Samsung set out to show a different side of AI image-making: not the endless scroll of generic output slop, but genuinely beautiful work and the artists behind it. So we build a pop-up gallery to put that work in a room and put those people in the spotlight. A physical space making the case that the tools are only as good as the eye directing them.

The gallery identity leans into the nature of the work it presents. Type split by a subtle displacement, a digital slip that hints at how these pieces were made. The visuals are built from layered planes, each one framing the art it holds. The result is a system that feels digital without shouting it. It steps back to let the artwork lead.

At the centre we setup an interactive installation built to showcase the newly launced Fold devices. Samsung wanted their Korean heritage representing in the piece, so the early direction answered that: birch, a square pond, wisdom stones. From there, botanical artist Leonne took the concept and grew it into its finished form, pushing the installation well beyond the initial sketch.

The gallery opened its doors for two launch nights in Amsterdam and Brussels, the space full and the identity finally doing its job in the room. Seen the way it was meant to be, at scale and surrounded by the work and the people it was built for.

The hardest brief is always your own. The goal was to make Born05 look more refined and classic at its core, to let the work speak for itself. The answer was a system leaning heavily on tried and tested Swiss-style. With a typography and layout system quiet enough to carry years of output without fighting it. Reinvented once with enough flexility to remain  tight in the long run.

The same identity has to carry everything from a buttoned-up pitch deck to our annual streetwear-inspired merch drop, with a social presence holding the line everywhere in between. The system was built to stretch across all of that and still read as one thing, so wherever Born05 rolled up, it always looks the part.

A studio is its people before it’s its output. I always kept my camera close, capturing try moments instead of staged shoots. Over the years it added up to a running record of life inside our studio, the late nights and the quiet focus, the in-between moments nobody sets up for. That record became part of the brand itself, the human texture sitting behind the finished work. A steady reminder that everything polished on the outside starts with real people at it's core.

Sound Mind Sound Body is ASICS' platform for movement and mental health. To extend it's visuals without leaning on stock, we opted for illustration. A drawn layer that supplements the existing imagery and keeps one coherent look across the platform. Filling the gap photography leaves behind, it gives each campaign room to feel distinct while still reading as part of the same whole.

KLM needed to connect their Travel Well proposition with their annual Real Deal Days campaign. We took the establisched campaign and turned it into a simple, repeatable idea: Discover the Real [Destination]. Forget the tourist traps and explore destinations in a deeper, more authentic way. The food, the hidden corners and the moments that make a place worth the trip. Automated execution dropped a different destination into the design system, scaling from Rome to Kyoto without ever losing it's destinct look.

The idea only works if the images feel like the message. So the direction pushed away from the safe, centred travel shot you have seen a thousand times. We selected for unexpected crops, off angles and tension left in the frame, compositions that make you look twice instead of scanning past. It does two things at once: it creates the visual interest that pulls attention in a busy media landscape, and it enforces the whole "off the beaten path" premise.

The challenge underneath the campaign was structural. A different destination, image and message in every execution usually turns a campaign into visual chaos. So we built a design system loose enough to swallow all that changing content while being strict enough to keep it sharp: a fixed typographic treatment, a consistent way of setting "the Real [Destination]," and a grid that let bold imagery and shifting copy sit in the same tight, recognisable layout every time. Dynamic content in, coherent brand out.

Twenty years is easy to mark with a logo and a line. We made an object instead. The anniversary number was built by hand, piece by piece, in real material and real texture, then lit and shot as the hero of the film. Two decades of making, made again.

The identity’s core shapes became the building blocks. We wanted to drive the motion of this shapes with a strong pulse. To retain optimal control I scored the track myself, so we could decide what signal got fed into TouchDesigner. This way the system reacts in real time and every movement lands straight on the beat.

Instead of another automated happy-birthday CRM blast, we asked the opposite question: what if celebrating your birthday actually took some effort? That premise led us straight to a Rube Goldberg machine, an absurdly complicated contraption built to do one simple thing. In this case, bake a cake. The overkill was the point, and it turned a deletable email moment into something worth watching.

We sketched, designed and constructed the entire machine from scratch, then ran it for real. Every ramp, lever and trigger had to physically work, take after take, until all the pieces of the puzzle fell together. Props and set pieces pulled from Videoland's own productions were woven into the sequence, so the machine doubled as a nod to the platform it was celebrating.

Instead of another automated happy-birthday CRM blast, we asked the opposite question: what if celebrating your birthday actually took some effort? That premise led us straight to a Rube Goldberg machine, an absurdly complicated contraption built to do one simple thing. In this case, bake a cake. The overkill was the point, and it turned a deletable email moment into something worth watching.

We sketched, designed and constructed the entire machine from scratch, then ran it for real. Every ramp, lever and trigger had to physically work, take after take, until all the pieces of the puzzle fell together. Props and set pieces pulled from Videoland's own productions were woven into the sequence, so the machine doubled as a nod to the platform it was celebrating.