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Mix colors and mix shapes to achieve a lively, bustling and modern composition. Between landscape and vanity, the “Mix color and shape” series seeks to merge shapes and colors, lines and curves, to lose sight in a moving universe.

In Patric Sandri’s works, painting is subject, content and medium at the same time. Colour, image carrier and light are thematised. The painted insides of the stretcher frames reflect onto the picture support, which is then bathed in coloured light. In order to bring honesty to the perception of a pictorial space, Sandri proposes with this work a transformation of the pictorial tool into the actual space, a detachment from painting as panel painting. The painting is to be experienced with increased intensity by the viewer, who participates in the process of becoming a painter through his or her own movement in the pictorial space.

In Patric Sandri’s works, painting is subject, content and medium at the same time. Colour, image carrier and light are thematised. The painted insides of the stretcher frames reflect onto the picture support, which is then bathed in coloured light. In order to bring honesty to the perception of a pictorial space, Sandri proposes with this work a transformation of the pictorial tool into the actual space, a detachment from painting as panel painting. The painting is to be experienced with increased intensity by the viewer, who participates in the process of becoming a painter through his or her own movement in the pictorial space.

In Patric Sandri’s works, painting is subject, content and medium at the same time. Colour, image carrier and light are thematised. The painted insides of the stretcher frames reflect onto the picture support, which is then bathed in coloured light. In order to bring honesty to the perception of a pictorial space, Sandri proposes with this work a transformation of the pictorial tool into the actual space, a detachment from painting as panel painting. The painting is to be experienced with increased intensity by the viewer, who participates in the process of becoming a painter through his or her own movement in the pictorial space.

In Patric Sandri’s works, painting is subject, content and medium at the same time. Colour, image carrier and light are thematised. The painted insides of the stretcher frames reflect onto the picture support, which is then bathed in coloured light. In order to bring honesty to the perception of a pictorial space, Sandri proposes with this work a transformation of the pictorial tool into the actual space, a detachment from painting as panel painting. The painting is to be experienced with increased intensity by the viewer, who participates in the process of becoming a painter through his or her own movement in the pictorial space.

In contrast to my series of humble neighborhoods, this work of exaltation of the party and status appears.
2 unique signed and numbered copies are produced in 70x70cm Vitra digital art printing system. The Vitra System is a new museum-approved fine art reproduction technology that uses sublimated mineral inks and vitreous polymers on 1 mm thick aluminum plates.

The maps that I work with as an earth scientist are usually pretty bland and boring in terms of color. This is my attempt to inject some color and design into a generic topographic map.

Increasing land grabs endangering forest communities and wildlife as governments expand mining and agriculture to combat economic impact of Covid / The Guardian

David Bowie is alive and living on Mars.

Zement is a Neo-Kraut Band with a passion for endless Loops, Arpeggios and Drum Patterns – and they like wordplays, especially the ones that make fun of everything concrete and craft related. So their fist live album is called „Schleifen“. It implies action, means dragging, smoothing as well as grinding. But it it can also be a much more playful noun: Loops. So we thought, lets go the colorful path, that matches perfectly with Zement’s euphoric, repetitive live shows! We created a 3d rendering of a „Motorikschleife“, a common toy for small children, that now became the cover artwork. And the Video for the first single is a wild ride on these colorful loops.

The official Design for the Tokyo TDC Exhibition in Tokyo, 2020. The design is adapted on Poster, Banner, Flyer, Infofolder, Web and many other stuff.
It is printed with 2 bright Pantone colors on a double Printed Deep Black Background.

The European Union is crumbling. Euro crisis, bank bailout, refugee crisis, rise of right-wing populists. The European Union is in a tangible crisis. Where do we go from here with the “European peace project”? With my contribution to the Mut zur Wut poster competition, I would like to highlight the status quo of the EU. Without words but with the power of illustration.

The foreign language assistant program of the PAD is aimed at student teachers who want to teach a foreign language in the future and enables them to spend several months at a school abroad. To make the program more attractive and visible to the public, I conceived and designed several colorful posters as part of a competition at the Faculty of Design in Würzburg to visually illustrate the benefits of the program and the diversity of participating exchange countries.

