Communication design is all about content: delivering a message, not just decoration. “Communication” implies functionality and flexibility; it’s solving problems through analytical thinking, well-researched concepts and intelligent structures — with elegance. To tell a story well is to take the inherent personality of a project and translate into a visual language.

But communication design is also the reaction to a socio-cultural context:
it can’t be separated from its underlying values, assumptions and ideologies— 
all design is political. So we must try to minimise the negative impact of our work on people and planet. I interpret communication design as a critical and active form of social production.

My name is Hannes Mitterberger and I’m a communication designer.



Let’s have a conversation about your next project

Communication design is all about content: delivering a message, not just decoration. “Communication” implies functionality and flexibility; it’s solving problems through analytical thinking, well-researched concepts and intelligent structures — with elegance. To tell a story well is to take the inherent personality of a project and translate into a visual language.

But communication design is also the reaction to a socio-cultural context:
it can’t be separated from its underlying values, assumptions and ideologies—all design is political. So we must try to minimise the negative impact of our work on people and planet. I interpret communication design as a critical and active form of social production.

My name is Hannes Mitterberger and I’m a communication designer.



Let’s have a conversation about your next project

Communication design is all about content: delivering a message, not just decoration. “Communication” implies functionality and flexibility; it’s solving problems through analytical thinking, well-researched concepts and intelligent structures — with elegance. To tell a story well is to take the inherent personality of a project and translate into a visual language.

But communication design is also the reaction to a socio-cultural context: it can’t be separated from its underlying values, assumptions and ideologies—all design is political.
So we must try to minimise the negative impact of our work on people and planet. I interpret communication design as a critical and active form of social production.

My name is Hannes Mitterberger and
I’m a communication designer.


Let’s have a conversation about your next project

Hannes Mitterberger
Communication Design

About
Contact
— News (external)
— Visit my Blog aka Monthly Poster Project  (coming soon)

Hannes Mitterberger
Communication Design

About
— Send mail
— News (external)
— Visit my Blog aka Monthly Poster Project  (coming soon)

SELECTED PROJECTS (5)

SELECTED PROJECTS (5)

SELECTED PROJECTS (5)

SELECTED PROJECTS (5)

1.
“Don’t settle for black and white” with this conceptual photo-essay in two parts, poetically invoking the everyday dystopia of Brexit-London. Get a copy here.

1.
“Don't settle for black and white” with this conceptual photo-essay in two parts, poetically invoking the everyday dystopia of Brexit-London.
Get a copy here.

1.
Conceptual photo-essay in two parts. Get a copy here.

1.
Conceptual photo-essay in two parts. Get a copy here.

Editorial Design
Graphic Design
Concept
Writing
Editorial Design, Graphic Design, Concept, Writing

Editorial Design, Graphic Design, Concept, Writing

FOR:
Zita Oberwalder
IN:
2019

WITH:
Zita Oberwalder,
Kate Howlett-Jones

FOR: 
Zita Oberwalder 
IN: 2019 WITH: Zita Oberwalder, Kate Howlett-Jones

FOR: 
Zita Oberwalder 
IN: 2019 WITH: Zita Oberwalder, Kate Howlett-Jones
A photo catalog with accompanying “newspaper” documenting the latest series by fine art photographer Zita Oberwalder. It’s a visual dialogue with the socio-political situation of London after the Brexit referendum. The leading design elements arise from the content: Pantone Reflex Blue appears both in the flags of the UK and the EU. The typeface “New Transport” by London-based foundry A2-Type is an update on the classic british roadsign type from the 60’s. The work also features some of my writing, translated into Englisch by Howlett-Jones.
A photo catalog with accompanying “newspaper” documenting the latest series by fine art photographer Zita Oberwalder. It’s a visual dialogue with the socio-political situation of London after the Brexit referendum. The leading design elements arise from the content: Pantone Reflex Blue appears both in the flags of the UK and the EU. The typeface “New Transport” by London-based foundry A2-Type is an update on the classic british roadsign type from the 60’s. The work also features some of my writing, translated into Englisch by Howlett-Jones.
A photo catalog with accompanying “newspaper” documenting the latest series by fine art photographer Zita Oberwalder. It’s a visual dialogue with the socio-political situation of London after the Brexit referendum. The leading design elements arise from the content: Pantone Reflex Blue appears both in the flags of the UK and the EU. The typeface “New Transport” by London-based foundry A2-Type is an update on the classic british roadsign type from the 60’s. The work also features some of my writing, translated into Englisch by Howlett-Jones.

2.
“Beta” versions + co-design + flexibility = a corporate design refresh for a cultural/art institution in Berlin that didn’t want to have a “corporate” design.

2.
corporate design refresh for a cultural/art institution in Berlin.

2.
corporate design refresh for a cultural/art institution in Berlin.

Visual Identity
Concept
Editorial Design
Graphic Design
Web Design

Visual Identity, Concept, Editorial Design, Graphic Design, Web Design

Visual Identity, Concept, Editorial Design, Graphic Design, Web Design

FOR:
ZK/U — Zentrum für Kunst und Urbanistik Berlin

IN:
2017–early 2019

WITH:
ZK/U Team + Interns;
ZK/U Residents

FOR: 
ZK/U — Zentrum für Kunst und Urbanistik Berlin IN: 2017–early 2019 WITH: ZK/U Team + Interns; ZK/U Residents

