JUNO TALKS mit Jan-Frederic Goltz
Jan joined us straight out of university. Now he runs his own design studio and teaches young designers. What the nightlife and climbing walls teach you about design, how to become a mentor, and why he remains connected to JUNO – a conversation in celebration of 25 years of JUNO Legacy.
What epic fail at JUNO are you still grateful for today?
I had to fly to Munich alone for an interview shoot. After twelve hours of work, I drove to the hotel with my contact person, desperate to sleep – only to find out the client had forgotten to book me a room. Trade fair season. Everything was fully booked. The hotel receptionist took pity on me, and I was allowed to sleep on a foldable cot in the changing room of the hotel's sauna. Back up at 6:30 the next morning – no breakfast. Luckily, no one decided to use the sauna. It was a pretty wild experience. But looking back, it’s actually hilarious. You learn a lot from episodes like that.
You came straight out of university, worked with us for three years, launched your own design studio “Atelier Disko,” and then started teaching. When did you realize you were ready to share your knowledge?
I had already done tutorials during my studies – like workshop courses on video and animation. I really enjoyed that. Later, as a freelancer with my own interns and employees, that same feeling came back. A former classmate, who had since become a professor, asked if I’d like to teach at the Brand University. That was during COVID. Since then, I’ve been doing it alongside my work as Art Director and Managing Director of Atelier Disko, the design studio I run together with my partner Rico Lützner.
What does it take to be a good mentor?
Experience. And if you approach it with empathy, understand what the younger generation is dealing with, what struggles they’re navigating, and genuinely care about their interests – then you can be a good mentor. Pretending you’re still 20 is the wrong approach. My goal is to give my students a realistic sense of the professional world. For example: I consciously let them make mistakes – like in a pitch scenario with NDA clauses that make absolutely no sense.
What kind of clauses?
“With your participation in this pitch, you agree to transfer €2,000 to the client.” Then they send the signed PDFs back to me, and I say, “Alright, so each of you owes me €2,000 now.” I use it as a teaching moment: “Pay attention to every tiny detail. Question things if they seem off.” It’s a way for them to learn thoroughness.
What subject do you teach?
Art Direction.
How do young people learn to give design a direction?
I start with a kind of crash course in design fundamentals because many students no longer have basic design skills down. Yet Art Direction is holistic: You need to see the big picture and still bring together all the details – from micro-typography to large-scale campaigns. This involves concept development, technical skills, design – and, most importantly, inspiration. Input is critical, but you need to handle it carefully, as it shapes you more than you think – and before you know it, that supposed inspiration has unconsciously found its way into your own design. As an Art Director, you have the responsibility to ensure everything feels consistent and that all the elements come together seamlessly – whether it’s in a meticulous design system or an overarching brand identity. For me, it’s a bit like directing a film.
What should you do – degree programs, additional training – to become a good designer or Art Director as a young person?
These days, you need to be like a Swiss army knife as a designer. Ideally, you can write the headline yourself when there’s no copy. You should know how to edit a video, animate, build a Figma prototype, or craft a concept for a homepage. And: You should be able to lead a workshop. In the past, you might have had a clearly defined role – illustrator or typographer, for example. Today, those lines are blurred. You need to develop a sense of what your client really needs. You also need to know what’s already been done in design – and what’s just a fleeting trend. Experience isn’t something you can learn easily; it takes time. Young designers often get excited about their first results, especially in the age of AI. But good design comes when you critically evaluate and refine these outcomes.
Can you learn that in university? You’re not dealing with real clients there.
At university, you can at least practice and make mistakes. It’s like a safe space. The worst that can happen is a bad grade. You’re given tasks, you develop projects, and ideally, you think to yourself, “Who am I actually creating this for?”
What excites young people about design today?
My gut reaction: retro vibes. My students are suddenly discovering analog photography because they like the visual aesthetic. One of them found an old MiniDV camera in their parents’ attic and combined its visual language with modern digital photography – as a deliberate stylistic clash. Overall, I’ve noticed trends today move much faster. In the print era, a trend might last a year; now, in the digital age, they shift monthly. At the same time, I sense that young people, in this era of digital overload and societal uncertainty, are craving slower, simpler things – and this is reflected in these kinds of nostalgic returns.
And for you? You climb, make music, see a lot of art. Which of these influences your design the most?
For a long time, nightlife inspired me – not so much the partying or the alcohol, but this transitional space between day and night. That in-between time when I had the most intense conversations, often with people I’d never met before. Inspiration often emerged from those encounters.
So not visual inspiration, but content?
Exactly. Content, ideas. As a designer, you should be able to translate ideas into design.
I still remember when you started with us – you brought so much pop culture to the table: this sense of music, rhythm, editing. It enriched us immensely.
That’s true. I grew up entirely within pop culture. Back then, music videos were at their peak – Michel Gondry, Chris Cunningham. The visuals during that era were incredibly powerful. This blend of audio and moving images influenced me greatly.
What excites you about design today – what currently inspires you?
Berlin. For instance, the Kraftwerk on Köpenicker Straße or the Boros collection in the bunker – these are places steeped in history and brimming with atmosphere. The Kraftwerk sometimes hosts exhibitions that completely immerse me audiovisually. The curation is on such a high level that you think, “Wow, I’ve truly never seen this before.” And it’s not just aimed at the mass market but intentionally targets nerds and subcultures.
On your journey through the design world, you keep coming back to JUNO. Why is that?
First, I worked for you as an employee, then freelanced, then came back – and now, with my own agency, I share office space with you in Hamburg, in addition to our other location in Berlin. I’ve learned so much from you, not just on a professional level. Over time and through the various phases of our collaboration, our relationship has become more personal. You were my mentors; now, we’re family.