Daan Jesper Kars
info@daankars.com
+31 (0) 6 404 346 19
Daan Jesper Kars is a Dutch graphic designer, typographer & type designer. From the age of 14, he has developed his vision on the field of graphic design by studying the profession for more than seven years. Driven by the provocative aspect of punk-rock culture, Daan Jesper Kars is keen on providing his works with revolutionary purpose. With typography being his bright companion he shares inner thoughts on nowadays society by using various media such as printed matter, moving images & interactive websites. Confronting digital age Daan Jesper Kars is always providing his works with an analogue input. Currently he is graduating at The Royal Academy Of Art, The Hague.
With my works, I am striving for awareness on political topics which are building the foundation for social problems. The provoking aspect in my work is assembled by conceptual thinking and in-dept research, as for example my works Frenemy and Protest Sans. The conscious and thoughtful use of color, image and typography are forming the pivotal aspect of my work. My work is aiming to provide people, who have lost trust in their personal believes, with the confidence and willingness to stand up and fight for their rights. To my mind, a work is only finished once it evoked a reaction, may it be a discussion, a question or an agreement. I want to change the narrow minded among us into open critical thinkers, not by handing out an answer, but by posing a question. Depending on the content I work with printed matter, moving images or interactive websites. I believe that a well designed project can be the beginning of a revolution.
Exhibitions
Everything You Ever Wanted to Know about Typography but Were Too Afraid to Ask
KABK Gallery
The Hague
The Netherlands
2015

Fantastic Enemy
3sec Gallery
Breda
The Netherlands
2015

Fantastic Enemy
Affiche Gallery
The Hague
The Netherlands
2015

Global Imaginations Revisited
KABK Gallery
The Hague
The Netherlands
2015

Books & Ladders
KABK De Vuurdoop
The Hague
The Netherlands
2016

End of the Year Show
KABK Gallery
The Hague
The Netherlands
2016

Borderless States
Waag Society
Amsterdam
The Netherlands
2016

Declaring Reason
Museum Meermanno
The Hague
The Netherlands
2017

Une Saison Graphique
Le Havre Festival
Le Havre
France
2017

Best Dutch Book Designs 2016
Stedelijk Museum
Amsterdam
The Netherlands
2017


Education
MediaCollege
Amsterdam
The Netherlands
MBO-4
Graduated in 2014

The Royal Academy of Art
The Hague
The Netherlands
Bachelor of Arts
Currently graduating


Internships
Mezzaluna
Zaandam
The Netherlands
2007

Skybox
Amsterdam
The Netherlands
2012

Lemz
Amsterdam
The Netherlands
2013

ATTAK
's-Hertogenbosch
The Netherlands
2017


Work
Lemz
Amsterdam
The Netherlands
2014–2014

Freelance
The Netherlands
2015–Present

The design of the catalogue is a reflection on the selection made by the student jury. Looking at the selected books, a certain pattern appears: a book is not just a source of information, but a an object. With it's image-based editorial approach, tactility, choice of paper, typography and final presentation, the selection of 2016 is telling a lot about how our perception of printed matter is being influenced by the electronic media.

In collaboration with Taisiia Reshetnik & Daniel Hernandez Chacon
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Best Dutch Book Designs 2016

Booklet — Offset Print — 170×240mm

Best Dutch Book Designs 2016 (Student Catalogue)

2017
During the graphic design festival in Le Havre, France, a workshop/installation was developed. The project was guided by Chantal Hendriksen, Gijsbert Dijker and Rik Bas Backer (guest tutor).
Special flags were made with a neutral background consisting of shapes on national flags from all over the world. During the workshop the flags would be personalised by the visitors of the workshop/installation by spray painting their initials on the flags. A special 3-layered stencil typeface was created to express the diversity of every individual. The end result was a parliament of colourful flags created by us and the visitors.

Exhibited at Une Saison Graphique, Le Havre.
In collaboration with Nina van Tuikwerd, Dóra Kerekes, Lin Ven, Marika Seo, Natalia Vishnevskaia & Rik Laging.
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Une Saison Graphique

Installation — Spraypaint on Paper Flags — 25m2

Une Saison Graphique

2017
The resume that is shown throughout the first four chapters of this catalogue explains for what morals and standards the a2k movement is fighting. The visual essay that merges with the essay highlights certain words that deal with this movement and its standards. Component number 2 is for societies own security, why are photographs of Europe's most wanted fugitives copyrighted, we should have access to the photographs and we should be able to distribute the photographs without the fear of being sued because of copyright.
This catalogue shows the ridiculousness of copyright on information when it comes to international security. Through the catalogue one will notice that all the information given by Interpol is copyrighted and not available for distribution by anyone. Even if you filter it on Google.
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Europe's Most Wanted Fugitives

