Call for Entries: FRESH 1, 2 & 3 / Cutting edge illustrations in 3D+Object / PUBLIC / PRINT

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Slanted sucht die besten und interessantesten Illustrationen für die Buchserie “FRESH”. Bestehend aus drei Büchern, welche sich alle einem bestimmten Thema widmen, soll FRESH zu einer internationalen, umfangreichen Inspirationsbox für zeitgenössische Illustration werden.

Dabei geht das Konzept über Illustration in Print und Editorial hinaus – zeigt uns außerdem eure dreidimensionalen, objektspezifischen Arbeiten und lasst uns an euren Illustrationen im Raum teilhaben.

Newcomer wie bekannte Größen sind gleichermaßen dazu aufgerufen, sich zu registrieren und daran in einer oder allen Kategorien teilzunehmen. Die Teilnahme ist kostenlos, der Einsendeschluss ist am 04.03.2011. Wir freuen uns auf eure Einreichungen!

Weitere Infos zu FRESH findet ihr auf der Webseite.

FRESH 1 3D+Object
Cutting edge illustrations in 3D+Object explores Illustration in a sculptural or 3 dimensional environment as well as the art of illustrations applied on products as industrial- or fashion-design (e.g. apparel, sporting goods, packaging, bottles, furniture, cars etc...)

FRESH 2 Public
Cutting edge illustrations in public shows streetart, graffiti and illustration in architecture, in-store graphics or public space.

FRESH 3 Print
Cutting edge illustrations in the press is a presentation of personal designs alongside commercial work produced for books, flyers, brochures, or magazines.


Diese Publikationen, für die Designer ihre Arbeiten kostenlos hergeben sollen, nehmen ja kein Ende mehr!
Ich beobachte das schon seit längerem und frage mich langsam, für wen, außer den Verlegern, das gut sein soll. Ich bezweifle, dass der Nutzen für Designer, in diesem Fall Illustratoren, so groß ist, dass sie ihre Rechte für immer und ewig hergeben und der Verlag das Buch für jeden Preis, den er will verkaufen kann (siehe "Grant of Rights" auf der oben angegebenen Fresh-Website).
Ich finde diese Herangehensweise mehr als fragwürdig. An dieser Stelle sollte man sich tatsächlich mal Gedanken über den Wert von Arbeiten machen und die Frage stellen, ob die Welt tatsächlich ein weiteres Bilderbuch braucht oder es nicht sinnvoller wäre, Bücher zu machen, die wirklich etwas zu sagen haben.


These kind of publications are essential in many ways - for educational purposes, potential clients and professional designers looking for inspiration. We are all inspired by what we see, there's no argument in that. But for once Contributors may like to think about their duty as Illustrators/Designers to inspire others, as today we are the ones who sit at the most fragile steering wheel in history. This box-set will (i expect) have plenty to say, Illustration is all about informing, it stands next to typography.


The pro and contra discussion is as old as mankind itself … should I eat the apple or not … and so on. Well, we have eaten it, therefor we have to live the consequences … e.g. being savvy and creative and having an apple on your desk to create illustrations. And somehow other people want to make money with that. So we give them our work to be put into those kind of books. For free. Whatever.

You can't say "Oh, I am being ripped off", or "Oh my, why don't I become famous right now, I am in this book?". (Usually people say the former, but mean the latter.)

Pay for the Art Directors Club or Type Directors Club contst entry and maybe you'll win. But as long those other books let you enter for free, don't expect anything from that.


I think it is not only a discussion about pro or contra. No, it has to be put on another level, as it is about time. No, this kind of publication more or less needless as it can be in our time of internet communication. It is about surviving with what we do. To get inspired as a designer or illustrator, you absolutely don`t need necessarily to look in such a book. You have the web, also for free! The argument you need another picture book for inspiration is wack and I agree that it in the first place helps the publishers. Nothin`more nothin`less. As we sit at the fragile steering weel we, of course have to rethink and reflect our decisions and action not to be brought in the corner of the acceptor. No, we have to be the actor of our arts and designs and the way we can make a living out of it. That means necessarily we have to get money for what we are providing, in a fair and decent manner. Of course we can give away something for free, but hey... at the moment everybody want`s our work for free or a big discount. The economical power of the creative industry in germany has already overtook the economical power of the automobile industry. Who earns all that money? The designers? Ask yourself.

