Maximage
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Maximage is a Swiss design studio founded in 2009, with offices in Geneva, Zurich and London.

Maximage offers a large area of expertise ranging from editorial design to visual identity and typography to color consultancy. In its practice, tools and technology are constantly challenged, introducing a reflection on contemporary production processes. Over the years the studio has collaborated with institutions and clients in Switzerland and abroad. Long-term collaborations include art direction for the Zurich-based publishing house Edition Patrick Frey and the development of campaigns for Arsenic–Centre d’art scénique contemporain. Its in-house typeface, Programme, is available as a full font family at Optimo Type Foundry.

Parallel to their commission work, Maximage offers numerous workshops and lectures at international Universities. Since 2010, the studio regularly teaches at ECAL/University of Art and Design Lausanne where it directed a research project on printing technologies, which led to the creation of Color Library. The work of Maximage received several awards from the Swiss Federal Office of Culture in recognition to their commitment to the field. In 2013 the studio had the honour of conceiving the catalogue for the Most Beautiful Swiss books, a prestigious prize initiated in 1943 by Jan Tschichold.

Contact us

Tel.

+41 (0)22 910 47 48

Team

David Keshavjee (Founder)
Julien Tavelli (Founder)
Daniel Haettenschwiller
Guy Meldem

Offices

2nd Floor
Rue Fendt 10
CH-1204 Geneva
Map

Capital House
42 Weston St
UK-SE 13QD London
Map

3rd Floor
Geroldstrasse 5
CH-8005 Zurich
Map

Awards

2018

The Most Beautiful Swiss Books

2016

The Most Beautiful Swiss Books

2014

Swiss Design Awards

2013

The Most Beautiful Swiss Books

2013

Swiss Design Awards

2011

The Most Beautiful Swiss Books

2011

Swiss Design Awards

2009

Swiss Design Awards

Exhibitions

2018

Moravká Galerie, Brno (CZ)

2017

Museum für Gestaltung, Zurich (CH)

2017

Tallin Art Hall, Tallinn (EE)

2016

Cooper Union, New York (US)

2016

Umlaut, London (UK)

2015

Museum für Gestaltung, Zurich (CH)

2014

Station, Beirut (LB)

2014

Archiv, Zurich (CH)

2014

Samson Paper Gallery, Seoul (KR)

2014

Weltformat 14 Plakatfestival, Lucern (CH)

2014

Istituto svizzero di Roma, Rome (IT)

2013

Galerie Kamm, Berlin (DE)

2013

Marbriers 4, Geneva (CH)

2013

G/P Gallery, Tokyo (JP)

2012

Museum für Gestaltung, Zurich (CH)

2011

Festival international de l’affiche, Chaumont (FR)

2011

Centre d’art contemporain, Geneva (CH)

2010

Milieu Galerie, Bern (CH)

2010

Massachusetts Institute of Technology, Boston (US)

2009

China International Poster Biennal, Shanghai (CN)

2009

École polytechnique fédérale de Lausanne, Lausanne (CH)

2008

Designhuis, Eindhoven (NL)

Lectures

2018

International Biennal of Graphic Design, Brno (CZ)

2018

Museum für Gestaltung, Zurich (CH)

2017

La Cambre, Brussels (BE)

2017

Fahrenheit 39, Ravenna (IT)

2016

Centre Culturel Suisse, Paris (FR)

2015

Gerrit Rietveld Academy, Amsterdam (NL)

2014

Sitterwerk Kunstbibliothek, St. Gallen (CH)

2014

Grafill, Oslo (NO)

2014

Zürcher Hochschule der Künste, Zurich (CH)

2014

Station, Beirut (LB)

2013

Museum Angewandte Kunst, Frankfurt am Main (DE)

2013

Festival international de l’affiche, Chaumont (FR)

2012

École nationale supérieure des beaux-arts, Lyon (FR)

2011

Amsterdam Art Book Fair, Amsterdam (NL)

2009

École polytechnique fédérale de Lausanne, Lausanne (CH)

