From early mornings as a competitive swimmer to surreal campaigns for Gucci and Google, Max Siedentopf’s path is shaped by quiet discipline and a love for the unexpected. His creative process is rooted in repetition, instinct, and a refusal to force ideas into formats they don’t belong in. Whether working on personal or commercial projects, he embraces compromise—with clients or with his own soul—and sees humor as a powerful tool for depth. For Max, success isn’t about applause but about enduring the creative process. He doesn’t aim to give audiences answers—just thoughts that linger.

Teaser

Let’s rewind for a second—what’s your earliest memory of being creative, and how did that moment shape your journey into the art world?


I can’t even remember what I had for breakfast. But at some point, this was the only thing that made any sense. So I stuck with it.




Before art took over, you were a competitive swimmer. How does that level of discipline and determination show up in your creative work today?


Since I was ten years old, I woke each morning at 4:15 a.m. for my first training session - I spent thousands of hours in silence, staring at a black line on the bottom of a pool. Moving from point A to point A. Always forward, yet arriving nowhere. There's only repetition. You spend that long underwater, you learn to live in your head. You learn that progress is invisible. That nothing miraculous will happen—but you do it anyway. That kind of discipline—this quiet, brutal consistency—shapes everything. It becomes how you move through the world.
Now I approach my work the same way. Slightly less chlorine. Just as much pressure.




When did you realize that storytelling and photography weren’t just side passions—but something you wanted to build a career around?


To me they are still side passions, I now just sometimes get asked for invoices.




You were a partner at the legendary agency KesselsKramer. What was it like stepping away from the safety net of agency life to go fully independent?


It was like taking off a parachute mid-flight and hoping the ground is softer than it looks.

Your practice moves across sculpture, video, photography, and beyond. How do you decide which medium a certain idea needs—or do ideas naturally lead the way?


The idea usually dictates the form. Some thoughts are better as a still image, others as a moving one. Some need to be 3 meters tall and made of bronze. I try not to force things into formats they don’t belong in—like most things in life.




You balance personal and commercial projects side by side. Do you approach them with the same mindset, or does your process shift depending on the context?


Both require compromises. In one, you compromise with your soul. In the other, with the client. Either way, something must be sacrificed. With commercial work, you’re often solving a puzzle someone else started. With personal work, you’re building the puzzle and deciding if it even needs corners.




Humor seems to be one of your creative signatures. Do you think not taking things too seriously helps push ideas further?


Humor is a great Trojan horse—it can carry deeper meaning without announcing itself at the door. If you can make people laugh first, they’ll stick around longer. And then maybe they’ll start thinking.

Whether it's a campaign for Gucci or an installation, your work often catches people off guard with something unexpected. Where does that sense of surprise come from?


Surprise is a symptom of forgetting how strange the world already is. I merely try to remind people of the chaos they pretend not to see.




Your portfolio includes massive campaigns for brands like Gucci, Burberry, and Google. What does your creative flow usually look like on those kinds of high-stakes productions?


Mostly emails. Occasionally panic. Then a shoot, followed by more emails.




The Gucci x Palace collab video was wildly surreal and packed with absurd visuals. Can you walk us through how you brought that vision to life as the creative director?


We took logic and strangled it. The visuals emerged like hallucinations during a fever. We shaped them into something coherent, then promptly destroyed it again for aesthetic reasons.

In your book Same Same But Different, you explore how one idea can be executed in countless ways. Do you think the concept or the execution holds more weight?


Concept is the shadow. Execution is the corpse. They are inseparable.




Your work spans so many styles—do you have a visual compass for what ‘works’? And how do you personally define when a project is successful?


There is no compass. Only a feeling—quiet, instinctual. If that feeling is absent, no amount of polish can save it.
Success is not applause. It is the act of enduring the process—of dragging an idea through uncertainty, doubt, and repetition, and reaching the end without abandoning it. The finish line is rarely triumphant. But you arrive. And that, in itself, is enough.




What do you hope people take away from your work—beyond the visuals?


Ideally they take nothing, but think about it for an uncomfortably long time.

Looking ahead—what’s on the horizon for you, and what do you think the future holds for the creative industry at large?


I will continue. As for the industry, it will eat itself and be reborn in a slightly worse version. But still, we persist. Because what else is there to do?

MAX SIEDENTOPF

RELATED SPEAKER

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STEPHANIE SPECHT: A JOURNEY OF CREATIVE FREEDOM

Max Siedentopf on discipline, discomfort, and the art of absurdity.

EMAILS, PANIC, AND THE OCCASIONAL MASTERPIECE

Some ideas quietly live on moodboards. Others reshape entire industries. Porto Rocha, the New York-based design studio founded by Felipe Rocha and Leo Porto, belongs to the second category. Known for their sharp, future-forward branding work for names like MTV, Nike, and Dropbox, they’re masters of turning bold ideas into visuals and concepts that stick.

A recent standout? The branding for Google Gemini, the tech giant’s latest and most advanced AI model to date. Porto Rocha was asked to develop a brand system that could capture the fluidity, intelligence, and limitless potential of AI itself. This certainly wasn’t your typical clean-and-corporate identity.


What Porto Rocha delivered was a vivid visual identity built around an endlessly morphing motion system. The Gemini logo isn’t static: it lives, moves, and transforms in real time, reflecting AI’s capacity to adapt and evolve. Paired with bold type, catching color palettes, and animated gradients, the brand embodies a sense of continuous motion and possibility.

Porto Rocha’s project for Google Gemini is a perfect example of how thoughtful, courageous design can help complex technology feel human, dynamic, and accessible. And it proves that taking creative risks, even for brands as big as Google, can lead to identities that resonate far beyond product launches.


At Forward Festival Berlin this August, Felipe Rocha and Leo Porta will unpack their creative process, from the first spark of an idea to a system flexible enough to future-proof one of the world’s most advanced technologies. Expect sharp insights on navigating creative risk, balancing client needs with bold design decisions, and how to create work that feels both timely and timeless.

Catch Porto Rocha live at Forward Festival Berlin and get inspired to turn your boldest concepts into action.

