Lars Winter is a German graphic designer currently based in Hamburg, Germany. He specialises in visual identity and editorial design. For work collaboration and other requests, please feel free to contact him. You can also find him on one of those fancy social networks like Twitter and Instagram or feel free to visit his Blog.
Visual experiments on national identity and its significance today. Various mediums and formats collected in a printed documentary.
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What is national identity? What is nationalism? For many, national identity is often some sort of feeling, a kind of belonging. Nationalism on the other hand quickly reminds one of violence, exclusion and isolation. Both terms describe the concept of a community which has a history, language, culture and much more in common. Symbols derived from this concept are supposed to help define and strengthen this identity.
My bachelor thesis engages with the visual manifestation of national identity. Concrete fundamental concepts are dismantled and are re-assembled through experimental approaches. Familiar symbols are playfully set in an unexpected context. The result is a collection of objects which intends to deal critically, humorously or constructively with the subject and to visualize it to the audience.
Display typeface developed from five letters and distinct characteristics which were only verbally described and never seen.
The typeface came into being by playing the “telephone game”. In 15 minutes, five characters from a complete type specimen were thoroughly described to us without ever seeing it ourselves. At the same time, we were sketching the first forms of those letters. The resulting letters were “new” because of the vague transmission via description and the resulting divergence from the originals. The sketched divergences included in those letters were refined and transformed into characteristics which can be found in the final typeface.
True Romance is a sharp and quirky display typeface that works best in large sizes. It gives its content a rather playful and not too serious appearance while still having that “classical” look.
In collaboration with Lea Helm.
Physical collection in two volumes of all the photos taken in Australia over the course of six months.
During my exchange semester in Australia, I took 2440 photos: multiple and shots, blurry and underexposed photos, photos as notes, good photos and selfies. For me, the urge of taking photos mainly derives from the desire to document. Therefore, it is often hard for me to sort out and delete photos. In the end, the really good photos are lost in the crowd.
“AUS2440” is a chronological collection of all the photos that were taken between July 2016 and January 2017. It is the physical equivalent of the digital folder holding these photos. A flood of images, confusing and ungainly. But it provides a physical form for an abstract bulk of data and at the same time shows how one is – how I am – taking pictures today.
Visual identity for a fresh concept of an alteration shop, an atelier and a selling space.
“EPIC YARN” is an alteration shop and a place where you can work on your own apparel. Instead of just bringing your clothes and letting them get customized you can get into the process of creating your own fashion. The store has a young target group such as modern fashion labels and offers stitch courses as well as workstations for individual use. Additionally, it is also the shop window to sell your unique handcrafted garments.
Around this concept store we built a whole corporate design which is based on the look of sewing patterns which are essential to manufacturing clothing. The lines and the green hue from these sewing patterns are accompanied by the concept of transparency which determines the back of every print product. Contemporary photography and large typography as well as puns on pop culture quotes convey the mood of the brand.
In collaboration with Caroline Schneider.
Reader with text from Paul Renner on his typeface Futura and documentation of visual experiments in multiple disciplines as a tribute to Futura.
My knowledge – and probably that of many designers – of Paul Renner reached its limits with the fact that he created the Futura typeface. Therefore, I was surprised when I found out what was going on inside his brain and what led him to develop his belief in typography and the construction of typefaces.
With a base of written texts on Futura and a collection of visual experiments this book came to be. Paul Renner thoroughly thought about the craftwork of type design in context to the requests of society in the 1920s and 30s and how typefaces and printing techniques could be made more efficient.
This reader/documentation gives his texts about Futura a suitable frame but also expands, plays and experiments visually with his positions and his typeface. The result is a varied collection of visual works: Modifications of old imagery and constructed parts of Futura letters as well as collages and digital reprints of his written words.
Reader with renowned texts on design history and theory from 1851 till 2014 to provide an overview for everyone.
“bis heute — Schlüsseltexte zur Designtheorie” was designed with the objective to make design theory more approachable for students. Our main goals were to improve the readability of renowned texts and at the same time show how these texts were originally arranged back then.
This book is to be bought by second semester design students for their design history class and shall accompany them during their whole time in university. The texts were selected by Prof Dr Petra Eisele, design theory professor at Hochschule Mainz, and give an overview of design history and theory.
The book will be accompanied by a website, where the texts as well as the original layout and information about the authors will be featured. Students and teachers will also have the opportunity to complement the texts with links and images.
In collaboration with Lea Helm, Guilherme Maggessi und David Wobido.
Two color printed postcard sets, manually refined by screen printing and packaged in silver foil envelopes. Small quantity available here.
We look back.We look at today and we look forward.From the distance, from above and right into it.Indelible memories, present thoughts and plans to shape the future become an abstract chart of life.Two lives, two perspectives, two sets of postcards.
Gülşah Cerit and I created the label “well kind of like us” and our first products are two postcard sets with abstract shapes and textures. Our main goal was to display our personal past, present and future through a chart-like illustration.
Collection of analogous printed works based on a trip to Antwerp.
Collected materials, souvenirs, impressions and memories are used to form a personal view of the visit.The nine postcards are printed with algraphy and wood type.Three colourful etchings of selected Dutch words.Rough offprints of collected goods with acetone.Several reprints with linocut and prints with wood type acquired in Antwerp.The works are collected in a loosely bound folder.Words and titles on the folder are printed using wood type and lead type.
The large poster is printed on wrapping paper with offprints of an old Belgian poster from the 1970s with the help of acetone. The red type is printed by the use of cropped foam rubber.
Display typeface developed from the logotype of a tin pencil case from “Faber Castell” manufactured in the 1960s.
In the logotype from the 1960s one can see influences of art nouveau and the handcraft of the designer in the curves of the letter form despite its rigid shape.
Kastell is a static constructed typeface. This whole typeface was developed based on six characters (Castell). Lowercase letters were omitted and replaced by small caps to maintain the blocky character. In the beginning, every curve had a fixed numeric value, which was later modified optically to provide a more harmonious look.
Kastell is a pure display typeface which creates a stark contrast to body text. Therefore it can be combined with serifs and sans serifs. This typeface will give its content a strong character and the impression of tradition, classicism and loving handcraft.
Type specimen for three new display typefaces and simultaneously an anthology comprised of three literary classics.
“A Type of Type” is the name of a type foundry created by three students. Each of us designed a display typeface with a set of unique characteristics.
In the process of making a type specimen, the idea emerged to create a product everyone and not only type interested people can find use in. Anthologia (ancient Greek for anthology) combines three type specimens with three literary public domain classics in one book.
The graceful typeface “Fade” catches Oscar Wilde’s The Picture of Dorian Gray, the cheerful “Elvetia” thoroughly illustrates Alice’s Adventures in Wonderland while the striking “Kastell” follows along Jules Verne’s Around the World in Eighty Days.
In collaboration with Nadine Nemak and Giovanna Reder.
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