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Illustrating with type:

Sven Lindhorst-Emme on Paula Scher’s role in type design

Illustrating with type:

Sven Lindhorst-Emme on Paula Scher’s role in type design

Illustrating with type:

Sven Lindhorst-Emme on Paula Scher’s role in type design

A good design has more than meets the eye—it’s a combination of colors, materials, formats, imagery, shapes, patterns, and even writing.

This last one is what fascinates Sven Lindhorst-Emme most of all. Having worked as a lithographer for 10 years, at the age of 30 he quit his job to study graphic design in university, which, Sven recalls, was one of his best decisions.

Now in partnership with Lea Hinrichs, Sven runs a Berlin design studio specializing in graphic design and typography. In 2014 he became a member of the TDC. In this piece, Sven celebrates the formidable impact of Paula Scher, the 2006 TDC medalist and an important figure for all up-and-coming designers, and dwells on the TDC’s influence on his own path.

A good design has more than meets the eye—it’s a combination of colors, materials, formats, imagery, shapes, patterns, and even writing.

This last one is what fascinates Sven Lindhorst-Emme most of all. Having worked as a lithographer for 10 years, at the age of 30 he quit his job to study graphic design in university, which, Sven recalls, was one of his best decisions.

Now in partnership with Lea Hinrichs, Sven runs a Berlin design studio specializing in graphic design and typography. In 2014 he became a member of the TDC. In this piece, Sven celebrates the formidable impact of Paula Scher, the 2006 TDC medalist and an important figure for all up-and-coming designers, and dwells on the TDC’s influence on his own path.

A good design has more than meets the eye—it’s a combination of colors, materials, formats, imagery, shapes, patterns, and even writing.

This last one is what fascinates Sven Lindhorst-Emme most of all. Having worked as a lithographer for 10 years, at the age of 30 he quit his job to study graphic design in university, which, Sven recalls, was one of his best decisions.

Now in partnership with Lea Hinrichs, Sven runs a Berlin design studio specializing in graphic design and typography. In 2014 he became a member of the TDC. In this piece, Sven celebrates the formidable impact of Paula Scher, the 2006 TDC medalist and an important figure for all up-and-coming designers, and dwells on the TDC’s influence on his own path.

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Paula Scher

(born 1948)

an American designer, painter and educator, has served as the first female principal of the international design consultancy Pentagram since 1991. Scher created an iconic landmark identity for The Public Theater, and her identities for Citibank and Tiffany & Co. have become case studies for American brands.

Paula Scher

(born 1948)

an American designer, painter and educator, has served as the first female principal of the international design consultancy Pentagram since 1991. Scher created an iconic landmark identity for The Public Theater, and her identities for Citibank and Tiffany & Co. have become case studies for American brands.

Paula Scher

(born 1948)

an American designer, painter and educator, has served as the first female principal of the international design consultancy Pentagram since 1991. Scher created an iconic landmark identity for The Public Theater, and her identities for Citibank and Tiffany & Co. have become case studies for American brands.

Words and vast letters running along the walls–an interior and exterior design of the New Jersey Performing Arts Center created by Paula Scher.

Expressivity as of paramount value

My work is heavily influenced by typography. I like to experiment with fonts and individual letters, pull them in length or width, and find or craft new shapes. In my opinion, if done properly, this is what creates completely new typefaces and turns heads through tension and curiosity. I think that partially distinguishes Scher’s approach. For her, expressivity is of paramount value.

One of the works that best represents me as an artist as well as my approach is the trio poster ‘The capital is gone—we are the capital!’ It comprises handwriting mixed with illustrations. I had the urge to craft something entirely new and expressive with more than just typefaces. Another challenge was to build objects that looked almost realistic but kept their illustration character.

Expressivity as of paramount value

My work is heavily influenced by typography. I like to experiment with fonts and individual letters, pull them in length or width, and find or craft new shapes. In my opinion, if done properly, this is what creates completely new typefaces and turns heads through tension and curiosity. I think that partially distinguishes Scher’s approach. For her, expressivity is of paramount value.

One of the works that best represents me as an artist as well as my approach is the trio poster ‘The capital is gone—we are the capital!’ It comprises handwriting mixed with illustrations. I had the urge to craft something entirely new and expressive with more than just typefaces. Another challenge was to build objects that looked almost realistic but kept their illustration character.

