Credits: Radim Peško (workshop)
Orgalit is an alternate name for the fiberboard. This material was often used as a dancing surface by break dancers. In this font, found furniture fiberboard pieces were recycled as initial construction elements. Orgalit came from the idea of "marrying" distant lettering fields. High and low, techy and primitive. Orgalit fuses construction toy silhouettes (suggesting "Bill", 1950) and graffiti namewriting. It bridges the gap between the world of modernism and the streets, breaking out of established stylistic clichés. Orgalit makes every word to a logotype, as if Dondi would have teamed up Chermayeff and Geismar.
Realised during the workshop with Radim Peško.
Fields: Research, Writing, Editorial Design
Format: book, 187 x 115 mm, 196 p.
From the foreword: "GGK was an advertising agency established in 1958 in Basel by Karl Gerstner, Paul Gredinger and Markus Kutter. GGK existed in the era of Mad Men on the Swiss ground, representing a unique attempt to "marry" the american advertising model with Gerstner's programmatic approach and the values carried out by the Basel school. In this regard, Karl Gerstner's vision of a "Bauhaus Business" is the most accurate description of the GGK phenomena."
This pocket book consists of 8 chapters based on the GGK's annual reports. Using them as a primary source and and aiming to find the missing links in the interviews with the GGK's ex-members I'm reconstructing the agency's story in its most flourishing years–between 1958 and 1970. The project was initiated at the ECAL, Lausanne as a Master thesis and was supervised by Roland Früh.
Fields: Research, Editorial Design, Photography
Format: book, 252 x 206 mm, 328 p.
The book „Rotary. Studio für elektronische Musik WDR Köln 1951–1981“ tells the story of the first electronic music studio of its kind in the world in the era of Cold War Modernism. It consists of a reader and an edited photographic material from the studios ex-technician Werner Scholz and Stockhausen Archive.
The layout is divided into two parts: they run horizontally atop of each other in the reader and vertically in the archive part. This separation comes from the idea of having a cross-reading situation: the history of the studio (A, see close-ups in the gallery slideshow) is set into broader political, technological and cultural context (B). The closing part features color photographs, made in the historical studio. They depict the preserved world of music machines, remaining still intact.
Special thanks to: Alina Anfalov, Kai Bernau, Maria Luckas, Volker Müller, Francois Rappo, Werner Scholz, Stockhausen Archive Kürten
Photography: Tobias Faisst, Yevgeniy Anfalov
Fields: Editorial design
Format: book, 148 x 210 mm, 96 p.
Language: English, Russian
Ante Meridiem Story is a music and visual research platform (now defunct), seeking for childhood dreams and Eastern Block-related nostalgia.
It started off as a collection of visual culture reference points including obscure record covers, vintage books, magazines and ephemera. The book archives most of the site's entries between 2009–14, depicting all the guest mixes and featuring interviews with Juju and Jordash, Madteo, Jeremy Underground and an article about Blue Note Records art director Reid Miles.
Fields: Type Design, Consulting
Сlient: Museo de Arte Latinoamericano de Buenos Aires
Museo de Arte Latinoamericano de Buenos Aires (MALBA) is a private non-profit institution funded by Eduardo F. Costantini Foundation exhibiting the main modern and contemporary artists of Latin America. The museum mixes its permanent collection with temporary exhibits, cinema and literature programs.
MALBA sans is a corporate font of the museum, whose capital letters were drawn in-house (Aldus De Losa) and served the titling purposes. We were asked by the museum’s graphic design team to analyse and update the capital letters, draw the lowercase letters, based upon the improved model and extend the character sets to cover more languages. The new version, named MALBA Sans is characterised by a stronger vertical accent and more consistency due the reshape of all the letter forms. A new tighter spacing contributed to the better titling function. MALBA Sans was fully kerned and is going to be implemented in the museum’s upcoming identity in 2018. The font was exclusively drawn for the internal use and is not available for licensing.
Fields: Documentary photography, Editing
Format: photographs/ booklet, 204 x 259 mm, 32 p.
'Nocturne' is a documentary project about Miriam Reift, a neonist from the city of Renens in Switzerland. Miriam was trained as a glassblower in Bern in 1980. Glassblower is an old and hard to learn craftsmanship, requiring manual dexterity and patience.
Very quickly she found a job in Lausanne at Néon Mex SA as a neonist and since then has bent dozens of tubes for shops, festivals and television. After 26 years of intensive work she quit because neon was replaced by more efficient and cheap LED technology, so the tube bending became obsolete. "I felt like they have to pay me the salary without having real jobs for me".
Occasionally Miriam practices in the workshop of Neon Mex, where she was coincidentally spotted and then photographed. Tools, bending techniques, special moves were captured and combined with found archive material and an interview, and brought together in a brochure of 32 pages. Typeface GC16 by Bold Decisions.
Fields: Type Design
Credits: François Rappo
Alt Mediaeval is a digital revival of the serif font used in the first issue of Bauhaus magazine from 1926, printed by Dünnhapt in Dessau. The original was designed in 1914 by Max Hertwig for H. Berthold AG. Its stylistic caracteristics come from the arts and crafts movement in Europe and such typefaces as Hollandsche Mediaeval (1912), Belwe Antiqua (1913) and Daphnis (1914).
