In Norse myth, after Ragnarok and the end of all things, the earth will sink into the sea and the world would end in fire and ice. It is very reflective of global contemporary issues as political and societal conflicts continue to grow more intense and the threat of climate change looms over everything. Norse myth also tells of a new earth that rises from the sea after the apocalypse, a vibrant and lush world of new hope, rebirth, growth and life. Hope and Rebirth represents the strength of change and the power of that hope, the focus on a Valkyrie standing tall and symbolic of a changing power structure as new progressive ideals emerge from the crumbling destruction of the old pantheon.
The Children of Loki
The Children of Loki is a series of collaged banners that use symbolic imagery as metaphors for modern day societal and political conflict themed around Norse myths. The series tells the story of the rise of the American post World War 2 generation and the coming conflict with the younger generation through issues such as widening income inequality, the rising cost of education, a growing Millennial voting base, climate change and eventual generational conflict. The imagery is structured around the Norse myths of Creation, the Mead of Poetry, the Golden Apples of Idunn, the Children of Loki, the Sons of Muspell, and Ragnarok.
Reef
The project “Reef” includes photographs of objects made by Wróblewska entirely of recycled disposable plastic (bottles, mugs, straws, cosmetics and food packaging, etc.). These objects represent the vision of future coral reefs. They were, intentionally, created as beautiful and colourful (reflecting colours of natural reefs) but their beauty is just an illusion. Plastic beauty is superficial and temporary with no life in it. Let’s remember that while making daily choices. Little things matter.
and in the and it will all be ok
For most of us times are not easy right now and it just has to be true that all will be ok in the end. It is what I have to believe and what I want others in difficult times to believe.
Burnout Poems
I am submitting ten pages of poetry from a project called “Burnout Poems” that I began working on in February 2020 that was almost from the outset greatly molded and impacted by the pandemic. It is not “about” the pandemic but it is wholly informed by it.
It covers the topics of spirituality, gender dysphoria, trying to find good porn, anxiety, crystals, exiting toxic communities, Eileen Myles, social media, the pandemic, Sex and the City 2, the gig economy, healing from trauma, using writing as a coping mechanism and more.
2021 HYPNOTIZE : 6-Color Symmetrics Series.
2021 HYPNOTIZE : 6-Color Symmetrics Series.
Space City
My work stands between surprise and disappointment. I use the printing and painting tradition to set it against itself with its own means. I like the idea to put together elements from different physical dimensions, ages, meanings, flatten them on the same level with my scanner, and changing them by entering this continuous loop that doesn’t end with print, either with the paint. Space City has also been printed in large format 120×170 on tarp and exhibit in a gallery space, I like the idea to see this image in two different contexts and printed in different ways, again, between surprise and disappointment, due especially to the quality of the print, should it have stayed on my computer?
2021
Project based on the printing of graphic clichés found in an old printing press of former companies that have already disappeared in Malllorca. Printed using the letterpress technique, we used an old wooden typeface for 2021. This work aims to pay tribute to the art of printing and bring back to life old brands and illustrations that were once part of posters and advertisements
Playlists cover
In this project, I was asked to create playlists cover and to do so I had carte blanche. I wanted it to be colourful because music can make everyone happy, but also beautiful because music is an Art and the Art is full of colours. There are numerous genres of music: alternative, pop, classic, folk,… and each genre can be divided into subcategories and so on, music is also totally different according to a country and to its culture and origins. A Tibetan monk is probably not going to listen the same music as a grocer in Sao Paulo but music brings together. Music is personal therefore I wanted to have a different cover for each playlist and some abstract for it to be a personal experience.
Representation of a sunset
Taken from the project “cornucopia”.
Cornucopia is dealing with abundance in times of isolation and restriction. The body of work is addressing photographic stereotypes as e.g. beauty, kitsch through recreated topics and setups like sunsets, selfportraits, flower still lifes etc.The aim is to scrutinise traditional procedures in photography and to bend the established aesthetics.
23rd vfg Young Photographer Award
More Drinks
A gift that keeps on giving. Designed by Martin as a gift for Thomas house bar (the client: Julia, Thomas’ wife). Then, a limited edition was gifted to the visitors at the first Studio Mut birthday. Never stops making people happy. Available for the first time, here. The poster is printed in the original format 70 x 100 cm (27.5 x 39.4 in) and in the smaller format 50 x 70 cm (19.6 x 27.5 in) using on-demand digital inkjet technology for vibrant colours on matte paper. We tested the quality and are very happy with the colour reproduction.
