Tyrus's visual language combines expressive creativity with the organization needed for managing projects and clients.

A strong modular grid reflects the structured world of freelancers—spreadsheets, forms, and calendars—contrasted with vivid, free-flowing illustrations. The design system is flexible, adapting to various illustration styles and formats.

A type-centric approach and functional use of color highlight diverse illustrations, while the play between Tiempos and Airbnb's Cereal fonts
balances Airbnb’s voice with Tyrus's personality. The modular framework simplifies navigation, allowing users to move seamlessly through dense content and different materials.

We began by refining the brand’s core elements, making the italic type more italic, the blue more vibrant, and the wordmark bolder. This sharper visual language builds on existing brand recognition while allowing the brand to expand. We introduced a custom typeface, FK Olympikus, paired with a warm tone of voice and the tagline "o tênis do corre" ("the shoes for your hustle").

Technical illustrations, monospaced type, and a robust icon library bring their technologies to life. The identity, inspired by running tracks and sports flags, uses a modular system adaptable across all touchpoints, from retail to e-commerce, where we enhanced the user experience by integrating editorial and user-generated content.

Still thriving after 30 years, the Pollerwiesen Techno Festival hosts four events annually and attracts over 20,000 visitors. To mark its 30th anniversary in 2023, a new visual identity was crafted, building on the rebranding of 2022 following the pandemic.

The updated design keeps the signature hero colors for each event, blending typography and color into a liquid metal aesthetic. The creative process began with motion design, which is then adapted into static forms for print, ensuring all digital and physical touchpoints are seamlessly aligned.

Founded during the pandemic, Blies Festival emerged at a particularly challenging time for cultural events. Despite the circumstances, its visual identity conveys a message of optimism and hope, focusing on the reclamation of public spaces. The festival is named after the local lake Blies and the branding emphasizes the connection to the community.
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The design draws heavily on the geography of the area, using regional maps to inspire an imaginative and unique topography. This is structured on a modular grid system, which is layered with shapes
and custom iconography that refer to the local industry. A free composition of shapes and colors adds flexibility and fun to the design, highlighting its playful and dynamic nature.

As a boutique production agency in the luxury space, WA GMBH’s website mirrors the brand's elegance and confidence. Over three years of constant development, the website has evolved into an archive showcasing top-tier fashion, art, and luxury projects in editorial, motion, and advertising. The design is based on a minimal grid system, with content centered and divided by fine lines. This pared-down approach in typography, layout, and color allows WA's work to take the spotlight, reinforcing the exclusivity of both the brand and its clientele.

Pollerwiesen began in the 90s as an underground rave has evolved into a series of events drawing over 20,000 visitors a year. The season kicks off in April and wraps up with boat parties in late summer. After a two-year pandemic hiatus, the festival returned with a revitalized identity. The new design system retains the established hero colors for each event and features two key elements: dynamic motion inspired by anime screen captures and a calm, minimalist typographic layer, creating a uniquely sophisticated visual identity for the modern techno festival.

The purist identity for Berlin-based product and interior designer Claire Wildenhues was developed in close collaboration with the designer and began in 2019 with the project "The Therapist's Room." Claire's diploma project process and research were documented in the form of a book. As transparent and accessible as her objects, Times New Roman was chosen as the sole graphic element to design the book and later the visual identity. By reducing design elements solely to the typeface, a minimal yet flexible system was created, where color and layout become expressive and referential tools.

In the diploma book, the font size increases from page to page, reflecting the project's development. On the website, the font color indicates the project's hero color and serves as ambient light. Business cards display seasonal colors through typography, presenting a bold and radically minimal aesthetic.

After the closure of the legendary record store in Frankfurt, the younger team members took the initiative to create their own venture: GOSU, a vinyl store with a focus on second-hand techno and house records. Their background in streetwear and love for 90s U.S. basketball aesthetics heavily influenced the visual identity. Central to this identity is the logo, which became a versatile design element applied throughout the brand, from the store’s floor to its in-house record label, merchandise, and poster artwork, helping to establish GOSU’s unique and recognizable presence.

After my birth in France in 1990, I grew up in England with an English-speaking father and a French-speaking mother, in a "favorable linguistic environment." I've been told that my sister and I code-switched between French and English from our very first sentences. In 1995, my mother researched code-switching for her master's thesis in applied linguistics. The study involved dialogues between my mother, father, our au pair, my sister, and me, during dinners in our home. As an ode to my mother's thesis, I created a book that typographically reinterprets her collected data, fragmenting it and adding imagery.

The captivating sounds of Traffic Records, a techno and house label from Offenbach, have found their perfect stage on the dance floor of the iconic Robert Johnson club. Once ranked as the world's top club for electronic music, Robert Johnson boasts a strong visual identity
with a rich history of flyers and posters. Embracing the club's minimal and understated style, Traffic Records' artwork channels the club's atmosphere through op-art-inspired visuals. Color, composition, and shapes reflect the music and lighting, with many designs evolving from motion experiments that translate into print.

Pager Records is a fresh electronic music label founded by Markus Sommer. His upbeat and sun-soaked personality is infused into every aspect of the label's creative output. The label’s visual identity draws inspiration from retro aesthetics and bootlegged archive finds, reflecting a nostalgic charm that echoes the music. By blending the vernacular with a contemporary edge, Pager Records creates an identity that not only celebrates the beauty of the past but also aligns perfectly with the vibrant, feel-good sound that defines its releases.

In 2018, the results of an animation workshop project at ECAL were selected to represent the visual identity for the spring workshops. Eugène Kaïmanovich and I developed a dynamic typographic display to showcase the weekly schedule. The project focused on creating a clean, minimalist aesthetic, using only three colors and simple 3D geometric shapes.