PORTO ROCHA

HELLOME ON CULTURE & DESIGN FUTURE

DISCOVERING COMMUNITY WITH STIG DE BLOCK

DAILY DIALOGUE'S BOLD NEW WEBSITE

PRESS FORWARD #59 BY LUCY HARDCASTLE

Some ideas quietly live on moodboards. Others reshape entire industries.

HOW PORTO ROCHA REINVENTED BRANDING FOR THE AI ERA

Introducing Forward Festival for Creativity

What began in 2015 as a vibrant design event in Vienna has grown into a cross-disciplinary platform uniting creative minds from around the world. Nearly a decade later, it’s time for Forward to reflect the evolution of both the creative industry and our own mission.



A name that’s more than a change in wording—it’s a shift in direction. By focusing on creativity at its core, we’re redefining what Forward stands for: not just inspiration, but real creative empowerment. We’re building a space where ideas don’t just sound good on stage—they get the tools, networks, and momentum to make an impact.

Founder Othmar Handl puts it like that: “We don’t just want to inspire better creatives—we want to help them succeed. It’s about mindset, execution, and community. As the creative world continues to evolve, so does Forward. In today’s landscape, talent alone no longer sets you apart. The most impactful creatives are those who combine vision with strategy, storytelling with leadership, and imagination with execution. Our mission now reflects that shift: to equip the next generation with the tools, knowledge, and network they need to turn ideas into action.”


That’s why Forward Festival 2025 is doubling down. The program still centers around thought-provoking talks from industry legends and emerging voices, but now also places greater emphasis on practical application. Attendees will not only be inspired—they’ll be equipped to turn their ideas into successful projects and tangible results.


The redefined Forward Festival is a celebration of what’s possible when vision meets action.

THE BUSINESS OF BEING CREATIVE 

Q&A WITH SNASK

PRESS FORWARD #57 BY OTHMAR HANDL

STUDIO TOUR

Creativity is in constant motion—and so is Forward. Go behind the Festival's rebrand.

A NEW LOOK FOR A NEW ERA

Ariel Lu’s journey into 3D art began after her time as a director of international touring entertainment in Taiwan. At 30, she left her job to pursue motion graphics in Sweden. A chance encounter with Cinema4D opened the door to the intricate world of Houdini — and from there, she transformed her career from staging concerts to creating captivating 3D art.

Can you tell us about your journey into the world of 3D art and how you discovered Houdini?


Before encountering 3D, I was working as a director of international touring entertainment for a company in Taiwan for five years. Mostly managing exhibitions and concerts with a team. I chose that career because of my passion for music. That job immersed me in live performance visuals and a few occasions where I could come up with promotional visuals myself. I then had a longing to create beautiful things myself, compared to building the stage for artists as I had been doing back then. But I had no art or design related education. I majored in Sociology and Events Management. So I decided to quit my job when I was 30 and try studying motion graphics. When I was there my school, Hyper Island in Sweden, had more of a focus and resources in the 2D realm. But there was a week of Cinema4D workshop, and ever since I decided to venture into 3D. I was very hesitant to try Houdini when I first heard about it. I did fundamental courses in my own time but never really switched. Until I had to use Houdini when I was doing my internship because that’s the only 3D software they use. And since then I’ve focused on Houdini.

Houdini is known for its complexity and versatility. How did you master this software, and what resources or methods were most helpful in your learning process?


I was very lucky to have a mentor who’s also my partner, Adam Priester, who had started learning 3D, learning Houdini way before me. He would share learning resources and his mentality of how to approach Houdini generously. And I benefited from it a lot. It was really helpful for me to have a person that I could ask countless questions to, and be super supportive during the process. He is also one of the most diligent learners I know. And that attitude inspired me to put more effort into learning Houdini (when I really wanted to slack off) and try to overcome it instead of giving up. I first started learning with free tutorials and resources. And after I was more certain that I would invest my career in Houdini I then also bought paid courses where they provide wholesome and deeper knowledge of certain sections in Houdini that I was interested in. One thing I always do when I follow a tutorial is I would try to put my own spin on it. It could start from being as simple as a different input geometry, different values in the parameter. And then combine with other things I already know or from other tutorials. So I could create something based on the knowledge of the tutorials but the end result looks preferably completely different. Often in that process I would encounter errors and through investigations I would learn things I should pay attention to but didn’t when simply following.




Walk us through your typical workflow for a Houdini project. How do you approach a new project from concept to completion?


For commercial projects, I would usually start with making a setup that doesn’t require simulation and can provide fast iterations for art directions. Unless it’s an obvious brief that wants me to use vellum for example. I would also try to make it motion friendly within the given time from the start, unless the brief specifically mentions focus on styleframes only. I also research what others have done for the same topic beforehand to reflect on my own direction. Check the differences between setups (since there usually are more than one approaches.) And grab extra references along the process if needed. Then it would usually follow the process from styleframes to motion development.

How do you stay motivated and inspired when you encounter creative blocks or technical issues?


With creative blocks I like to go checking out my surroundings. I take my inspirations mostly outside 3D. So I would try to immerse myself in paintings, new books, old books that I love, searching other types of crafts, and go out in nature or just on the streets. I also try very hard to look back on my heritage. I grew up spending almost 15 years in different parts of Europe and the rest in Taiwan. So sometimes I feel like an in-between. But I’ve started to get closer to lost crafts in Taiwan, for example visiting one of the last few rattan weaving shops, and a traditional feather duster maker to learn their histories over the past 70 years of their lives that’s tied to the economical development of Taiwan. I am also drawn to the working class, and the struggles of those with weaker social resources. In my experience I had encountered the most powerful generosity from people who aren’t rich, even poor but with a warm heart to generously give.
It inspires me to make my creations not just for the elite but for the fascinating people that the society deem insignificant.




What advice would you give to someone who is just starting to learn Houdini and aims to become a proficient artist?


I personally think it’s quite important to think about what kind of work you’d want to be able to make, and research if there are artists who already are doing it, and see how the journey’s been for them if there’s a chance, or simply scroll their feed to see how they have progressed. And use that as a resource to reflect on what needs to be improved, what should be the focus. Because to me Houdini is so vast and people are using it in different ways to support various types of career focus.

