CONTRA Mag.
Team work / Concept ︎︎︎ both / Blue ︎︎︎ Tristan Hushke / Red ︎︎︎ Laiyi Lin
Contradiction conceptualized.
Conflict contextualized.
Two topics, one booklet.
Introducing,
CONTRA Magazine.
A fully visualized concept for a cultural and entertainment magazine on topical themes. As the name suggests, Contra delves deep into opposing perspectives on a single subject matter. Maximalism VS Minimalism is the topic we explored. In the middle of the magazine you can find a section called "Treffpunkt," a rendezvous, where two perspectives meet in a debate or conversation.
To achieve a harmonized look, the color palette is kept in minimalistic duo tones that complement each other. Further matching the themes of dichotomy, two contrasting fonts are employed.
CONTRA Magazine.
A fully visualized concept for a cultural and entertainment magazine on topical themes. As the name suggests, Contra delves deep into opposing perspectives on a single subject matter. Maximalism VS Minimalism is the topic we explored. In the middle of the magazine you can find a section called "Treffpunkt," a rendezvous, where two perspectives meet in a debate or conversation.
To achieve a harmonized look, the color palette is kept in minimalistic duo tones that complement each other. Further matching the themes of dichotomy, two contrasting fonts are employed.
Bourges in Augsburg Program-flyer
Every summer, French students visit Augsburg for a week of sightseeing and study.
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Team work / Concept ︎︎︎ Maxim Kaiser, Laiyi Lin / Index, grid and spreads ︎︎︎ Laiyi Lin
What does a picture say on their own? How do the thoughts of artist determine its Gestalt?
During the last undergraduate semester's photo module, students are tasked to analyze and reinterpret trailblazing photographers' work. The resulting photo series are collected in a DIN A4-wide magazine. Given the individuality of each series, we chose a simple design system with clear grids, a muted palette, and a grotesque geometric font mix. The title "Insert Here" is based on the unanimously decided cover picture taken by Vincent Haack and inspired by Gregory Crewdson. This photograph, or some might say photo-artist, captures atmospheric cinematographic scenes, deliberately obscuring the stories and leaving only fragments for the viewer to decipher. Between the series, three spreads are placed as visual breaks. The close-up and pixelated photos, combined with quotes from our photo professor, Andreas Kunert, break up the strict guidelines and add a dash of humor.
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