Faculty of Design, Lampingstraße 3, 33615 Bielefeld
R401
R401
Room 020
R117
R401
Room 020
R401
R401
R401
at Faculty of Design
Lampingstraße 3, 33615 Bielefeld

A short talk about using a human touch in graphic design to put good messages and feelings into the world. Using contemporary and historic examples, Ian Perkins will discuss the role of graphic design, typography, illustration – being used for good. – This talk is recommended for anyone interested in the role of graphic design to communicate for good rather than just for commercial or corporate use.
Ian Perkins has led his own design studio, Name&Name for 12 years. Their clients include Adidas China/Asia, P&G USA, Google Asia, Coca Cola Taiwan, Swatch China and other brands. Name&Name’s work focus is on cross-culture visual communication that can work without language. Before Name&Name, Ian was an advertising creative director in London/Shanghai/Tokyo agencies of W+K and BBH, and a brand designer in NY company Chermayeff & Geismar. Ian is the only person awarded Taiwan citizenship for design skill, and has also been rated a top young designer in New York by the AGI and a top ad-creative in Asia by CampaignAsia magazine.

In the evolving landscape of graphic design and design education, we observe a trend towards frictionless interaction between users and computers. This shift is driven by a reliance on a limited set of design programs, embedding designers in an ecosystem of upgrades, plugins, and subscriptions. While these tools offer convenience and inspiration, they often overlook essential aspects of the design process: curiosity, surprise, and failure.
Our profession must critically evaluate the tools we use, recognizing their impact on creativity. From the outset of our collaboration, we have developed experimental design and production tools, both hardware and software. We believe that the choice of tools is a significant design decision that influences our work deeply.
Catalogtree is a multidisciplinary design studio based in Arnhem (NL). It was founded in 2001 by Daniel Gross and Joris Maltha who met at Werkplaats Typografie. Nina Bender was part of studio from 2011 until 2020. The studio works continuously on commissioned and self initiated projects. Highly interested in self-organising systems they believe in 'Form Equals Behaviour'. Experimental tool-making, programming, typography and the visualization of quantitative data are part of their daily routine.
Recent endeavours include recycling pink plastic toys to create a way-finding system, turning a pocket calculator into a metal detector and designing a GIS route to the best spot for dropping a seventeen ton marble rock into the Mediterranean. Daniel Gross and Joris Maltha teach at ArtEZ Institute of the Arts in Arnhem (NL) and have taught and lectured widely. The work of Catalogtree is in the collection of the Cooper Hewitt, Smithsonian Museum of Design (NYC, USA), The Archive of Het Nieuwe Instituut (Rotterdam, NL) and the Museum of Design Zurich (Zurich, CH).

Previous to the 1970s, television production was only accessible at television stations, which were too costly for most artists. The early 1970s marked the introduction of porta-paks—low-quality portable black and white half-inch analog recording systems—as well as the establishment of cable television networks. With these extensions, video was projected from television.
In 1973, the SYNAPSE Video Collective in Syracuse, New York, obtained grants from the New York State Council of the Arts and Syracuse University to implement a cable system throughout the University, and offer production access to artists in New York State who wanted to work in video. Between 1973 and 1976, Robert Edgar taught classes in Syracuse’s College of Visual and Performing Arts, one to provide crew for the visiting artist program, and the second a class in the nascent field of Video Aesthetics.
Edgar will describe the environment, and present clips created at SYNAPSE along with clips from other artists working in video at that time, including Juan Downey, Peter Campus, Bruce Nauman, and samples from an informal conversation with then-SYNAPSE colleague and Syracuse student Bill Viola. Edgar will present clips from his own work 1972 – 2024, exemplifying a developing artistic practice astride technological changes.
Robert Edgar is a media producer and learning experience developer based in Sunnyvale, California, USA. He has been developing and exhibiting cinematic and transmedia art for over 50 years. With 20 years of experience at Stanford University, he serves as the Director of the Stanford University RWC Digital Production Studio and as the Learning Program Manager for Stanford University IT. In these roles, he designs and produces video and interactive online materials in collaboration with the Stanford University community and teaches classes in digital media studio production. Robert holds a Master of Fine Arts in Film Production from Syracuse University, College of Visual and Performing Arts, graduating in June 1976, and a Bachelor of Fine Arts in Film Production from the same institution, graduating in June 1974.

