Industrial, product and graphic design.By Diana Zillner — identity, interface, object.
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03 / Selected work
17 projects
A modular speaker system that gives every participant of a hybrid meeting their own sound.
Seating, bicycle and e-scooter parking and a waste bin in one continuous line of bent steel tube.
My own label: hairpins made by hand, photographed, packaged and brought to a shop.
An autonomous farm vehicle that removes weeds mechanically instead of chemically.
A site map for a 1972 Olympic venue — and the brochure that grew out of it.
Lace trims brought home from Sicily, turned into a collection of chokers for the Dirndl.
A milled beech hook that is also a shelf, held together by plug connections and precise cuts.
Blister strips that snap in half and a box that carries its own leaflet — medication packaging rethought.
One beverage crate for two bottle sizes — flip it and the inlay reorganises itself.
I scanned the Munich Hofgarten by drone and set a ring of benches around the Diana Temple — back inside the scan.
A modular waiting space for a Berlin station, designed around different ages and abilities.
Few elements, one movement — a sculpture built to make motion look effortless.
A biomaterial developed from scratch, documented as a recipe book, and worn as a hairpiece.
A short-term project asking whether our daily rituals give us security or just the feeling of it.
Rome, translated into jewellery — an artichoke, an obelisk, and the city’s everyday symbols.
Tap it and it reacts. A shy, worm-like frame with a touch strip, a temper and an Arduino inside.
Illustration, editorial design and self-publishing — a whole world drawn in vector line art, published on Amazon.
01 / About
I am an industrial designer from Munich. I graduated in Industrial Design at HTW Berlin in 2023, after four years in Berlin, and I am currently studying for an M.Sc. in Product and Service Design at Sapienza University of Rome.
My work runs across industrial design, product and packaging design, and graphic and editorial design. Most of the projects here started at university, often in a team and often with a company on the other side of the table — Mercedes-Benz, Coca-Cola, Rolls-Royce Power Systems. The rest I started myself, because I wanted to keep making things after my degree.
Self-published colouring book for kids.
Wayfinding map, brochure and signage.
Sapienza University of Rome — Advanced Design Studio, Smart Object, Laboratory of Aesthetics.
Own label for handcrafted hairpins.
Bachelor thesis “Connected” with Rolls-Royce Power Systems.
German Packaging Institute (dvi) with Coca-Cola.
Cooperation project with Mercedes-Benz AG.
Studies and first design projects.
02 / Services
Five fields, one way of working: research first, then form, then the files someone can actually build from.
Logos and word marks, a colour and type system, and a brand book that says how to use them — concrete enough that someone else can apply it without asking. For a new name, or for one that has grown messy. Often together with the packaging, so the object and the identity come from the same hand.
Objects from the first research to the production-ready detail: concept, ergonomics, material and colour, 3D modelling, prototypes and technical drawings a manufacturer can quote from. Including the unglamorous part — what it costs to make, and how it comes apart again at the end.
Structure and graphics in one go: dielines, material choice, how the pack opens and closes, the information the law requires and the shelf presence it does not. Plus the digital layer — a code on the pack and something worth finding behind it.
Wayfinding and signage, brochures, books and reports, information graphics. Laid out as a system rather than page by page, so the hundredth page still works like the first — and handed over finished: ready for print or installation, with nothing left for anyone to patch up afterwards.
Drawn characters and worlds, and vector line art that stays clean from a sticker to a shop window. Whole illustrated books too — from the first sketch through layout and typesetting to the printed copy, including the parts nobody enjoys: bleed, colour proofs, and the file the printer actually wants.
Alongside that, objects made by hand: jewellery, small series and samples that are built rather than rendered — because some things only show themselves once you can turn them over. This is where a product gets a voice instead of a spec sheet, and where a brand gets an image of its own instead of a stock photo.
04 / Process
Every project follows the same sequence, which brings content, requirements and execution together.
Briefing, content, technical and product-specific requirements.
Design direction, variants, and the basis for deciding between them.
Finalisation, design system and details, worked through to production.
Ordered files, guidelines and specifications for implementation or manufacturing.
05 / Contact
Scope, goals and constraints are enough to start with. I will come back with questions or the next steps.