GRAPHIC WORK
Graphic design, to me, is not just about creating visuals — it’s about shaping the first impression a brand leaves behind.
I support companies in building their identity from the ground up — from naming and logo development to complete corporate worlds.
Whether it's a new brand, a sub‑label, or a special project, I help craft the entire visual foundation: typography, color palettes, material choices, and packaging design.
Beyond new creations, I also work with existing brands that seek to renew their presence. Through careful rebranding, I aim to preserve a brand’s recognition while bringing it into a more contemporary light — balancing continuity with fresh relevance.
My work includes the design of stationery, printed materials, packaging concepts, and booklets — all thoughtfully aligned with the brand’s story and product world.
Beforehand, please note that the selected projects span many years — they are presented in no particular order and represent only a small cross-section of my work.
Should you wish to learn more, I’m happy to share additional details in a personal conversation.
EYEWEAR MAGAZINE , Illustrations ‘CROSS FIRE’ (double interviews), 2012/2013
Two guests. One conversation.
Crossfire, a series by Eyewear Magazine, paired some of the industry’s sharpest minds for free-flowing discussions — more dialogue than debate.
I contributed a series of illustrations, drawn to reflect the tone of each meeting: curious, thoughtful, and a little unpredictable — just like the conversations themselves.
BARCELUNETTES, name and logo, corporate design, 2022
The name BARCELUNETTES merges the light-filled character of Barcelona with a French nod to eyewear — lunettes.
The emblem, inspired by the city’s signature Panot tiles, reimagines their five-circle design: rotated 45°, the central dot removed, it becomes a quiet, graphic bloom —
internally nicknamed Poppy.
The tagline ICONIC GRACE alludes to timeless form and a quiet elegance — with a gentle gesture toward Grace Kelly, whose poised presence helped shape
the spirit of the first collection, Vague.
https://barcelunettes.com
ONE830, name, logo & corporate design, 2017
Understated heritage meets modern design — a new brand language for ONE830, pronounced one-eight-thirty.
As the young sub-label of the historic Metzler house — founded in 1830 in France — ONE830 encodes this legacy with a quiet yet clever twist: the founding year is reimagined by isolating ONE as a word that represents the number 1, seamlessly followed by 830. Subtly, the “E” in ONE mirrors the shape of the numeral 3 — turning the logo into a play of letters and digits, modern symbolism at its most understated.
The branding unfolds in a cool, dark blue-grey-green palette, quietly sophisticated and timeless.
The bespoke logo — minimal, airy, and slightly rounded — extends this philosophy further. Its final two characters, the twin zeros, hint at the logo’s soft, balanced geometry.
This form language — a rectangle with generously curved corners — resonates beyond the logo itself, reflected in the design details of the collection’s objects,
such as the symmetrically rounded cases.
From visual identity to product and accessory design, ONE830 is an exercise in effortless elegance — a modern face for a brand with nearly two centuries of history.
BARCELUNETTES, packaging, cases and boxes, 2022
Packaging & Presentation
Every detail of Barcelunettes’ presentation is designed to echo the brand’s Mediterranean roots — calm, sunlit, and quietly refined.
The Certificate of Authenticity and the folded Leporello insert both use the signature Barcelunettes deep, clear turquoise — to create a sense of continuity and trust.
The certificate, adorned with a holographic embossed emblem and hand-numbered elements, underscores the rarity of each piece. The Leporello unfolds to reveal thoughtful care instructions, product insights, and a soft grid of the Barcelunettes icon — balancing clarity with ornamental detail.
The drawer-style box in matching teal adds a moment of quiet theatre. Its structured interior contains everything essential: a finely stitched hard case, a microfiber pouch,
and cloth — each element rendered in understated greys and petrol tones. Even hidden surfaces carry the repeat pattern of the brand’s emblem,
reinforcing a sense of craft and care — right down to the unboxing.
https://barcelunettes.com
NEON BERLIN, visualisation color range ‘BESTIARY’ collection
Material tones, drawn from nature.
Each NEON Berlin colour is more than a surface – it’s a quiet reference to something tactile, elemental, familiar.
Each tone is formulated for use in 3D-printed polyamide. These subtle hues help define NEON’s language: natural, calm, modern — without the noise.