Workshops

2018

Hochschule für Grafik und Buchkunst, Leipzig (DE)

2018

École européenne supérieure d’art de Bretagne, Rennes (FR)

2018

Gerrit Rietveld Academy, Amsterdam (NL)

2017

La Cambre, Brussels (BE)

2017

Fahrenheit 39, Ravenna (IT)

2016

Istituto Svizzero di Roma, Milan (IT)

2015

Zürcher Hochschule der Künste, Zurich (CH)

2015

Station, Beirut (LB)

2014

Power Station of Arts, Shanghai (CN)

2012

Swissnex, San Francisco (US)

2010

Staatliche Hochschule für Gestaltung, Karlsruhe (DE)

Research Projects

2017

Workflow: Research Project on Printed Matter
ECAL/University of Art and Design Lausanne (CH)

2014

Studio Roma: Transdisciplinary Research Program
Istituto Svizzero di Roma (IT)

2009

Typographer: New Technologies and Type Design
ECAL/University of Art and Design Lausanne (CH)

Employment

There are currently no vacancies for interns or freelancers.
Any open position will be communicated here and/or on social networks.

Credits

Photographic Reproduction by Daniel Aires
Website by Tristan Bagot
Typeface by Alexis Hominal
© 2019, All rights reserved by Maximage and the authors.

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Arsenic – Centre d’art scénique contemporain - © Maximage
Arsenic – Centre d’art scénique contemporain - © Maximage
Arsenic – Centre d’art scénique contemporain - © Maximage
Arsenic – Centre d’art scénique contemporain - © Maximage
Arsenic – Centre d’art scénique contemporain - © Maximage
Arsenic – Centre d’art scénique contemporain - © Maximage
Arsenic – Centre d’art scénique contemporain - © Maximage
Arsenic – Centre d’art scénique contemporain - © Maximage
Arsenic – Centre d’art scénique contemporain - © Maximage
Arsenic – Centre d’art scénique contemporain - © Maximage
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Arsenic is an art center in Lausanne dedicated to contemporary creation in dance, theatre and performance. As a laboratory and co-production platform, its program and artistic support policy encourages new conversations and new aesthetics with an ambitious family of Swiss and international artists. A place of discovery, with its open-plan approach and affordable rates, that offers an extensive access to contemporary scenic arts. Since 2017, Maximage has been working to redesign the visual identity of Arsenic. Based on colors and a custom typeface, a comprehensive graphic system is established to embody the art center’s identity from campaigns to signage.

Project

Arsenic – Centre d’art scénique contemporain

Type

Identities, Websites, Typefaces

Client

Fondation arsenic

Director

Patrick de Rham

Team

Maxime Schoeni, Ana-Belen Torreblanca

Year

2016–Present

Location

Lausanne

Asian Eyez – Apocalyptic Fantasies - © Maximage
Asian Eyez – Apocalyptic Fantasies - © Maximage
Asian Eyez – Apocalyptic Fantasies - © Maximage
Asian Eyez – Apocalyptic Fantasies - © Maximage
Asian Eyez – Apocalyptic Fantasies - © Maximage
Asian Eyez – Apocalyptic Fantasies - © Maximage
Asian Eyez – Apocalyptic Fantasies - © Maximage
Asian Eyez – Apocalyptic Fantasies - © Maximage
Asian Eyez – Apocalyptic Fantasies - © Maximage
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Club culture and border-smashing strategies

Lhaga Koondhor, a cultural provocateur, curates the Apocalyptic Fantasies club nights in China and around the world, combining different social worlds and sub-cultures under one roof with an emphasis on amazing music. Maximage designed various custom typefaces alongside flyers and videos to promote the events.

