BROADCAST & FILM TITLE DESIGN
PFLEGELEICHT (ORF Series, Prisma Film, 2026/2027)
Task: Establish the tonal identity and multiplatform marketing strategy for a prime-time fictional series around care.
Method: Series-to-campaign translation through logo design, motion behavior, rhythm, timing, character logic, platform-specific storytelling, character profiles, and narrative continuity across media.
Method: Series-to-campaign translation through logo design, motion behavior, rhythm, timing, character logic, platform-specific storytelling, character profiles, and narrative continuity across media.
Sparefroh (ORF III DOku, Neuzeit film, 2025)
Zeitreise von den Anfängen des Sparens bis zum ersten Weltspartag 1925.
Task: Frame the history of saving in Austria through a familiar public symbol.
Method: Cultural-economic translation through public memory, documentary framing, and symbol adaptation.
Result: A visual time travel from the origins of private savings to the first World Savings Day in 1925, on to today, connecting financial history to a recognizable Austrian savings icon.
Method: Cultural-economic translation through public memory, documentary framing, and symbol adaptation.
Result: A visual time travel from the origins of private savings to the first World Savings Day in 1925, on to today, connecting financial history to a recognizable Austrian savings icon.
Flucht aus Lissabon (ZDF, Servus TV, 2025)
Task: Carry the logic of deepfakes, political sabotage, and election interference through the title language.
Method: Threat-to-title translation through typography, fragmentation, signal disruption, and motion.
Result: A title system in which visual fracture carried manipulated reality, unstable evidence, and political destabilization. The film attracted approximately 5.83 million viewers in March 2025, securing a market share of 22.8%.
Method: Threat-to-title translation through typography, fragmentation, signal disruption, and motion.
Result: A title system in which visual fracture carried manipulated reality, unstable evidence, and political destabilization. The film attracted approximately 5.83 million viewers in March 2025, securing a market share of 22.8%.
BLAUE WUNDER (Short, Esther wenger, Jewellabs Films, 2025)
Task: Express female aging, visibility, and social disappearance without literal exposition.
Method: Social theme-to-symbol translation through cutout imagery, metaphor, and sequence. A unique, beautiful illustrated world alongside the live action footage for animated scenes that support and extend the story unusually.
Result: Animated visual scenes in which the illustration conveyed the emotional and social logic of becoming unseen.
Method: Social theme-to-symbol translation through cutout imagery, metaphor, and sequence. A unique, beautiful illustrated world alongside the live action footage for animated scenes that support and extend the story unusually.
Result: Animated visual scenes in which the illustration conveyed the emotional and social logic of becoming unseen.
Winning multiple awards and international recognition
Sagen aus Österreich (ORF, 2024)
Task: Make Austrian cultural history accessible to young audiences without flattening its mystery.
Method: Cultural-material translation through magic ink blot reveals logic, paper construction, narrative pacing, and visual curiosity. Blends historical folklore with a modern colorful and fun graphic identity.
Result: A title system that turned historical legends into an approachable youth-facing visual format.
Method: Cultural-material translation through magic ink blot reveals logic, paper construction, narrative pacing, and visual curiosity. Blends historical folklore with a modern colorful and fun graphic identity.
Result: A title system that turned historical legends into an approachable youth-facing visual format.
After the premiere, the series sparked major hype around Katharina Straßer. Episode 2 became ORF’s most-watched kids’ original that weekend.
gartenparty der stars (ORF, 2021)
Task: Give a live entertainment format a clear broadcast identity across opening and stage media, combining elegance, Schlager, and garden party atmosphere.
Method: Event-to-screen translation through logo design and behavior, and stage rhythm.
Result: A logo, opening, and stage-loop system giving the live show an elegant, joyful visual presence.
Method: Event-to-screen translation through logo design and behavior, and stage rhythm.
Result: A logo, opening, and stage-loop system giving the live show an elegant, joyful visual presence.
This event was among the first live entertainment shows produced by ORF during the COVID-19 pandemic and attracted approximately 405,000 viewers, achieving a market share of 15%.
Antimarteria – The Movie (2017)
Task: Enhance and enrich the atmosphere of illustrated and animated scenes for a music film
Method: Mood-to-image translation through VFX, animation, atmospheric continuity, light, dust, depth, color, particles, and illustrated non-frame-by-frame scenes.