Beauty which is often put near the vanity actually doesn’t belong there. The aspiration for the beauty is noble, because beauty is a pure source of happiness for everyone. If you have beauty within your mind, you’ll have the most amazing journey. A green insect is a symbol of the progress, pragmaticism there for it covers the eyes of the girl so she can’t see the passionate red which surrounds her. Red in this work represents beauty in all the aspects.

This is a personal project about shapes, colors, and gradients.

I use photographs to document the public space. I use slide film because of the vibrant colours. I get inspired by all sorts of things like signs, trash, containers, animals, furniture, cars, facades, tracks left behind.

Many months after the start of the confinement and the first stage of sanitary collapse, the activity began to normalize. But the virus had not subsided, nor was there an effective remedy or vaccine. Let us not forget that the danger was still there, lurking and that only prudence protected us from getting sick or dying.
A parallel with the underwater mines, which have been used since World War I and which remain hidden in the deep blue waiting to detonate even long after the expected.
Add suspense is Simon Stratford’s Hitchcut typeface, inspired by Saul Bass’s work for the film Vertigo.

In my work I want to research what colours mean to me through these images of my daily life. The question “What does colour mean to me?” is something that I’m always asking myself when I make my images. Colour has always been important to me through my whole life and is also the tool that I use to make my images.

Work inspired by the painting “The Three Graces of Rubens” but brought to a modern world to the rhythm of reggaeton.
In the words of the historian Marcelo Ferrando Castro: “They were in charge of presiding over all those events in which pleasure was the main ingredient, such as good meals and banquets or dance shows, among many others. They were capable of providing as much joy as possible. both gods and mortals, but they also provided eloquence and wisdom. For this reason it was said that those mortals who were blessed by one of these three Graces, would become a great orator, philosopher, artist … “
It is produced on paper in a proportional format and smaller than the original.

A new Chilean LED lighting company, with objectives aimed at energy saving, flexibility and short-term distribution, entrusts me with the design of its brand with a view to being applied to very different media: stationery, bags, packaging …
More than an immovable logo, I propose a range of interchangeable images in which the pictographic element consists of a set of multicolored squares / led lights that are distributed around the name. We thus achieve a fluid brand that accommodates different applications in a less rigid way than with a conventional brand. The text is composed with Ion Lucin Big John and Slim Joe sans serif typefaces.

Plokta is a festival where the moving image feeds ideas about technology. It is a meeting place for creative disciplines, thinkers, and artists. Plokta has an interdisciplinary and open take on technology. It explores what technology is and what it does—and what we make of that.

Call for the 52nd Gathering to Talk about Art and Design promoted by the dean designer and interior architect Luis Corbella.
Sometimes this gathering is transformed into presentations or master classes. On this occasion, Teresa Sapey gave a talk at the showroom of the Spanish coatings brand Cosentino and was scheduled for the Madrid Design Festival.
The motto was the musical term “Andante, presto, maestoso …” And, based on that context and on Sapey’s colorful work, I designed an image inspired by the lights of the equalizers.
The main typeface is a design I developed for a logo in the 90s. The LHF Sofia Script calligraphic font designed by Chuck Davis is contrasted.

Analog works by Jana Janekovic and Sophie Schmid fragmentally digital mixed together.The artists exhibit together. Every now and then there is an invitation card made up of two works by the artists.The invitation cards were so well received and became a collector’s item that the artists made a whole series of such mixed works. More than 30 years ago they attended an art school together and have been friends doing art together ever since.
Ms. Janekovic is an architect and artist who deals with nature and architecture in her works. Ms. Schmid is an illustrator, artist and author who deals with people and their stories in her work.

I am inspired by Japanese Art and especially ukiyo-e prints. This painting I made with ink paints is my style interpretation of the parade of the Yokai aka Japanese monsters. It is a tribute to monsters and holy spirits, just as ukiyo-e masters do.

Plastic flotsam from the ocean, origin unknown, collected on beaches nearby Lecce / Italy.