FM 　You have a background in graffiti and used to spray-paint yourself. A lot of your colleagues in the industry share a similar background, as many graffiti artists are ending up in the creative industries. What do you think are the reasons for that, and what made you become a designer?

MB　 There was no concrete moment that made me want to become a designer, I just wasn’t sure what else to do. I did not really dare to become an artist because it seemed too dangerous, too risky and frankly, I was afraid that I wasn’t good enough. When I started my studies, a lot of the designs were still done by hand. Back then the transition to digital design just happened, and suddenly everything was done on computers, thus fundamentally changing the field in a way that I had not anticipated. 

FM 　In your opinion, what are the essential changes in graffiti from the 80’s and 90’s to today?

MB 　A substantial difference is beyond a doubt the number and quality of available tools. I still remember using car paint and tweaking deodorant cans, and having trouble painting anything with yellow, because it just wouldn’t cover on any surface. Now, there are like 10-15 different cap types, special cans for different surfaces and so on. When it comes to styles, I would say that graffiti has become more diverse than it used to be. 

FM 　Graffiti used to go hand in hand with Hip-Hop. Graffiti of today is a bit more open, and above all graphic. What do you think about the use of digital tools to create graffiti?

MB 　I think this is a matter of taste. Personally, I prefer good old bombings, but I must admit that I also appreciate a decent tag more than somebody masking a wall for three straight hours in order to get his piece done. Using digital tools comes with cleaner and tidier work, and to be honest that goes directly against the main premise of holding a can in your hand and being able to paint literally anything, anywhere. I am really sad we didn’t come up with using a fire extinguisher, if we had, I would have gone mad with it. 

FM 　Before founding your own agency, design studio Bureau Borsche, you used to work for several agencies and publishing houses. Why did you decide to become self-employed?

MB 　It wasn’t really a conscious career choice but rather various circumstances leading up to it. After a job opportunity at Red Bull as Creative Director did not come to fruition, me and my former partner decided to just start working. We then hired our first interns, and eventually landed our first client. And that was the beginning of my self-employment.

FM　 Nowadays many young designers tend to choose a different path, with plenty starting their own thing right after their studies. In hindsight, do you regret having worked as an employee before becoming your own boss?

MB 　On the contrary, I would say that it prepared me for what was to come. This is because there is a tremendous amount to learn when working for others. Firstly, you learn how they approach various challenges and secondly, there’s much less pressure on you as an employee. For instance, you don’t have to worry about your employees, and you don’t need to worry about your own survival, as you are getting a paycheck at the end of the month no matter what. And when you fall ill, it’s not an existential problem. Recently I had to drag myself out of bed despite having a fever, to go to a meeting and perform. This is something an employee would accept in the rarest of circumstances. 

FM 　Do you have any advice for aspiring designers contemplating self-employment?

MB　 I would try to gather experience as an employee for a couple of years first. I would try to get a job that allows me to build an exciting and diverse portfolio, and an opportunity to build experience through as many projects as possible, such as in advertising, corporate and/or web design. 

FM 　How important are social networks and design-webpages such as Behance for your work?

MB 　They are not as important as a source of inspiration, but rather help us establish an online presence. Which in turn allows us to directly get into touch with our customers and enables us to build a clientele. 

FM 　It is noteworthy that you work for quite a few traditional print media, such as the newspapers Die Zeit and the Sueddeutsche Zeitung. Is that a conscious decision of yours?

MB 　This is mostly due to my age. I have always considered newspapers and magazines to be an interesting and exciting medium to work with. And I still do to this day. I am not a big proponent of the term traditional print, as many of these traditional publishers still grow and diversify their products. The uncertainty of fake news and the oversupply of news outlets have driven people back to the trusted traditional news sources. This is in a big part due to the fact that their reputations would not survive below par work in the long run. 

FM 　Do you think that the new digital players will entirely replace the traditional media any time soon? What’s your take on the development of the media landscape in the near future?

MB　 I do not believe that they can be replaced any time in the near future, because in the current environment I don’t think there is any print medium that manages to generate a profit just through their online presence. Online news portals like Spiegel Online, that have been pioneers in the industry, have had to downsize in recent history due to the decline in profits from the traditional print media. In the worst-case scenario, we lose the traditional publishers which in turn will also end all serious online news outlets. As of today, I have yet to see an online news outlet that works successfully independent from its print medium while maintaining the same level of quality and journalistic integrity.

