Typography and Editorial: two worlds, every single one for itself, apart, in an asynchronous manner, but still together. One chance to reconcile the drive to always make something new. The free smile during a Déjà-vu,a choice for maker.

Complexe worlds, unmanageable processings, society changes, merger and acquisition. Laurent Lacour talks about the inspiration and impact of complexity and flexibility in medial systems.

Martin Liebscher is going to refer to his photography and his world of the thousands ‚liebschers‘.

Characters are building an animated level: in baroque churches walls are disbanding. The sculptures are decoration, their colorful garment are waving through the room, they are telling stories. The order of the form has its significance. At best are systems, which serve for objective informations, an enrichment of color and form. They point with their design to the mostly mundane function of the location.

Marc Potocnik, owner of the animation studio ‚renderbaron‘, opens his bag of tricks and provides an insight into exposure with 3D-animation. The design of moving pictures via light, surfaces and camera- whether during orchestration of branded worlds for tv commercial, the fusion of real images with 3D elements or the creation of complete virtual settings- is the topic in the front.

Fashion is identity. Here the question of identity is discussed and in a visual and material way independent transferred by the pupils. At the beginning there is the question for trendiness which is creatively and individually challenged by the pupils.

Fashion holds a power, which is able to set energy of creativity free and to uncover the own identity, the own origin and the visions of the pupils.

Through the uniqueness which is given through the person himself and his concept, demonstrates the self-discovery by wearing the own concept. Consequentely the pupils got in contact with each other.

Self-awareness of single pupils, phrase of the own idea, transposition and carrying are the secrets for the success of this project.

In his lecture Philip Loersch is going to give a closer look into his world of drawings and installations and in particular in his way of working.

One maintopic will be the oppositional appearance and effect of the scientific-technologicaland esthetic-artistic line. What happens, if I’m going to see scientific questions from my point of view, as a drawer? Is it about anticipation or awareness?

What does it mean, to produce workings as an artist, which have to exist and to survive in this world today?

Ed Annink will be talking about his job as a designer, curator, teacher and author.

Monika Brandmeier pursues in her lecture the two-way influences of her three-dimensional and photographic works. She shows videos, photographics and sculptures, which have one in common: an artistic view of their medial and material formatting. They are not lying in the wonderland of the image, but in this world.

In his lecture Mario Lombardo is going to talk about the works during the last 10 years, things at present and about things, that are going to happen.

The chamber of wonders of the 16^th century has mirrored the world in his own parlour. Macrocosm is pictured in the microcosm of the assembler, the worldmaker. Out of these microcosms different types of museums have been developed, which are still effective today. These archives of wonders, accessible atlases still maintain their fascination until this day.

The chamber of wonders – apparently dead and forgotten, is however still alive, present and high topical both as curatorial archetype and as creative guiding theme for displaying the world in a small exemplar and leading to a better understanding.

The chamber of wonders is successful as a curatorial principle and creative guidingtheme, because it is managed associative ,full of images, poetic and visionary. All these facts combined addict the new “supermuseum”, which gives curators, designers and visitors a reality check and finally the opportunity for more phantasy, association and own commemoration. The lecture on this is a travel through district and time.

Illustration is consciously adopt of magazines, publisher or commercial to give their content and products a personal appearance. But also the economy system has already discovert how to appreciate their publications with illustrated images.

The most important thing, independently of the end product, is the subjective and individual handwriting of the illustrator. Therefore he developes his own visual worlds, from which ideas and motives are generated.

By means of examples out of practice, Lars Henkel introduces different projects together with their way of process, which accrued during his time as an illustrator. The starting point is to subtend the idea of illustration as a decorative and descriptive element with a poetic vision across an explanation.