So I`m sorry but your arguments seem to reject this necessity. It is very easy to argue, if you get one thing free, dont´t complain, be happy, don´t expect anything from that.., this is too subjective, as it concerns a very very basic decision of how we want to go on earning our money and what worth our attendence should have.

I hereby want to refer back to Bruce Mau`s incomplete manifesto. It is about time to put all this "I give it for free and I don`t know how, but it`ll help me in some way" behaviour in question.

I want to say it again, this is too easy!


@ DavidM,

a I see you made the type for the cover, that explains a lot.

Johannes . Ludwig

Ich verstehe sowohl die eine wie die andere Seite. Ich denke aber, das es hier auf diesem Blog nicht möglich ist unvoreingenommen über dieses Thema zu diskutieren. Dazu ist diese Plattform einfach nicht objektiv genug, da magma brand ja genauso wie daab und M. Meirè bei diesem Projekt mitmachen, wird ein gesondertes Interesse an positiven Meinungen vorherschen.

Trotzdem sehr schön das darüber endlich wieder diskutiert wird.

Grüße aus Köln



I was only talking about entering the book not the overall problem of design work being sold cheaply. I have the same problem over and over: people don't want to pay for your work. Very human. Because we are all the same: We don't like paying a lot. And those people buying our stuff, they see it as a product, not as a investment.

It is hard to argue that your brand will help the company in the long run, if the buyer has no clue. People with wisdom and experience – and training - see the potential of a, as an example, good logo. And they will give you a reasonable amount of money for it. The simple minded shop store owner having to make a killing to live, doesn't give a f***.

And look at us: as long there is only one company building Macs and making OSX, we are willing to shell out 1500 euros for a new MBP. If there is suddenly someone else building machines clad in titanium, with a OS reaching twice the speed and every Adobe Suite running on it like mad, for 30 % less, we'd be off running over there.

And if you have 10 companies building those machines, prices would go down like mad.

And this is the problem the design industry has to see. We are a lot (!) of designers. And we copy each other. There is almost no innovation anymore. Only the best make a lot of money. And we make the mistake of running after them, listening to their rantings instead of ignoring them. They waste our time talking and taking the fame, while their inhouse design team does all the dirty work for them. Sagmeister as an example can't design, can't operate Illustrator. He needs others to do it for him. We think it's cool. We'll yeah. It is. But does he copy someone? Does he run to every show listening to all those cool designers talk? No. He works, manages, delegates and flips the right switches.

Screw those big names, those big shots, big shows and big awards!
Work. Just work.

Then maybe we'll become famous too.


What is fame, work with value? Is there such thing as value - really? And if its all about making money then i would rather do something else, something that means more than just buying new computers etc. In the UK public school funds are being cut, many schools/further education can not afford computers/internet so printed matter is used for educational needs and it shows in the students approach to creating ideas.

'Bruce Mau's incomplete manifesto'; can anyone really justify working for a violent company like Coca Cola? His work with them does not mention the vital ethical issues this company rejects, anti unionism, environmental issues etc. At least with Sagmeister, his manifesto sayings are more philosophical than Bruce Mau - his sound more like orders.

I think this box set is worth contributing to because not only could it be a collection of contemporary illustration that has been used in the public sphere but also as a demand for preservation of Illustration today in book form other than on the web which is forever updating itself…


Actually, Sagmeisters "Manifestos" are really a load of bull :-)

He keeps a diary: big deal. He puts these memos into print. Over and over again. Biiiig Deal.
Everybody writes a diary. But if his highness writes one, everyone sits there an listens, even if it's completley boring and sans any interesting information. And his momentary work is far from the quality it has been years back. And now you can watch him and his interns on webcam on his new website.

And why should I give a f*** about him going on a sabbatical every 7 years, returning with a bunch of t-shirts depicting dogs copulating?

And yes, I like my work a lot, but, I still need to make money in order to pay everything. The more the better. But I try to make serious things. To make things serious. Pays off for the ego I guess.

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