Project

Asian Eyez – Apocalyptic Fantasies

Type

Identities, Digital, Typefaces

Client

Lhaga Koondhor

Year

2016, 2017

Location

Shanghai, Shenzhen, Chengdu, Vladivostok, Moscow

FUZI UV TPK – Ma Ligne - © Maximage
FUZI UV TPK – Ma Ligne - © Maximage
FUZI UV TPK – Ma Ligne - © Maximage
FUZI UV TPK – Ma Ligne - © Maximage
FUZI UV TPK – Ma Ligne - © Maximage
FUZI UV TPK – Ma Ligne - © Maximage
FUZI UV TPK – Ma Ligne - © Maximage
FUZI UV TPK – Ma Ligne - © Maximage
FUZI UV TPK – Ma Ligne - © Maximage
FUZI UV TPK – Ma Ligne - © Maximage
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An archive of vandalism

This book is a collection of photographs created between 1996 and 2001, an archive of vandalism, a contemporary document of “brutal insouciance” accompanied by the artist’s poems and texts. It wasn’t just about slamming, hammering and smearing one’s name everywhere to become known, it was about leaving behind a trace, both in the space and in the heads of the passengers.
This required a rigid approach: employing the surveillance methods of the rail police (SUGE) and conductors, only with reverse circumstances. A routine that was synchronized with the gaps in train schedules and intervals between security checks; rhythmized by station stops and coach compartments; locating, painting over and photographing—maintaining the line. Within the rules and regulations of society, they created Temporary Autonomous Zones for themselves, in which they could briefly experience absolute freedom, expressed through an archaic “aestheticism of chaos.”

Project

Ma Ligne

Type

Books

Client

Edition Patrick Frey

Editor

Andreas Koller

Concept, Design

Jean Angelats, Simon Haenni, David Keshavjee

Author

FUZI UV TPK

Year

2011

Location

Zurich

London Design Biennale 2016 - © Maximage
London Design Biennale 2016 - © Maximage
London Design Biennale 2016 - © Maximage
London Design Biennale 2016 - © Maximage
London Design Biennale 2016 - © Maximage
London Design Biennale 2016 - © Maximage
London Design Biennale 2016 - © Maximage
London Design Biennale 2016 - © Maximage
London Design Biennale 2016 - © Maximage
London Design Biennale 2016 - © Maximage
London Design Biennale 2016 - © Maximage
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In-Between: The Utopia of Neutral

An exploration of cultural identity, design tradition, and exchange of knowledge that responded to the Biennale’s theme of ‘utopia by design’ through a series of experimental collaborations between Swiss design studios and specialist industrial manufacturers.

Project

London Design Biennale 2016

Type

Identities, Websites, Books

Client

Embassy of Switzerland in the United Kingdom
Pro Helvetia – The Swiss Arts Council

Authors

Stéphanie Baechler, Dimitri Bähler, Jörg Boner, Kueng Caputo, Adrien Rovero, Sibylle Stoeckli

Curation

Giovanna Lisignoli

Photography

Paola Caputo

Scenography

Damian Fopp

Team

Daniel Kang Yoon Noerregaard

Year

2016

Location

London

Optimo Programme - © Maximage
Optimo Programme - © Maximage
Optimo Programme - © Maximage
Optimo Programme - © Maximage
Optimo Programme - © Maximage
Optimo Programme - © Maximage
Optimo Programme - © Maximage
Optimo Programme - © Maximage
Optimo Programme - © Maximage
Optimo Programme - © Maximage
Optimo Programme - © Maximage
Optimo Programme - © Maximage
Optimo Programme - © Maximage
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Developed between 2008 and 2013, Programme is an innovative typeface which is based both on calligraphy and computer programming. With the help of scripting technology, the typeface was developed in two different versions: a more sophisticated and a rougher angular cut.

The family is now available in four weights, including italics and extra rotated versions. In some cases the imperfections of the program have not been retouched to keep the type’s original essence. That is why Programme exists in two alternative styles : a rougher and a more refined version. Through OpenType features, the user can alternate between those styles by activating the Stylistic Sets in groups or individually. As an additional cut, Programme Primitiv is the ‘original’ version generated by the script – without any retouching and grading – this archetype perfectly meets display requirements as its simple and brutal sharpness add to the visual experience.

Project

Programme

Type

Typefaces

Distribution
Collaborator

Chi-Long Trieu, Alexis Hominal

Year

2008–2013

Location

Geneva

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