rementer, among others
Don’t Believe the Type was established as an alternative to existing design festivals. At the time, such festivals were either incredibly expensive, too far away or very traditional, especially when focused on typography. Don’t Believe the Type (DBTT) was an opportunity for inhabitants of the The Hague and surrounding areas to meet other creatives, learn from and be inspired by international leading talents and have some fun, all at an affordable price.
Coinciding with the Ship of Fools gallery (also initiated and run by the studio) the festival featured lectures, workshops and exhibitions. The first edition took place in 2010 in The Hague, after which the festival was invited to the Shanghai World Expo in the same year. For the third and final edition, DBTT returned to The Hague in 2011.
Each edition centred on typography but pushed different themes. The final edition focused on sign painting and following this theme the identity used the talents of traditional Dutch sign painting, cheese signs. In cheese shops across the country and even into Belgium and Germany, hand painted signs adorn the various types of cheeses in thick, black lettering. All the promotion and signage for Don’t Believe the Type 2011 was hand painted by the actual, original cheese shop owner who made this practice notorious.
Don’t Believe the Type has hosted:
Luca Barcellona, Job Wouters, Yomar Augusto, Alex Trochut and Martijn Sandberg, 44 Flavours, Alina Günter, Alex Trochut, Alex Purdy, Andy Rementer, Autobahn, Chris Piascik, Daan Knirim, Hansje van Halem, Janno Hahn, Job Wouters, Jonathan Looman, Lennard Schuurmans, Luca Barcellona, Marta Cerdà Alimbau, Martijn Sandberg & Underware.
Masterclass ‘Experience Design’ | New Design University | St. Pölten, AT
Masterclass | Torino Graphic Days | Torino, NL
Masterclass ‘Experience Design’ | ECV | Aix-en-Provence, FR
Masterclass ‘Experience Design’ | Grafisch Lyceum | Rotterdam, NL
Make your own interactive Soundcard workshop | Droog | Amsterdam, NL
Masterclass ‘Experience Design’ | Augsburg University of Applied Sciences | Ausburg, DE
Masterclass ‘Experience Design’ | Nanjing University | Nanjing, CN
Masterclass ‘Experience Design’ | OpenSet | Rotterdam, NL
Masterclass ‘Experience Design’ | Falmouth University | Falmouth, UK
Masterclass ‘Experience Design’ | University College of Falmouth UK
Workshop ‘Graphic Interventions’ | Graphic Design Festival Breda | Breda, NL
Workshop ‘Playful Design’ | Falmouth University | Falmouth, NL
Workshop ‘Visual Storytelling’ | Taiga Institute | St Petersburg, RU
Typography teacher at the Utrecht School of the Arts | Utrecht, NL
Social signals are used everyday. By ‘liking’ and ‘tweeting’ social media indicates our interests. In 110 flags the Social Signals of Valkenberg Park in Breda are presented as a collaboration between Graphic Design Festival Breda and Trapped in Suburbia. The project explores how the park can be seen as a reflection of society. Information was gathered about the different ways in which Breda’s main park was used by city dwellers. Vakenberg Park is a main artery through the city as everyone has to pass through it on their way to the central station or city centre. In the summer months the park becomes a leisure staple for Breda’s residents. As the park is so widely used by many different people it becomes a micro-society. The data gathered about the park explores how this society functions. Social Signals gives a visual representation of the collected data. The flags are positioned throughout the park and show how important the park is for the city. The flags were also part of the I Love Breda exhibition in the Museum of the Image.
Expanding the Sound Poster series, the Shy Poster furthers this inquiry into new experiences with the traditional poster medium.
This time the poster gains personality by personifying shyness in an interactive installation. If the poster is left alone its colourful inner character is revealed. However, if someone interrupts this personal comfort zone the poster immediately retracts its doors hiding itself within the conformity of its background.
Providing the new visitor is patient and tactful, the Shy Poster will become comfortable and slowly reveal its true personality. Yet, you must be careful…
Any large movements are detected by motion sensors which trigger the doors to slam shut!
With special thanks to Alice Stewart and Jiawei van Kleef.
Throughout history there have been several attempts to establish a peace flag. A universal collection of symbols exist that we associate with peace yet no single peace flag has gained complete international recognition and permanence. What defines peace? How could it be symbolised? And what can a peace flag achieve?
With this project the studio seeks to answer these questions. The project aims to gather a flag design from every nation in the world. Through contributions from both established and young talented designers, artists and other creatives it creates a visual dialogue around peace and its symbolism. Together the flags form a traveling exhibition and present a global spectrum of ideas on peace, each highlighting particular relationships and views towards the topic.
Art and design can be a binding factor between people, cultures and countries. It can contribute to better communication between individuals, close gaps and help work towards a more peaceful world.
Flags of Peace is a work in progress, more flags are still to come.
The theme for the Graphic Design Festival Breda 2011 poster exhibition was decoding design. In essence the design process is about making choices. Sometimes though, after putting in a lot of work, you decide to change a design and then come to the conclusion that the initial design worked better. This poster captures that feeling.