Working across sculpture, installation, performance, and print, Andrews draws on a vast array of cultural references in her own work to destabilize traditional modes of sensemaking.
In her talk, Andrews will address the value of being a multi-disciplinary producer and how non-categorical approaches challenge conventional systems of assigning value to the aesthetic object.
Born in 1973 in Mobile, Alabama, Kathryn Andrews currently lives and works in Los Angeles, California. She earned a Master of Arts in Clinical Psychology from Antioch University in Los Angeles in 2023, following a Master of Fine Arts from the Art Center College of Design in Pasadena in 2003 and a Bachelor of Fine Arts from Duke University in Durham in 1995. Her accolades include a nomination for the James Dicke Contemporary Art Prize at the Smithsonian American Art Museum in Washington, D.C., in 2018 and a residency at the Tong Xian Art Center in Beijing, China, in 2007.
More about Kathryn Andrews: https://kathrynandrews.net/biography

The global history of photography is dominated by examples and practices from the United States, Central European countries, and the UK. This is unsurprising, as these regions were not only where photography originated but also key markets for its development. However, the evolution of photography in other parts of the world is equally compelling, and its research can give a better understanding of cultural and socio-political forces shaping it.
During the presentation, we will explore the development of Ukrainian photography and visual art over the past 60 years. We will consider how photography emerges as an alternative language in censored media spaces, and trace the connections between sociopolitical changes in the country and the evolution of photography.
Kateryna Radchenko, originally from Kiev, Ukraine, is a curator, artist, and photography researcher. Since 2015, she has been the founder and director of the international festival Odesa Photo Days. In 2024-2025, she has been invited to serve as a curator for the Beyond the Silence Project, a collaboration with Magnum.

This talk will focus on the ways in which experimental poets of the post-1945 period reimagined the space of the page. I will discuss how these poets exploited what Nathaniel Mackey has called “graphicity”—“line breaks, multiple margins, orthography, typography and so on”—to expose tensions and antagonisms in social relations. I will also reflect on the links between underground textual production and the political and technological transformations of the period.
Phil Baber is a graphic designer, publisher, writer, and researcher. He teaches typography at the Royal Academy of Art in The Hague and writing at the Gerrit Rietveld Academie in Amsterdam. Phil is the editor and designer of The Last Books, a publishing house for experimental poetry and poetics. Currently, he's working on a book about typography, poetry, and the material and social infrastructure of radical publishing.

steps to London
establishing a studio and name within the industry
highlights, laughs and cries
working in Milan, Paris, New York, Shanghai ...
working with Alexander McQueen, Claudia Schiffer, Vogue, Don McCullin
challenges (costs, budget, ...)
Bernhard Deckert completed his apprenticeship and studies in photography in Germany. He earned a Master of Arts in Photography from LCC in London. Bernhard has assisted notable photographers, including Axel Hoedt and Laetitia Negre. In 2008, he established his own company, Bernieshoots, officially known as Bernhard Deckert Ltd. He works primarily as a fashion photographer, focusing on the UK market, and operates his own studio with a dedicated team in London.