FM 　In addition to your many other activities, you are also the Art Director at Super Paper, a local Munich newspaper. The layout often pushes the boundaries of convention. Do you consider the format to some extent as a playground where you can let your ideas run free?

MB 　After initial creative differences with the chief editor, the acceptance for the non-traditional layouts has steadily grown over the last eight years. However, until today discussions on more traditional, and easier to consume layouts have not ceased to come up. This acceptance has nourished in a big part due to the positive international feedback we have received for our work, which is a worthy accomplishment for a local Munich newspaper. 

FM 　What do you consider good design?

MB 　It must be simple and easy to understand. 

FM 　How do you think the graphic design industry will develop in the upcoming years?

MB 　This will depend on how social media and the internet in general develop. The graphic designs of today are heavily influenced by Instagram as it affects the canvas size that artists have available. An example of this can be seen in the music industry and the progression of album cover art over the years. As the music mediums shrank in size, artists had to adapt in their designs respectively to meet requirements of the new canvas sizes. I think it is unavoidable that graphic design will continue to move towards a more uniform design language that is easy to consume and accessible to all. To remain relevant, speed will play a major role. Since it is all about collecting likes, releasing designs in a timely manner will be a major differentiating factor. ◆

FM 　You have a background in graffiti and used to spray-paint yourself. A lot of your colleagues in the industry share a similar background, as many graffiti artists are ending up in the creative industries. What do you think are the reasons for that, and what made you become a designer?

MB　 There was no concrete moment that made me want to become a designer, I just wasn’t sure what else to do. I did not really dare to become an artist because it seemed too dangerous, too risky and frankly, I was afraid that I wasn’t good enough. When I started my studies, a lot of the designs were still done by hand. Back then the transition to digital design just happened, and suddenly everything was done on computers, thus fundamentally changing the field in a way that I had not anticipated. 

FM 　In your opinion, what are the essential changes in graffiti from the 80’s and 90’s to today?

MB 　A substantial difference is beyond a doubt the number and quality of available tools. I still remember using car paint and tweaking deodorant cans, and having trouble painting anything with yellow, because it just wouldn’t cover on any surface. Now, there are like 10-15 different cap types, special cans for different surfaces and so on. When it comes to styles, I would say that graffiti has become more diverse than it used to be. 

FM 　Graffiti used to go hand in hand with Hip-Hop. Graffiti of today is a bit more open, and above all graphic. What do you think about the use of digital tools to create graffiti?

MB 　I think this is a matter of taste. Personally, I prefer good old bombings, but I must admit that I also appreciate a decent tag more than somebody masking a wall for three straight hours in order to get his piece done. Using digital tools comes with cleaner and tidier work, and to be honest that goes directly against the main premise of holding a can in your hand and being able to paint literally anything, anywhere. I am really sad we didn’t come up with using a fire extinguisher, if we had, I would have gone mad with it. 

FM 　Before founding your own agency, design studio Bureau Borsche, you used to work for several agencies and publishing houses. Why did you decide to become self-employed?

MB 　It wasn’t really a conscious career choice but rather various circumstances leading up to it. After a job opportunity at Red Bull as Creative Director did not come to fruition, me and my former partner decided to just start working. We then hired our first interns, and eventually landed our first client. And that was the beginning of my self-employment.

FM　 Nowadays many young designers tend to choose a different path, with plenty starting their own thing right after their studies. In hindsight, do you regret having worked as an employee before becoming your own boss?

MB 　On the contrary, I would say that it prepared me for what was to come. This is because there is a tremendous amount to learn when working for others. Firstly, you learn how they approach various challenges and secondly, there’s much less pressure on you as an employee. For instance, you don’t have to worry about your employees, and you don’t need to worry about your own survival, as you are getting a paycheck at the end of the month no matter what. And when you fall ill, it’s not an existential problem. Recently I had to drag myself out of bed despite having a fever, to go to a meeting and perform. This is something an employee would accept in the rarest of circumstances. 

FM 　Do you have any advice for aspiring designers contemplating self-employment?