How do you manage to maintain a healthy work-life balance while working on demanding projects?


Not as much as I want to to be honest! I know I am the type of person that tends to put work above everything else when I’m in work mode. One of the reasons I chose to freelance was to counter this habit that I’ve seen myself doing in my previous profession. But as time progressed I realized, it requires me to consciously make that decision to stop working and deal with the anxiety that made me feel like I need to do more. One routine I find helpful is the pomodoro technique. I would have a 5 minute break every 30 minutes. And a 20 minute break after two hours. After practicing this for a while I gain knowledge of how much I, specifically, can work a day that’s actually productive. It makes me more efficient, and often good ideas and solutions come in during those short breaks. It’s a method that I learned from a course called Learning How to Learn by Barbara Oakley, a professor of engineering who specialized in the relationship between neuroscience and social behavior. My partner also constantly reminds me to stop working when it’s too late (:

What hobbies or activities do you enjoy outside of your work that helps you stay creative and motivated?


I love browsing, gardening and I love old stuff. I also like secondhand bookstores, old buildings and walking on different streets of Berlin just to see what they have. I like going out to just look at things: the outdoor sections of different florists for example. I had walked over four hours just to check out different florists in the neighborhood: what type of plants, flowers, pots they have, how do they present them, how’s the price, where are those plants from. For a period of time I resonate with plants a lot. A ton of the indoor plants that are being sold here originate from warmer weather in Asia or Africa. It is important to provide a similar environment for them to grow healthy and strong. This fact comforted me so much living and working abroad. It’s okay that I long for familiar things to feel alive because nature also does that. It’s okay that sometimes I don’t adapt. And yet when needed, I have the strength of a delicate flower that might look so fragile, but even after its stem being folded and snapped almost completely by my clumsy hands, it survived and continues to grow into a weird shape that I never thought would work. These daily encounters keep me motivated. And certain things come back when I’m creating. For example there was one time I realized the colors I chose echo the summer scenery outside my door.

ARIEL LU (呂亭葳)

MAX SIEDENTOPF: EMAILS, PANIC, AND THE OCCASIONAL MASTERPIECE

How Ariel Lu transformed her passion into a career in 3D art.

FROM STAGES TO SCREENS

At Random Studio, spaces aren’t static—they’re designed to respond, provoke, and evolve. With their Living Lab, the team is exploring what it means to create environments that go beyond sleek surfaces and curated vibes. Think real interaction, playful tension, and a serious curiosity about how tech shapes human behavior. In this interview with Living Lab-director Roel Wouters, they unpack the shift from control to collaboration, and why the future of design feels a lot more alive.

Random Studio will speak at Forward Festival Berlin.

What is your earliest memory of being creative, and how did that shape your path to becoming a designer?


In the early nineties, I was making computer demos with a friend. At the time, computers were not as powerful as they are today, and certain things we take for granted now—like smooth animation of typography (soft scrolling) or stereo music—were considered impossible back then. We tried to make our 8-bit MSX machines do those things anyway. We published our findings in nerdy magazines and on floppy disks distributed by post. My friend did the coding; I handled the type design, copywriting, drawings, and music. That curiosity about how technology affects people is still very much a part of me.



Recently, you joined Random Studio to set up the Living Lab. Could you elaborate on the primary goals of the Living Lab at Random Studio? How do you envision the evolution of spaces from static environments to dynamic, emotionally engaging “living spaces”?


With the Living Lab, we look critically at the spaces we live in and navigate. Slowly but surely, these are changing due to new technology. Will our spaces follow a similar trajectory as our phones—from single-purpose tools to versatile devices embedded in our daily lives, constantly vying for our attention?

What is our position as designers and makers? And what exactly are the attributes of these “living spaces”? By developing a clear position as a studio, we can guide our clients toward more adventurous outcomes and establish ourselves as leaders in this field.

Random has traditionally excelled in designing high-end retail experiences—often created to impress visitors with innovative uses of technology. But we believe a new kind of visitor is emerging—one who values real experiences, where they learn something, meet someone, or engage in meaningful dialogue, rather than simply being handed something to post on social media. We're deeply curious about this shift. We're interested in designing spaces that stimulate human interaction. This is what we like to call “living spaces.”

We explore this through experiments—one every two months—each isolating a single attribute of a “living space.” We present these tests to our network during events centered around a specific theme, artist, or technology.

How can designers transform static spaces into so-called “living spaces”?


That’s a good question. In the early days of Random, we did much more web and interaction design. We’re used to working with UX designers and thinking about experience first. When we design spaces, we always try to include both experience (UX) designers and architects in the team. This allows the spaces to become inherently playful.




What does your workflow typically look like when designing “living spaces” for clients?


Clients typically crave control. They often believe they must communicate specific products, messages, values, or vibes in a top-down way. Many have dominant creative directors who trust only their gut feeling. But for a place to allow something unexpected to happen—for it to welcome input from visitors—some of that control needs to be relinquished. So, there's usually a bit of tension.

That’s why we try to listen closely and uncover what lies beneath their need for control. If a brand’s vision goes beyond the seasonal fascinations of its art director, then we can move past egos and create dynamic spaces that emphasize deeper values—making control far less of an issue. Part of this process is having an open conversation about what control offers them. Another part is finding clients who are open to working with more fluid, less top-down spaces, and who are willing to invest in a few iterations to make it work.




What role does audience feedback play in refining your designs?


To design a successful living space, iterative design is essential—we test and tweak constantly. It’s more akin to game design than traditional architecture. During this process, we often simulate audience behavior to improve the design.

In your project “The Entrance,” you turned entrances into interactive, sensory spaces that respond to visitors. How do you combine advanced technology with creating experiences that feel emotional and engaging?


At Random, we’re far more interested in people than in technology. While some of us are definitely nerds, we’re not particularly interested in technology per se. What fascinates us is how people respond to it. So, it doesn’t feel like we’re combining two separate things—we’re constantly exploring how technology affects human behavior and emotion.