Booklet — Digital Print — 170×260mm

Europe's Most Wanted Fugitives According To:

2017
Initially designed as a logotype for Valley Eyewear's campaign Black Rain the character set expanded soon afterwards. Becoming a blackletter for dark contemporary use.
The font AT Black Rain was designed over the course of 6 months during my internship at ATTAK • Powergestaltung. Its distinctive glyphs are designed with the most suitable curves and shapes. To extend display qualities the AT Black Rain features 65 ligatures. The remarkable shapes result in a razor sharp typographic palette combining the dark ages with brighter modern times.
Published in the buyer-centered “pay what you want” form, AT Black Rain is available for anyone. Copyright ©ATTAK

Check the online type specimen here: attakweb.com/atblackrain
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AT Black Rain

Typeface, Booklet & Poster — Font, Digital Print & Silkscreen — 288 Glyphs, 165×270mm & 500mm×700mm

AT Black Rain

2017
This typographic reader combines three texts from open-source pages and shuffles the order of the pages. By doing so the reader has three different approaches to read the publication.
One is by following the page numbers, the second is by following the colour of the pages and the third approach is to just read it from beginning to end as it is.
The first text is about the border police, the second about support from the government and the third text is about control within a government. The publication is made to shine light upon police officers who see themselves as governing power instead of being equal to others as this is more and more happening in Western countries.
The blue blurred images that are in between every few pages represent the siren of police cars slowly fading and not knowing where the border lies between authoritarian and protector.
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Police. Support. Control.

Booklet — Digital Print — 180×250mm

Police. Support. Control.

2017
A music video made during my internship at ATTAK • Powergestaltung for the Dutch punk-rock band Camp High Gain. It is a video collage of riots, protests and cartoons to express the core of the band's mission: To create anti-shit music.

Listen to Camp High Gain here: camphighgain.com
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Camp High Gain – No Dead Ends

Music Video — Digital Video Collage — 1280×720px

Camp High Gain – No Dead Ends

2017
In collaboration with the National Council for Health and Society (Raad voor Volksgezondheid en Samenleving, RVS), students from different departments investigated the issue of loneliness within the Dutch urban context during a Research Lab called 'Loneliness and the City'.
The results of the project were presented in an exhibition that opened on Valentine's Day, 14 February 2017, where a publication of the RVS, on Loneliness, entitled Wat ik met Kerst mis was also launched.

Held at The Gallery, The Hague.
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Loneliness And The City

Poster & Booklet — Digital Print — DIN A2 & 90×250mm

Loneliness And The City

2017
This hand-assembled fanzine was made during my internship at ATTAK • Powergestaltung. The DIY aesthetics represents exactly the mindset of Minitopia. Minitopia is small piece of ground where tests for sustainable livings and experimental houses take place since housing in big cities is becoming more and more expensive.
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Rezone Minitopia Nr.4

Fanzine — Digital Print — DIN A5

Rezone Minitopia Nr.4

2017
Amélie Vancoppenolle, Niels van der Donk and Daan Jesper Kars developed a fictional geographic landscape called Taliyoon (meaning Trade Route Gone) which visualises Senegal as it is connected to contemporary trade dependencies in Europe and the United States. Its shape and topology equals frighteningly similar locations of historical trade routes of the 18th century. Taliyoon shows that since then not much progress has been achieved, and the only logical next step is for the group develop a cynical manual that reveals the seemingly impossible task of gaining autonomy from imperialism.

Text by Lauren Alexander.
Exhibited at Waag Society, Amsterdam.
In collaboration with Amélie Vancoppenolle & Niels van der Donk.
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Taliyoon

Poster/Map & Video — Digital Silkscreen & Video Animation — 1000×700mm & 1280×720px

Taliyoon

2016
For the identity, the aesthetics were inspired by pressure maps and line height maps since the main subject was rethinking the concept of borders. The coats of arms are based on a system that work for all the 24 projects. They are black and white, they all show their GPS coordinate and they have one of the three background patterns that were based on the surroundings of the given location: on water, on land or in the air (such as satellites).
The Temporary Assembly of Borderless States project was tutored by Niels Schrader and Lauren Alexander from the Royal Academy of Arts, The Hague, with theory component tutoring by Willem van Weelden, and support from Dick van Dijk of Waag Society. Exhibition photo's by: Jeroen van Amelsvoort.

