Julian Mader is a type and graphic designer based in Hamburg Germany. He designs books and publications, typefaces, visual identities, websites and exhibitions for cultural institutions, businesses and individuals. Together with Max Prediger he is JMMP. They are art directors for the London based publisher Montez Press and part of the studio space Open Office in Hamburg. Julian studied at HAW and HFBK Hamburg and holds a Master of fine Arts specializing in typography and type design.
JM Brandshofer Deich 45, 20539 Hamburg +49 177 5303432

The Publication Mapping (with) Plants brings together arts and media theory and philosophical essays resulting from artistic/theoretical research. Close readings and viewings actualise the marginalised artistic positions of female artists from the circa 1900 period who also saw themselves as botanists. Young artists from the HFBK Hamburg each ask their own questions about the poetry of the plant or its useful aspects. Additionally, this volume contributes to revising Eurocentrism and colonial power expressed within and through botany as a discipline of the natural sciences. The extensive collection of folio volumes and pattern books in the HFBK Hamburg library provides a wonderful backup archive on the historical role of natural studies in ornamental stylisation in art and their teaching. – Design by Julian Mader in collaboration with Max Prediger (JMMP).

ABC is a conceptual typeface consisting of six master fonts on three interpolation axes (A, B and C), each representing one parameter. The appearance of ABC is generat­ed from basic shapes of Latin letterforms, oscillating between certain formal conventions. Based on archetypes of typefaces, the predefined extreme points describe the space of possibilities. The whole system reflects different historical approaches of sans serif typefaces by generating intermediate instances. The book A-Z – Typeset in ABC conceptualizes the work using generated language and an index. The book is typeset in one ­possible appearance of ABC.

Female Identities in the Post-Utopian: Perspectives on Post-Socialism from Art and Theory. The Public Seminar investigates perspectives on the post-socialist transformation as well as on theoretical positions and discourses from art history, art theory, visual culture studies and historical studies.
The reader was printed on a risograph and provides an introduction to the topic, abstracts by the speakers and synopses of the screened movies. The selected typefaces, the paper as well as the printing method are balanced to a simple yet functional design commuting between retrospective and contemporary quotations.

Design concept for the brochures of the annual exhibition as well the graduate show of HFBK Hamburg. – In collaboration with Frieder Oelze.

Show you are not afraid: 15 years after 9/11 the magazine Ästhetik & Kommunikation deals with a sentence which is the focus of Mikael Mikael – an artist whose unclear identity plays with reality and fiction.
The design of the magazine discusses these topics on a formal and conceptual level. The severe layout based on a simple grid shows all texts parallel starting on the same double spread. Variations of text sizes create accentuation and seemingly random relations between the content of the texts. The different text length lead to a deconstruction of the layout which refers to the work whiteout by Mikael Mikael. – Design in collaboration with Laslo Strong, concept by Mikael Mikael.

Montez Grotesque: Commissioned custom typeface for the London and New York based publisher Montez Press. The basic shapes of the text version follow the roots of english and american Neo Grotesque typefaces. As the name Montez refers to the Irish dancer Lola Montez (1821–1861) the headline cut is inspired by hybrid typefaces which tried to conciliate blackletter and roman typefaces at the end of the nineteenth century. The font comes in ten cuts including underline versions and characters especially designed for the use on the publisher’s website. – Website by Max Prediger and Jana Reddemann.

The drawings of the book Irgendwo dort – Rekonstruktion und Erinnerung show a place of the past and deals graphically with the characteristics of memories. Maps and a coordinate system locate the drawings and serve as an index. The various types of memories are structured through different papers and layouts. – Concept, text and drawings by Ruby Liebmann.

Exhibition design, conception, and exhibition graphics for the Buddenbrookhaus in Lübeck. The exhibition is dedicated to one chapter of Thomas Mann's famous novel Buddenbrooks. The task was to exhibit the ocean as the literary subject of this particular text as well as the subject of a large number of occidental literature and poetry. By searching for a new way to exhibit literature the chapter was diagrammatically transferred into sound, light and wind each representing one aspect of the text. This takes place among one hundred other texts which can be taken off the walls and collected in everyone’s own exhibition folder. – Exhibition design and conception in collaboration with Julian Bühler, Helena Kersting and Antje Löffelholz. Sound design and technical implementation by Philipp Kessling, photography by Edward Greiner.

Wall graphics, printed matter, photography and catalogue for Galerie der HFBK. The exhibition series exhibit the exhibition or Beobachtung der Beobachtung der Beobachtung der Galerie der HFBK conceptualizes three topics in six exhibitions discussing the role and character of the act of exhibiting in relation to the exhibitor, the artist, and the exhibition space.
Large wall graphics change throughout the whole exhibition series and provide the motive for the whole printed matter. The exhibition catalogue follows this visual commentary on the title of the series by focusing on the photographic reproduction of the exhibition space. – In collaboration with Max Prediger.

Normal Grotesk: Text, concept, book design, and interface design. The theoretical work explores different basic shapes of Latin letterforms and tries to prove formal conventions as well as image them graphically. With the help of an specifically for this purpose designed software, average reference glyphs where generated to classify the characters of a large number of selected sans serif typefaces. The systematic display of the typology leads to an archive of letterforms which attends to the possible variation of single letters instead of whole typefaces. – Book and interface set in Polder Grotesk Regular, technical implementation of the software by Adrian Watzlawczyk.

Polder Grotesk is an elegant but functional grotesque which combines a technical and rational appearance with individual details. With over 500 characters the typeface supports nearly every latin language, offers graphical symbols such as arrows and is equipped with several open type features.

Font currently used by Edition Uhlenhorst and Klasse Grafik.