Result: An animation and VFX layer integrated into the film’s emotional and musical environment. Released in full on YouTube, with 776,000 views, directed by Specter Berlin.
Method: Mood-to-image translation through VFX, animation, atmospheric continuity, light, dust, depth, color, particles, and illustrated non-frame-by-frame scenes.
Result: An animation and VFX layer integrated into the film’s emotional and musical environment. Released in full on YouTube, with 776,000 views, directed by Specter Berlin.
Red Ma Drüber (Dominik Wlazny/MARCO POGO, 2023)
Task: Create a bold, visual, provoking design package for a fast-moving political-cultural voice.
Method: Voice-to-system translation through identity logic, graphic behavior, media rhythm, and public recognizability. Reduced, punk-influenced paper-cutout graphics slam the titles onto the screen. Elegant movement clashes with disruptive graphic force, underlining the critical topics and pushing viewers out of passive reception.
Result: An identity system able to carry political communication, personality, and media presence. The political format with former presidential candidate Dominik Wlazny reached a wide online audience with strong viewer engagement. Episodes consistently drew tens of thousands of views and sparked active community response.
Method: Voice-to-system translation through identity logic, graphic behavior, media rhythm, and public recognizability. Reduced, punk-influenced paper-cutout graphics slam the titles onto the screen. Elegant movement clashes with disruptive graphic force, underlining the critical topics and pushing viewers out of passive reception.
Result: An identity system able to carry political communication, personality, and media presence. The political format with former presidential candidate Dominik Wlazny reached a wide online audience with strong viewer engagement. Episodes consistently drew tens of thousands of views and sparked active community response.
Audi E-Tron / The Ultimate E-Chase (SHORT SERIES, 2017)
Task: Align electric performance, technology, and cinematic chase logic in title design.
Method: Product-to-cinematic translation through pacing, tension, movement, and performance framing. Created the Film Main Title Design for Audi’s flagship film featuring Formula E champion Lucas di Grassi.
Result: A title system connecting automotive technology with filmic speed and pursuit logic, created as part of the brand’s global push into electric performance.
Method: Product-to-cinematic translation through pacing, tension, movement, and performance framing. Created the Film Main Title Design for Audi’s flagship film featuring Formula E champion Lucas di Grassi.
Result: A title system connecting automotive technology with filmic speed and pursuit logic, created as part of the brand’s global push into electric performance.
Florian Schroeder Satire Show (ARD/RBB, 2016–2022)
Task: Position political satire with immediate editorial clarity.
Method: Public-discourse framing through rhythm, edit, typography, visual argument, late-night atmosphere, and host-driven city imagery. Conceptualized and directed the on-air package shoot, overseeing editing and animation of the show’s visual identity, including inserts and studio graphics.
Result: A show package directed, edited, designed, and animated as a visual frame for the format. Managed the Satirekanal’s visual content for four years, creating numerous hand-illustrated thumbnails that captured current political themes.
Method: Public-discourse framing through rhythm, edit, typography, visual argument, late-night atmosphere, and host-driven city imagery. Conceptualized and directed the on-air package shoot, overseeing editing and animation of the show’s visual identity, including inserts and studio graphics.
Result: A show package directed, edited, designed, and animated as a visual frame for the format. Managed the Satirekanal’s visual content for four years, creating numerous hand-illustrated thumbnails that captured current political themes.
Galileo Redesign (Pro7, 2016)
Task: Renew the visual identity of a popular science and knowledge format.
Method: Knowledge-format translation through clarity, recognizability, modularity, and on-air identity logic.
Method: Knowledge-format translation through clarity, recognizability, modularity, and on-air identity logic.
Invented the style for the show’s studio screens and on-air packaging.
Created a fresh visual identity that modernized the program’s aesthetic and aligned with its cutting-edge content.
Result: A redesigned on-air visual system for contemporary science and information presentation.
Result: A redesigned on-air visual system for contemporary science and information presentation.
50 Dinge die ein Hesse… (HR, 2013–14)
Task: Turn regional identity into compact animated storytelling.
Method: Culture-to-short-form translation through humor, character, timing, and visual reduction.