ANDERSHORN, website treasure hunt ‘DEEP BIRCH’, 2011
When Andershorn was founded in 2011, the idea was simple: to treat horn differently — with respect, with craft, with imagination.
The name itself hints at this shift, but the story needed a space to unfold.
So we created a world — a quiet, endless birch forest, dense enough to feel almost impenetrable. Shades of grey, white, and deep brown reflected the natural tones of horn,
while soft accents of glowing orange signaled something rare: transformation, discovery.
As visitors moved through the landscape, subtle details emerged. Hovering over the antlers of a stag would reveal a symbol.
A strange, otherworldly object nestled among the trees might pulse with a hidden light. Each interaction was an invitation — to pause, to notice, to uncover.
Like horn itself, changing color when touched by fire, the experience evolved with each step. A digital treasure hunt, a quiet journey —
and a first glimpse into the world of Andershorn.
Webdesign and Coding by Sven Kröger/CODED7, Concept and Graphics by FMHofmannBonengél
WHITEOUT & GLARE, campaign design ‘TI22’, 2009
To introduce the TI22 collection — a nod to the atomic number of titanium — we envisioned an interactive experience: a dynamic field of linked hexagons, each a two-dimensional abstraction of an icosahedron.
As users moved their cursor across the dark expanse, elements would react — unfolding with a bright, chiming ascent, then quietly folding back with a low,
murmured resonance when left untouched. Subtle animations, carefully choreographed, made the geometry feel almost alive.
Some nodes held deeper secrets: a click would reveal more about the TI22 campaign and its design language, rooted in precision, lightness, and the silent strength of titanium itself.
This evolving digital landscape wasn’t just a surface — it was a tribute to the elemental beauty of structure and material.
Webdesign and Coding by Sven Kröger/CODED7, Concept and Graphics by FMHofmannBonengél
COBLENS, Leporello Brochure & Postcards ‘ZENTRALFLUGHAFEN’, 2013/2015
The Zentralflughafen campaign draws its inspiration from the golden age of 1960s espionage cinema, most notably The Ipcress File starring Michael Caine.
Set against the striking, historically preserved backdrop of Berlin’s Tempelhof Airport — still bearing its iconic Zentralflughafen signage — the storyline imagines a Cold War-era agent caught between two worlds.
Framed by the grainy aesthetic of vintage spy films, the campaign immerses viewers in a meticulously crafted narrative: a Soviet operative attempting to defect, communicating via secret messages hidden in the temple arms of sunglasses. Each scene, from the retro vehicles to the mid-century technology like reel-to-reel tape recorders, was carefully selected to evoke a time of intrigue and shadowy diplomacy.
The palette leans into muted beiges, warm browns, and soft grays, lending a tactile, lived-in feel to the visuals — a deliberate nod to aged film stock and the analog textures of the era. Subtle imperfections — scratches, grain, and dust-like overlays — enhance the sense of authenticity, transporting the viewer to a time when secrets changed the course of history.
In keeping with the spirit of the campaign, a custom typeface was developed, inspired by the original neon lettering of the Zentralflughafen sign. Carefully redrawn and expanded into a complete alphabet, this bespoke typography added visual consistency and a distinctive identity to all print and digital materials.
The type design, along with the art direction and set design, contributed to the authentic, cinematic atmosphere of the project — reinforcing the vintage spy narrative with a refined, cohesive aesthetic.
Through this lens, eyewear becomes more than an accessory — it transforms into an instrument of clandestine communication, a quiet witness to untold stories.
Photography by Tobias Schult, Creative Direction, Set Design, and Concept by FMHofmannBonengél
ALL PHOTOGRAPHY BY TOBIAS SCHULT
https://tobiasschult.com/
ic! berlin, Illustrations leporello ‘ODYSSEY’, 2004
Long before AI-generated imagery, Odyssey set out to reimagine eyewear through the lens of science fiction.
Inspired by Kubrick’s 2001: A Space Odyssey and the visionary work of Arthur C. Clarke, this project explored a futuristic aesthetic for a stainless-steel eyewear collection.
The entire spacecraft — both exterior and interior — was designed from scratch, creating a surreal yet immersive stage for the collection.