Your portfolio spans diverse industries and clients, such as Jacquemus, Nike, and Ferrari. What core principles guide your approach to developing brand experiences that resonate so uniquely?


We want our projects to resonate on a fundamental level. They need to be visually impactful and work instantly. Although we invest heavily in a lab that explores new, sometimes complex territory, the work we deliver comes without a guidebook or intellectual prerequisite. It should just work.

RANDOM STUDIO

A JOURNEY OF CREATIVE FREEDOM

CHRIS KORE DREAMS WITH TECHNOLOGY

BREAKING BOUNDARIES

HELLOME ON THE FUTURE OF DESIGN

Random Studio in conversation about designing spaces that respond, provoke, and evolve.

RETHINKING SPACE

For Stephanie Specht, creativity is more than a profession—it’s a mindset of freedom, experimentation, and continuous growth. From childhood sketches to designing for global brands like Google and Nike x Dazed, her journey proves that trusting your instincts and embracing creative risk can lead to unexpected opportunities. 

In this interview, she shares how moving between cities, collaborating with diverse talents, and staying connected to nature have shaped her perspective. As a speaker at Forward Festival Vienna, Stephanie will dive even deeper into her process, exploring how experimentation fuels innovation and why staying true to your vision is key in an ever-evolving industry.

What has been your first memory of being creative?


This might sound weird, but it was drawing a maze on paper for snails. I think I was 6 years old and on a holiday in the South of France. Around that same time and age I would use the back of my moms printed accountancy work, on a Dot Matrix printer, to draw my own things like houses, animals, etc. On the paper for this special printer there were always colored lines visible and I used these elements to integrate in my drawings somehow.



And what was the defining moment, when you realized you wanted to pursue a career in the creative industry?


During primary school there was one teacher who kept telling my parents I should go to Art School. She kept on pointing out I would thrive in a different but creative environment, so I guess this woman put a spotlight on a talent she saw that needed to be further developed. Of course many of my teachers in Art High School motivated me a lot and I started thinking about a creative career in my teenage years.



You studied at the Royal Academy of Fine Arts in Antwerp, Belgium. How has art school shaped your approach to design and creativity?


Studying at the Royal Academy of Fine Arts in Antwerp, Belgium, was profoundly influenced by my fellow students. We frequently came together to share knowledge and teach one another, and I learned far more from them than from my instructors. This collaborative environment allowed us to explore not only technical skills but also each other’s creative processes and approaches. It played a pivotal role in shaping me into the ‘free’ creative individual I am today. Our gatherings fostered an atmosphere where no idea was too outlandish to explore. I was fortunate to be studying during a time when the internet was just emerging, and owning a computer was a luxury. As a result, my exposure to design styles came primarily from books, album covers, and visits to exhibitions, rather than endless scrolling online. I appreciate this experience, as it allowed my creative mind to develop in a unique way, encouraging deeper exploration and connection with tangible artistic expressions.

How would you describe your work in 3 words and why?


Free, intuitive and colorful. It’s also what I feel when I am creating self initiated work. It comes naturally, I don’t need to think about it. Of course, not all projects benefit from this––I do also have different ways of working but the three words mentioned above describe perfectly when I feel at my best in creating, when I’m in my ‘zone’.



You like to approach design with certain freedom to explore and create boundlessly. What role does experimentation play in your work?


A BIG role. I value the experimental part in creation very highly. When I get an assignment I try to approach it from as many angles as possible, to feel and see what works best. Sometimes I even create stuff the client did not ask for, but I just want to see what it would show. It can be the start of a really interesting conversation sometimes. Depending on the type of client, I take them on a sidepath, an alternative route to show them a new world. If they react positively to it, it gives me the best feeling.



After Art School, you started your career as an independent designer, which is what you‘ve been doing for the past 15 years. How has the experience of working independently shaped your creative work?


The word freedom comes to mind again here. I love the fact that I am not pinned down, or ‘owned’ by someone or a company. Everyday I choose a (creative) path I feel like doing and it’s what makes me very happy. Everyday I wake up with a choice, ‘what do I want to do today that will make me happy’? Of course I have project lists and their deadlines but still I am a free human being and decide when and how and how long I will work. I also love to collaborate with different people depending on the needs of a project and client. But the variety I have in this independent work life is something really satisfying!

Your career is shaped by experiences in diverse cities like Cape Town, Brussels, Princeton, and New York. How has moving between these different creative environments impacted your perspective on design?


Moving between diverse creative environments like Cape Town, Brussels, Princeton, and New York has profoundly shaped my perspective on design. Each relocation challenged me to adapt quickly while staying true to my core values. This experience has become one of the most valuable tools in my career, as every project requires a degree of flexibility and adaptability. The more people I meet, the more design styles I encounter, which can make it challenging to maintain my own unique identity. Reinventing myself with each move is part of the process, yet it’s essential to keep the essence of who I am. My soul remains constant, but my creativity is influenced by each new environment. Ultimately, I strive to express my ideas in a way that reflects my individuality, finding my own voice amidst a tapestry of diverse inspirations. Additionally, my travels have deepened my understanding of human dynamics. By interacting with a wide array of people and navigating various languages and cultural differences, I’ve learned to read people more effectively, a skill that has proven invaluable during initial encounters with new clients.



How do you typically approach a new project? Do you follow a specific process or routine?


Lately I feel like I start with a couple of days of just ‘thinking’: during walks with my dogs or gardening. Some people would call it procrastination but to me it’s not that. I need time outside instead of in front of my computer before I start actual designing. I don’t write ideas down, I gather them in my head and then there’s a moment of ‘outburst’ where I have to run to my screen and do all the stuff that’s been piling up in my head. Once I’m in that flow, I barely go outside––so quite the opposite. In that state of flow, I need to stay in the same place until my body says stop (or I get hungry). It is quite intuitively I could say!



Personal projects are a key part of your practice. You've worked on commercial projects for brands like Nike x Dazed and Google, as well as non-commercial ones. Do you approach them differently?


