soeren herschel
Kranichsteiner straße 78
64289 Darmstadt



2013  das blumen, »Von der Linie zum Strich«, Darmstadt (GER)
2014  Rundum Gallery, »Literacy — Illiteracy« Tallinn (EST)
2014  Norrus Gallery, »Tartu Cruise« Tartu (EST)
2014  EKA G, »Must Joon Book«, Tallinn
2014  Kultuuritolm, »Must Joon Group«, Tallinn
2014  Design Week Bratislava, »Must Joon Book«, (SVK)
2014  ArtMap Bookshop, »Must Joon Book«, Brno (CZE)
2015  Leipzig Book Fair, »From A to B and back again« (GER)


Siebenplus — Atelier für experimentellen Siebdruck

Must Joon

In English Must Joon (Estonian) means black line. A line is what remains after touching paper with a pencil or from using any other kind of tracing tool on any kind of material. Black is the colour that supports the different characteristics of line in the most powerful way. A simple black line focusses on the nature of line itself, gesture, spontaneity and collaborative activity. We are a group of international artists with different backgrounds whose common interest is drawing. We met at the »Estonian Academy of Arts« in Tallinn in 2013/2014. We started to meet regularly for a simple reason — to draw. Soon it became not only about observing the world around us, but also about exploring drawing as a medium itself and creating new ways of drawing within the group—by collaborative drawing. From using drawing games (some of them were invented by our group while experimenting and trying new ways of collaborative possibilities) we developed a very playful, innovative and joyful way of spending time together creatively. Each of us has brought his or her own style and ideas to the group. Every session is different, we »learn by doing«. We began with meeting spontaneously in private and public spaces; at bars, parks and streets. Soon it turned out to be a part of our weekly schedule. The results are not only drawings. We created videos, animations, we made up new drawing games, published a book and organized drawing workshops and exhibitions. Within the group we react to each other while drawing, it is dialogue made without saying. We see drawing as an important and helpful tool for bringing different people together. The Project and our interests in this theme are still ongoing.

Relations between dots
Stopmotion and recordings

With the help of stopmotion experiments, I tried to approach the subject of love. My starting point was the thesis, that love is an exchange of energy between two elements, in my case — dots. These dots start to interact. What is the essence of a letter, what is it made of? Dots, lines, curves? Can it lead an independent existence or is it only able to exist with other letters?


Selfpublished, run 35, duotone print on risograph ez5 series

On the 15th of March 2014 I went to Tartu in Estonia for the first time. I visited the » Tartu Printmaking Fest « together with my friends. In the evening I got lost in the bar »Zavood«. Not only me — also my digital camera. Expecting never to see my camera again, I went back to the bar the next day. Surprisingly, one of the two cleaning ladies told me that someone gave something in. She went behind the bar and revealed my small black camera. After thanking her a lot I checked the photos of the last day and discovered 40 random photos taken by people who had found my camera. The zine presents a selection of the photos.

24hbus—an hommage to the line

A collection of spontaneous drawings during a 24h bus tour with Darmstadt H busline. The motivation for this experiment was to experience increasing exhaustion during 24 hours and to see how this would effect my drawing. My effort was to take time consciously in a space that is crowded with hectic people and varied. As well as drawing, I made a video-collage composed of roadmarkings found on the H-line route. It refers to the observation of people getting lost in their digital windows(, smartphone, Ipad) and therefore isolate themselves from their environment.

Magazine X


Magazine X is dedicated to contemporary drawing and provides space for its visual presentation and theoretical reflection. Each issue focuses on a specific topic. The aim of X is to cover primarily the Central European art scene while creating a constructive analogy with foreign authors to offer a broad picture of current drawing in the context of new approaches.

