You just finished the visual identity for the 2018 Brecht Festival, which starts on February, 23. You must surely find it increasingly difficult to come up with a new design style every single year, especially given the festival’s quite narrow theme?
Bertolt Brecht is an amazing character – the unruly, unpredictable genius type from childhood on. And an enormously productive writer; read him at all and you’ll find a whole universe of themes and perspectives for the festival. And the new festival theme every year actually simplifies our task of finding a new design approach.
Your solutions have differed quite markedly over the years. Do you really go back to square one every time and start from there, or do you build on last year’s work?
In 2010 we started off with a formally strict design concept lightened by some whimsical touches, and for two years after that simply changed one primary colour in neon. But then it was time to move on. We opened up the concept, and from then on linked the design more directly to the particular festival theme for the year concerned. The new design every year has been a constant, and although we had a relaunch early in 2017 that will continue under our new artistic director Patrick Wengenroth.