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. 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."
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.