Actually not at all. The end result will be published on a higher platform but for the rest it is the same for me: creating comes from the heart and my love for design is applied in every project whether it is for a non-commercial client or a high-end one.

Your projects span identity design, posters, and book design. Do you have a favorite medium to work with?


That must be posters! It is such a powerful communication medium. In a blink of an eye you need to be able to say something powerful. This year I was part of the ‘100 Beste Plakate’ (German speaking countries) jury–I was the only non-german speaking member and it was really so nice to see so many posters. It showed diversity in language, culture, politics, … so many identities really. I hope this medium will never disappear.



In 2024, you collaborated with Google on their 10th anniversary of Material Design. How did you incorporate your personal style into such a functional system?


That is a good question! I guess the typography I pushed forward, and it was certainly not a conventional one (‘Harber’ by Benoit Bodhuin, which is not a Google Font) but also shapes and color combinations. But, I had a super nice team as well and people who worked for Google Design: they were there every day to discuss choices. I proposed many designs and they were super good with feedback.



You’ve been a guest teacher at institutions like Bauhaus-Universität Weimar and the Royal Academy of Fine Arts. What do you try to pass on to your students about typography and graphic design?


To never be afraid of doing, and to always experiment front-row! They need to archive their process, since this is to me the most interesting part of a project. The best way to learn something is to ‘do’ it and to fail sometimes. I learned the most from my own mistakes and that mistakes are allowed in experimental phases. I also try to teach them to be able to express themselves verbally. It’s one thing to be able to ‘speak’ through design but you also need to be able to explain yourself. At the same time I always first try to get an idea of the student and their surroundings, background and then decide what I think would be of extra value to speak to them about.

What advice would you give to emerging designers on developing a strong, recognizable style while staying creatively flexible?


Never compare yourself to other designers. The cheesy quote of ‘you do you’ is in place here. Once you start comparing yourself, you can easily lose yourself. Everyone is unique in its own way (another cheesy but true saying) and you need to keep this in mind.



How do you stay creatively inspired and open to reinvention in a world of fast-moving trends and constantly evolving platforms?


I try to walk away from my computer as much as possible, since, for me, ideas are not formed in front of a screen but out in nature. Nature is creativity at its highest level. Looking at a flower day after day, slowly getting its shape or color, a bee humming from flower to flower, a beetle climbing a tree, … I can go on, all these little but big events out there are super inspiring to me. And then maybe I should mention the season of spring. Somehow I get the most fresh ideas this time, synchronised with everything that’s blooming and growing around me. I moved away from the city center 4 years ago. I still live a 30 minute bike drive to the center but I am surrounded by a lot of nature now and up until my move here I never realised the effect it had on me. The city can be inspiring but also draining.



Where do you see the future of graphic design heading, and how do you envision your own work evolving?


At this moment on Earth there are so many ‘solutions’ and ‘approaches’ to graphic design, meaning back in the days there was pen and paper, then internet and computer came which changed the whole game and now lately there are, aside the Adobe package, apps on your phone to create designs and I am not even talking about AI. There is just so much, something for everyone and every level but somehow the touch of the human hand is always a thing that’s of high value. Maybe in the future designers will become so overwhelmed that the need for pen and paper will become more important again? Human beings doing design and AI could become so intertwined that the need to take a distance from the digital becomes bigger? I never use AI in my own work but I feel a small tendency lately to do more manual stuff. But this could also be a result of spending more time in nature.

STEPHANIE SPECHT

Stephanie Specht dives into how fearless experimentation sparks innovation—and why staying true to your vision matters more than ever.

For over 15 years, HelloMe has been pushing the boundaries of contemporary design, crafting bold identities for brands like Apple, Nike, and Warp Records. But for founder Till Wiedeck, design has never been just a career—it’s a way to shape culture, challenge ideas, and create lasting impact. 

In this interview, we explore his early creative influences, the organic growth of HelloMe, and the philosophy that drives the studio’s work. From embracing unpredictability to redefining brand storytelling, this is a deep dive into the mindset behind one of Berlin’s most innovative design studios. Catch HelloMe live at Forward Festival Berlin, where they’ll share more insights into their creative journey!

What’s one of your earliest memories of being creative, and how did that experience influence your journey to becoming a designer?


Ever since I could hold a pen, I was drawing. So creativity never felt like something out of the ordinary. My older brother was more into science and craft, while I was sitting at my desk, sketching away. Around 10 years old, I became interested in graffiti. Letters and music quickly became the defining part of my youth. Looking back, it feels like a natural progression from that to designing record covers for friends and creating flyers for events which ultimately led me to study design.




When did you first realize that design wasn’t just a passion but something you wanted to pursue as a career?


I started designing small projects for friends and musicians long before attending university. It felt natural to combine my passion for music and visual culture into something meaningful. Personally, I never really approached creative work from a career perspective and even today, as an internationally operating studio, we somehow still don’t. We engage with projects and clients who share the ambition to shape contemporary culture. Whether we work with small music labels or global brands, positive cultural impact—at any scale—creates value far beyond career ambitions.




In 2008, you founded HelloMe while still studying design and working with Mario Lombardo. What motivated you to take that bold step?


It felt like the right moment to carve out a space where I could shape an independent narrative and creative environment. Over time, HelloMe grew organically, and with every person who joins, a new voice and perspective is added to the team. Today, the studio is a place for everyone to thrive at what they are best at—guided by a shared creative vision and the ambition to develop work that pushes beyond the status quo.

Starting a business always comes with its challenges. What were some of the biggest obstacles you faced in the early days of HelloMe, and what valuable lessons did you learn along the way?


I never realized I was starting a business until much, much later. For the most part, trusting your feelings, instincts, and sensibilities has proven extremely helpful when overcoming any challenges. Being generous and staying agile, while remaining committed to the vision and focused on the bigger picture, is a helpful principle when running a studio—which is equally a business structure and a social environment, in which every person, perspective, and feeling matters.




Looking back at your journey so far, is there a piece of advice you wish you could give to your younger self when you were just starting out in design?

has been based in Berlin since 2008, a neighborhood known for its creativity and energy. How does the city—and your immediate environment—shape your creative process?


