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What ist EPEI – Every Part Every Intervall and how to improve with digital tools? #4

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The font selection is based on the client’s explicit mission to the city “to rethink its infrastructures and policies governing water and waste water management”; this led the stable to a collection of streetscapes that represent the diverse city of Belgrade.

These canvases and others are used for headlines, leads, signatures and as visual headers alongside blocking type and layouts demonstrating the implementation of the city’s transparency and openness.

This approach to publicly communicating about a city is also seen across Kahn’s work for Portal Contemporary, an art centre in Belgrade, whose curated show had a strong focus on technology. This year Kahn has designed the visual identity and website for the show, which was applied across 370 screens around Serbia and is currently touring internationally.

This approach to publicly communicating

Another project which demonstrates Kahn’s adept handling of typography is his identity for Sustain, an architecture and art centre in Bremerhaven, South west of Stockholm. The graphic identity, which includes a custom typeface and WordPress-compatible integrations, was designed to reflect the centre’s aim to “make sustainable progress towards creating an exciting new future for humankind.”

Currently studying graphic design at university, Kahn admits that his skills as a designer are still an immature understanding of the technical intricacies of web and app development.

But this doesn’t mean they are incapable of being utilised effectively when required. “As designers we need this kind of freedom to do ourselves, as well as to express humanistic messages,” he tells It’s Nice That.

Already, four years since he graduated, Kahn is looking to continue progressing in his studies and develop another graphic design portfolio that bridges the gap between film and print. If still using the online analog system, he’s now more than happy to turn to digital. “I use Adobe Illustrator to make layouts and I generally work within a 20pt wide or 30pt tall grid. I like the way it allows me to reshape the basic grid if needed,” he adds.

Still reeling from his first day of studying at the RCA, Kahn is now feeling the pressures of preparing for finals, certifications and any other outdoor sports that hockey and university might bring him, but one thing he will not be doing is working for Nike. In his opinion, “Working for Nike would be a waste of time.

“I did not expect to get such excellent results from such a unconventional undergraduate program, and I’m extremely thankful to be here now, after taking the initial trigonometry classes at the Karolinska Institute in Stockholm,” he explains.

The font selection is based on the client’s explicit mission to the city “to rethink its infrastructures and policies governing water and waste water management”; this led the stable to a collection of streetscapes that represent the diverse city of Belgrade.

These canvases and others are used for headlines, leads, signatures and as visual headers alongside blocking type and layouts demonstrating the implementation of the city’s transparency and openness.

This approach to publicly communicating about a city is also seen across Kahn’s work for Portal Contemporary, an art centre in Belgrade, whose curated show had a strong focus on technology. This year Kahn has designed the visual identity and website for the show, which was applied across 370 screens around Serbia and is currently touring internationally.

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