Initially, the poster shows a large silver square of scratch-off ink. Prompting people to scratch the ink, text appears from the edges of the square. After taking time to scratch off all the ink the poster reveals: “I think I like it better with the silver square.”
Humour is not always universal. Different people find different things funny yet this poster campaign for comedy theatre Diligentia had to be humorous for many people. Reminded of childhoods spent drawing on photos in gossip magazines this seemed a common experience. This campaign takes that idea to the streets.
Using a portrait of the theatre director a simple poster was designed and printed. Colleagues, fellow designers, friends and students were then invited to join in with the fun. Just like those magazines the posters were customised into unique designs. Over 150 different posters were created and displayed around The Hague.
Aim for the Day is a calendar with ambition. This quality constructed piece is composed of a dartboard and chest containing 365 individually dated darts. Rather than the traditional scoring pattern, the dartboard’s segments present an aim for the day – ‘Do something scary’, ‘Take a new route to work’, ‘Learn something’… Each day the user throws a dart and depending on where it lands, a new aim is given.
This calendar encourages the user to break free from routine, discover new experiences and develop a sense of achievement and happiness throughout their day-to-day life.
After one year the complete dartboard becomes a showcase of 365 achievements giving the user a great sense of satisfaction and accomplishment.
Flags of Peace | presentation of 44 peace flags created by international designers
Deadorama | solo exhibition by Mc. Bess
Bring it on! | group exhibition of more than 50 designers and their favorite works
Trial & Error | solo exhibition by Brecht Vandenbroucke
Going Places | solo exhibition by Andy Rementer
Music to my eyes | Group exhibition with 160 record sleeves
Black and White are not colors | group exhibitions with 100 designers and 100 posters – in cooperation with fontanel.nl
Really Shit | solo exhibition by Ian Stevenson
Don’t believe the type III | typography festival with workshops, lectures, exhibition | o.a. Niessen en de Vries, Mario Hugo, Sean Freeman, Si Scott, HORT, Jeff Canham
AnalogFest | festival on analogue techniques with workshops, lectures, exhibition | o.a. Jon Burgerman, Anthony Burill
More is a bore | group exhibition on minimalistic graphic design | o.a. Buro Destruct, Noma Bar, Leandro Castelao, Gorilla
Summer School | group exhibition of old school maps |
o.a. ROA, Ian Stevenson, Merijn Hos
Absurdism is our religion | group exhibition on absurdism | o.a. Gummbah, Andrew James Jones and Mudwig
Don’t believe the type II | typography festival Shanghai with workshops, lectures, exhibition | o.a. Underware, Trapped in Suburbia, Yomar Augusto
Bode, Botlek, Erosie | exhibition Luuk Bode, Daan Botlek en Erosie
Don’t believe the type I | typography festival with workshops, lectures, exhibition |
o.a. Alex Trochut, Luca Barcellona and Job Wouters
Jackyll & Hyde | solo exhibition Superoboturbo
You give me fever | Solo exhibition | Erwin van Amstel
Ship of Fools | opening group exhibition | with o.a. John Burgerman, Andy Rementer
This is Experience Design, solo exhibit at Droog, Amsterdam | NL
Sound Poster 1.0 & 2.0 at Elektricity festival Reims | FR
Sound Poster 2.0 at Evolution/Revolution Detroit | US
Soundposter 2.0 at film festival Cine Prive Gent| BE
Soundposter 2.0 at KIKK international digital arts festival | BE
Mashville Tekst/Figuur | Poetry International Festival | NL
Mashville Tekst/Figuur | gallery Opperclaes Amsterdam | NL
Co-Lab | Academie Gallery Utrecht | NL
Graphic Happiness, 100 years of Dutch Graphic Design | Travelling exhibition – Nanjing, Bejing, Shanghai, Guangzhou, Chengdu, CN
I Love Breda | Museum of the Image | NL
Graphic Design Festival Breda | Solo exhibition 100 flags | NL
Pick Me Up | Somerset House Londen | UK
Wim Crouwel Exhibition | Royal Academy of Art | NL
Trend Forum | François Bernard at Maison & Objet | FR
Cité du design | Exhibition on design and sport | FR
Don’t believe the type II | typography festival 2010 Shanghai
Red Dot Design Museum | permanent collection in the Red Dot Design Museum | DE
Baetulona | 100 designers on the history of Baetulona | ES
Brasilia Dice | poster design 50th Anniversary of Brasilia | BR
Graphic Design Festival Breda | poster design exhibition | NL
Greytones 10 | Designer battle between 11 cities | NL
Speaker | Printing Solutions | Maarssen, NL
Speaker | Design Manchester | Manchester, UK
Speaker | Grafist Festival | Istanbul, TR
Speaker | European Design Award Conference | Istanbul, TR
Speaker | Out The Box | Hannover, DE
Judging ‘Poster project’ | Graphic Design Festival Breda | Breda, NL
