THE CHOREOGRAPHY OF PERCEPTION
Not everything moves.
Not everything breathes.
Not everything shapes the world around it.
But what does,
what defines how we perceive,
what moves through space and time,
Becomes Identity. Becomes Rhythm. Becomes Atmosphere.
VISUAL. MOTION. OLFACTORY.
graphics and multisensory media FOR culture, film, branding and entertainment.
1. Motion Branding Systems
Every brand tells a story. If it's not defined, people invent it. But often in the wrong direction.
Motion branding turns a brand identity into behavior.
We define how the brand acts, not just how it looks.
It becomes part of the brand code. Like type or color, but in time.
We add movement logic to the static rules of the brand: how elements appear, shift, repeat or stop. We define pace and rhythm, sequence and transition, presence and narrative, and the use of sound. On screen, in space, across every moving format.
2. Film & Television Identity
A film or series identity has to be built from the beginning.
If you add it later, it just sits on the surface. But identity design should come from the story itself.
The rhythm, the tone, the atmosphere. Most productions separate the parts. A logo is made here. A trailer is cut there. Titles are added on top at the end. Nothing fits. Chances lost.
A real identity system ties everything to the same core idea.
It sets how each module speaks. Each part fits like a puzzle piece. Modular, but essential to the bigger picture.
A real identity system shapes what the audience expects.
It builds interest before the story begins. That moment is already part of the story.
3. Cultural Communication
Most cultural formats still rely on static materials. Posters. Banners. Wall texts. Some shallow animations. These are built to be seen once and ignored quickly.
But cultural experience is not static. It moves. It builds. It happens across time and space. It is perceived through multiple senses.
We build systems that guide perception. Posters that shift. Walls that react. Spaces that speak in time. Each format is designed to direct attention, control pacing and hold sensory weight. Built for exhibitions, public space and formats that require presence.
4. OLFACTORY Concept & MULtISENSORY Strategy
Olfactory art is not perfume. It is the use of scent as a structural and narrative medium. It works in relation to image, space, time and sound.
A scent concept starts from a specific idea. To signal or activate. A spatial threshold, a shift in narrative, a tension in the room or a memory trigger.
Just like editing, color or rhythm, it moves the viewer through states.
It can calm. It can disturb. It can pull attention or push it away.
In multisensory work, scent is not secondary. It carries weight. It defines atmosphere, triggers recognition, and builds contrast. It can anchor a moment or change how space is perceived.
THE METHOD
I start before design, before script, before concept,
when the direction is undefined and nothing holds charge.
When options multiply but meaning disappears,
I define what’s missing and cut through clutter and scattered assets.
Clarity first.
I begin with perception.
Not with story. Not with format.
What does it need to trigger? What must it resist?
From there, I build:
Across the Visual System, the Time-Based Logic and Sensory Architecture.
Every element positioned. Every response pre-calculated.
I build presence.
I strip what dilutes.
I shape what hits.
Every frame should be intentional.
Every frame should be unrepeatable.
AI can generate anything.
But it can’t choose what not to.
It can’t sense cultural weight, risk, fatigue or consequence.
It mimics. It floods. It doesn’t decide. It follow patterns.
You don’t need more output. You need decisions.
Decisions can't be replaced by AI. They become necessary because of it.
We define what enters. What’s withheld.
What’s culturally, perceptually and strategically relevant.
The perception of scent is the moment when past and future memories collide.
BEYOND THE SURFACE
I’m Carolin Vedder.
I work across motion, olfactory, space and visual systems.
I choreograph tension, rhythm and presence across media.
From trailers to title sequences, identities to campaigns, exhibitions to spatial design.
Contrast, tension and resonance emerge in the interplay between
Structure and rupture, balance and contrast, memory and momentum.
Rooted in Modernism, the Wiener Werkstätte and the early Avant-Garde.
Shaped by Suprematism and Swiss clarity to a Punk’s logic of disruption.
Not to decorate stories. To control how they hit.
For over 25 years, I’ve designed systems that shape how audiences perceive across image, motion, scent and spatial presence.
Clients include MTV, Nickelodeon, ZDF, ORF, CERN, Mercedes, Siemens and Douglas.
The Bauhaus Missing Scents prototype defined new methods for structuring perception across sensory fields.
CAROLIN VEDDER
Based in Vienna. Working Internationally.
For commissions or questions →