Upon arriving at the modernist Gartenbaukino, we entered the orbit of the Forward Festival, grabbed our wristbands along with a packed promo kit in an edgy, designed tote bag (healthy power bars, trial codes for AI tools, even condoms for the networking event). As we took our seats in the screening room, surrounded by fellow creatives from around the world, we may have seemed like variations of each other: the familiar faces from your office, the friendly creative director in a Carhartt overshirt, grumpy copywriters wearing earth tones only, jolly arts in French cycling caps, like a multiverse episode of a sci-fi binge while Lyra Valenza’s deconstructed club track “Down Not Out” was blasting from the speakers setting a current vibe.

First up was Cihan Tamti, a graphic designer and art director hailing from Bochum, Germany. His bio says he combines timeless design with custom typefaces for brands with a twist. Tamti went beyond typical portfolio talks, tackling the realities of a creative career. He called out socials as no shortcut, sharing his rise through self-initiated projects. Networking, learning from setbacks, and key wins with clients like Adobe and Google proved as his evidence of success. He also introduced twerking fonts.

My key takeaway from the talk: literal twerking fonts. 

Next was Loulou João, a whirlwind of bold 3D animation, diving into identity, and representation. Imagine a digital realm filled with soft, candy-colored, squishy plastic forms. In this hyper-feminine, ultra-cute space, there are no limiting constructs, just an inviting environment that encourages pure self-expression and freedom. Here, cuteness becomes a language of safety and empowerment, allowing for the unhindered exploration of authenticity. Her work is playful rebellion at its finest, a call to create spaces where everyone can lounge unapologetically in a giant pink marshmallow of self-acceptance.

We spilled out into the street, barely able to speak coherent sentences. To ground ourselves and regroup we had boiling ramen near the theater. Shared highlights and, after a quick team vibe check, dove face-first into our miso.

Back to life: Michael Keller from Blackspace is on stage. Now, Keller’s vibe was a Dr. No era type of James Bond villain, a true mastermind of brand identity. We’re talking BIG ideas, minimalist yet meaningful design for brands like Audi, or the infamous new “zupa emblem” for Kia. But Keller’s talk went beyond logos and layouts; he got into the soul of a brand. For every visual choice, there’s a deeper reason, which, in Keller’s world, usually equates to fewer colors, less noise, and more clarity. He’s like the Marie Kondo of brand identity. 

My key takeaway: violate all basic design principles on purpose to trigger the international design community to use the controversy for attention. 

Then came Anna Kulachek, a Donetsk-born rebel blending raw Eastern authenticity with a fiercely modern edge. Her bold, unapologetic visuals evoke a post-Soviet acid utopia, grounded in an Eastern European “cook with what you have” mentality. This mindset drives her use of basic fonts and handmade design, a meditative counter to today’s digital churn. Anna showcased her work for Sun Ra Arkestra and shared how her Super Yaya design was stolen, memefied, and unleashed across the internet. Still connected to her roots as a former Art Director at Strelka Institute, she continues to support this Ukrainian cultural hub. With a portfolio spanning MoMA to Prada, Kulachek proves that authenticity and techne still hit hard.

My key takeaway: Eastern European design isn’t a style, it’s an attitude.

Next, Studio Dumbar (now under DEPT) came out swinging with a new wave of motion and audiovisual branding. Forget static logos; they’re into visuals that move and breathe. Picture the hypnotic, fluid animations bending and warping like it’s alive. They also teased Demo Festival 2024. 

My key takeaway: if it doesn’t move, it’s dead.

And finally, for a happy ending, Mr. Bingo took the stage, an illustrator and self-professed “master of hate mail.” With his sharp unfiltered approach, he’s carved out a space where sarcasm, satire, and the occasional profanity are the tools of his trade. His talk was a masterclass in humor and rebellion, as he reflected on how his notorious postcards, often filled with brutal honesty and cheeky insults, had sparked a whole movement of “art that offends.” Mr. Bingo isn’t afraid to push buttons, and his raw, unapologetic style shows that sometimes, the best art is the one that makes you uncomfortable. Whether you love it or hate it, he’s here to remind us that art doesn’t have to be polite.

My key takeaway: you can literally abuse your audience and they will love you for it. 

© Artwork courtesy of the artist. All rights reserved.