Result: Award-winning animated short films turning regional knowledge into lovable broadcast pieces. Awarded for exceptional visual storytelling and original concept execution. Commissioned second series after first round success.
Method: Culture-to-short-form translation through humor, character, timing, and visual reduction.
Result: Award-winning animated short films turning regional knowledge into lovable broadcast pieces. Awarded for exceptional visual storytelling and original concept execution. Commissioned second series after first round success.
Das Haus Anubis (Nickelodeon, 2009)
Task: Build anticipation for a serial mystery format across broadcast communication.
Method: Narrative-to-campaign translation through suspense, rhythm disruption, staged reveal, and continuity. Designed and directed teasers and trailers for the entire series run. Created and executed the groundbreaking teaser and trailer campaigns, launching glitch signal interference teasers across three channels weeks before the premiere. This disrupted Nickelodeon programming, introduced the ghost house motif, and built intense viewer curiosity.
Result: A multi-phase campaign that turned on-air presence into part of the story arc. One of Nickelodeon Germany’s most disruptive and successful campaigns. The multi-phase campaign included cryptic teasers, full trailers, social media integration, and an online mystery game, leading to the series becoming Nickelodeon Germany’s most successful series launch with 380,000 viewers and a 22% youth market share.
Method: Narrative-to-campaign translation through suspense, rhythm disruption, staged reveal, and continuity. Designed and directed teasers and trailers for the entire series run. Created and executed the groundbreaking teaser and trailer campaigns, launching glitch signal interference teasers across three channels weeks before the premiere. This disrupted Nickelodeon programming, introduced the ghost house motif, and built intense viewer curiosity.
Result: A multi-phase campaign that turned on-air presence into part of the story arc. One of Nickelodeon Germany’s most disruptive and successful campaigns. The multi-phase campaign included cryptic teasers, full trailers, social media integration, and an online mystery game, leading to the series becoming Nickelodeon Germany’s most successful series launch with 380,000 viewers and a 22% youth market share.
Avatar – The Last Airbender (Nickelodeon, 2007)
Task: Maintain world, tone, and narrative continuity across a multi-season youth franchise.
Method: World-to-campaign translation through teaser structure, pacing, continuity, and character of motion. Directed, designed, and managed the complete campaign, including the special teaser campaigns, which featured immersive design language and a visually stunning system to bring the world of Avatar to life. The elemental branding used throughout the series became a defining feature, with each teaser and trailer blending powerful visuals with a compelling narrative. I developed a stunning visual identity for the campaign, focusing on the elemental themes (Fire, Water, Earth) that mirrored the show’s soul. I created teaser materials for all seasons with a cinematic approach that built anticipation and drew in the audience through bold, cinematic storytelling. I oversaw the design execution, ensuring a cohesive visual experience that spanned multiple media platforms, increasing viewer engagement across TV and online.
Result: A full campaign system supporting all seasons through a coherent narrative and promotional rhythm. Created elemental motion branding for what became Nickelodeon Germany’s biggest franchise.
Method: World-to-campaign translation through teaser structure, pacing, continuity, and character of motion. Directed, designed, and managed the complete campaign, including the special teaser campaigns, which featured immersive design language and a visually stunning system to bring the world of Avatar to life. The elemental branding used throughout the series became a defining feature, with each teaser and trailer blending powerful visuals with a compelling narrative. I developed a stunning visual identity for the campaign, focusing on the elemental themes (Fire, Water, Earth) that mirrored the show’s soul. I created teaser materials for all seasons with a cinematic approach that built anticipation and drew in the audience through bold, cinematic storytelling. I oversaw the design execution, ensuring a cohesive visual experience that spanned multiple media platforms, increasing viewer engagement across TV and online.
Result: A full campaign system supporting all seasons through a coherent narrative and promotional rhythm. Created elemental motion branding for what became Nickelodeon Germany’s biggest franchise.
The campaign was integral to the series becoming one of Nickelodeon Germany’s most successful animated series at the time and created a huge fan base in DACH.
NICK AHOI D/A/CH (2006)
Task: Create the on-air campaign language for Nickelodeon’s national summer tour built around an orange event ship, live children’s programming, and city stops across Germany.