In one scene, a stainless-steel frame floats weightlessly against the backdrop of a futuristic airlock, capturing the intricate craftsmanship in a setting where gravity feels optional.
Another view reveals a fictional control room, populated by models styled as crew members, each wearing pieces from the collection.
Executed in a time before today's digital shortcuts, the visualizations were crafted entirely by hand through extensive CGI and meticulous Photoshop work —
a quiet homage to both the spirit of exploration and the enduring art of image-making.
COBLENS, Leporello Brochure ‘AUTOBAHN’, 2015
Inspired by the spirit of the 1970s, the “Autobahn” campaign pays homage to an era when driving wasn’t just a necessity but a passion. Drawing on the visual language of classic sports cars from Pininfarina, Lamborghini, and Porsche, the campaign evokes a time of optimism, bold colors, and iconic design.
Set against the backdrop of Berlin’s ICC conference center — a listed architectural landmark — the shoot seamlessly blends the building’s signature orange palette with the vibrant energy of the eyewear collection. A carefully chosen 1972 Porsche in matching hues anchors the narrative, emphasizing the synergy between craftsmanship, speed, and style.
Every element, from the perforated detailing on the glasses to the vintage driving gloves and steering wheels referenced in the styling, echoes the design language of that golden era.
Shot entirely on location, the campaign was captured by Tobias Schult, with creative direction, concept, and set design handled in-house.
The result is a vivid tableau that celebrates movement, freedom, and the enduring allure of mid-century design — a timeless homage captured through a modern lens.
ALL PHOTOGRAPHY BY TOBIAS SCHULT
https://tobiasschult.com/
WHITEOUT & GLARE, stationery, 2008
In reimagining the stationery for WHITEOUT & GLARE, the design draws on the silent drama of its name:
the blinding stillness of a whiteout, the sharp tension of a glare. Both evoke a play of light so intense it erases form; a fleeting moment where clarity dissolves into abstraction.
This delicate balance of visibility and obscurity is mirrored in the materials. The letterhead, printed on translucent paper, carries a dense, concrete texture on its reverse side.
When turned, the inverted logo emerges softly through the surface — not printed but implied, like a shadow or a memory of light.
Business cards extend this dialogue: deep black for the founders, white for the sales team, printed on recycled cotton stock for a tactile, understated presence.
Reduced to essentials, tactile yet restrained, the entire suite reflects WHITEOUT & GLARE’s quiet insistence on precision, contrast, and the architectural elegance of industrial materiality.
COBLENS, Name, Logos, Stationery etc. 2012
Founded in 2012, Coblens Eyewear set out to establish a distinctive presence — not only through its products but through a carefully designed visual identity.
As one of the founding partners, I was responsible for the entire creative direction, shaping the brand's aesthetic from its earliest days.
Beyond eyewear design and exhibition architecture, this included the full development of the corporate design: logo, typography, stationery, order forms, and business cards.
The name ‘Coblens’ is derived from the city of Koblenz, its spelling nodding to the Latin origin Confluentes — the meeting of two rivers — while subtly hinting at the word lens, making the name a fitting reflection of both heritage and focus.
The logo itself drew inspiration from the historic coat of arms of Koblenz, the city after which the brand was named. Featuring a trident crown with triple crosses, the symbol subtly reflects the idea of confluence — the merging of the Rhine and Moselle rivers — and, metaphorically, the coming together of two founders from Koblenz and one from Berlin into a single vision.
The visual language reflected a balance of precision and clarity, with a characteristic verdigris hue that defined the brand’s look during its formative years.
From the smallest details — such as the layout of a business card — to the larger systems of branding, each element was crafted to mirror the brand’s commitment to quality and understated sophistication.
WHITEOUT & GLARE, instruction graphics POS and Glasses, 2011
Two different sides of instruction graphics, united by the same approach: clarity through simplicity.
On the left, a meticulously rendered exploded view shows the assembly process for a flat-packed POS display designed for opticians — a transparent acrylic cube, discreetly illuminated, intended to present eyewear with both elegance and focus. Delivered flat, it could be easily assembled in-store, blending functionality with understated design.