In collaboration with Frederik Marroquín
Indian ink and natural drawing tools, 70 × 100 cm
Charcoal, decalcomania, sunflower oil, acryclic, 70 × 100 cm
From A to B and back again

2014-1-15T/18:10Z, arrival at Tallinn Airport. It was -14°, dark—it snowed. Without speaking any word Estonian and without knowing how to get to my accommodation my walk begun. The way how I discovered the city of Tallinn during the following five month, is characterized by my curiousity about assuming the unpredictable. Hence the encounter with the hazard creates my inner map of the city. The process of settling into the urban landscape is closely connected to the process of printing; it functions as a mediator between darkness and brightness, and enlightens or blackouts my inner map of the city. Starting to overcome the fear of disorder leads to the acceptance of my own failure. After five month I travelled back to the places where I got lost and took »frottage drawings« of distinctive surfaces. Each notation is used to create one single book, that refers to one of nine places. A constant element in all books is the the map of Tallinn, printed on the first layer of every single page. The second layer is composed of the drawing. Through the process of printing the second layer over and over again the map disappears and the page becomes black. This refers to the process of getting lost. The square format allows to rotate the paper at each stage of overprint 45°. The density of the drawing is responsible for the amount of pages and cannot be calculated in advance. To find a way to connect the drawings with the map I chose the screw binding—the screw functions as a marking of the places. Further on the binding supports the idea of disorientation. The covers are all black and only slight cuts give a hint to the inside. So people are challenged to ask themselves wether they are viewers or readers, of a book or an object.

1)Estonia pst 7
2)Weizenbergi 34
3)Ülemiste Jarv
4)Vabaduse väljak
5)Raja 11a
7)Kiriku plats 1

Frottage Drawings and the Map of Tallinn are printed with Risograph 970E. Number on the backsides are printed with metal type.

frottage, charcoal, 70 × 100 cm
Nude portraits
charcoal and pigment, 70 × 100 cm
Plastic bags
charcoal on paper, 70 × 100 cm
Hand drill
drilled paper and frottage, 70 × 100 cm

Translation of the movement of how it's used.

Snap lock
paper, acryl glass, boxboard, shellac on cardboard, polipropylen

06 Choose an object that is not bigger than 4 × 4 × 4 cm,
cheap and easy to obtain—»the snap lock«
08 Observe the object precisely and collect simple lines
09-12 Create three-dimensional modules out of it, combine
them and explore different materials

The man with the twisted lip
illustrations for the story »the man with the twisted lip« (Sir Arthur Conan Doyle)
decalcomania, collage, drawings, printed on risograph, 96 pages, 15,5 × 23,7 cm

With the help of decalcomania I tried to lose control with the process of making an image. A lot of tries were necessary to find a way that would control the process of making accidental images. It helped me to question what is wrong or right and I started to accept and develop my own system of failing. The outcome consisted of abstract "failure" prints, which help to evoke the readers imagination as they go through the book. The final illustrations are a mix of decalcomania, collages and drawings.

Selfpublished, run 15, 5c print on risograph ez5 series, 80 pages, 11,8 × 18,8 cm

This book is about four interviews with the following designers: Karel Martens, Urs Lehni, Benjamin Sommerhalder, and Cornel Windlin. The format has been determined by the average size of their original books. The layout is based on a main colour concept, distributing one specific colour for each presented designer. This is also made clear by how it is bound. At the beginning of each chapter, a spread image of the designer is displayed, followed by an introduction in the correspondant colour. The amount of white space that is filled with images is determined by the length of the introduction. To enable the reader to fully concentrate on the interview, the text is accompanied by just a few images & graphics.

Beni Bischof
Organizing information
printed on risograph, cover printed with metal types, 232 pages, 21 × 29,7 cm

The titles from Beni Bischofs' Oevre are set in a context of new images and information. From using simple tabulators I started experimenting to fit the form of researched information. Column width is generated from the original sized image. The URL forms the frame that surrounds the image. Therefore, the image generates the layout that is always being processed. The articles are set in the size of the images.

silkscreen color on various types of paper, various formats

Different silkscreen posters produced in the studio sieben+ that I run with friends.

The invisible poster
studies of rhetorical devices
printed with metal type and transparent lake, 42 × 59,6 cm

The Paradoxon is a contradictory statement, that when you look at it in detail leads to a higher truth. During the course I did research about the theoretical background, like the story of »Achilles and the tortoise« from Zenon from Elea and I collected visual illusions that question the conventional experience of space. My final work is the invisible poster that refers to René Magrittes' »Ceci n‘est pas une pipe« and aims to advertise by being unseen.