Expressivity as of paramount value

My work is heavily influenced by typography. I like to experiment with fonts and individual letters, pull them in length or width, and find or craft new shapes. In my opinion, if done properly, this is what creates completely new typefaces and turns heads through tension and curiosity. I think that partially distinguishes Scher’s approach. For her, expressivity is of paramount value.

One of the works that best represents me as an artist as well as my approach is the trio poster ‘The capital is gone—we are the capital!’ It comprises handwriting mixed with illustrations. I had the urge to craft something entirely new and expressive with more than just typefaces. Another challenge was to build objects that looked almost realistic but kept their illustration character.

Das Kapital ist weg—Wir sind das Kapital (The capital is gone—we are the capital!), by Sven Lindhorst-Emme, 2019.

A stage to illustrate with type

The impact of Paula Scher on the field is undoubtedly remarkable, important, hard-earned and completely justified. In her works, typography always takes center stage and all characters are nicely enacted. They might be both loud and quiet, and whichever they are, one always notices these characters, whether they’re on her posters or her painted maps of US states.

A stage to illustrate with type

The impact of Paula Scher on the field is undoubtedly remarkable, important, hard-earned and completely justified. In her works, typography always takes center stage and all characters are nicely enacted. They might be both loud and quiet, and whichever they are, one always notices these characters, whether they’re on her posters or her painted maps of US states.

A stage to illustrate with type

The impact of Paula Scher on the field is undoubtedly remarkable, important, hard-earned and completely justified. In her works, typography always takes center stage and all characters are nicely enacted. They might be both loud and quiet, and whichever they are, one always notices these characters, whether they’re on her posters or her painted maps of US states.

The letter P poster, by Paula Scher, 1994.

This work was part of an advertising project for Champion Paper. The artist-designers were commissioned to design a letter. Scher was assigned the letters P, G and I.

The letter P poster, by Paula Scher, 1994.

This work was part of an advertising project for Champion Paper. The artist-designers were commissioned to design a letter. Scher was assigned the letters P, G and I.

The letter P poster, by Paula Scher, 1994.

This work was part of an advertising project for Champion Paper. The artist-designers were commissioned to design a letter. Scher was assigned the letters P, G and I.

Scher’s ‘loud and direct’ approach has certainly flowed into my own works. Seeing writing not only as a means of communication but as a platform for illustrating with type was exactly what I discovered early on. It's nice to see how others do the same—Scher as well as other design titans such as Anthony Burrill, Anette Lenz, and many more.

‘Simpatico’ for the Public Theater is one of my most favorite works by Scher. Her skillful play with large types and the rest of the content are what I appreciate so much in Scher's work.

Great beginnings, by Paula Scher and Terry Koppel, promotional book spread, 1984.

A stamp of recognition

During my studies I looked for inspiration and support in design history and around my environment. Back then, I couldn’t imagine that I would receive an award from an organization such as the TDC. When I won the award for the first time in 2015, it was a motivational uplift. I eventually found a personal way to design that I really enjoyed and that people noticed and appreciated. It mostly helped me come of age.

In my opinion the TDC competition is one of—if not the most—important awards in the field.

A stamp of recognition

During my studies I looked for inspiration and support in design history and around my environment. Back then, I couldn’t imagine that I would receive an award from an organization such as the TDC. When I won the award for the first time in 2015, it was a motivational uplift. I eventually found a personal way to design that I really enjoyed and that people noticed and appreciated. It mostly helped me come of age.

In my opinion the TDC competition is one of—if not the most—important awards in the field.

A stamp of recognition

During my studies I looked for inspiration and support in design history and around my environment. Back then, I couldn’t imagine that I would receive an award from an organization such as the TDC. When I won the award for the first time in 2015, it was a motivational uplift. I eventually found a personal way to design that I really enjoyed and that people noticed and appreciated. It mostly helped me come of age.

In my opinion the TDC competition is one of—if not the most—important awards in the field.

The poster “Mein eigen Fleisch und Mut” was designed by Sven Lindhorst-Emme for a video art exhibition in Berlin. For this work he was awarded the TDC Award in 2015.