In this workshop, we will collaboratively work on a typeface using a limited set of tools and no computers at all. Glyph selection will be done within smaller groups at the end of day one, the second day will involve preparing the silk screens at the workshop and printing the type specimens, which will consist of 36 glyphs on 4 posters printed in 3 colours each. And 260 optional additional specimens when screens are swapped randomly ;)

Catalogtree is a multidisciplinary design studio based in Arnhem (NL). It was founded in 2001 by Daniel Gross and Joris Maltha who met at Werkplaats Typografie. Nina Bender was part of studio from 2011 until 2020. The studio works continuously on commissioned and self initiated projects. Highly interested in self-organising systems they believe in 'Form Equals Behaviour'. Experimental tool-making, programming, typography and the visualization of quantitative data are part of their daily routine.
Recent endeavours include recycling pink plastic toys to create a way-finding system, turning a pocket calculator into a metal detector and designing a GIS route to the best spot for dropping a seventeen ton marble rock into the Mediterranean. Daniel Gross and Joris Maltha teach at ArtEZ Institute of the Arts in Arnhem (NL) and have taught and lectured widely. The work of Catalogtree is in the collection of the Cooper Hewitt, Smithsonian Museum of Design (NYC, USA), The Archive of Het Nieuwe Instituut (Rotterdam, NL) and the Museum of Design Zurich (Zurich, CH).
The number of participants is limited to a maximum of 16 places. Please register in advance by e-mail to Prof. Patricia Stolz (patricia.stolz@hsbi.de).

In this two day workshop we will design posters (billboards) that promote human values in times of war and political extremism, when there seems to be a great lack of them. We will design posters that remind us that we are human and that we should act human in order to remain human. The workshop is aimed at students interested in graphic design, lettering and illustration.

Ian Perkins has led his own design studio, Name&Name for 12 years. Their clients include Adidas China/Asia, P&G USA, Google Asia, Coca Cola Taiwan, Swatch China and other brands. Name&Name’s work focus is on cross-culture visual communication that can work without language. Before Name&Name, Ian was an advertising creative director in London/Shanghai/Tokyo agencies of W+K and BBH, and a brand designer in NY company Chermayeff & Geismar. Ian is the only person awarded Taiwan citizenship for design skill, and has also been rated a top young designer in New York by the AGI and a top ad-creative in Asia by CampaignAsia magazine.
If you want to participate in this workshop, please register in advance by e-mail to Prof. Patricia Stolz (patricia.stolz@hsbi.de). The number of participants for this workshop may be limited.

Fashion design is always political. While the designing of processes and products is implicitly political, explicit use of fashion for protest has been made for centuries. Vestimentary symbols have been used – on the body or independently – to express political beliefs and protest all over the world. Today. in our hypervisual and mediatized world, fashion – as the most visible forms of consumption – plays a key role in activism. This critical practice workshops explores how dress has been and can be employed as visualised resistance. We consider what agency you hold as designers, we all hold as wearers and, what agency is inherent in dress.

Dr. Renate Stauss is Associate Professor of Fashion Studies at The American University of Paris. As a lecturer in fashion-, cultural- and critical studies she has been working at several universities in London and Berlin since 2003: Central Saint Martins, Goldsmiths College, The Royal College of Art and the Berlin University of the Arts. She has published on the sociology and politics of dress and fashion, and dress therapy. Current research interests include fashion and protest, the perception and potential of fashion, the emergence of fashion studies, and fashion education. She is the co-founder of The Multilogues on Fashion Education, and Fashion is a great teacher – The fashion education podcast and platform.
If you want to participate in this workshop, please register in advance by e-mail to Prof. Philipp Rupp (philipp.rupp@hsbi.de). The number of participants for this workshop may be limited.

We all have the gift of sight. Seeing comes before speaking. Yet, what we see is shaped by what we know, believe, and experience. This workshop is designed to analyze how our understanding of visual information can vary and how a single image can hold multiple interpretations. Participants will look at examples of manipulative imagery, explore the stages of creating propaganda, and analyze how the same visual narratives are perceived and interpreted across different countries. The workshop will be useful both for professional photographers and people who are simply interested in learning how to read visual codes.

Kateryna Radchenko, originally from Kiev, Ukraine, is a curator, artist, and photography researcher. Since 2015, she has been the founder and director of the international festival Odesa Photo Days. In 2024-2025, she has been invited to serve as a curator for the Beyond the Silence Project, a collaboration with Magnum.
If you want to participate in this workshop, please register in advance by e-mail to Prof. Roman Bezjak (roman.bezjak@hsbi.de). The number of participants for this workshop may be limited.