Lecture ‘Experience Design’ | European Design Festival | Istanbul, TR
Lecture ‘Experience Design’ | Beyonderground Festival | Hasselt, DE
Lecture ‘Experience Design’ | Shanghai, CN
Lecture ‘Experience Design’ | Museum van Communicatie | The Hague, NL
Speaker | FESPA Conference | Munich, DE
Main speaker | DE.SIGN | Prague, CZ
Speaker | Graphic Design Festival Breda | Breda, NL
Speaker | PrintFarm | Taiga Institute | St Petersburg, RU
Judge | PosterHeroes.org | Turin, IT
Speaker | Plug:Conference | Turin, IT
Speaker | Graphic Happiness | Museum Hilversum, NL
Lecture | Falmouth University | Falmouth, UK
Interview | What’s Up | Pakhuis de Zwijger, Amsterdam NL
Lecture | School of Visual Communication | Haderslev, DK
Speaker | Zeefir7 BNO | The Hague, NL
PechaKucha | The Hague, NL
Judge | Analog Fest national poster contest | The Hague, NL
Lecture | Falmouth University, Falmouth UK
Speaker | Raffles Design Institute | Shanghai, CN
Speaker | Don’t believe the Type | Shanghai, CN
Judge | Nieuwe Garde national poster contest | The Hague, NL
Typography teacher | Utrecht School of the Arts | Utrecht, NL
European Design Awards
Bronze | Self-initiated Projects | Flags of Peace
Bronze | Corporate Identity | Hague Talks
Merit | Corporate Identity | Develops
International Design Awards
Gold | Corporate Identity | Just Peace
Silver | Calendars | Aim for the day
Silver | Exhibits | XXS Dutch Design
Silver | Books | Het echte werk
Silver | Posters | Sound Poster
Silver | Books | Graphic Happiness II
Bronze | Books | Amsterdam Opportunity Zones
Finalist | Corporate Identity | Who’s the fool?
Gold | Corporate Identity | Suited Concepts
Bronze | Corporate Identity | Graphic Happiness II
Merit | Corporate Identity | Who’s the fool?
Finalist | Corporate Identity | Fresh Tracks Europe
Silver | Exhibits | Graphic Happiness II
Bronze | Books | Graphic Happiness II
Silver | Corporate Identity | Fresh Tracks Europe
Finalist | Corporate Identity | Design it Yourself
Silver | Books | Graphic Happiness
Silver | Identity | Fresh Tracks Europe
Silver | Exhibits | Design it Yourself
Silver | Exhibits | Graphic Happiness
Short listed | Poster design | ‘I think I like it better with the silver square’, Graphic Design Festival Breda
Bronze | Corporate Identity | Work a lot
Bronze | Corporate Identity | Suited Concepts
Finalist | Self Initiated Projects | Analog Fest
Red Dot Design Award
Red Dot Award | ‘I think I like it better with the silver square’, Graphic Design Festival Breda
Creative Ambassadors City of The Hague
Gold | Exhibits | Torture Basement
Silver | Book cover | Where there is smoke, there is fire
Finalist | Book design | Hi Brand book
Silver | Exhibits | Torture Basement
Bronze | Books | Creative City The Hague
Silver | Corporate Identity | Coos!
Bronze | Corporate Identity | Gouda bij Kunstlicht
Bronze | Printed Self promotion | Play More Note Pad
Drecht Coating Services (DCS) specialise in material coating for large scale industrial projects such as pipe work and machinery. This rebrand references the layering aspect of the coating process. The material base, mainly aluminium with the atomic number 13 (the grid of 13 dots) is overlaid with the coating (the content). This is emphasised in the web design, in which the content is fluid and rearranges to the screen size.
Turning waste into identity.
Develops, a company that turns ideas into a reality, uses flip-over charts to sketch and explain processes to their clients. A used chart is then cut into the various parts that form the identity: letterheads, business cards, notepads and envelopes. Simple, no big print costs and it gives use to waste material.
Consequently, Develops creates its own identity and every element becomes unique. People don’t experience a representation of their process but the real thing and always the actual flip-over paper.
Hague Talks is an international travelling meeting place for creative minds, peace inventors and game changers in the field of peace and justice.
The first Hague Talks event took place at the Peace Palace in The Hague and future events will travel to New York, South Africa and further. For each location the colour scheme is created from the prominent colours of that particular place. Therefore, each location has its own identity.
The logo represents the start of the peace process and the chain reaction that follows. This chain reaction is also translated into the moving typography which can be found throughout the whole identity.
Hague Talks is a stage and breeding place for new ideas and perspectives, a forum for discussion and a starting point for concrete action. It is the platform that sets the ball rolling on the idea of gaining peace and justice.
This city lab is a multipurpose talent centre in the Escamp neighbourhood of The Hague. Not only does this design brand the lab but in turn creates an identity for the complete neighbourhood.
