Studio Julius Terlinden is a small, independent, Cologne based studio for graphic design & communication with a special interest in typography, Corporate Identity and Branding projects, working for a variety of clients such as Carhartt-Work In Progress, bookaplace UG, Deutsche Bundesstiftung Umwelt, Pacemaker AOS GmbH, or the SSZ Sued Off Gallery. I started to work independently right after graduating from University of Applied Sciences in Düsseldorf in 2011. During my studies I was lucky to gather experience interning and working for karlssonwilker inc. NYC and Intégral Ruedi Baur Paris, where I worked for clients such as Museum of the Moving Image Queens, NY, Musée Rodin Paris or Vitra, which led me to focus on Identity and branding projects in the first place. Nevertheless I would not (and could not) turn down an interesting project because of its medium.
For my own practice I do firmly believe that in communication, a strong identity is the most important ingredient to avoid misunderstanding and dissonance. And a strong identity can only emerge in response to the context it dwells in. This motive applies to every project I work on. No matter if it is a Corporate Identity, a Poster, a Book or a Website. Nevertheless design is an aesthetic practice. That said, one should always keep in mind that: »At the end of the day, people look at the image. And they like it or they don’t.« Peet Pienaar
»Illustration per Post«
mit Fabian Kropp, Düsseldorf
mit Gregor Flother, Cologne
»Howzit, South Africa«
»Howzit, South Africa«
»60 Arten, wie sich die Welt
den toten Hasen zeigt«
mit Jonas Brückner, Wuppertal
Studio Julius Terlinden
c/o Buero fuer Brauchbarkeit
+49 (0)176 60 80 82 04
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Pitch entry together with Tempus Corporate. The Deutsche Bundesstiftung Umwelt, one of the largest foundations in Europe invited tenders for a pitch to redesign its Identity. The concept refers to the existent logo that displays a stylized tree and river. We tried to dissolve these concrete representations into a more comprehensive sign that incorporates the stylized landscape but offers a much wider scope. So we proposed a very clear sign, the circle, which can be understood as a line that creates a protected space, a circulation, a coherent system. The new sign evolved from the pictoram that was the original mark into the clear shape of the circle, incorporating the original color concept and stroke width. Further a custom Typeface, the DBU Grotesk was developed. Nevertheless the solution was too radical and they went for a less far-reaching renewal.