“Working on the Billytown identity last year was a true playground,” explains graphic designer Sepus Noordmans of the project which, last time we spoke to him, was a work in progress. This process saw him getting to know the gallery, which is located in The Hague, in order to establish its identity. Now, the designer has put in place a set of rules which allow him to experiment freely within certain parameters, simultaneously developing a signature approach and visual language for his wider practice.
“We’ve managed to establish a foundation for the identity by consistently using a (probably) infamous typeface in various typographic compositions which are abstract representations of the works displayed by the artist(s),” Sepus tells It’s Nice That. At the core of the identity is this intention to design an experimental typographic composition, with certain elements that remain constant such as the date and main font. “The rest,” he adds, “is open for me to experiment.”
As a result, Sepus’ work for Billytown is incredibly varied, although a retains a visual distinction from which it can be recognised. Bold colours appear alongside more textural elements, each exhibition’s date forming an important part of the composition.
This approach of creating flexible formats for himself to work within can be seen across Sepus’ ever-growing portfolio. Since graduating in 2015, he has been developing a roster of techniques, attempting to work with 3D, Photoshop, video and code or anything else he can get his hands on. “Not all seem to work out that well and I don’t think I’ll become an expert in any of these areas. But I do feel this is a nice way of exploring and having fun with the tools that are available to us,” Sepus explains.
Nowhere is this ethos more obvious than in his work for the Open Studios exhibition. “Across the series I have been using a toolbox with a couple of strokes, brushes and geometric shapes to experiment with,” Sepus explains of the daily compositions he has been creating. “The results show me trying to mix my artistic and illustrative interests and express that through digital technology. These graphics are still very handmade – or ‘mousemade’ is more accurate – but I would like to try to automate this at some point,” he adds.
Looking forward, it’s this project which is forming the basis for what Sepus wants to continue exploring. “I’m really excited about applying my skillset with an artistic approach. I want to create more series and see if I can display this on different media such as web or video,” he concludes.
- “We are adamant that our projects pass the test of time”: Principal on its designs for Yoko Ono and Pierre Dorion
- Daniel Brereton gets back together with Metronomy for their latest video
- Internet Crusader tells the story of a virus-induced post-apocalyptic world
- Daniel Stankler reimagines the classics into colourful and uncanny animations
- Wang Zhi-Hong on his shifting approach of “hiding information” in graphic design
- Summers in Buda captures the city’s old women, and a possible dystopian future
- “All you see is lazy photography everywhere”: Martin Parr discusses his career, Brexit and obsession
- The work of Xiangyu Liu is weird and fantastically unpredictable (some NSFW)
- Caterina Bianchini Studio designs a dog-themed identity for a conveyer belt cheese restaurant
- Peter Saville has designed this year's Pornhub Awards trophy, inspired by sex hormones
- Ikea invites people to “try on” Virgil Abloh furniture collection at LFW