Held at Waag Society, Amsterdam.
In collaboration with Dóra Kerekes.
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Temporary Assembly Of Borderless States

Exhibition Design, Flags & Booklet — Digital Print on Fabric & Digital/RISO Print — 700×1200mm & DIN A4

Temporary Assembly Of Borderless States

2016
Light, which contains most bright colours (can be made visible with a prisma) can influence pale colours. Not only can light -read sunlight- influence pale colours light can also be destructive. For instance, if your skin is exposed to sunlight for too long, your DNA will break. It does not merely affect your DNA, your skin pigments change either. Moreover, it does enhance the risk of skin cancer.
For this assignment I made a narrative which is being shown by a healthy skin cells turning into cancer skin cells. The DNA structure is made up of photos from pale skins, dark to light ones. Two bright layers are exposed on top of the DNA structure. On every work you see two contrasting bright colours. Bright influences pale.
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Narrative Of Cells

Poster — Digital Print/Silkscreen — 400×841mm

Narrative Of Cells

2016
What's In It For Me? is a critical reflection on the inequality between first and third world countries. With a series of social experiments resulting in multimedia works accompanied by intriguing imagery Daan explores the social environment we live in as well as questioning his own behaviour and thoughts within an interdisciplinary working and researching process.
Core of this series of works is a visualisation of one of Daans initial social experiments in which he was observing and questioning societies' vanity as well as the way his contemporary social environment deals with the issue of value. Daan took the results of this as starting point in order to explore his personal values, which resulted in an intriguing installation.
With putting his personal observations into relation with the reactions of his environment on the questions he initially raised, Daan's final work is reflecting critically on the issues of effort and affect.

Text by Carina Schwed
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What's In It For Me?

Booklet & Poster — Digital Print/Monoprint/Handwriting — 140×190mm & 700×1000mm

What's In It For Me?

2016
Pencillo is a font that is based on the writing with a brush pen. The higher the pressure on the pen, the thicker the line. All the beaks, on the glyphs that contain them, are different to keep the hand painted brush-stroke alive. Based on those principles I created Pencillo.

Download Pencillo here: DJK_Pencillo.otf
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Pencillo

Typeface & Poster — Font & Digital Print — 188 Glyphs & DIN A0

Pencillo

2016
For those activists among us who either can't afford or don't have access to the expensive corporate fonts or the 8 million flavours of Helvetica and Univers, I present to you: Protest Sans. A heavy and screaming font that is seeking for attention. We live in a digital growing world and to include the digital part as well the font is not only useable for stencilling your protest sign, but also for digital protest. Protest is not about the font you choose, but it is to voice your opinion. Protest Sans is made to make sure that your opinion is noticeable on your sign.

Download Protest Sans here: DJK_ProtestSans.otf
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Protest Sans

Booklet, Video & Flag — Digital Print, Digital Collage & Silkscreen — 200×297mm, 720×480px & 1200×850mm

Protest Sans

2016
Tegula is a monospaced typeface that consists of two fonts, text and display. The display font consists only of capitals with high contrast characters. The text font is made for smaller set type. Inspired by squared tiles used in architecture, mostly at facades a system of square boxes had been developed. The white space is in ratio the same as the letterforms by using optical tricks such as flat terminals and pointy endings of the letter shapes. Tegula can be categorised as an industrial or architectural type.

Download will be available soon!
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Tegula

Typeface, Booklet & Poster — Font & Digital Print — 195 Glyphs, 200×200mm & DIN A0

Tegula

2016
The inhabitants of a modern city provide more freedom of movement in an environment they can shape themselves. A modern city where the buildings can move freely to create space for new settings. By that, the city is constantly moving and its form will be dynamic. The buildings move around like molecules, each surrounding is looking for its own free path in order to not collide with other buildings, environments or places.
They can move inside, on top of, at, near, under, over, below, above, around, through, among, between, behind, in front of, across, onto, beside or not even coming close to each other. Every path they take will leave it's own trace which will contribute to the shape of the city. Each space will be utilised.

Exhibited at Fokker Terminal, The Hague.
In collaboration with Kay Pisarowitz.
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Mean Free City

Installation — Digital Laser Cut — 1m2

Mean Free City

2015
Money, a thing we nowadays all desire and helps us to open certain doors. Nevertheless it can also be destructive. For example: Greece in 2015. This poster shows how money is more and more needed (in the eyes of governments) and how it can easily destroys one. This poster was designed for a poster competition called My Fantastic Enemy. Among a few other posters, this poster won and was displayed at the 3sec. Gallery in Breda and at De Affiche Galerij in The Hague.
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Rise And Fall

Poster — Digital Print — DIN A0

Rise And Fall

2015
This is Tapey; A tape made font. After creating all the characters with tape manually, I scanned them, traced them and created a digital font. Its characteristic forms lay at ripped pieces in combination with calligraphic strokes.

Download will be available soon!
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Tapey

Typeface — Font — 80 Glyphs

Tapey

2015