On the right, a hand-drawn instruction sheet demonstrates how to carefully detach and reattach the clip-on temples from the frame front — an essential step for glazing the eyewear collection by Whiteout & Glare. Every gesture is shown in detail: how to release the Omega-lock without stress on the joint, preserving precision and preventing damage.
Created in an era before the conveniences of AR or digital 3D overlays, both pieces were manually constructed — every line, every shade carefully placed to guide the user intuitively, balancing technical accuracy with visual simplicity.
LENS)WISTA, corporate design & packaging, 2009
Clear design meets practical simplicity — a full corporate identity developed for Lens)Wista, a Berlin-based company specialising in 90-day contact lenses.
The name "9ty" plays on the 90-day wear cycle, offering a memorable, concise product identity. This idea of clarity and ease runs through every touchpoint:
from the minimalistic packaging in muted blue tones, to a user-friendly instruction brochure, carefully balancing information density with readability.
A standout feature is the circular reminder dial — a simple, tactile tool made from laminated board, designed to assist users in tracking their lens wear schedule.
Especially helpful for older customers or those less comfortable with digital reminders, it transforms an abstract maintenance cycle into an intuitive, physical interaction.
The visuals follow a consistent aesthetic: soft blue-grey tones convey trust and calm, while the typography and iconography are reduced to essentials,
ensuring accessibility without sacrificing elegance.
More than branding, this project was about reducing complexity — making care instructions, replacement schedules, and product information seamlessly understandable.
COBLENS, Leporello Brochure ‘LUNAPARK’, 2015
The Lunapark collection draws inspiration from the historic amusement parks of 1920s Germany, known for their eclectic mix of attractions and performers.
Created long before diversity and inclusion became mainstream themes, this project was driven by a deep personal belief in representation and individuality.
The campaign carefully reimagined classic figures — including a bearded lady, a fortune teller, a knife thrower, conjoined twins, and a person of short stature —
not as curiosities, but as ambassadors of uniqueness. Each character was portrayed with dignity and empathy, creating a visual narrative that celebrated the beauty of difference.
All photography was realized by Tobias Schult, while I personally directed the creative concept, art direction, and set design — ensuring a cohesive and immersive world.
The imagery, paired with meticulous product shots, highlighted the craftsmanship behind the eyewear collection — from hand-polished acetate frames to precision detailing —
reinforcing the idea that true artistry lies both in the object and in the story it tells.
ALL PHOTOGRAPHY BY TOBIAS SCHULT
https://tobiasschult.com/
Kāishǐ Optical and Kāishǐ Eyewear, name and logo, branding, 2009
Rooted in the spirit of renewal, the name Kāishǐ (開始) — meaning "beginning" — preserves the traditional form of ‘開始’, shared by classical Chinese and Japanese Kanji.
This deliberate choice honors heritage and quiet longevity, connecting cultures, craft, and language into a single, enduring mark.
It reflects the brand’s international outlook and respect for the aesthetic clarity of East Asian scripts.
The logos for Kāishǐ Optical and Kāishǐ Eyewear echo this philosophy with subtle variations: one solid, one open.
The filled, red version evokes the impression of traditional jade seals, where carved characters are pressed into dense red ink — a symbol of authenticity and formality.
It lends a quiet authority to the optical division, while the lighter, outlined variant suggests clarity, openness, and innovation — fitting for the eyewear line.
In this way, Kāishǐ blends heritage and renewal into a cohesive brand identity — respectful of tradition yet firmly oriented toward the future.
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SOBRE: Fabián M Hofmann Bonengél, un arquitecte i dissenyador nascut a Suïssa, crea obres d'art visualment sorprenents a més dels seus projectes arquitectònics i de disseny.
Ha rebut nombrosos premis i reconeixements internacionals per les seves instal·lacions espacials, dissenys de productes i obres gràfiques, incloent-hi reconeixements a Alemanya, Japó i els EUA. En els darrers anys, Hofmann Bonengél s'ha centrat en l'art visual i creu que l'arquitectura i la pintura estan interconnectades. El seu treball explora diferents formes de comunicació i treball en xarxa, tant en espais urbans com digitals, i examina la connexió dels individus dins la societat i els diferents mitjans de comunicació, ja siguin analògics o digitals.