In this interdisciplinary workshop, students will explore the power of posters as a medium for free speech and personal expression. The session will briefly cover the history of political posters, offering context for how they have been used throughout time to convey messages and provoke change. Students will then focus on specific themes to design and create digital posters ( analogue also possible) that reflect their beliefs and perspectives. These works will be considered for inclusion in an upcoming exhibit at the Judith Center in Los Angeles. Through this hands-on experience, participants will gain a deeper understanding of how visual art can communicate and amplify social, political, and personal messages.

Born in 1973 in Mobile, Alabama, Kathryn Andrews currently lives and works in Los Angeles, California. She earned a Master of Arts in Clinical Psychology from Antioch University in Los Angeles in 2023, following a Master of Fine Arts from the Art Center College of Design in Pasadena in 2003 and a Bachelor of Fine Arts from Duke University in Durham in 1995. Her accolades include a nomination for the James Dicke Contemporary Art Prize at the Smithsonian American Art Museum in Washington, D.C., in 2018 and a residency at the Tong Xian Art Center in Beijing, China, in 2007.
More about Kathryn Andrews: https://kathrynandrews.net/biography
If you want to participate in this workshop, please register in advance by e-mail to Prof. Katrin Thomas (Katrin.thomas@hsbi.de). The number of participants for this workshop may be limited.

This seminar presents spiritual practices as sophisticated systems of knowledge transmission, revealing how ritual and ceremony function as mediators of consciousness across varied cultural contexts. We consider indigenous conceptualizations of technology—not as discrete tools but as integrated extensions of cultural and spiritual systems. The session dismantles Western separations between function and spirituality, material and immaterial, while uncovering how ritual practices encode complex knowledge. It maps connections between ancient cosmologies and current digital network structures, showing how relational worldviews can reshape our conception of interconnected technological systems. We examine conceptions of time, space, and interrelationship that subvert linear, progressive models of technological evolution. The focus includes futurisms that reconstruct possibilities outside colonial frameworks. Critical assessment of traditional wisdom alongside contemporary digital practices yields new ethical frameworks centered on reciprocity and multi-generational responsibility. These approaches to technological engagement, understood as technicities, provide alternative views to mainstream technological discourse, inspiring integrative approaches to technological advancement.

Brooklyn J. Pakathi (enby), born in Canada, is a media artist with an ongoing studio practice in Vienna. Much of their most recent work concerns itself with the language and materiality of emotion. Sentimental longing, melancholy, and various other configurations of intimacy affirm their practice.
If you want to participate in this workshop, please register in advance by e-mail to Prof. Herwig Scherabon (Herwig.scherabon@hsbi.de). The number of participants for this workshop may be limited.

In this workshop, we will do a series of individual and collective writing exercises and experiment with the (typo)graphic presentation of our texts. We’ll also listen to, look at, and discuss writing by experimental poets of the last fifty years and the printed ephemera of counter-cultural publishers. No writing experience is necessary.

Phil Baber is a graphic designer, publisher, writer, and researcher. He teaches typography at the Royal Academy of Art in The Hague and writing at the Gerrit Rietveld Academie in Amsterdam. Phil is the editor and designer of The Last Books, a publishing house for experimental poetry and poetics. Currently, he's working on a book about typography, poetry, and the material and social infrastructure of radical publishing.
If you want to participate in this workshop, please register in advance by e-mail to Prof. Patricia Stolz (patricia.stolz@hsbi.de). The number of participants for this workshop may be limited.

The last quarter of the 20th century saw a transition from analog to digital media. The first quarter of the 21st century is experiencing a transition from procedural programming to neural networks and other ai-based computational strategies. In this workshop we’ll break into teams to explore some aspects of temporality using analog, digital, and ai-based media; and then, as a group, discuss the experience, as well as cultural and economic implications of using ai. Participants are encouraged to bring analog media to play with (paper, ink, brushes, clay, tape recorders etc.), as well as digital media: such as laptops and/or cell phones. Subscriptions to ai programs such as ChatGPT, DALL-E, and/or Adobe Firefly are encouraged for the workshop, but personal subscriptions will not be provided by the workshop itself.

