Interview with Lucas Hesse
Motion Design as an integral part of
how ideas are communicated

I had the pleasure of speaking with Lucas Hesse, a brilliant designer whose work seamlessly bridges the worlds of typography, motion design, and systems.
In our conversation, we dive into Lucas’s journey — from discovering his passion for typography during his studies in Mainz to his time in Seoul, where he uncovered the fascinating intersection of type and motion. We also explore his systemic approach to design, his philosophy on creating motion identities, and the unique teaching methods he uses to guide students through the complexities of merging concepts with execution.
This discussion is a treasure trove of insights for anyone interested in thoughtful, forward-thinking motion design processes, and I’m excited to share Lucas’s perspectives with you.
Martin: Hi Lucas, it’s a pleasure to interview you finally. I have been a long-time fan of yours, and although we never actually worked together, I feel very close to your way of working. I think we share a very similar systemic approach to design. This was made clear when I watched your Adobe Live session. Can you describe your workflow for our readers?
Lucas: I studied communication design at the University of Applied Sciences in Mainz, where I developed an early passion for typography. In my first semesters, I worked on magazines, books, and posters, always with a strong focus on typographic elements.
During my semester abroad in Seoul, South Korea, I discovered motion design and immediately became fascinated by the connection between typography and animation. The challenge of bringing letters into motion — combining graphic and motion design — has shaped my work ever since.
I focus on creating concepts that function seamlessly in both static and dynamic contexts. My work is highly structured, both visually and in motion, with a clear emphasis on clarity and consistency. I enjoy reducing designs to their essentials, finding out how much can be communicated with just a few carefully chosen elements.
My approach is also systematic. I think in systems, ensuring my concepts are cohesive and adaptable across different media while maintaining efficiency and a strong sense of structure.
In a recent work from you, I shared on our FVS Instagram account, you described the elements of your motion system by “dynamic grid”, “type + shape”, “layering”, and “constant flow”. Is this typology specific to this work, or is it a system that applies to many motion systems?
Yes, these principles were developed specifically for that project. When creating kinetic identities, my approach centers on designing motion principles that are uniquely tailored to the needs and goals of each project. Animation and movement, in my view, are fundamental elements of a brand’s identity — just as important as color, typography, or imagery. They should hold a defined and intentional place within the framework of a branding system, rather than being treated as an afterthought.
Motion concepts can expand the possibilities of traditional branding toolkits, providing an additional layer of depth and expression. A more radical approach, however, is to use motion as the foundation for the design process. By positioning the motion concept as the starting point — the baseline upon which everything else is built — the result is often a branding system that feels more innovative, adaptable, and reflective of contemporary design principles.
Apart from your client work, you also teach workshops. How do you teach your systemic approach to students who have never worked that way? It must be quite a mind shift for them.
In my work, the concept always comes first. I focus on how to develop ideas, both visually and through motion. This is also the core of what I teach in my workshops. I emphasize that every element and every movement should serve a purpose and follow the idea, rather than being just decorative.
The workshops are always tailored to the students and their background. At design schools, we often focus on animation and its conceptual integration with visuals. I guide students through how motion can enhance and complement their visual ideas, helping them think beyond static graphics. At motion design departments, where students usually have a solid understanding of tools like After Effects, we dive deeper into developing visual concepts.
I always try to focus less on the technical ‘how’ and more on the conceptual ‘why.’ I want students to see motion design not just as a tool, but as an essential part of their overall design thinking. Overall, the goal is to show that motion isn’t something separate from design — it’s an integral part of how ideas are communicated.
Thank you, Lucas!
Follow Lucas at:
https://www.instagram.com/_hesselucas/