FOR: 
ZK/U — Zentrum für Kunst und Urbanistik Berlin IN: 2017–early 2019 WITH: ZK/U Team + Interns; ZK/U Residents
Corporate design refresh including logos, business cards, letter heads, posters, flyer, postcards, stamps, stickers, websites and signage on-site. As a cultural instution, ZK/U often conveys the distinct DIY-charm of artistic communities, with a fair amount of bottum-up anti-establishment thinking. So its visual identity had to be flexible and open-source, while remaining logical, bold and distinct. The style was inspired by shipping containers, industry standards and warning signs. After all, the “Center for Art and Urbanistics” is located in a former railway depot in Berlin-Moabit, often reminiscent of industrial/urban construction sites.
Corporate design refresh including logos, business cards, letter heads, posters, flyer, postcards, stamps, stickers, websites and signage on-site. As a cultural instution, ZK/U often conveys the distinct DIY-charm of artistic communities, with a fair amount of bottum-up anti-establishment thinking. So its visual identity had to be flexible and open-source, while remaining logical, bold and distinct. The style was inspired by shipping containers, industry standards and warning signs. After all, the “Center for Art and Urbanistics” is located in a former railway depot in Berlin-Moabit, often reminiscent of industrial/urban construction sites.

3.
Editorial design is archival work: this concept-driven photo catalogue relies heavily on visual quotes and literary cross references.

3.
Concept-driven photo book heavy on (visual) quotes.

3.
Concept-driven photo book heavy on (visual) quotes.


Editorial Design
Graphic Design
Concept
Research
Writing


Editorial Design
Graphic Design
Concept
Research
Writing

Editorial Design, Graphic Design, Concept, Research, Writing

Editorial Design, Graphic Design, Concept, Research, Writing

FOR: 
Zita Oberwalder

IN: 
2017 

WITH:
Zita Oberwalder
FOR: Zita Oberwalder IN: 2017 WITH: Zita Oberwalder

FOR: Zita Oberwalder IN: 2017 WITH: Zita Oberwalder

The catalogue’s cover design was inspired by classic “Ilford” photo paper boxes. Its interior picks up on the editorial design of a book by Erich Fried from 1980 on Ingeborg Bachman’s poem “Bohemia lies by the Sea”. I also wrote a ten page long analysis (in German language) based on several interviews with the artist and a relevant literature research on the topic of “non-places”—a recurring theme in her work.

The catalogue’s cover design was inspired by classic “Ilford” photo paper boxes. Its interior picks up on the editorial design of a book by Erich Fried from 1980 on Ingeborg Bachman's poem “Bohemia lies by the Sea”. I also wrote a ten page long analysis (in German language) based on several interviews with the artist and a relevant literature research on the topic of “non-places” – a recurring theme in her work.

4.
Master thesis—or “scientific design magazine”—on why you actually care about flags, even if you don’t. Spoiler: A flag is a logo is an empty vessel for emotions.

4.
Master thesis—or “scientific design magazine”—on why you actually care about flags, even if you don’t. Spoiler: A flag is a logo is an empty vessel.

4.
Master thesis on flag design

4.
Master thesis on flag design

Editorial Design
Graphic Design
Research
Illustration
Journalism
Writing

Editorial Design, Graphic Design, Research, Illustration, Writing

Editorial Design, Graphic Design, Research, Illustration, Writing

FOR:
FH Joanneum

IN:
2015—2016

WITH:
Catherine Rollier

FOR: 
FH Joanneum IN: 2015—2016 WITH: Catherine Rollier

FOR: 
FH Joanneum IN: 2015—2016 WITH: Catherine Rollier
Master thesis on flags, logos, branding, nations, and politics — with a special emphasis on EUrope and (then) current events. A visual narrative about geopolitical issues as a synergy of form, content and zeitgeist: exploring new relations between journalism and design on 216 pages worth of empirical (design) studies, extensive literature research and custom artwork, including photos, illustrations, graphics, experimental typefaces, etc. Featuring interviews with Catherine Rollier, Andrew Fyfe and Harold Thomas. 
Master thesis on flags, logos, branding, nations, and politics — with a special emphasis on EUrope and (then) current events. A visual narrative about geopolitical issues as a synergy of form, content and zeitgeist: exploring new relations between journalism and design on 216 pages worth of empirical (design) studies, extensive literature research and custom artwork, including photos, illustrations, graphics, experimental typefaces, etc. Featuring interviews with Catherine Rollier, Andrew Fyfe and Harold Thomas. 

5.
A visual identity focusing on the joy of discovery, making the abstract tangible. People shouldn't ask “What IS design?” but rather “What is design TO ME?”

5.
A visual identity focusing on the joy of discovery, making the abstract tangible: not “What IS design?”, but rather “What is design TO ME?”

4.
Visual identity and concept for an annual design festival (AUT)

4.
Visual identity and concept for an annual design festival (AUT)

Concept
Visual Identity
Editorial Design
Graphic Design
Writing
Concept; Visual Identity; Editorial Design; Graphic Design; Writing

Concept; Visual Identity; Editorial Design; Graphic Design; Writing

FOR:
Creative Industries Styria (CIS) 

IN:
2014 

WITH:
Georg Habermann, 
Joseph Thanhäuser,
CIS-Team

FOR:
Creative Industries Styria (CIS) IN: 2014 WITH: Georg Habermann, Joseph Thanhäuser, CIS-Team

FOR:
Creative Industries Styria (CIS) IN: 2014 WITH: Georg Habermann, Joseph Thanhäuser, CIS-Team
The annual Month of Design in the City of Graz (AUT) brings local events, exhibitions and workshops to an international audiences. Habermann, Thanhäuser and me won the competition at FH Joanneum to create the festival’s visual identity in close collaboration with Creative Industries Styria. Based on the theme of “Discovery”, our design targeted the citizens inquisitive nature — the goal was to encourage potential festival visitors to come and discover the world of design on their own terms. The minimalistic key-visual relied on heavily on typography, the claim “Design Entdecken” (discovering design) and bold color-combinations.