Since 2017, I have been involved in the non-profit artistic platform KRIEG as a graphic designer. KRIEG gives a stage to contemporary artists and has a reputation for identifying new talent. KRIEG is both a production agency, exhibition space, distribution platform and community resource. Artists are always at the center.

As a designer, I incorporated KRIEG's already existing logo into a completely new identity. This update provided a coherent and identifiable visual identity that fits KRIEG's character as an experimental production agency, exhibition space and distribution platform. This allowed for coherent and effective communication with the public.

Specifically, this is expressed in a set of printed materials for each exhibition. This set consists of an invitation card, poster and venue text. Occasionally I am also involved in the realization of a publication. For this I think along with the concept and I take care of the design of the entire publication. Finally, I also design the advertisement that is published in 'De Witte Raaf'.

Besides print I also make the translation to online. I make sure that there is an appropriate image on the facebook page and in the newsletter.

Alicja, KRIEG wrote this:

“Jedidja is able to communicate ideas through many complementary channels and to build a coherent language of visual forms while allowing some play with the formats she established for herself.

She has a strong expertise in working with printed matter and editorial design. In 2017, she designed the monographic publication on the work of Nevan Lahart. For each exhibition at KRIEG, she has designed a poster, an invitation, and an exhibition text/ brochure — especially in the last case demonstrating adaptability and inventiveness.

Jedidja’s expertise in visual communication helped us find solutions for different design and material problems. She was responsible for every step in the executions of different types of wall texts, labels, and other elements of exhibition design — from the concept through the choice of the right medium and supplier to the execution. For our recent collaboration with Farun Harocki Institut, she combined different materials (plexiglass, vinyl sticker) and dimensions to create a diverse, attractive, and sharp mediation tools in the exhibition space.

Jedidja is reliable and flexible in terms of the time frame of the project and, as necessitated by the fast-paced cultural field, she performs well under pressure.”

The moment you find the color of some of the original letters of Franz Liszt 👊📩!

That’s why we decided to give the bottom that lilacish colour. The typeface ‘Editor’ used is a quite recent typeface with explicit calligraphy references. Perfect for this book full of originally handwritten letters! 

This self-initiated project started from my interest in clothing brands and the corresponding graphic identity. I started looking for differences between very diverse clothing brands from all segments. I did this by pulling all the garments out of the context of the brand. This way the feeling you get with a certain brand is absent and only the garment itself remains.

The catalog consists of images of various garments with a number which refers to lists in the back. By showing outfits, the catalog seems to be a catalog of a fashion brand, but it is not. This becomes clear by browsing further in the catalog and then seeing the comparative lists of prices and materials.

The lists show how much the garments differ in price from one another. Sometimes it is clear where this is due, namely the difference in materials used. It is clear that a garment in acrylic is cheaper than a garment in alpaca wool.

What is interesting to see is that some ready-to-wear brands try to use the same materials as high end fashion labels, and consequently manage to offer this cheaper. The question then is: where does the difference lie? Is the quality and fit of "high end" perhaps better? Is there perhaps no difference and we pay for the label? Does this indicate the value of a strong brand identity?

The structure is built in such a way that the viewer is first put on the wrong thinking track. In fact, it looks like a regular catalog in that it shows simple sets of clothing. Only later do lists of prices appear and garments from different brands are compared. This gives the reader the feeling that there is more going on than just a traditional catalog.

Typeface: Berthold Akzidenz Grotesk. Solid font, not too round, with small imperfections: appropriate to the concept.

The paper I chose for this project is a very fine, sensitive paper of 70 grams. The print-through hints at a large amount of clothing. The separate garments are part of a larger whole, they blend into the crowd.