Method:Designed and directed the on-air package for the eight-city tour from 16 July to 13 August 2006, using a hybrid visual system: real actors inside a cartoon-style treasure-map world, turning the tour logic into a navigational broadcast identity.
Result: A successful children’s event format giving kids across Germany free access to a Nickelodeon playground, star encounters, and an immersive branded ship environment. Continued beyond 2006: 7 harbors in 2007, 6 harbors in 2008.
Method:Designed and directed the on-air package for the eight-city tour from 16 July to 13 August 2006, using a hybrid visual system: real actors inside a cartoon-style treasure-map world, turning the tour logic into a navigational broadcast identity.
Result: A successful children’s event format giving kids across Germany free access to a Nickelodeon playground, star encounters, and an immersive branded ship environment. Continued beyond 2006: 7 harbors in 2007, 6 harbors in 2008.
Nickelodeon Channel Launch D/A/CH (2005)
Task: Define a youth channel identity for three markets at launch.
Method: Channel-to-behavior translation through identity rules, motion language, audience rhythm, and market adaptation. Designed and animated the channel’s first-ever German trailer.
Result: A launch-level broadcast identity system for Nickelodeon across Germany, Austria, and Switzerland. Broadcast debut that introduced the brand to an entire generation.
Method: Channel-to-behavior translation through identity rules, motion language, audience rhythm, and market adaptation. Designed and animated the channel’s first-ever German trailer.
Result: A launch-level broadcast identity system for Nickelodeon across Germany, Austria, and Switzerland. Broadcast debut that introduced the brand to an entire generation.
European Film Awards (das werk, 2001–2002) Paris, Berlin
Task: Give a high-visibility film-culture event a broadcast identity.
Method: Event-to-broadcast translation through ceremony framing, graphic rhythm, and film-cultural tone. Logo and on-air design for two consecutive years. Designed the logo and created the look and feel for the circus-style stage design at the 14th European Film Awards, held at the new Tempodrom. The event, set in a tent-like structure with red velvet and large chandeliers, evoked a circus-like atmosphere with guests seated at banquet tables.
Result: Individual on-air identity systems for the Paris and Berlin editions. Featured in several magazines.
Method: Event-to-broadcast translation through ceremony framing, graphic rhythm, and film-cultural tone. Logo and on-air design for two consecutive years. Designed the logo and created the look and feel for the circus-style stage design at the 14th European Film Awards, held at the new Tempodrom. The event, set in a tent-like structure with red velvet and large chandeliers, evoked a circus-like atmosphere with guests seated at banquet tables.
Result: Individual on-air identity systems for the Paris and Berlin editions. Featured in several magazines.
Bravo supershow (das werk, 2001)
Task: Frame large-scale pop entertainment as a broadcast event.
Method: Pop-event translation through spectacle logic, identity rhythm, logo design, and on-air presentation.
Method: Pop-event translation through spectacle logic, identity rhythm, logo design, and on-air presentation.
Result: Complete new show package and logo design for Germany’s largest youth awards.
MTV Networks NYC (1999)
Task: Enter a motion-design context where channel identity, music television, and experimental visual rhythm were being actively defined.
Method: Formation through music-led broadcast culture, timing, experimentation, and channel behavior.
Result: Early professional grounding in the motion-language culture that shaped later media-system work.
Method: Formation through music-led broadcast culture, timing, experimentation, and channel behavior.
Result: Early professional grounding in the motion-language culture that shaped later media-system work.
EVENT · SPACE · IMMERSIVE
Multisensory BRanding (2023)
Task: Connect retail, spatial, mobile, scent, expo, and interactive contexts into one sensory brand logic.
Method: Brand-to-sensory-system translation through cross-channel sensory framing, scent activation, spatial format, and interaction.
Result: A yearlong sensory framework including scent-based pop-ups, expo structures, and an interactive scent-printer format.
Method: Brand-to-sensory-system translation through cross-channel sensory framing, scent activation, spatial format, and interaction.
Result: A yearlong sensory framework including scent-based pop-ups, expo structures, and an interactive scent-printer format.
TURBOBIER STAGE VISUALS (2023)
Task: Translate punk-rock energy into live visual behavior.
Method: Performance-to-stage translation through rhythm, disruption, density, timing, and audience intensity.