Berlin has always played a vital role in shaping HelloMe’s cultural understanding and creative environment as a studio. While not many of our clients are based here, a lot of our long-standing collaborators and friends are. In the early days, I shared a studio with Johannes Breyer of Dinamo for several years, which led to a very early version of what became ABC Favorit being premiered as part of the Warp Records identity HelloMe designed in 2015. A few years later, I collaborated with Manuel Bürger on the identity for Volksbühne Berlin—again, we had shared the very same studio for many years. Today we’ve all relocated, some to new studios, some to other countries while each of us has carved out their own unique perspective. What’s exciting about Berlin is how interconnected these individual paths are. The city, in many ways, has been a backdrop for my personal but also for HelloMe’s journey as a studio and an essential part of shaping the amazing team it is today.




Where do you turn for inspiration, especially when you’re looking for fresh ideas or a new perspective?


Taking things slow helps when refocusing and finding inspiration. Nature, contemporary art, architecture, and unfamiliar environments often help me formulate new ideas.

Your work spans a diverse range of industries and brands. What principles guide your approach to creating unique and impactful brand identities?


Defining contemporary culture—in the broadest sense. Our approach is guided by the principle that creating cultural impact can transform any business, build brand value, connect audiences, and facilitate sustainable change. We help our partners understand their brand environment, challenge ideas, and use design as an expression of values and aesthetic sensibility—creating holistic and resonant brand identities that align with both their audiences and business goals.




You’ve collaborated with global names like Apple, Nike, Warp Records, and The New York Times. Is there a particular project that stands out as especially meaningful or memorable to you?


All of the names you mentioned have been very important in shaping our approach to collaboration and creative dialogue. Our longstanding partnerships with Warp Records and Apple are a testament to exactly the type of mutual understanding and trust that builds lasting and ongoing impact across a broad range of audiences and cultural layers.




The Nike PG4 GATORADE campaign is one of your studio’s standout projects, with its unique blend of performance, art, and cultural storytelling. What was it like collaborating with Nike on such an ambitious campaign, and what were the key takeaways from the experience?


Our trusted relationship with Nike spans over 10 years, covering various briefs, formats, and global campaigns. Among others, Nike asked us to conceptualize and define the visual language for Nike’s brand presence during the NBA All-Star Weekend 2020 in Chicago. At the time, the US team tasked us with not only designing the visual identity for Nike’s own presence but also developing seven different campaign identities for the shoe drops that Nike had planned during that period in collaboration with some key Nike athletes such as LeBron James, Paul George, Giannis Antetokounmpo, and several more. So the PG4 campaign is part of a larger body of work we created with the Nike team around the same period.

HelloMe often works on print projects, in an increasingly digital world. Do you feel that designing for print holds a special place in today’s design landscape?


We literally design for any digital or physical format you could possibly think of, as most of our projects are complex briefs that cover a wide range of media. However, print—and especially books—hold a very dear place in our practice, even though they are not the predominant medium we work with. We run a publishing imprint called 

 in collaboration with curator Frank Boehm. METER publishes books and editions exploring the contours of contemporary culture. Embracing the book as a primary mode of cultural expression, METER engages with relevant voices in contemporary discourse to produce printed objects of experimental form, essential quality, and lasting significance.




With design constantly evolving, what do you do to stay ahead of trends and keep your work fresh and relevant?


We observe, anticipate and shape culture. We try to keep an ear to the street, stay close to what moves people, what shapes thinking, and what shifts perceptions. Ultimately participation is key. Engaging in continuous exchange with different disciplines helps us stay open and evolve our work in ways that feel both relevant and unexpected. Curiosity and critical reflection are more valuable approaches for us than chasing what’s currently in vogue.




For you, what defines a successful project at HelloMe? Is it about aesthetic impact, client satisfaction, or the lasting impression on audiences?


Fun, Fame, Fortune. Pick two. Best all three. If it ticks just one box, don’t do it!
All jokes aside, we share a genuine ambition to deliver our best work—for everyone involved, on every project. We help our partners reach their full potential by creating work that cuts through the noise and amplifies their brand, narrative, and message—while maintaining the highest level of aesthetic precision and visual excellence.




What excites you most about the future of design, and how do you see the field evolving over the next decade?


I believe there are many futures for design, which will take shape in different ways. A new paradigm is emerging—one that forces us to articulate what is essential and human, while our digital perception becomes increasingly artificial. Design will continue to expand its role—not just in branding or aesthetics, but in shaping society, ethics, and behavior, especially within digital environments. That shift opens up an exciting space for new ways of thinking and ideation with the potential to redefine how we interact, live, and create meaning. We are excited for what’s ahead!

HELLOME

THINKING SUSTAINABLE WITH NICOLE MCLAUGHLIN

Creative Director Till Wiedeck his early creative influences, the organic growth of HelloMe, and the philosophy that drives the studio’s work.

In an industry where artistic expression knows no boundaries due to the constant adaptation and evolution of possibilities, three remarkable female artists have risen to the top, pushing boundaries with their inspiring visions and determination to explore the unknown. Meet Christina Worner, creative director and founder of the groundbreaking, female-led 3D motion design studio DADA PROJECTS. She is joined by Ines Alpha, a 3D artist extraordinaire known for conjuring enchanted versions of reality, and Claudia Rafael, a visionary digital artist and co-founder of NEWFORMAT, completes this trio of inspiring creatives. With them, we enter into captivating journeys and gain valuable insights into the dynamic world of design, creativity, and the ever-evolving creative field in which they passionately work.

Inspiration to work in the Creative Industry/Field

Christina Worner:

 The allure of the creative field, specifically design and 3D animation, has been a lifelong dream of mine. Since I was young, I had a natural affinity for art and was always intrigued by the power of visual storytelling. I found major inspiration in the works of iconic designers, artists, architects, and animators like Dieter Rams, Petra Cortright, Zaha Hadid, Hayao Miyazaki, and the creative minds at Pixar. Witnessing their ability to transport audiences to magical worlds and evoke profound emotions through their creations left a mark on me. The dedication to their craft and ability to push the boundaries in animation, art and design motivated me to pursue my dream and channel my creativity into this field.




