Studio Lindhorst-Emme+Hinrichs’ Exhibition Posters

By: Lea Hinrichs & Sven Lindhorst-Emme, Co-founders, Studio Lindhorst-Emme+Hinrichs

100 Best Poster 22 (Main Exhibition 2023)

What is the best? Is it even possible to say? A jury of five faced this challenging task. As a design office, we were faced with the challenging question of how to create a design and a book containing 100 great posters, the supposed best of a year of graphic design from three countries.

The “100 Best Posters: Germany, Austria, and Switzerland” competition in 2022, with its main exhibition in the summer of 2023 in Berlin, had a lot of media content. There was the flyer announcing the competition on social media, animations, the poster for the exhibition, and all the associated copy for the book, stickers, bags, etc.

Our simple, understated concept works with 10 colors and the variable font EK Modena by type designer Erkin Karamemet; we were the first designers to test and use it. The graphical reduction of the use of color areas in combination with the play of the “100” in various font weights and widths led to the key visual of the entire competition.

The color areas and the 100 in the book publication dominate the 10 colors of the solid-colored book cover in combination with the same front and back endpapers. The interior design is clear and informal.

For the announcements via social media, the 10 colors were also used, but the advantages of a variable animated font were perfectly utilized.


Elusive Grounds

This poster for an art group exhibition exploring the psychedelic effects of mushrooms should capture attention, evoke curiosity, and visually reflect the transformative and otherworldly experiences associated with psilocybin. The design needs to communicate the exhibition’s theme, blending art and mysticism with scientific intrigue while setting the tone for the event.

The poster’s aesthetic should be vibrant and immersive, incorporating bold, luminous colors like electric blues, radiant purples, and glowing greens—reminiscent of psychedelic visuals. Organic forms and flowing shapes can mimic the distortions and kaleidoscopic imagery reported in altered states of consciousness.

Layered textures and gradients, in combination with bold typography, can enhance the hallucinatory feel, drawing viewers into the poster’s visual narrative.

To balance the dynamic visuals, the text should be strategically placed, with the exhibition title prominently displayed and additional details—such as location, date, and featured artists—clearly readable.

The superimposition of lettering and the organically colorful forms is intended to represent a connection between reality and perception. Something is present and yet not visible.

The different art genres in the exhibition range from installation works to video, painting, and photography.


Studio Lindhorst-Emme+Hinrichs is run by Lea Hinrichs and Sven Lindhorst-Emme. It specializes in graphic design and typography—especially book and poster design—but also corporate design and websites. Most of the works are of artistic or cultural origin, such as photo books, artist’s catalogs, vinyl packaging, exhibition posters, and corporate designs for museums and publishers. 



Lea Hinrichs was born in northern Germany, where she studied media design. She continued her studies in graphic design at the University of the Arts in Bremen. After graduating in 2015, she moved to Berlin, where she is currently living and working.

Sven Lindhorst-Emme first trained as a lithographer and worked as such for 10 years. Afterward, he studied graphic and communication design and moved to Berlin in 2011, where he founded his studio in the same year.

Social: Instagram


Check out our other Poster 2024 and Poster 2025 winners on our website!

Author: Graphis