MB　 I would try to gather experience as an employee for a couple of years first. I would try to get a job that allows me to build an exciting and diverse portfolio, and an opportunity to build experience through as many projects as possible, such as in advertising, corporate and/or web design. 

FM 　How important are social networks and design-webpages such as Behance for your work?

MB 　They are not as important as a source of inspiration, but rather help us establish an online presence. Which in turn allows us to directly get into touch with our customers and enables us to build a clientele. 

FM 　It is noteworthy that you work for quite a few traditional print media, such as the newspapers Die Zeit and the Sueddeutsche Zeitung. Is that a conscious decision of yours?

MB 　This is mostly due to my age. I have always considered newspapers and magazines to be an interesting and exciting medium to work with. And I still do to this day. I am not a big proponent of the term traditional print, as many of these traditional publishers still grow and diversify their products. The uncertainty of fake news and the oversupply of news outlets have driven people back to the trusted traditional news sources. This is in a big part due to the fact that their reputations would not survive below par work in the long run. 

FM 　Do you think that the new digital players will entirely replace the traditional media any time soon? What’s your take on the development of the media landscape in the near future?

MB　 I do not believe that they can be replaced any time in the near future, because in the current environment I don’t think there is any print medium that manages to generate a profit just through their online presence. Online news portals like Spiegel Online, that have been pioneers in the industry, have had to downsize in recent history due to the decline in profits from the traditional print media. In the worst-case scenario, we lose the traditional publishers which in turn will also end all serious online news outlets. As of today, I have yet to see an online news outlet that works successfully independent from its print medium while maintaining the same level of quality and journalistic integrity.

FM 　In addition to your many other activities, you are also the Art Director at Super Paper, a local Munich newspaper. The layout often pushes the boundaries of convention. Do you consider the format to some extent as a playground where you can let your ideas run free?

MB 　After initial creative differences with the chief editor, the acceptance for the non-traditional layouts has steadily grown over the last eight years. However, until today discussions on more traditional, and easier to consume layouts have not ceased to come up. This acceptance has nourished in a big part due to the positive international feedback we have received for our work, which is a worthy accomplishment for a local Munich newspaper. 

FM 　What do you consider good design?

MB 　It must be simple and easy to understand. 

FM 　How do you think the graphic design industry will develop in the upcoming years?

MB 　This will depend on how social media and the internet in general develop. The graphic designs of today are heavily influenced by Instagram as it affects the canvas size that artists have available. An example of this can be seen in the music industry and the progression of album cover art over the years. As the music mediums shrank in size, artists had to adapt in their designs respectively to meet requirements of the new canvas sizes. I think it is unavoidable that graphic design will continue to move towards a more uniform design language that is easy to consume and accessible to all. To remain relevant, speed will play a major role. Since it is all about collecting likes, releasing designs in a timely manner will be a major differentiating factor. ◆

FM 　You have a background in graffiti and used to spray-paint yourself. A lot of your colleagues in the industry share a similar background, as many graffiti artists are ending up in the creative industries. What do you think are the reasons for that, and what made you become a designer?

MB　 There was no concrete moment that made me want to become a designer, I just wasn’t sure what else to do. I did not really dare to become an artist because it seemed too dangerous, too risky and frankly, I was afraid that I wasn’t good enough. When I started my studies, a lot of the designs were still done by hand. Back then the transition to digital design just happened, and suddenly everything was done on computers, thus fundamentally changing the field in a way that I had not anticipated. 

FM 　In your opinion, what are the essential changes in graffiti from the 80’s and 90’s to today?

MB 　A substantial difference is beyond a doubt the number and quality of available tools. I still remember using car paint and tweaking deodorant cans, and having trouble painting anything with yellow, because it just wouldn’t cover on any surface. Now, there are like 10-15 different cap types, special cans for different surfaces and so on. When it comes to styles, I would say that graffiti has become more diverse than it used to be. 

FM 　Graffiti used to go hand in hand with Hip-Hop. Graffiti of today is a bit more open, and above all graphic. What do you think about the use of digital tools to create graffiti?

