None
2CVdg

Projects

Type specimen

GRAPHIC DESIGN

Type specimen

Studio project with Aurèle Sack

Type design displayed on a specimen.

Information design

GRAPHIC DESIGN

Information design

Studio project with Angelo Benedetto

For the information design course the students have been asked to design a cartographic poster based on a film in the road movie genre, in a direct or abstract representation.

Typography Design

GRAPHIC DESIGN

Typography Design

Studio project with Aurèle Sack

Design Context

GRAPHIC DESIGN

Design Context

Studio project with Nicole Udry

Editorial Design

GRAPHIC DESIGN

Editorial Design

Studio project with Diego Bontognali

Typography Design

GRAPHIC DESIGN

Typography Design

Studio project with Aurèle Sack

1,15m²

GRAPHIC DESIGN

1,15m²

Workshop with Sacha Léopold (Syndicat)

During this workshop week, the students worked on the curation, mediation and placement of their own exhibition. The students selected a corpus of works from the iconographic and textual collections of the Metropolitan Museum of Art and the Museum of Modern Art, both based in New York. The exhibition space, 1.15m² (refering to the surface area of an F4 poster) is printable, hangable and foldable. It is both a surface but also a base or a volume. The students' results question the means of reproduction and representation of the works in the design of an exhibition.

Design en contexte

GRAPHIC DESIGN

Design en contexte

Studio project with Nicole Udry

Type Design

GRAPHIC DESIGN

Type Design

Studio project with Aurèle Sack

Editorial Design

GRAPHIC DESIGN

Editorial Design

Studio project with Diego Bontognali

Workshop Studio Feixen

GRAPHIC DESIGN

Workshop Studio Feixen

Workshop by 2CVdg

Type specimen

GRAPHIC DESIGN

Type specimen

Type design displayed on a specimen. Second year course supervised by Aurèle Sack.

Communication of a press article

GRAPHIC DESIGN

Communication of a press article

Studio project with Nicole Udry

Communication of a chosen press article. Second year course of graphic design in context, centered on image creation and editorial design.

My First Kiss

GRAPHIC DESIGN

My First Kiss

Workshop with Emmanuel Crivelli

Poster design about "My First Kiss", with Emmanuel Crivelli (Dual Room). All the students wrote down their first kiss story. Following this, all stories were anonymously shared before being redistributed.

Time is Form, Form is Time

GRAPHIC DESIGN

Time is Form, Form is Time

Workshop with Mitch Paone (Dia Studio)

Portrait

GRAPHIC DESIGN

Portrait

Studio project with Diego Bontognali

Political/Futuristic/Historical/Demagogue/Slanderous Portrait Two different layouts of a strictly identical content, in two publications: A – small (+/- A5) B – big (+ A4)

Communication of a press article

GRAPHIC DESIGN

Communication of a press article

Studio project with Nicole Udry

Communication of a chosen press article. Second year course of graphic design in context, centered on image creation and editorial design.

Type Specimen

GRAPHIC DESIGN

Type Specimen

Studio project with Aurèle Sack

Type design displayed on a specimen. Second year course supervised by Aurèle Sack.

IDFA

GRAPHIC DESIGN

IDFA

Workshop by 2CVdg

Compose

GRAPHIC DESIGN

Compose

Workshop with Ludovic Balland

Summer University Hong Kong

GRAPHIC DESIGN

Summer University Hong Kong

Workshop with Angelo Benedetto, Guy Meldem, Harry Bloch

The Theory of

GRAPHIC DESIGN

The Theory of

Workshop by 2CVdg

The students were presented with subject matter that at one point or another has been characterised as pseudoscience by academics or researchers. These characterisations were made in the context of educating the public about questionable or potentially fraudulent claims and practices–efforts to define the nature of science, or humorous parodies of poor scientific reasoning. The majority of the ideas are unrealistic, and fanatical. Criticism of pseudoscience, generally by the scientific community or skeptical organisations, involves critiques of the logical, methodological, or rhetorical bases of the topic in question. Though some of the ideas continue to be investigated scientifically, others were only subject to scientific research in the past and today are considered refuted but resurrected in a pseudoscientific fashion, such as the world is flat. Other ideas presented here are entirely non-scientific, but have Ibn one way or another infringed on scientific domains or practices.

Vulgar Display of Power

GRAPHIC DESIGN

Vulgar Display of Power

Workshop with Michiel Schuurman

A la rue (Buenos Aires Summer University)

GRAPHIC DESIGN

A la rue (Buenos Aires Summer University)

Studio project with Jonas Wandeler

Realization of an editorial object which traces the excesses of different groups of students in the avenues of Buenos Aires, according to an alternative method of navigation (set of criteria).

Communication of an architectural object

GRAPHIC DESIGN

Communication of an architectural object

Studio project with Nicole Udry

Confession of Lance Armstrong

GRAPHIC DESIGN

Confession of Lance Armstrong

Studio project with Angelo Benedetto, Gilles Gavillet, Jonathan Hares

Creation of an edition from the interview between Lance Armstrong and Oprah Winfrey.

