Category: Uncategorized

  • Identity

    Identity

    Visualizing Constructive Activism for SPUR Value Partners


    SPUR Value Partners Logo on an Office Wall


    Creating an identity for a new fund is rarely just about aesthetics; it is about translating an investment philosophy into a visual signal. When Till Hufnagel and Janus Intelmann approached me to brand their new venture, SPUR Value Partners, the objective was clear: define the visual language of constructive value creation.

    Till Hufnagel, having left Petrus Advisers after a decade to launch this venture, brings a specific pedigree to the market. Along with Founding Partner Janus Intelmann, the team applies a private equity approach to public markets—a strategy that requires patience, rigour, and deep engagement.

    The Challenge: Defining “Active”

    SPUR Value Partners is not a passive capital allocator. They are actively engaged investors specializing in listed European mid-market companies. With a concentrated portfolio of just 8–12 companies and an investment horizon of 3–5 years, their strategy relies on thorough due diligence to develop a proprietary perspective on every business they touch.

    The branding challenge was to capture this balance. The identity needed to feel:

    1. Established: Reflecting the team’s 10+ year track record.
    2. Incisive: Signalling their willingness to engage deeply (and publicly if necessary).
    3. Constructive: Distinguishing them from “raiders”—emphasizing their goal of creating value for all shareholders.

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    Strategic Alignment

    The design process mirrored SPUR’s own due diligence. Working closely with Till and Janus, we stripped away the superfluous to find the core mechanic of the brand.

    We focused on the name itself: SPUR. To spur is to urge, to encourage, and to accelerate. However, visually, we wanted to avoid the cliché of a western cowboy aesthetic. The metaphor needed to be mechanical, not equestrian.

    The concept we aligned on was The Gear.

    In the context of the European mid-market, SPUR Value Partners acts as a missing gear in a machine—a catalyst that unlocks trapped value and gets the mechanism moving again. This aligned perfectly with their operational approach: engaging with leadership teams to drive improvement potential.

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    The Solution: A Mark of Precision

    The final identity centres on a custom wordmark and a proprietary icon.

    The Symbol We developed a custom “gear-shaped spur.” It is a geometric, engineered mark that suggests motion and interaction. It signals that SPUR is an integral part of the machinery of the companies they invest in, not just an outside observer.

    The Typography To reflect the fund’s “private equity approach,” the typography had to be immaculate. We avoided trends in favour of timeless precision. The letterforms are sharp and authoritative, creating a sense of stability.

    The Execution Just as SPUR applies a “proprietary perspective” to their investments, we applied a proprietary approach to the finish. I utilized Glyphs App—typically used for typeface design rather than logo design—to finalize the mark. This allowed for mathematical precision in the kerning and the weight of the icon, ensuring the “gear” locked into the typography with absolute optical balance.

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    The Outcome

    In November 2025, SPUR Value Partners launched their first open-ended vehicle, offering investors access to their European activism strategy in a liquid format.

    The resulting brand identity serves as a clear flag in the market. It represents a fund that is disciplined, constructive, and engineered for long-term value creation. It is a brand designed not just to be seen, but to work.

  • Motion

    Motion


    This product animation visualizes how Distil Labs transforms scattered, high-noise data into a clean, structured source of truth. The final UI frames highlight an AI-driven workflow that feels fast, intentional, and intelligently orchestrated—capturing the essence of what the product does in just a few seconds.

    distillabs demo animation 1
  • Slides

    Slides

    When I started my MBA, I had no idea that it would mostly be about one thing: building slides. Coming from a BA in Communication Design, I thought I already knew everything about structuring presentations. After all, I had supported pitch decks like Nomitri’s Seed Deck and the gniw.de Fund I pitch, along with countless other business presentations.

    Then came Hamburg.

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    Suddenly, I felt like a consultant. For a project with taz.de, a group of four students and I scraped over 10,000 online newspaper articles, converted the data into Excel, and built 40 slides of in-depth analysis—all while meticulously sticking to the Hamburg Media School’s branding guidelines.

    After a year and a dozen more presentations, I had enough.

    Instead of just building slides for clients, Marie Stoldt (formerly König) and I became our own clients. We started a company—right in the middle of our MBA. With a shared background in video production, we dove into researching the market for a platform or tool that could bring more structure and fairness to the industry.


    And just like that, Konshu was born.