Community and togetherness are the foundations of the Escamp identity. The lab was established to break down cultural barriers between and unite different groups living in the neighbourhood. Activities focused around: art, design, media, technology and global cuisine attempt to build a sense of team spirit in the area.
A sports team offers camaraderie and transcends differences just as Escamp wished to achieve. Therefore, the identity uses a bold and unique colour scheme, like a football strip, to build a recognisable brand. This main aspect is then flexible to adapt to illustration, campaigns, signage, stationary and so on.
The identity also plays with the word ‘Escamp’ to highlight the variety of activities on offer at the city lab.
Workalot is a flexible office space where desks can be hired per hour or per month by startups and eager entrepreneurs. Naturally, the early days of a new business requires plenty of hard work and long hours. This identity helps in this process. Motivational messages hang around the space to encourage users and create an inspiring atmosphere.
These humorous messages reappear throughout the identity. For instance, the reverse of invoice paper reads “Show me the money.”
Bronze | 2011 European Design Awards
Love Life Festival was organised to raise safe sex awareness amongst younger inhabitants of The Hague. The campaign’s strong visual identity places the heart as the most important role. The heart symbolises two people having sex, becoming one, but remaining separate by protecting themselves. Aids and other STDs effect all sorts of people, no matter their social background or sexual preferences. Consequently, the colour scheme is free from associations, only the reference to nightlife where the majority of the target audience is found.
Visuals are accompanied by witty short copy provoking visitors to smile but also think about the important subject. This is a different and new approach to bringing the message of safe sex because merely scaring people just does not work. Humour can help discuss these tricky subjects. For instance, a tram that reads “Take me, take me now!”, toilet stickers that read “Make me wet”, crew shirts that read “(s)crew” or for the bar crew “I can make you come twice”, mirror stickers that read “Mirror, mirror on the wall, who is the sexiest of them all?”, free cards that scream “Take me!” and promotion teams with billboards that display “If you like my back, you should check the front”.
The festival also included the One Night Stand Up Comedy and a dance event called I’m Gonna Make You Sweat.
Museum Gouda was one of the few museums in the world to take the first steps towards liberating their historic collections as 3D scans for all to view. Hebbes! (Gotcha) is a space within the museum dedicated to presenting the now digitalised collection.
A display inside the room allows the visitor to select an item from the collection. Then using a small cube the visitor can rotate the scanned item to view it in 360° on a large 3D holographic screen.
This interactive installation part of Graphic Design Festival Breda 2015 is a series of Sound Posters that respond to passing movement. Displayed in the 3sec.gallery, an exhibition space along the entrance of a parking garage, the viewer can have only three seconds to drive past and view the posters.
Each of the twenty-five posters react to passing cars, cyclists and pedestrians producing individual sound bites that when heard together form a composition. In collaboration with Koen Herfst (drummer to Armin van Buuren among others) this installation forms an experimental interplay between analogue and digital, picture and sound.
This campaign identity for The Hague promotes the city as a prosperous location for foreign businesses to settle. Through a copy driven dynamic identity it creates a personal relationship between the city and potential businesses. It places the viewer in the mindset of a local inhabitant. The flexible system helps to showcase the diversity of The Hague, showing all aspects of local culture.
Suited Concepts devises new concepts for disused buildings. The company gives buildings new meaning and purpose.
The identity helps to express these new dreams by giving the buildings a voice. Captured in a series of photographs, each building shares with the world their future desires.
Running through the complete identity is a visual kink that acts as a reminder to architectural form. Every aspect from the logo to the envelope window and even website feature a slight distortion. This derives from the warped text seen in the photos.
Your DNA contains the stories of you. It holds your characteristics and indications to how your life may unfold. FirStories produce DNA testing kits that allow the curious to discover the data in their DNA, revealing a range of indicators to physical appearance, personal attributes and current and future health.
Across the identity, a parallel is made to the DNA helix and a timeline. This is emphasised in elements such as the business card when the recipient opens the card to literally discover more information about the individual.
BabyFirst is a product of FirStories that gives parents the opportunity to check their child’s DNA for paternity testing and/or the baby’s health.
Wie is de nar? (Who is the Fool?) is a festival drawing attention to the importance of the Theater Instituut Nederland (Dutch Theatre Institute). Due to budget cuts, the institute had to make themselves noticed and to do so organised this festival.
The identity is limited to black and white. Not only does this stand out in between all the colourful imagery saturating the streets, it also symbolises the cultural poverty due to the budget cuts. To amplify this, the fool possesses a sinister grin. Inevitably though, from these cuts the cultural scene will grow back stronger.
Wie is de nar? – Spelen met de macht (Who is the fool? – Playing with the power) shows how the role of the fool, or jester, has changed throughout time, both in theatre and every day life. Wie is de nar? attempts to capture the role that the fool plays. Exhibitions, performances (on the street and in the theatre) and debates were all part of the festival.
Ling combines robotics and A.I to create products that serve and entertain. Their philosophy stems from Animism, that being the attribution of a living soul to inanimate objects.
