New Projects

who am I?

with this on file, you’ll never be foxed.


filofux, visual identity and editorial design

topsy-turvy type

everything is upside down and the wrong way round, the text reads in the wrong direction and the wraps look random. yet the structure, the building, is a picture of stability.


matthias schmidt architekten, visual identity 

the typographical uncertainty principle

something emerges, becomes visible, alters its appearance, much like a mirage or a vague notion.


lederer ragnarsdóttir architekten, visual identity

eye-catching restraint

how can locations be landmarked in a way that’s both eye-catching and restrained? colourful camouflage is the answer.


sportroute leipzig, signage system

vocal viewpoints

our idea of architecture is often determined by beautiful or beautified architectural photos and by the pronouncements – genuine or dubious – uttered by the buildings’ creators. yet what do the people occupying the buildings actually feel?


vocal viewpoints, bächlemeid architekten

dissonant dots

something‘s slipped out of place.


north rine medical academy, visual identity 

heritage and future

a contemporary, open picture which represents an evident connection between past and future.


baden-württemberg flag 

perfect disruption

the alternation between grey and white paper, between colour and black-and-white, large and small illustrations, large body typeface and precise drawings, old and new projects is the secret choreography of the book, which – like a building – surprises its visitors with a succession of spatial sequences, perspectives and viewpoints.


meck architekten gestimmte räume

be part, become whole

the shaping and arrangement of the letters say something about how people come together there and relate to each other. each individual – each child, each teacher – has their own unique characteristics and quirks.


tyrol university college of teacher education, visual identity

making waves

the text - set in a mega-wide column on the initial pages - has to make way as the images push it further and further to the right, until the type area becomes marginalised and the font size is tiny. the screenplay governing this particular motion picture is shaped by a single rule: the size of each artwork.


karin sander skulptur/sculpture/scultura 



the sigange system for paracelsusbad in salzburg was selected for its »typographic excellence« in the tdc communication design competition, tdc67.


paracelsusbad signage system

wi(e)der das böse

group exhibition at the bomann-museum celle with büro uebele, from 5th june until 10th october.



read on & on – 17

online-lecture at hochschule mainz, wednesday, 5 may 2021, 6pm, together with stefanie vogl.


blitzbesuch bei andreas uebele

potzblitz, seien sie dabei!


heilbronner architekturgespräche, live-stream

tokyo tdc

the signage system for the w&w-campus is currently part of the tokyo tdc exhibition 2021 at ginza graphic gallery (ggg) in tokyo, japan.



tdc 2021: ginza graphic gallery

ekstatisch bürokratisch

für die ausstellung der künstlerin karin sander in der kunsthalle tübingen haben wir plakate, einladungen, banner, ausstellungsbroschüren und den 700(!) seiten katalog der office works gestaltet.

unter anderem wird dort der superromkomplex ausgestellt, eine gemeinsame arbeit von karin sander und andreas uebele.

27. märz bis 04. juli 2021, 

digitale ausstellungseröffnung am freitag, 26. märz um 19 uhr. 


kunsthalle tübingen

karin sander karin sander



the signage system for the paracelsus pool and wellness centre has been selected to receive the »certificate of typographic excellence«. it will be included in the annual of the type directors club »the world's best typography« and will be shown in exhibitions worldwide.


paracelsus pool and wellness centre 

tokyo tdc

tokyo tdc deemed the w&w-campus signage system as "prize nominee work" and the porsche signage system, gta papers and karin sander sculpture as "excellent work"




gta papers

karin sander sculpture

jahr neu.

quitte fällt, druckstelle kommt, kreislauf ewig, gejammer keins, knospen schwellen, gedanken blau, jahr neu.


new year's greetings büro uebele

new york new york

type directors club new york certificate of typographic excellence for the editorial design of the gta papers: war zones.