MB 　I think this is a matter of taste. Personally, I prefer good old bombings, but I must admit that I also appreciate a decent tag more than somebody masking a wall for three straight hours in order to get his piece done. Using digital tools comes with cleaner and tidier work, and to be honest that goes directly against the main premise of holding a can in your hand and being able to paint literally anything, anywhere. I am really sad we didn’t come up with using a fire extinguisher, if we had, I would have gone mad with it. 

FM 　Before founding your own agency, design studio Bureau Borsche, you used to work for several agencies and publishing houses. Why did you decide to become self-employed?

MB 　It wasn’t really a conscious career choice but rather various circumstances leading up to it. After a job opportunity at Red Bull as Creative Director did not come to fruition, me and my former partner decided to just start working. We then hired our first interns, and eventually landed our first client. And that was the beginning of my self-employment.

FM　 Nowadays many young designers tend to choose a different path, with plenty starting their own thing right after their studies. In hindsight, do you regret having worked as an employee before becoming your own boss?

MB 　On the contrary, I would say that it prepared me for what was to come. This is because there is a tremendous amount to learn when working for others. Firstly, you learn how they approach various challenges and secondly, there’s much less pressure on you as an employee. For instance, you don’t have to worry about your employees, and you don’t need to worry about your own survival, as you are getting a paycheck at the end of the month no matter what. And when you fall ill, it’s not an existential problem. Recently I had to drag myself out of bed despite having a fever, to go to a meeting and perform. This is something an employee would accept in the rarest of circumstances. 

FM 　Do you have any advice for aspiring designers contemplating self-employment?

MB　 I would try to gather experience as an employee for a couple of years first. I would try to get a job that allows me to build an exciting and diverse portfolio, and an opportunity to build experience through as many projects as possible, such as in advertising, corporate and/or web design. 

FM 　How important are social networks and design-webpages such as Behance for your work?

MB 　They are not as important as a source of inspiration, but rather help us establish an online presence. Which in turn allows us to directly get into touch with our customers and enables us to build a clientele. 

FM 　It is noteworthy that you work for quite a few traditional print media, such as the newspapers Die Zeit and the Sueddeutsche Zeitung. Is that a conscious decision of yours?

MB 　This is mostly due to my age. I have always considered newspapers and magazines to be an interesting and exciting medium to work with. And I still do to this day. I am not a big proponent of the term traditional print, as many of these traditional publishers still grow and diversify their products. The uncertainty of fake news and the oversupply of news outlets have driven people back to the trusted traditional news sources. This is in a big part due to the fact that their reputations would not survive below par work in the long run. 

FM 　Do you think that the new digital players will entirely replace the traditional media any time soon? What’s your take on the development of the media landscape in the near future?

MB　 I do not believe that they can be replaced any time in the near future, because in the current environment I don’t think there is any print medium that manages to generate a profit just through their online presence. Online news portals like Spiegel Online, that have been pioneers in the industry, have had to downsize in recent history due to the decline in profits from the traditional print media. In the worst-case scenario, we lose the traditional publishers which in turn will also end all serious online news outlets. As of today, I have yet to see an online news outlet that works successfully independent from its print medium while maintaining the same level of quality and journalistic integrity.

FM 　In addition to your many other activities, you are also the Art Director at Super Paper, a local Munich newspaper. The layout often pushes the boundaries of convention. Do you consider the format to some extent as a playground where you can let your ideas run free?

MB 　After initial creative differences with the chief editor, the acceptance for the non-traditional layouts has steadily grown over the last eight years. However, until today discussions on more traditional, and easier to consume layouts have not ceased to come up. This acceptance has nourished in a big part due to the positive international feedback we have received for our work, which is a worthy accomplishment for a local Munich newspaper. 

FM 　What do you consider good design?

MB 　It must be simple and easy to understand. 

FM 　How do you think the graphic design industry will develop in the upcoming years?

MB 　This will depend on how social media and the internet in general develop. The graphic designs of today are heavily influenced by Instagram as it affects the canvas size that artists have available. An example of this can be seen in the music industry and the progression of album cover art over the years. As the music mediums shrank in size, artists had to adapt in their designs respectively to meet requirements of the new canvas sizes. I think it is unavoidable that graphic design will continue to move towards a more uniform design language that is easy to consume and accessible to all. To remain relevant, speed will play a major role. Since it is all about collecting likes, releasing designs in a timely manner will be a major differentiating factor. ◆