Robert Edgar is a media producer and learning experience developer based in Sunnyvale, California, USA. He has been developing and exhibiting cinematic and transmedia art for over 50 years. With 20 years of experience at Stanford University, he serves as the Director of the Stanford University RWC Digital Production Studio and as the Learning Program Manager for Stanford University IT. In these roles, he designs and produces video and interactive online materials in collaboration with the Stanford University community and teaches classes in digital media studio production. Robert holds a Master of Fine Arts in Film Production from Syracuse University, College of Visual and Performing Arts, graduating in June 1976, and a Bachelor of Fine Arts in Film Production from the same institution, graduating in June 1974.
The number of participants is limited to a maximum of 10 places. Please register in advance by e-mail to Prof. Dr. Kirsten Wagner (kirsten.wagner@hsbi.de).

This workshop invites participants to engage in a collective improvisation experience, transforming discarded items into sound instruments. Inspired by Sin's sound performance 'trashes' and her spontaneous group improvisation '10 Minutes', this session will redefine everyday waste as a holder of condensed time and fragmented meaning. Each object carries social, economic, cultural contexts while intertwining personal memories with shared histories. Using small motors, the workshop participants animate these once-disposable items, challenging notions of disposability and urging a reconsideration of what we choose to discard—objects, people, or ideas.

Hye Young Sin is a Berlin-based artist originally from Seoul. She explores the interplay of sound, movement, form, and material through performances, installations, sculptures, and compositions. Centering on the acoustic potential of everyday materials, her work re-signifies the ordinary, uncovering new artistic possibilities through subtle transformations and attentive listening.
If you want to participate in this workshop, please register in advance by e-mail to Prof. Herwig Scherabon (Herwig.scherabon@hsbi.de). The number of participants for this workshop may be limited.

My first experiment with digital cameras was during my apprenticeship. My bosses got their first digital camera - a 3-shot digital back with a filter wheel. So we could only shoot still life (R-G-B channels were recorded separately and then merged into one single colour image). I took the lens and filter wheel out of the camera and replaced it with a pinhole cardboard and we shot a black and white pinhole calendar with it.
We still mainly shot on film, 120 roll transparencies and we had our own processing machine (E-6). I learned that if I would overexpose my negative films bei 2 f-stops and turn the temperature of the process up a notch I could process my negative rolls in kind of a cross-process using the E-6 machine. I took pictures of shop windows at night (the only time I could shoot at that point and shopping windows were a good light source), cross processed the film, scanned the negatives, blew them up and printed on film (overhead projector slides) in tiles of 9. I later mounted those on metal sheets, finished them with shell lac and sold one of them.
With my own cameras I experiment with:
Super tele lens using a lens away from the camera, ‘building’ the tele with black wrap or other material
Distorting images using perspex cubes, filters, negatives and other material
Working with light into the camera using the above or directly into the lens (I'll bring camera to show and use)
Using a bellow camera with the digital camera as a back, using without bellow, using lights, movement, ….

Bernhard Deckert completed his apprenticeship and studies in photography in Germany. He earned a Master of Arts in Photography from LCC in London. Bernhard has assisted notable photographers, including Axel Hoedt and Laetitia Negre. In 2008, he established his own company, Bernieshoots, officially known as Bernhard Deckert Ltd. He works primarily as a fashion photographer, focusing on the UK market, and operates his own studio with a dedicated team in London.
Participants can bring their own camera.
We'll work in group(s).
I want this workshop to be as a discussion and experiment to think about and find new methods and images.
If you want to participate in this workshop, please register in advance by e-mail to Prof. Katharina Bosse (Katharina.bosse@hsbi.de).
The number of participants for this workshop may be limited.