gta papers: war zones 


fast eine kunst  


ein wort auf einem haus in wien erinnert uns wieder einmal daran, doch bitte ganz entspannt im hier und jetzt zu leben (lokkaisi). es spielt keine rolle, dass die schöne beschriftung nur für das gleeichnamige österreichische presseerzeugnis wirbt (zitat: Mama und Tochter: »Unsere neuen Brüste lieben wir«) – wobei, wäre es nicht schöner: wir lieben unsere neuen brüste? ach egal, schrift im raum lieben wir. 

there is beauty in the broken. without the fragile and the courage, risking to create something bad, there is no beauty without destruction. 



robi wache 

in the streets of hanoi posters are hanging like newspapers on the wall. there you can read opinions about the city and quotes of goethe, which can be interpreted as comments about hanoi. these posters were made during a workshop with andreas uebele, organized by the goethe institut hanoi.  

so muss es sein! glückliche gesichter bei der urkundenvergabe. die zeremonie wurde erstmals an der hochschule düsseldorf vollzogen? nein, gefeiert! mit der hilfe der boy group raoul gottschling und tobias hönow und der jury mit saskia diez und florian lamm und jakob kirch und peter ippolito von ippolitofleitzgroup. wir gestalten identitäten für andere. gestern haben wir auch identität hergestellt, und zwar für unseren fachbereich. kleine persönliche freude: meine ex-tutorin katrin gruszczyk bekommt für ihre von mareike föcking und mir betreute arbeit (manifest xenofeminismus) einen der designpreise der hochschule düsseldorf, den wir bei dieser gelegenheit auch gleich ins leben gerufen haben. eröffnet wurde die veranstaltung mit einem eigens für diesen anlass geschrieben vortrag von dem philosophen prof. hannes böhringer aus berlin. 




der spiegel wirft das bild zurück und stößt den betracher vor den kopf. er zwingt ihn, das zu betrachten, was er kennt. der blick geht nicht weiter, man sieht bekanntes. wenn man den standpunkt ändert, wird das bild, das entsteht, ein anderes. das körperliche löst sich auf, wird verrätselt. ein trick, eine optische täuschung, die im raum eine schöne wirkung erzeugt. jetzt sieht man das, was nicht in der blickachse liegt. ein spiegelndes schild ist wie ein parfüm. es überlagert die wahrnehmung und bereichert sie mit einem anderen visuellen eindruck. 


woman, man 


a woman and a man. standing calm and still, wearing a knee-length dress and shorts. no specific fashion is discernible. these two figures have fallen out of time. yet they aren’t hermaphrodites – who’ve always missed out when the sexual categories are defined: we can see from the two figures that the man is probably a boy, the woman probably a girl. it’s not just that they’re almost exactly the same height: the female figure’s undeveloped chest, the shorts – which tend to be the preserve of the young – are sympathetic references to the un-sexual. a shared naïveté – or perhaps rather a shared innocence – overlays the stark division of the sexes. the form fulfils its function and reminds us of childhood. the figures aid wayfinding and tell us a tale of rediscovering a lost age. 


picture language 


someone who is looking for the toilet comes to a door. he sees what we might call a humanoid figure. he sees a person. the body descends vertically from broad shoulders, the legs stand parallel with a small gap between them. aha, the viewer says to himself, this is the place for men. yet if the figure has a waist and wears a skirt-like garment it is equally clear – at least in the western world – that we have reached the ladies’ toilet. the fact that this information is understood globally is a tremendous cultural achievement – its importance cannot be overestimated. it is the translation of instructions, place descriptions or complex emotional states into an internationally comprehensible language – basically the invention of an autonomous picture-based language that functions across all national boundaries. together, scientist otto neurath and graphic designer gerd arntz laid the foundations for the international visualisation system we use today, which helps us communicate various important matters quickly and straightforwardly without using writing and words. smileys, emojis and emoticons are another wonderful example of this. here you can see the beauty of gerd arntz’s original drawings: woman, man. smile. 


plädoyer für die maßlosigkeit: 

mehr ist mehr! 

pracht, fülle und ausschweifung! 



watch wonderful: 


keep all 


many designs are for the wastepaper basket. what a pity. but they are a good fertilizer for something new.