We asked Berlin-based award-winning creative studio Sucuk & Bratwurst about 3D design, post-internet art and whether or not AI making creativity easier is a good or bad thing.
They say that a business is likely to succeed the longer the founders have known each other: how long have you four known each other?
We've known each other since kindergarten and have also spent some of our school years together. Additionally, during our school days, we used to hang out and engage in nonsense together. This has led to a long and deep friendship, which works well for us in our business lives, as we quickly come to a consensus even without many words.
When did you decide to launch a studio? Why?
In late 2012, we launched a Tumblr blog to showcase our photo collages, Photoshop projects, and initial forays into 3D design. This led to several inquiries, prompting us to establish a design company in 2014. Since then, we've experienced a growing number of requests. Up to this day, we've never had to formally introduce ourselves or seek out work – inquiries have always come naturally.
nike x sucuk und bratwurst campaign for nike am97 – 2017.
Why 3D — nowadays it would be obvious — but that wasn’t always the case. Did you begin with 3D, (& why)?
Back then, it was quite innovative, and the aesthetics of Post-Internet art truly captivated us. That's why we started watching YouTube tutorials and independently honed our 3D skills. This likely had a significant impact on our professional journey with the company, as there weren't many who were pursuing something similar at that time.
Sucuk & Bratwurst by Pauline Schey
You’ve also worked on sculpture — is tangibility important to you then?
We enjoy experimenting with different media and materials. It also brings us happiness to see how our digital 3D works are translated into physical objects.
There’s a bit of kick back in design against ‘seamlessness’ — people want to feel something — do you think that was inevitable?
Inevitably, perhaps. The desire to experience emotions or be profoundly moved is a universal human trait. Thus, the progression appears quite logical in its essence.
rin artworks for eros — 2017.
How do you approach a new project or collaboration? What is your creative process like?
Once we receive an inquiry, it's a matter of time and whether we as a team resonate with the client and the project. Subsequently, we usually arrange an initial call with the client to gauge mutual understanding and alignment. If we then approve the project and the client doesn't have a specific idea or briefing, we collaborate to create one and present mood boards or storyboards to illustrate the intended direction.
032c graphics for 032c motocross collection – 2017.
Your whole vibe gives me Berlin rave poster vibes. I looked into it and apparently it’s a genre called ‘Dystopian Gothic’ is that accurate?
We've never been confined to a particular genre. Back in our inception, even when we were frequently linked with Post-Internet Art, our intention was never exclusively focused on fitting that mould.
The emergence of that style occurred organically, aligning with our personal inclinations and sense of humour. Our primary aim continues to be following our instincts and creating what resonates authentically with us. Whether you categorise it as Dystopian Gothic or any other label is entirely at your discretion.
Illustrations for Super Paper — 2016.
You told HYPEBEAST that you don’t think you should waste your time trying to find the coolest name but instead let your work speak for itself. I tend to agree. Is branding more than just branding then?
Initially, the name wasn't a significant concern for us as we simply needed a name for our Tumblr blog. It wasn't part of our plan to turn it into a design company. However, we often received admiration for our work, and our name actually helped us stand out in conversations due to its uniqueness – somewhat amusing or unconventional for a design agency. As long as one can substantiate their skills through their work and maintain engagement in conversations, there are good prospects in the industry.
Cover for Indie Magazine — 2016.
We recently asked some people about the M word — metaverse — mainly in response to Neural Radiance Fields NeRFs and a more streamlined creation of 3D photorealistic assets. What do you guys think about the rise and fall (and maybe more rise?) of it?
At present, the concept of the Metaverse doesn't seem to effectively address any substantial real-world issues, if I'm being candid. The notion of socialising through VR with colleagues or friends as digital avatars within a virtual living space, while sporting the latest virtual attire, fails to captivate the imagination. Opting for a simple video call, a traditional phone conversation, or even spending time together in person holds greater appeal.
Undoubtedly, the idea of enriching our online experience to a new dimension is intriguing, but it's worth noting that environments like VR Chat Rooms and established platforms like Second Life have long been in existence. Currently, the Metaverse appears to be an amalgamation, mirroring these pre-existing elements, albeit with a slightly diluted and less user-friendly quality.
There’s a lot of chatter about AI making things too easy and that being a bad thing creatively. Do you agree?
It's not bad when something is simplified, as long as the result is convincing. Moreover, one needs to be adept at handling AI and providing the right inputs to the tools. I believe it will take some time before brands can completely do without designers like us.