Summer University Buenos Aires

GRAPHIC DESIGN

Summer University Buenos Aires

Other with Diego Bontognali, Jonas Wandeler, Angelo Benedetto

PrimaNero

GRAPHIC DESIGN

PrimaNero

Workshop by 2CVdg

Fauxtography 2006 Lebanon

GRAPHIC DESIGN

Fauxtography 2006 Lebanon

Studio project with Harry Bloch

Belief Systems

GRAPHIC DESIGN

Belief Systems

So what is your belief system? Are you isolated in your opinions? Do you feel part of a movement? Does your design approach polarise your work? Do you have conflicting opinions? Do you want to fuck things up? This is about self reflection. There is no right or wrong. Lilian Kim, Joana Castro Santos, Eloïse Rossetti, David Scarnà, Joy Laporte, Marie Cajka, Oriane Chaussard, Anne Stock, Vanja Jelic, Rasmus Schoenning, Marin Muteaud, Frederik Mahler-Andersen, Samuel Pasquier, Tancrède Ottiger, Clémence Chatel, Naomi Gallay, Virginie Angéloz, Alexandra Chernopazova, Sabrina Fischer, Emilie Pilet, Nolan Paparelli, Klaus Stille, Océan Bussard, Laure Budestschu and Victor Tual

Pictos

GRAPHIC DESIGN

Pictos

Studio project with Angelo Benedetto

Pictograms about news & actuality.

Les Villes invisibles

GRAPHIC DESIGN

Les Villes invisibles

Studio project with Jonas Wandeler

Exercice consistant à dessiner un logo pour une des villes décrites par Italo Calvino dans son ouvrage «Les Villes invisibles». Par la suite, l’identité est transposée sur un objet souvenir pour la ville en question. Rendu dessiné sur Illustrator, accompagné de l’objet, ainsi qu’un cahier de recherche.

Design manuel, design et méthodologie

GRAPHIC DESIGN

Design manuel, design et méthodologie

Studio project with Nicole Udry

Réflexion sur les modèles de méthodologie en design. Proposition d’une réédition d’un manuel existant, ou constitution d’un nouvel ouvrage de règles inspiré d’une vision plus personnelle de la pratique du métier.

Music Posters

GRAPHIC DESIGN

Music Posters

Studio project with Diego Bontognali

Posters about a Music Category. Visualisation, Information & Interpretation

(Non-)Fiction

GRAPHIC DESIGN

(Non-)Fiction

Studio project with Harry Bloch

Création d’un objet documentaire, une édition narrative rendant compte d’un événement marquant du siècle passé.

Index

GRAPHIC DESIGN

Index

Workshop with Till Wiedeck

Calendar

GRAPHIC DESIGN

Calendar

Workshop with Guy Meldem

Calendrier réalisé en offset basé sur les techniques et effets du logiciel photoshop

New Handwriting Tools

GRAPHIC DESIGN

New Handwriting Tools

Workshop with Job Wouters (Letman)

Job Wouters  aka Letman, well known for its lettering artworks, took out of his suitcase pencils and markers, as well as strange utensils much different than a typical pen and asked to his students to create, produce or divert objects from their original function to turn them into new handwriting tools. Students brought back plastic fans, water hoses, electric toothbrush, treadmills, and other uncommon objects to generate their very own handwriting machines. After a lot of trial-and-error experimentation, specific gestures and choregraphies, these newly constructed DIY machines brought about a unique aesthetic and a variety of proportion in the letter forms they produced. The results included experimental videos, books, posters, and photographs. In conclusion, the project facilitated a fun and productive week.

There Will Be Blood

GRAPHIC DESIGN

There Will Be Blood

Workshop with Sonya Dyakova

Sonya Dyakova wanted to do something about conveying music through typography. She have watched recently a Paul Thomas Anderson film ‘There Will Be Blood’, and found it very moving and inspiring. The film features an original orchestral score by Radiohead guitarist Jonny Greenwood, and she felt the music had integral and powerful role in the film. On day one the students and I watched the film together. Afterwards, I have asked them to create a poster for it. The poster had to embody the essence of the story and ‘weave in’ the feeling that the sound made. Design is about telling a story, and I wanted to the audience to be able to get the story, or an essential aspect of the story, from looking at the poster. One of the tasks of the designer is to extract essence and communicate it in the most clear voice through tools that we know — typography, colour, image making, printing techniques. All elements of the poster had to have a reason and purpose. She have asked the students to create a list of words, while the film was fresh in their mind, which were reflecting the story. From these words she wanted  them to start making visual elements that would make up the poster. She asked the students to use printing press, using wood and metal to create printing plates. Which, in turn, instructed the look of the poster to some degree. The number of layers was limited by the number of students and time they had — any project has constraints, and so did this one. The result was a healthy variety of approaches: some posters were abstract, some more figurative. She tried to push the students not to be afraid of the obvious. Alan Fletcher’s words are always in her mind: “What distinguishes designer sheep from designer goats is the ability to stroke a cliché until it purrs like a metaphor”.