 I’m super inspired by aesthetics created by algorithms and all types of glitches and errors that create unforeseen visuals that were not planned this way. Also, people who work scientifically and sociologically on the subject of technology inspire me a lot. And art in general, especially physical. Also the fashion and architecture fields are very stimulating.




It wasn't always my dream to work in the digital industry. In fact, the first time I laid my hands on a 3D software back in 2007, I remember thinking I would never touch that demonic product again. At that time, the software was quite intimidating. However, as I continued my career as an art director in advertising, I noticed significant improvements in 3D software. User interfaces became more user-friendly, and it became easier to play around with the tools. Around 2012, I started noticing some remarkable artists emerging in the digital art scene. They brought a fresh perspective to the art world, incorporating aesthetics that resonated deeply with my own interests, such as sci-fi, video games, and fantastic worlds. Inspired by these artists and fueled by my own obsession with these themes, I decided to give 3D experimentation another shot. To my surprise, I found myself developing a real knack for it. The more I dived into the world of digital art, the more I realized its potential for creative expression and innovation. It was an exciting turning point for me, and since then, I've been fully immersed in exploring the possibilities of digital art as a medium.

Preferences in the Creative Industry

Claudia Rafael:

 I am very grateful for the opportunity to be able to express myself through my work. Having clients who like what I do and come to me for the same reason is rewarding for me. Also meeting wonderful other creatives and collaborateurs. Working mostly digitally in front of a computer is the counterpart for me, even though I love it on the other hand. On the weekends I really enjoy being in nature without even a phone.




 Working with evolving technologies is undeniably exhilarating. The fast pace of technological advancements and software updates continuously simplifies the realization of my creative vision. Personally, I find myself creatively dependent on how technology evolves. I have a plethora of ideas that I'm eager to bring to life, but I patiently await the opportunity to do so. While the digital industry still tends to be male-dominated, I'm thrilled to witness significant progress over the years. Many collectives and communities have actively placed women and non-binary individuals at the forefront, fostering a truly supportive environment. The shift in this perception fills me with immense pride, it's inspiring to see more and more women embracing technology. However, I must admit, there are certain aspects of technology that can be quite frustrating. The instability factor is real. From computer crashes to GPUs burning out to the eternal loss of files, it can be an absolute pain at times. And let's not even get started on the fear of missing out that arises whenever a new software, plugin, or platform is launched. The temptation to try them is real, but it can be overwhelming.




 What I love most about working in design and 3D animation is the opportunity to collaborate with so many inspiring, talented and like-minded creatives, in a supportive and dynamic environment. The constant evolution of technology keeps things fresh and exciting, and there is always something new to learn and explore. There are challenges though, and one aspect I find less enjoyable are the occasional creative constraints, or changing deadlines and briefs. Having said that, every client and project is unique, and while the varying dynamics and demands may at times be challenging, we always learn something new as a team. The positives far outweigh the negatives and this never-ending opportunity for growth make it an incredibly fulfilling career.

Collaboration has always been a fundamental aspect of my work, right from the beginning. Since I often use faces as blank canvases for my creations, I had the idea to incorporate the faces of people I know, admire, and draw inspiration from. This approach allows me to establish an artistic connection with individuals and experience the thrill of merging different personalities and skill sets. Each collaboration presents a unique challenge for me, pushing the boundaries of my work. It encourages me to step out of my comfort zone and explore new and different artistic directions. Working with others brings a fresh perspective, introducing ideas that I may not have considered on my own. It's an invigorating process that constantly fuels my creativity. Moreover, collaboration fosters a sense of community and shared creativity. The bonds formed through collaboration often extend beyond the project itself, creating a network of support, inspiration, and ongoing artistic growth.




 Collaboration is deeply ingrained in the DNA of our studio. We know that our work only really thrives when we all come together and bounce ideas off one another, both internally as our team and with our host of amazing freelancers too. We really value and encourage everyone to bring their unique ideas to the table and take agency too.
One particular project with an all-female team had such strong collaborative synergy - it was pretty amazing to witness. If someone was stuck there was a seamless exchange of knowledge and tips, really tapping into the collective consciousness of the whole crew.
We constantly encourage a positive collaborative space where ideas flourish, the team amplify each other, with the boundaries of what we can creative continuously being pushed.




 Collaborations are very important to me. The exchange and sharing of knowledge to unify skill sets can lead to fantastic outcomes. When collaborators value each other’s work, it forms a solid basis for creating something new together. I am very grateful to work together with many amazing and talented artists.

Staying ahead of curve

Christina Worner:

 I find great joy in exploring new technologies, working with various mediums, and experimenting with different software tools. It's exciting to stack up programs and plugins, discovering ways to connect workflows for my team and I. For instance, last summer, we dedicated ourselves to learning Unreal Engine and integrating it into our creative process. Seeing its power in handling complex point cloud systems and rendering scenes in real-time was incredibly rewarding. By combining tools like Cinema4D and Unreal Engine, we've found more efficient solutions that save time and enhance our work. For me, the key is to stay curious and embrace the unknown. But it's not just about playing with gadgets and software! I make sure I’m surrounding myself with like-minded artists, chatting with people who inspire me and sharing our ideas and inspirations. Collaborating with fellow creatives across disciplines always brings fresh perspectives and keeps the creative juices flowing.

I couldn't agree more – curiosity is absolutely key. I have a natural inclination to explore and learn about new trends, software, and technological updates. I strive to gather as much information as I can to assess if it's beneficial for my work. However, I must admit that sometimes it can become overwhelming, especially when there's a constant stream of information and the fear of missing out on something exciting. Nonetheless, it's important for me to stay informed and understand what's happening in the ever-evolving digital landscape. Even if I can't immediately engage with all the latest advancements, having a general awareness allows me to adapt and make informed decisions when the opportunity arises. It's about being open to new possibilities and understanding the potential impact they can have on my creative process. Additionally, I believe in the power of asking questions. It's through curiosity and seeking knowledge that we expand our understanding. I don't hesitate to reach out to others and inquire about their experiences, insights, and opinions.