Consequently, the identity possesses a soul, which breathes, moves and adapts. This soul represents the relationship between the warmth of humanity and materiality of technology. Its peaceful presence exudes the helpful and friendly nature of Ling’s products.
The use of the infinity symbol conveys the cycle of life and continuity that is based in animism.
Just Peace is an annual festival in celebration of peace and justice that takes place in The Hague. Everything in the festival focuses on one goal, peace. Hence the name ‘Just Peace’ highlighting this emphasis while also referencing the theme of justice.
A nation’s identity marker is its flag. Taking these as the starting point, flags are then disassembled separating them into their different elements. Doing this shows that all nations share the same qualities – the same colours, the same shapes. A level playing field is created and peace can be considered.
As The Hague is very active in working for peace the campaign presents statistics showing the whole city is working towards this one goal – just peace.
The creation of the Peace Palace over 100 years ago in the city, laid a solid foundation for The Hague as the International City of Peace and Justice. Just Peace occurs around the UN’s International Day of Peace on the 21st September. Throughout the weekend over 25,000 people enjoyed music, debates, exhibitions, running events, guided tours, walks, theatre and more.
Fresh Tracks Europe is a youth dance network for a new generation of choreographers. Their identity is based on a set of dancing body parts and coloured shapes. Dancers from the various groups actually become part of their own identity.
These building blocks form an identity with lots of room to play. The blocks symbolise the philosophy of Fresh Tracks Europe in which the different European dance groups work together to create a new dance generation.
The flexibility in the design means the identity is dynamic it has rhythm and movement. The identity itself can dance.
Three circles in the Driiip identity represent the stages and elements to drip irrigation – water, life and earth. Drip irrigation is an extremely precise and water conserving method of irrigation which slowly releases droplets of water directly to the root over a long period.
These three elements return throughout the identity in graphic illustrations of the process and photography of luscious greenery. Placement of these also play with the physicality of materials such as earth that lies on the bottom of the letterhead.
Stamp design is a very rich tradition in Dutch design so much so stamps are seen as miniature works of art. They cover all kinds of subjects and tell all sorts of stories. They capture the world on a tiny piece of paper. In XXS Dutch Design visitors step into this world immersing themselves in a sea of 1,200 larger than life stamps.
The exhibition showed the stamp design process with the work of Dick Bruna, Irma Boom, de Designpolitie, Rineke Dijkstra, Joost Swarte, Anton Corbijn and Studio Job. The latest royal stamp was also presented for the first time with the exhibition being opened by King Willem Alexander himself.
Additional photos by Fred Ernst
How can photography be experienced in a new way? On The Road – Travelling with the Photographer marks the first in a series of exhibitions showcasing the Nationaal Archief’s photography collection of over 14 million images. The selection is a journey through history showing the prominence of travel in the development of photography.
This exhibition contains several unique ways to experience the collection. Upon entering, the Infinity Room places photography in the current day, precisely the current second. The room is completely covered from floor to ceiling with images streamed from the web highlighting the saturation of photography today.
Apposing this fast paced world, two unique photo chairs offer the visitor an opportunity to sit, observe and truly appreciate one single photo. They can even close the surrounding curtain to enhance the privacy and peace and quiet of the moment.
The majority of the exhibition contains black and white photography. The Colour Room, however, presents a selection of colour photos in a completely different atmosphere. You are transported into a different world just as colour photography did at its arrival.
Since this is the first in a series of exhibitions, the entire structural design is a modular system that can be easily deconstructed and rebuilt in different layouts for future exhibits. Also, especially for this exhibition a new hanging system was devised to reduce preparation time by 80%.
Exhibited renowned international photographers included: Ed van der Elsken, Henri Cartier-Bresson, Robert Capa, Luc Timmers, Herbert Ponting, Cas Oorthuys, Sem Presser and Willem van de Poll.
Additional photos by Anne Reitsma.
This travelling exhibition shows that you need not be a Mandela to be a good person. Doing something good for others can be simple and may not always obvious or even recognised. Cordaid believes there exists a silent helper in everyone. Within homes live silent helpers and behind each door is an interesting story to tell.
The exhibition is made up of four parts:
Cordaid see sharing as the easiest way to help others. Using red balls, visitors of the exhibition can answer the question “Wat deel jij?” (What do you share?). During the exhibition their answers contribute to a growing interactive infographic.
Behind every door the story of a silent helper is told through video and print.
On the outside of the houses the visitor can read about the 100 years of Cordaid.
An analogue version of the ditwilikmetjedelen.nl website, this wall shares many stories of silent helpers and as more stories are published online the wall grows with it.
Silent Helpers – 100 Years of Cordaid travelled throughout the Netherlands and to make this an easy and efficient process each element of the construction fits the size of a standard palette. Meaning the complete exhibition can be quickly condensed into one lorry.
This travelling exhibition presents the story of refugee integration through the photographs of Ahmet Polat, Dutch photography laureate of 2015. The exhibition travels throughout the Netherlands to various venues including museums and universities, consequently the design is formed from a collection of installations able to adapt to the different environments. The various panels present photos, written stories and recorded interviews of each refugee.