Result: Animated stage visuals carrying live-performance energy in visual form.
Method: Performance-to-stage translation through rhythm, disruption, density, timing, and audience intensity.
Result: Animated stage visuals carrying live-performance energy in visual form.
Mythos Mozart Vienna with Refik Anadol (2022–)
Task: Set a spatial-media opening for an immersive cultural experience.
Method: Cultural-memory translation through atmosphere, pacing, spatial orientation, and cinematic sequence. Designed and animated the intro to the journey through “Vienna 1791 – Mozart’s City,” featuring 360-degree projections of 18th-century Vienna.
Result: An opening sequence integrated into an ongoing immersive Mozart experience. The exhibition continues to attract attention for its immersive multimedia format, offering visitors a journey through five distinct rooms that blend music, art, and technology.
Method: Cultural-memory translation through atmosphere, pacing, spatial orientation, and cinematic sequence. Designed and animated the intro to the journey through “Vienna 1791 – Mozart’s City,” featuring 360-degree projections of 18th-century Vienna.
Result: An opening sequence integrated into an ongoing immersive Mozart experience. The exhibition continues to attract attention for its immersive multimedia format, offering visitors a journey through five distinct rooms that blend music, art, and technology.
SMOUND Berlin (2019)
Task: Create a relation between musical tone and olfactory perception.
Method: Sound-to-scent translation through crossmodal mapping, correspondence logic, and installation structure.
Result: A scent-sound installation system developed with Simon Knight.
Method: Sound-to-scent translation through crossmodal mapping, correspondence logic, and installation structure.
Result: A scent-sound installation system developed with Simon Knight.
Bauhaus Missing Scents (2019–)
Task: Extend Bauhaus color and form logic beyond visual design.
Method: Design-history-to-sensory translation through crossmodal mapping, perceptual composition, and sensory-system thinking.
Result: A multisensory system translating Bauhaus logic into scent, sound, motion, and spatial perception.
Method: Design-history-to-sensory translation through crossmodal mapping, perceptual composition, and sensory-system thinking.
Result: A multisensory system translating Bauhaus logic into scent, sound, motion, and spatial perception.
Douglas x Glow (2018)
Task: Shape beauty retail atmosphere through motion and spatial media.
Method: Brand-to-environment translation through booth rhythm, motion-led atmosphere, sensory architecture, and a bold, fresh design world translating youth, cosmetics, glitter, and glow. Designed and animated the revolving LED panels that opened the Douglas booth at GLOW 2018.
Result: A motion-led booth environment for beauty retail presence. An anchor installation reflecting Douglas’s #FORWARDBEAUTY strategy and directing the full program flow of one of Europe’s leading beauty conventions.
Method: Brand-to-environment translation through booth rhythm, motion-led atmosphere, sensory architecture, and a bold, fresh design world translating youth, cosmetics, glitter, and glow. Designed and animated the revolving LED panels that opened the Douglas booth at GLOW 2018.
Result: A motion-led booth environment for beauty retail presence. An anchor installation reflecting Douglas’s #FORWARDBEAUTY strategy and directing the full program flow of one of Europe’s leading beauty conventions.
Douglas Brand Launch (2018) with Peter Lindbergh
Task: Extend a photographic campaign language into a live brand environment.
Method: Image-to-space translation through moving texture, structure, atmosphere, and 360° spatial design.
Method: Image-to-space translation through moving texture, structure, atmosphere, and 360° spatial design.
Designed and animated the full immersive environment for the unveiling of Douglas’s new corporate identity and global campaign shot by Peter Lindbergh.
Result: A brand launch environment shifting the campaign from static image to cinematic spatial presence. His stills became moving space, structure, form, and texture reinterpreted into a 360° motion experience. I extended Lindbergh’s iconic visual language into video, building the flowing spatial atmosphere that opened the event. Covered across European media, the event marked a major shift in Douglas’s public presence.
Result: A brand launch environment shifting the campaign from static image to cinematic spatial presence. His stills became moving space, structure, form, and texture reinterpreted into a 360° motion experience. I extended Lindbergh’s iconic visual language into video, building the flowing spatial atmosphere that opened the event. Covered across European media, the event marked a major shift in Douglas’s public presence.