 I believe it is essentially a way of thinking, a mindset. Always being curious and open, not thinking, already knowing everything.

Design & Personal Development

Christina Worner:

 What makes a design unique is the ability to experiment beyond the expected, and challenge established norms. It's about bringing a fresh perspective, innovative ideas, and a distinct artistic vision to the table as a team. Developing a personal style is often a process that evolves over time. It involves exploring different techniques, experimenting with various mediums, and continuously refining our individual talents and the Dada Projects voice. We also like to explore and self-reflect as a team, ensuring we hone our skills with each project. It's a combination of conscious decision-making and organic growth influenced by personal experiences, inspirations, and individual creativity.




 I wholeheartedly agree that the uniqueness of a design is often an unexpected and unpredictable outcome. Sometimes it takes time, while other times it happens spontaneously. The key, in my experience, is to embrace experimentation and allow room for trial and error. It's through this process that truly remarkable and distinctive designs can emerge. What I find most crucial is infusing the design with your own culture, background, and personal experiences. That's what truly makes it your own and brings forth your unique artistic vision. Certainly, following trends and drawing inspiration from the abundance of images we encounter daily is inevitable in today's visually rich world. However, it’s about delving into your own passions, interests, and perspectives. That's where the magic happens, where your art stands out from the rest. Personally, it took me until the age of 31 to truly believe that I could develop my own style and vision. It happened somewhat unexpectedly, emerging as a result of experimentation and playfulness. Without putting pressure on myself or focusing solely on the outcome, I allowed myself the freedom to explore. Then, one day, I had the realization that I could blend my two passions—makeup and 3D – and create something unique and exciting. I hadn't seen it done before, so I thought, "Let's go for it!" Even now, it's sometimes hard to believe that I created something truly unique simply by following my heart and pursuing my passions.




To me, it is essential that what I create fits the project's content and meets my aesthetic standards. I would never consider creating something that pleases everyone. First and foremost, I must be enthusiastic about it, and I love it when people become polarized by my work. Good art needs to polarize, and I prefer people who don't like my art and love it on the other hand instead of everyone thinking it's "nice". For example, with the AI Beauty Portraits, some people say they are fascinating and beautiful. However, there are others who say they find the look quite uncanny.

Change in the Creative Industry

Claudia Rafael:

 In my opinion, it's more about how you deal with the circumstances your own way. How to manage working in the creative industry with your values and work morals.
I think opportunities are huge, especially in the creative industry, you don't need a title to be seen or heard, you can equally be an autodidact. Just stick to your dreams and values and go on creating, it’s all about what you make out of it.




 One aspect I would like to see change in the creative industry is the need for more gender diversity, particularly at the directorial level. There is a significant discrepancy between the number of womxn graduating from creative majors and the number of womxn leading creative teams in this industry. It is disheartening to browse through platforms like LinkedIn and observe that a majority of leading creatives are male, when there is such femme talent out there that I see every day. Increasing the representation and leadership opportunities for womxn in the industry is crucial for fostering a more inclusive and balanced creative landscape, and it’s something I try to use my voice to promote and support whenever I can. Dada Projects are currently an all-female team, often collaborating with femme freelancers too. It’s a joy to work in such an inclusive environment and I strive to provide equal opportunities and mentorship within the team, that will empower womxn to excel and develop in their careers.




 I cannot agree more regarding your sentiment about the need for increased diversity and visibility of women in the creative industry. It's sad to see that even in fields like advertising or the beauty industry, where women are often the target audience, the majority of creative directors and decision-makers are men. It's an issue that needs to be addressed. It's unfortunate that women are often discouraged from participating in events, conferences due to self-doubt, while men don't question themselves. However, I am optimistic as I witness more and more incredibly talented women entering this world. We are building strong and supportive communities that empower each other. Another aspect I would like to see evolve, particularly in the NFT world, is a shift away from an excessive focus on financial speculation and towards a stronger emphasis on human and artistic values. The pursuit of massive profits, rather than the appreciation of genuine artistic expression, can sometimes overshadow the true essence and purpose of creativity. Addressing this issue requires a deeper examination of the underlying capitalist structures that drive such behaviors. It's indeed a complex and extensive conversation that needs to be had.

INES ALPHA

DADA PROJECTS

IN-BETWEEN REALITY & FANTASY WITH INES ALPHA

NEWFORMAT: PUSHING BOUNDARIES OF REALITY

DADA PROJECTS: CREATING 3D WORLDS

Ines Alpha, Claudia Rafael, and Christina Worner in conversation about pushing the boundaries of digital art.

BREAKING BOUNDARIES: IN CONVERSATION WITH LEADING DIGITAL CREATIVES

What happens when you mix fearless storytelling with pure creative instinct? Zeynep Orbay, Creative Director at W+K Amsterdam, knows. In this interview, she talks about leading global campaigns for Nike and Hennessy, embracing creative blocks, and why the best ideas start with a gut feeling. A conversation about truth, culture shifts, and making work that actually moves people.



What is your earliest memory of being creative, and how did that shape your path to becoming a designer?


I remember I was three years old, and for some reason, I decided my mom’s wardrobe needed a little art direction. So I grabbed her white nail polish and painted a snail on the wooden door. Shockingly, she loved it. It stayed there for years — probably my first and longest-running piece of outdoor work. All these years later, I still think the best ideas come from instinct and play. Follow the impulse and see where it leads.




When did you realize that design and storytelling weren’t just a passion but something you wanted to pursue as a career?


I always imagined myself becoming an architect. But my high school grades weren’t great — definitely not enough for the schools I had in mind. So I pivoted to design. And to be honest, it clicked almost immediately. I was finally doing something I enjoyed and was actually good at. That’s when it stopped being a backup plan and started feeling like the right path.




At W+K Amsterdam, what does your creative flow typically look like when working on huge campaigns for global brands like Hennessy or Nike?

Creative Director Zeynep Orbay speaks about leading global campaigns for Nike and Hennessy, embracing creative blocks, and why the best ideas start with a gut feeling. 

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