An important part of the exhibition is the calendar wall. Each calendar represents one year in the life of a refugee while staying in the Netherlands. The sheets of each calendar can be torn off and taken home to create a do-it-yourself exhibition.
Polat followed several students of UAF, the Foundation for Refugee Students who support highly skilled refugees in the Netherlands by helping with their study and transferring their existing qualifications into acknowledged Dutch ones. The photographs and accompanying stories capture the process of integration for these various individuals and document their new future in the Netherlands.
The name Weer Toekomst sheds a positive light on the new futures for these individuals, especially when ‘future’ can be an uncertainty for refugees.
Cover! marks 85 years of VPRO Gids, the television guide of Dutch broadcast station VPRO. This particular broadcast station has played a crucial part in Dutch design history with the guide being a focal point.
This exhibition at the Museum of the Image in Breda was a tribute to this magnificent series of publications. The VPRO were one of the early commissioners of talented designers and artists to design their covers.
The redesign of the torture exhibit in Museum Gouda focused on capturing the imagination and curiosity children had when entering but also making it exciting and informative. Translating all the information into UV illustrations means that to the naked eye nothing is visible. Only with the use of a UV torch can the visitor explore the space and discover facts and stories about the equipment hidden all over the floor. Thus placing the visitor in the mindset of this curious, imaginative child and forcing them to search around.
To celebrate fifty-years as a practicing designer, Museum Hilversum held a retrospective exhibition on the work of Jaap Drupsteen. The exhibition showcases Jaap Drupsteen fruitful career and divides this into three sections.
The top floor presents his early audiovisual design (VPRO, Hadimassa etc) and printed objects (money, passport etc). Being a designer for screen, Drupsteen naturally starts working on black, hence the visitor enters a completely black space displaying only video work. After this the visitors moves to white – print work. Also on show are the original title rolls, all made by hand, inspiring a scrolling intro wall.
Since the exhibition features a large amount of video work a special audio system, the Sennheiser guidePORT, is used. With the headphones on the user walks towards a screen or into a particular area and the audio is automatically heard. This prevents multiple audio tracks clashing and turning the exhibition space into musical chaos.
The Music Theatre is the second floor and displays many of Drupsteen’s theatre productions he created specifically for television. To create these unusual and inventive productions he became revolutionary in his use of chroma keying – the blue/green screen effect. To demonstrate this the visitor can experience live chroma keying by standing in a blue screen area and magically being positioned into one of Drupsteen’s works.
The lower floor presents his most recent work through two large scale projections. These are audiovisual compositions created for DJ and orchestral visuals and use a software developed by Drupsteen himself to achieve a perfect sync between image and sound.
Graphic Happiness consists of a publication, traveling exhibition and educational programme covering 100 years of Dutch graphic design. Travelling through China the exhibition showed work of over 60 designers highlighting their love of design.
A key part of the exhibition is the ball pit, which symbolises that the Netherlands lies below sea level. Due to the historic struggle with water, the Dutch had to be extremely inventive for hundreds of centuries. They had to design their environment in order to survive. From this necessity comes the Dutch theory that everything can be designed and forms the base to the distinctive, playful and clear Dutch design that is world-renowned. Each blue ball shows a portrait of a legendary Dutch designer or one of their designs so you can literally dive into Dutch design history.
The exhibition shows the work of over 60 designers and shows their love and passion for graphic design. Design is what makes these designers happy. It also bring the two countries, China and the Netherlands together, in an exchange of design knowledge and culture.
Based on the Chinese symbol of ‘double happiness’ and the Dutch flag (red, white and blue) the logo symbolises the two countries uniting in design. The logo is divided and produced as three different straps, which hold together the exhibition furniture and bind the publication. The logo is literally and metaphorically the binding factor in the whole design.
The flat pack furniture construction in combination with the strap fixtures provided an easily assembled solution for a travelling exhibit.
Grafisch Geluk (Graphic Happiness) presents 100 years of Dutch graphic design. It showcases the work of Wim Crouwel, Dick Bruna, Anthon Beeke, Otto Treuman and many more. The exhibition looks into designers trying to find happiness in their work, in graphic design.
Outside of design many people search for happiness in Las Vegas. The city has become synonymous with the idea. Inspired by the signs of Las Vegas the complete exhibition signage system is made from light boxes, turning the space into a dazzling display of iconic work and literally illuminating design history.
All the signage is black and white not to conflict with the vast array of colourful work on show.
Design It Yourself is an interactive exhibition at the MOTI in Breda. In the exhibition both children and adults are challenged to work as designers. There are different elements for them to design such as: a magazine cover, a stop motion animation, a T-shirt or an icon.
A race against time to make a stop motion animation with all the moveable elements in the space. A camera positioned above captures the action below.
Again using the moveable objects but this time to make a magazine cover. This larger than life cover even allows the visitor to be part of their design. Similar a camera captures the final design.