The revival of the lowercase letters has undergone functional adjustments and the uppercase letters are interpreted more freely. Moderate contrast, letterforms of 'g' and 't' as well as slanted serifs create unique rhythm and make the face distinctive. Alt Mediaeval works across various sizes, showing good legibility in the text and carries recognition value in the titling use.
● Available for purchase (pre-release license). Ask for PDF specimen and a trial version: email@example.com
Fields: Editorial Design, Maps, Information design
Сlient: Maxim Dondyuk, Kehrer Verlag
Ukrainian photographer Maxim Dondyuk has documented the so-called Euromaidan, a revolution in Ukraine in 2013–14, which led to death of more than 100 people and dramatically changed the political and societal tack.
This volume features an extensive archive of photographs shot in the middle of street clashes. An additional interview and the photographer's diary are divided into 3 phases of events on the Maidan Square. All the toponyms are linked to an inlayed map and an events timeline. The book will be published at Kehrer Verlag in Germany.
Fields: Editorial design, Photography, Reserach
Format: book, 180 x 250 mm, 166 p.
„Excavate“ is a reader about collecting, exploring the relationships between the human and the world of objects he is surrounded by. It highlights main motives for collecting in the theoretical chapter (essays by J. Baudrillard and Wulf D. von Lucius) and features interviews with Günter Höhne (former Editor-In-Chief of „ Form+Zweck“, collector of Eastern German design), Simon Menner (artist), Jung und Wenig (graphic designers), Thomas Olbricht (art collector and gallerist), Stephan Steigleder (vinyl collector).
All the interviews are complemented with photo stories. In collaboration with Konstantin Medvedev.
Fields: Editorial design
Format: 294 x 419 mm, 32 p.
An essay on the dark side of food photography. MMM recycles image fragments from the advertising inserts of Migros magazine. Scanner at 4800dpi is used as the zoom- and framing tool to analyze the semiotics of imagery in the modern food advertising. The project refers to the the essay "The Rhetoric of the Image" by Roland Barthes from 1964.
Fields: Type design
Credits: exhibition catalogue "Naivität der Maschine", 1974
Serafim is an interpretation of a sans-serif typeface used for the exhibition catalogue "Naivität der Maschine" (Kunstverein Hannover, 1974). It's rounded stroke endings and rough appearance has in common with typewriter aesthetics and early computer typefaces. Wide uppercase letters of the same width and generous spacing make the face appear almost monospaced. A bit less compact, still very legible Serafim becomes an additional tool for the modern editorial design purposes.
● Serafim is avaliable on request: firstname.lastname@example.org
Fields: Editorial design, Editing, Lettering
Format: newspaper, 295 x 420 mm, 32 p.
Credits: Sasha Kurmaz, Sasha Marshani
"Pepper" is a pilot issue of a street newspaper. It aims to re-think the format of street newspaper by bringing more directness into the content creation.
From the editor's letter: "Pepper is meant to be sold by people in the streets of your city. Everyone in need can take it for free and sell it. (...) One of the main things we want to do is to hear from socially excluded people, whether they are sex workers, refugees, drug addicts, or homeless, about what their lives are like. Our approach is to give them portable film cameras, so they document their lives within one single day. The images are then included in the newspaper and supplemented by an interview with each participant. Each issue is devoted to socially-related topics like poverty, dwelling, migration, exclusion, violence, etc. Our Issue 0 is devoted to the homeless life in the winter Moscow. An article by Svetlana Stephenson explains the background of Russian homelessness. With the generous help of Sasha Marshani and other collaborators, this issue was made possible."
Fields: Stationery design, Identity
Сlient: kotä records
kotä records is a label devoted to experimental and avantgarde music. Main carriers of the label's visuals are record covers with abstract paintings by guest artists. Primarily, the LP- and 12 inch covers required an unified typographical system.
Following the brief, we developed functional grid-based typographical rules for the use across record covers and subsequently, label's stationery. Each medium has got it's own neutral frame, so the visuals can function clearly and don't compete with textual information. The logotype is based on the own version of Tablica Dorogowa typeface.
Fields: Web Design, UI, Prototyping
Сlient: Anton Hodus, Rotation
Soundstamps (now Rotation) is a start-up created by a group of music lovers, to make finding rare music smarter and easier. It is a streaming service and social plattform that allows to share and discuss found tracks with fellow music-lovers. This pilot proposal included wireframing and UI concept together with the developers team and making of templates for search filters, tools to create mixtapes, editorial selections and audio-journals on the go.
Fields: Illustration, Packaging, Type design, Logo design, Experimental
● BBU ● AMS CD's ● Wajda V 1.00 ● 24:00–00:00 ● AEM Ritm-Kaskad & Dices 7" ● CZ Vuc with Clement Tremblot ● LER (Life Ergonomics) ● Excavate V 1.0 ● Letterpress w. Jacopo Atzori