Registan Festival, Samarkand (lux fero, berlin, 2017)
Task: Create media sequences that state the country's innovation and technical progress by projection mapping onto the monumental UNESCO heritage architecture of the Registan Square.
Method: Cultural-identity-to-futures translation through hi-tech visualization, large-scale 3D projection mapping, and architectural media composition as part of the Lux Fero design team.
Result: Projection mapping across Registan’s monumental architectural context, connecting contemporary digital art with Uzbekistan’s architectural heritage.
Method: Cultural-identity-to-futures translation through hi-tech visualization, large-scale 3D projection mapping, and architectural media composition as part of the Lux Fero design team.
Result: Projection mapping across Registan’s monumental architectural context, connecting contemporary digital art with Uzbekistan’s architectural heritage.
SEAT Paris Auto Show (Pixomondo, 2012)
Task: Translate automotive brand presence into a live spatial and visual identity.
Method: Brand-to-event translation through rhythm, visual identity, scale, presentation environment, art direction, and motion design for two major automotive stage productions.
Result: Art direction and design for SEAT’s 2012 Paris Auto Show presentation, supporting the launch of the new Leon and strengthening SEAT’s live brand presence.
Method: Brand-to-event translation through rhythm, visual identity, scale, presentation environment, art direction, and motion design for two major automotive stage productions.
Result: Art direction and design for SEAT’s 2012 Paris Auto Show presentation, supporting the launch of the new Leon and strengthening SEAT’s live brand presence.
BRAND
Schrubb Schrubb Zahnputzlied (Dr. Best, 2018)
Task: Make preschool dental behavior accessible through playful communication. Use animals brushing their teeth.
Method: Behavior-to-story translation through illustration, rhythm, character, and child-facing and fun visual clarity.
Result: An illustrated animation with 5M+ views. on YT turning toothbrushing into an accessible, fun preschool narrative.
Method: Behavior-to-story translation through illustration, rhythm, character, and child-facing and fun visual clarity.
Result: An illustrated animation with 5M+ views. on YT turning toothbrushing into an accessible, fun preschool narrative.
BMW GROUP Agile Explainer (2017)
Task: Make corporate process complexity understandable by creating a mascot that guides the viewer through agile workflows.
Method: Process-to-narrative translation through illustration, motion continuity, one-shot animation, and timing. Instead of standard explainer language, Agilo flies through the BMW world of agile working in a modern abstract visual style.
Result: A no-edit animated explanation turning agile process logic into a single visual sequence with an Agilo fan base.
Method: Process-to-narrative translation through illustration, motion continuity, one-shot animation, and timing. Instead of standard explainer language, Agilo flies through the BMW world of agile working in a modern abstract visual style.
Result: A no-edit animated explanation turning agile process logic into a single visual sequence with an Agilo fan base.
Mercedes A-Klasse (das werk, 2001) "Eine gute Idee"
Task: Turn an automotive brand idea into a memorable film language as introduction films for the new A-Klasse.
Method: Brand-to-story translation through visual concept, timing, recognition, and technical narrative structure.
Result: An award-winning brand-film series with international design recognition. Including prizes for visionary and innovative design, including Red Dot, D&AD, One Show, IF Design, and NY Festivals.
Method: Brand-to-story translation through visual concept, timing, recognition, and technical narrative structure.
Result: An award-winning brand-film series with international design recognition. Including prizes for visionary and innovative design, including Red Dot, D&AD, One Show, IF Design, and NY Festivals.
SCIENCE
CERN x TUM Science Explainers (complexion films, 2018–2022)
Task: Make abstract physics legible to non-specialist audiences.
Method: Science-to-narrative translation through conceptual compression, storytelling, unique illustrations, and animated explanation.
Result: Four visual narratives turning dark matter, quarks, neutrinos, and black holes into public-facing explanations. Featured in Die ZEIT and numerous print and online magazines.
Method: Science-to-narrative translation through conceptual compression, storytelling, unique illustrations, and animated explanation.
Result: Four visual narratives turning dark matter, quarks, neutrinos, and black holes into public-facing explanations. Featured in Die ZEIT and numerous print and online magazines.
For more information, showreel and work examples please visit https://design-in-motion.com