This pictogram drawing contest machine works like a slot machine and gives a randomised obscure assignment. For example, “design a pictogram for: a swimming pool, for hamsters, in the desert” or “a parking lot, for annoying people, with humour.”
All the results are published on the Design it Yourself website so the visitor can always check their designs after and share it with friends.
Ruimte voor de spelende mens (Space for the Playing People) presents The Hague’s dream to become a utopian city based on artist Constant Nieuwenhuys’ New Babylon. Here the city is an environment where its inhabitants can focus solely on their creativity and exist as homo ludens, ‘playing man’.
This financial report documents the cultural budget distribution across the many institutions in The Hague. The document details the government’s spending for the following four years in comparison to previous.
Fulfilling the city’s dream, the design of the report actually gives the reader the opportunity to play. The content is divided into seven books which form a tangram puzzle. ‘Alles moet mogelijk blijven, alles moet kunnen gebeuren’ (Everything must remain possible, everything can happen), the report’s ethos, is emphasised through the tangram’s ability to form infinite combinations.
As a tangram puzzle the previously dry and complex document is transformed into one of creativity and joy. Additionally, the shapes of the tangram become an abstraction of The Hague’s visual identity of which the report is designed within.
Our monograph This is Experience Design showcases the studio’s work from the past thirteen years and explains the theory behind Experience Design.
With the term Experience Design people often think of digital interaction. But not at Trapped in Suburbia. By embodying our Confucius motto: ”Tell me and I’ll forget. Show me and I may remember. Involve me and I’ll understand.” the monograph becomes an interactive publication.
Two accompanying 10” vinyl records tell the stories behind the projects. The 156 pages show only images of this work. The reader must be involved in both in order to fully experience the book and understand.
With a foreword by Erik Kessels of KesselsKramer.
Published by Coltrane & Dixon.
Listen to a sample from Side 2 – The Medium is the Message.
This is Experience Design is available to purchase below.
The oven plays a major role in the ceramic process. Ceramicists can spend weeks preparing their object yet when it finally goes into the oven all control is taken out of their hands. Even the most experienced can open the oven after a weekend of firing to find disaster.
Capturing this excitement, anxiety and surprise, the reader must bake the initially white book in an oven until it transforms to black and reveals the cover design.
Taking Ceramics I discusses the topic of mistakes with numerous of the European Centre of Ceramics’ (EKWC) past artists-in-residence. The book’s layout plays with this fragility, splitting Dutch and English texts over pages and positioning content precariously close to edges.
The special edition emphasises this theme further with its 1mm thick porcelain front cover. Inevitably, whether through the sheer weight of other books or mishandling the cover will crack. Consequently, the reader, like the ceramicist learns to accept and appreciate the beauty of mistakes.
The EKWC has been a prominent centre for experimentation in ceramics for almost 50 years and has a vast array of previous artists-in-residence who have pioneered this material.
Jaap Drupsteen, legendary Dutch designer/video artist was revolutionary in the use of chroma keying, also know as the blue screen effect. This technique allowed him to superimpose actors or elements into totally different environments.
An accompanying app allows the reader to experience chroma keying firsthand. The app contains a library of video clips from Drupsteen’s productions that can be superimposed onto the solid blue book, thus bringing the monograph to life whilst explaining his process.
Video productions form the majority of Drupsteen’s oeuvre meaning every second holds a uniquely beautiful graphic image. Unlike the traditional graphic designer, Drupsteen creates twenty-five incredible images per second.
Consequently, the inside pages present over 400 stills rarely seen as individual frames, revealing their incredible colour and detail, emphasised by the fact many were created before the use of computers.
Download Jaap Drupsteen from the Apple App Store.
This book was part of the exhibition Jaap Drupsteen – Designer | Explorer that we also designed.
Eurocontrol are responsible for the air-traffic management and regulation across the entire European airspace. This is an overwhelmingly complex task with a huge amount of responsibility and information. The Twenty-Year Journey marks the organisation’s anniversary and through clear infographics presents its detailed history in an easily comprehendible manner. Fold out pages accentuate certain infographics for maximum impact.
The book was presented to employees and associates in two hardcover editions. The standard edition is covered with grey linen and a limited special edition features a white leather cover with gold foiled text and edges.
Considering its enormous task and responsibility the Eurocontrol headquarters retains a calm, peaceful and controlled atmosphere. This is captured through a series of commissioned photographs included throughout the publication.
Graphic Happiness consists of a publication, traveling exhibition and educational programme covering 100 years of Dutch graphic design. Travelling through China the exhibition showed work of over 60 designers highlighting their love of design.
Based on the Chinese symbol of ‘double happiness’ and the Dutch flag (red, white and blue) the logo symbolises the two countries uniting in design. The logo is divided and produced as three different straps which hold together the exhibition furniture and bind the publication. The logo is literally and metaphorically the binding factor in the whole design.
