Lucas Hesse is a Mainz-based graphic designer bringing his experience of studying in Seoul and Germany to inform his culture-focused practice. Under the enlightening supervision of Eike König, at his communication design course in Offenbach, Lucas’ international years as a student made him “curious about how different personalities and people from different cultures approach design.” It taught the designer how some influences can indirectly effect one another, and Lucas brings this principle to a graphic design practice focused on typography, editorial and graphic design.
“My work is built very systematically”, Lucas tells It’s Nice That. “I break down the content into its simplest form and put it in a graphic scheme that’s as straightforward as possible.” This is seen in the designer’s Swiss-inspired work that focuses on grid-based simplicity which offers the viewer an obtainable clarity. Lucas’ “reduced graphic” aesthetic also translates through a mainly monochrome colour scheme, amplified by designs that are based on the “graphic environment” such as geometric shapes or contours.
Though the graphic designer’s work may seem particularly rigid with its dedication to the grid, Lucas stays flexible and experimental in his creative process by working almost entirely in the digital workspace, which allows him to play with graphic elements in a digital capacity. For instance, Lucas designed a series of animated posters that use simple modes of movement to elevate the humble poster. The posters are “heavy in concept”, rooted in the “principles behind how an animated poster can work”, juggling the balance between the type’s movement and legibility.
Additionally, Lucas designed the publication, Dilettantische Ästhetik in collaboration with Julian Lehmann which looks into the world of “amateur” graphic design. Translating as Amateurish Aesthetics, the publication invites the viewer to think “outside the box of current trends” as the book’s content focuses on unusual and unexpected design delights. “If you look into the university’s of design you will notice that global trends are copied and modified again and again”, explains Lucas. “And this will happen as long as new trends pop up”, which will always be the case as certain aesthetics find their place in the eternal loop of vintage design coming back into fashion.
However, “to avoid this loop”, Lucas and his collaborators “started looking for new aesthetics that were not generated by professional graphic designers”, collecting and documenting various works designed by non-professionals. These found pieces were then “analysed to find new design concepts for individual chapters.” Each new segment starts with a found piece of design and picks up individual design elements that offer something different to world of the graphic design professionals. With a well-informed practice that shows an understanding of cultural design differences and design history, Lucas’ blossoming design career is off to a good start, bringing design that is well-executed and appreciative of alternative sources of creativity.
- Pedro Destefani explores the relationship between Stan Smith the man and the brand
- Xiaopeng Yuan reinterprets the Chinese fable, The Butterfly Lovers, in a series for Télévision magazine
- Creativity and control: Stanley Kubrick's obsessiveness and the meticulous films it produced
- Oscar Maia translates the essence of his native Porto into a new publication
- Louise Bonnet paints exaggerated bodies as symbols of melancholy and loneliness
- Mathieu Larone illustrates the "elusive liminal space between the cryptic and the understandable"
- Pornhub decides to try out beesexuality with new awareness campaign
- “The time just feels right”: Stuart Brumfitt and Mirko Borsche, editor and designer of The Face, on its relaunch
- Graphic designer Shao Nian's portfolio ranges from academic publishing to experimental magazines
- Daniel Gebhart de Koekkoek recreates the ingenious yet useless inventions of Chindōgu
- The Washington Post's climate change issue features 24 equally important covers
- Philip Gerald's lowbrow, crude paintings are a reflection of his views on the art world