    Konshu Logo Rules Moon



    The Idea That Kept Us Going

    Inspired by Khonshu, the Egyptian god of the moon, we structured our startup around the cycles of video production, just as the moon cycles through its phases. Over more than a year, we pushed ourselves beyond the limits of a traditional MBA:

    • Built three decks, refining our story with each iteration.
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    • Developed our first working prototype.
    • Learned to code and built our first fully functional website.

    • Competed in a business simulation, testing our strategy under pressure.

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    • Analyzed competitors and market potential to shape our business case.

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    • Finalized our fourth and final pitch—the one that got us to Slush, one of the biggest startup events in the world.


    And there I was—standing at Slush, surrounded by investors, yet not approaching a single one for funding.

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    Why? Because Konshu was never just about raising money. It was an idea that pushed us further than any classroom ever could.


    Was It Worth It?

    Absolutely. We may not have founded the next big unicorn, but we played the startup game from start to finish, learned more than any lecture could teach us, and mastered the art of storytelling, strategy, and execution.

    And if nothing else, I can say one thing with absolute confidence:
    I mastered slides like no one before.

    Need help crafting the perfect pitch deck or structuring your next big idea? Let’s connect—I’d love to support your journey.

  • Typefaces

    Typefaces

    Typography has always fascinated me. Studying at HS Düsseldorf (HSD), a school known for its strong type design program, shaped the way I see and use fonts. The attention to detail, the way small adjustments can change an entire feeling—these things stuck with me. Even though I never pursued type design professionally, it became an essential creative outlet.

    Header types

    For years, my typeface ideas lived in notebooks. But once I started digitalizing them with Glyphs App, I could finally bring them to life. My fonts are sans-serifs, and while much of type design is about optical balance, I approach it tactically and mathematically—analyzing structure, spacing, and form in a precise way.

    Zeche – Inspired by Zeche Zollverein and my move from NRW to Berlin, this font reinterprets old German industrial typography in a modern sans-serif style. Today, it’s in use by a traditional Schützen club Halbvoll, leaving a piece of myself in my hometown.

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    Qunovetica – Created for Qunomedical, this typeface blends Helvetica’s clarity with Qunomedical’s brand personality, ensuring a consistent yet warm brand experience. It was a challenge in balancing identity with functionality.

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    West – A structured font, inspired by Berlin’s historical border signage, marking the transition from West to East. This project was a personal exercise in regaining structure—a way to rebuild focus after struggling with long COVID and leaving East Berlin to recover.

    west
    West Post 1 instagram
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    Paradox – A wild yet structured sans-serif, inspired by the graffiti letterforms of Berlin Kidz, a well-known sprayer crew. I designed it at a turning point—when I was fully recovered and ready to embrace creativity again, just before starting my MBA.

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    For me, type design isn’t about commercialization—it’s about clearing my mind. Each font represents a moment, a transition, a challenge. Seeing them in use—especially in my hometown—is an added bonus I deeply appreciate.

    If you’re interested in using any of my fonts, feel free to reach out. I’d love to see where they go next.

  • Videos

    Videos

    Filmmaking has always been more than just a profession for me—it’s a way of telling stories, capturing emotions, and bringing ideas to life. From the first time I picked up a camera in my hometown of Kaarst, I was hooked. I love the challenge of translating a vision into compelling visuals, whether it’s through documentaries, commercials, or live productions. Every project is an opportunity to experiment, learn, and refine my craft. This page is a reflection of that journey—where it started, how it evolved, and where it’s headed next.

    At the top, you’ll find my showreel, a collection of my best footage from the past years.

    My journey started in Kaarst, NRW, where I first picked up a camera to film a documentary about fishing in my hometown.


    That early passion led me to bigger opportunities, including my first major commercial project: S/Y Clear Eyes and Promotion video for GC Bundersand, a milestone that pushed my skills to the next level.

    At HS Düsseldorf (HSD) I mastered editing videos:

    Worked on abstract 3D animations

    Explored storytelling in documentations

    Visited several poetry film festival with my personal entry

    And created a full Storytelling Commercial for Opinary as my thesis project

    From there, my commercial work helped open doors in Berlin, leading me to projects with Project A, such as PAKCON Videos and Live Streams and projects with many startups.



    Today, I work at SPREAD AI, where I’ve been leading most video
    projects since joining in 2019.



    Filmmaking is all about evolution—new stories, new challenges, new ways to push creative boundaries. I’m always looking for the next project that excites me, whether it’s telling a powerful story, crafting a bold visual concept, or exploring a fresh perspective. If you have an idea, let’s make it happen.