The publication consists of 246 loose pages presenting work by Dick Bruna, Wim Crouwel, Theo van Doesburg, Anthon Beeke, Lust, Thonik, Niessen & de Vries, Studio Dumbar, Trapped in Suburbia among others.
Graphic Happiness is available from Museum Hilversum for €32,50 as a bilingual English/Chinese edition.
Waar rook is, is vuur (Where There is Smoke, is Fire) is a publication about the old Caballero Cigarette factory, which has been transformed into a creative work area. Where once cigarettes were made now architects, photographers, industrial designers, graphic designers and web designers carry out creative projects.
The spine and typography on the cover are silkscreen printed with a matchbox structure so you can actually strike a match on the book. Inside, several kinds of paper are use to represent the different architectural surfaces throughout the building.
The catalogue accompanying Grafisch Geluk (Graphic Happiness), an exhibition of 100 years of graphic design, tells the story of one specific part to Dutch design history. This is de Jong, one of the most famous Dutch printers. They were the first to work really close with designers like Wim Crouwel, Dick Bruna, Anthon Beeke and Otto Treuman and carried out all kinds of experiments that are now considered standard printing techniques.
The cover of the book consists of five loose covers that together form the logo of the printer, de Jong. This symbolises the special collaboration between the printer and the designer, working together they produced their best designs.
The cover of this book is turned inside out. The design is inside and the endpapers are outside. Het Echte Werk is not printed in regular CMYK. Given the subject of experimentation, cyan, magenta and yellow are replaced by neon PMS inks. However, the book is still printed as normal CMYK printwork giving a completely surprising result and making the photos ‘pop’ with vibrancy.
F.C. de Omslag is a collaboration between the library and archives of Gouda. This initiative was set up to explore and experiment how they, together with the inhabitants of Gouda, can create culture. The book is an adventure into dealing with culture in a new experimental way.
‘De Omslag’ means ‘book cover’ and refers to both the books in the library and the archive. Yet, it also means ‘turning point’, which the team believes this project could mean for them. This is the reason behind the cover being such a focal point. Turning it inside out makes you look twice and that is what F.C. de Omslag is about.
Movement and rhythm are central to the identity of Fresh Tracks Europe. Innovation in Dance for Young Audiences presents the philosophy and projects of this youth dance network in a publication that embodies dance.
Six cover variations, showing shapes taken from the identity, are choreographed as a stop motion animation adding motion and rhythm to the usually static printed object.
VJ Movement gives journalists and cartoonists around the world the opportunity to share their stories and tell their truths. They reveal subjects and perspectives that aren’t covered in mainstream news.
Anyone can pitch their untold story to VJ Movement and if it receives enough votes a professional VJ Cartoonist will report on this and publish it online. The best cartoons are collated in this book. Removing the translucent red band allows the reader to reveal these other truths for themselves.
This publication written by Kennisland (Knowledgeland) shows the situation in Dutch society regarding the future. Kenniseconomie Monitor 2010 (Knowledge Economy Monitor 2010) discusses in detail the value in strengthening knowledge to guarantee future prosperity and welfare.
As well as thorough reports, over ninety infographics printed in five fluorescent colours summarise the facts clearly and informatively throughout the book.
This publication shows the results of a study by the Hogeschool van Amsterdam (Amsterdam University of Applied Sciences), on the grant programme Amsterdam Kansenzones (Amsterdam Opportunity Zones). The programme provides financial opportunities for small independent retailers.
The study revealed a lack of understanding between the municipality and the shopkeepers. This dispute manifests as two booklets. One uses the visual language of the shopkeepers to express their views. The other shows the research result in the classic, formal language of the municipality.
The two booklets are interweaved meaning the reader has to consider both sides of the conversation turning a page at a time. Due to friction the two booklets cannot be pulled apart when closed highlighting the dependency these two parties have on each other.
The large A3 format stems from the researcher’s desire to make the report visible and not to be placed in a drawer never to be read.
Hi is a Dutch telecom company with a target group of young adults. Instead of looking in from the outside, Hi wanted their staff to be part of this world and really live the life of their target group. Therefore the brand book is the diary a young adult full of photos, stickers, concert and train tickets, flyers and a beer mat scrawled with phone numbers. It features several scratch-off ink tests, five fold out pages, a resignation letter (if you fail the scratch tests), many illustrations, UV spot ink and a huge pop-up. You name it; it’s in there!
This farewell gift for the departing president of the Nederlands Instituut voor Beeld en Geluid (Dutch Institute for Sound and Vision) translates video and sound across 600 pages. Segments of television programmes are reproduced frame by frame making them still comprehendible even when printed. As well as the vast collection of imagery the book contains a single of David Bowie’s Sound and Vision, pop-ups, a DVD, several flip booklets and a RFID tag all bringing the printed page to life.
This publication gives insights into the results of Creatieve Stad Den Haag (Creative City The Hague), a development programme to progress the creative scene in The Hague. Like the creative inhabitants who build this city, the book is a building block that when united with others forms an impressive and beautiful construction.