28 April 2014

News
Three questions to:
Studio Langesommer

 

Christine Lange and Patrick Marc Sommer have a joint studio in Berlin. They earn their daily bread doing typography and graphic design. To do this, they are constantly on the lookout for “intelligent design solutions from the initial concept to the finished product”. They specialise in editorial design (brochures, catalogues, magazines, corporate communication) and corporate design (logos, scripts, colours, imagery and implementation) and represent the principle of an “optimal readability”. Their most recent project for the Jüdisches [Jewish] Museum Berlin demonstrates their enthusiasm for communication and design. Having been invited by the Museum and other agencies to participate in the exhibition tender, which they subsequently won, the pair undertook the creative development of the key visuals for the special exhibition Die Erschaffung der Welt [The Creation of the World] which is presenting a collection of Hebrew documents until 3 August. We asked Lange and Sommer to give a short interview about their current project.

 



 

1. Could you tell us a little bit about your background? How would you describe your style?

 

Patrick Marc Sommer: I am originally from Mainz and have been working as a self-employed graphic designer in Berlin for five years. I am one of the editors of Design Made in Germany and founder of “Langesommer - Atelier für Grafik Design und Typografie.” I would describe my style as typographical, reduced, direct, with an emphasis on content.

Christine Lange: I was recently studying visual communications in Weimar and graduated from there in 2012. Since then, I have been living and working in Berlin and founded “Langesommer” with Patrick. My style is clear, simple, with attention to details, typography intensive, haptic.

 

2. What did you work on for your project for the Jüdisches Museum Berlin? What was the production process like?  

 

Sommer: It involved designing marketing materials for a special exhibition and then developing key visuals. For the first round, the tender, we had to present a poster and an invitation to the exhibition. Then later there were various designs for posters, facade banner, entry tickets and much more besides.

Lange: The production process was very exciting - and quite a challenge, too! The subject area was a completely new one for us: Hebrew script and Jewish culture. We hadn’t had many points of contact with this area at that point. We really wanted to express the feeling of the exhibition and during the design process we kept on reducing our approaches down to the essence. Finally, paper (scrolls) and ink (calligraphy) were our main starting points. In the actual process, we experimented a lot with inks and nibs to create different versions. Ink is the origin of calligraphy and thereby the basis of the Hebrew script and that’s what we decided on. The ink develops into the calligraphic letter “alef”, which represents the first letter in the Hebrew alphabet. It demonstrates development, formation and movement - and in a very aesthetic way - the beauty and origins of the Hebrew writing culture. This approach was convincing in relation to the title of the exhibition, too: “The creation of the world”. 

 

3. Does this project differ from previous work? If so, why?

 

Lange: Well, the thing that is different is that until now we had never applied for an exhibition of this size. When you are working to catch the eye of the public, you have to design things differently to the way you would for a magazine or a book, where you take your time, hold it in your hand and have time to look at it in peace. The motif has to be instantly recognisable and, we believe, convey a feeling of the exhibition. It was a wonderful assignment, we’d love to do more! 

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Nº 284
Region of Design

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