Client: BMW Motorsport
Agency: Havas
Role: Art Director
Year: 2019
 

Client: BMW Motorsport
Agency: Havas
Role: Art Director
Year: 2019
 

Client: BMW Motorsport
Agency: Havas
Role: Art Director
Year: 2019
 

Client: BMW Motorsport
Agency: Havas
Role: Art Director
Year: 2019
 

Client: BMW Motorsport
Agency: Havas
Role: Art Director
Year: 2019

In Season 6 we are even closer to the action and make use of the unique proximity of the race series to the spectators. Unlike race-series with large run-off zones and gravel beds, the spectators of the Formula E get very close to the cars and the racing action. To make this unique experience tangible we always take the perspective of direct observers: We see vehicles passing by the streets directly from the fans' point-of-view or the viewer takes a seat in the cockpit of the BMW iFE.20. The motifs are therefore always built up with foreground elements, which are used to explain the viewer's situation behind the barriers.

In Season 6 we are even closer to the action and make use of the unique proximity of the race series to the spectators. Unlike race-series with large run-off zones and gravel beds, the spectators of the Formula E get very close to the cars and the racing action. To make this unique experience tangible we always take the perspective of direct observers: We see vehicles passing by the streets directly from the fans' point-of-view or the viewer takes a seat in the cockpit of the BMW iFE.20. The motifs are therefore always built up with foreground elements, which are used to explain the viewer's situation behind the barriers.

In Season 6 we are even closer to the action and make use of the unique proximity of the race series to the spectators. Unlike race-series with large run-off zones and gravel beds, the spectators of the Formula E get very close to the cars and the racing action. To make this unique experience tangible we always take the perspective of direct observers: We see vehicles passing by the streets directly from the fans' point-of-view or the viewer takes a seat in the cockpit of the BMW iFE.20. The motifs are therefore always built up with foreground elements, which are used to explain the viewer's situation behind the barriers.

In Season 6 we are even closer to the action and make use of the unique proximity of the race series to the spectators. Unlike race-series with large run-off zones and gravel beds, the spectators of the Formula E get very close to the cars and the racing action. To make this unique experience tangible we always take the perspective of direct observers: We see vehicles passing by the streets directly from the fans' point-of-view or the viewer takes a seat in the cockpit of the BMW iFE.20. The motifs are therefore always built up with foreground elements, which are used to explain the viewer's situation behind the barriers.

In Season 6 we are even closer to the action and make use of the unique proximity of the race series to the spectators. Unlike race-series with large run-off zones and gravel beds, the spectators of the Formula E get very close to the cars and the racing action. To make this unique experience tangible we always take the perspective of direct observers: We see vehicles passing by the streets directly from the fans' point-of-view or the viewer takes a seat in the cockpit of the BMW iFE.20. The motifs are therefore always built up with foreground elements, which are used to explain the viewer's situation behind the barriers.