Ultra Ultra – Vladimir 518
Made in Collaboration with 20YY Designers. Visuals for Vladimir 518 / BiggBoss label’s album Ultra Ultra. Artdirection and Design, CGI, Photos by Vendula Knopová.
413
Playing with the colors! Don’t have to many ideas, probably I’ll experiment with the colors more often.
Suspension
“SUSPENSION” is part of Printmaking Challenge V5. Museum-quality Giclée print, Enhanced Matte Art Paper, 200 gsm.
Concertina Sketchbook Part 6
We Will Get Through This Together
Poster designed in response to “Stay Sane Stay Safe” by signed Studio Lennarts & De Bruijn. 3-colour screen print produced by Kapitaal print studio, distributed to hospitals around The Netherlands. The poster has also been included in an exhibition at the V&A Museum Dundee, as part of their 2020/21 “Now Accepting Contactless” show.
There Is No Me
Pompon jacket. Produced over a year, during the first and second imposed covid confinement. Photography by Patrick Gries.
Pata Slab
Pata Slab was created as a letter-based balm to a very difficult past year, of which it’s safe to say that the mounting parfait of unprecedented events left no one unscathed. Pata Slab is an optimistic typeface that, lacking descenders, is all upside.
Pata is a font that’s assertive, funky, and more than a little sexy. All characters grow upward from the baseline. Named after a colloquialism for “feet,” it features ultra-heavy slabs and contrasting hairline centers that rise from its chunky footprint. The resulting, retro-inspired vertiginous curves add instant attitude to any design.
All uppercase characters were built to fit precisely inside a square, so they’re all the same width and height. The lowercase alphabet, eñes, cedillas, punctuation, numbers, and symbols all follow the same height restrictions. Despite all that confinement, Pata sports standard-height terminals that connect seamlessly so there’s nearly endless options for modular ligatures. The upshot of all this meticulous awesomeness is that laying out, customizing, and stacking text super simple.
Pata Slab was created by In-House International, designed by Alexander Wright in collaboration with Rodrigo Fuenzalida. It is available via YouWorkForThem and MyFonts in Opentype format (.otf) compatible with Mac and PC.
This font is our way of ending the year on a hopeful note.
Pata Slab
Foundry: In-House International
Designer: Alexander Wright, In-House International, and Rodrigo Fuenzalida
Release: December 2020
Weights: Regular
File Formats: .otf
Price starts at: $ 10.–
Buy: available via YouWorkForThem and MyFonts
Colours—Call for Submissions
Now, the Colours—Call for Submissions for the upcoming issue of Slanted Magazine has officially started!
Joan Miro said: “I try to apply colours like words that shape poems, like notes that shape music.” We are inviting you to submit your work, showing COLOURS. We want to celebrate happiness, joy of life, power and / or symbolism. And meaning of colour. We look for contrast, colourful typography, gradients, fun, chaos, shock. We celebrate art, illustration, fashion, photography—but most of all we look for strong, meaningful graphic design though in a colourful way.
For this issue we will print beyond cmyk, means not all prints will be in cmyk, some will be printed in rgb, others in fluorescent colors or with one color on colored paper.
Graphic designers, illustrators, artists—you’re very welcome to submit your artwork with a statement / quote that explains your work. Journalists, authors, or poets, we would be very happy if you’d contact us by email and talk with us about your text submission. Text contributions are highly appreciated!
Submissions can be uploaded until April 30th, 2021 (the issue will be published in October 2021). We will curate and review all contributions and get in touch with you afterwards, if your work is selected. Once the issue has been published, you can order a free copy.
Thank you so much for being part of this!
LL Heymland
LL Heymland expands on an archive discovery attributed to Solomon Telingater (1903–1969), a legendary Soviet graphic artist who, with Aleksandr Rodchenko, Sergey Eisenstein, El Lissitzky, and others, initiated the constructivist October Group. The undated, unsigned, single-page calligraphic study found in his estate refers to Rudolf Koch’s exceptional Koch Antiqua (ca. 1922) and most likely originated in the early 1960s. In 2018, it caught the attention of Yevgeniy Anfalov, who eventually adapted the minimal character set into a full titling font for both the Latin and Cyrillic scripts.
Koch Antiqua was a typical, if rather quirky decorative typeface family of the early 1920s, heavily promoted by the Klingspor foundry even throughout the 1930s. In the USSR, the upper case Latin alphabet of the titling weight made a surprise appearance in a 1960 calligraphy book edited by Estonian designer Villu Toots. The layout of the study found in Telingater’s estate is identical with the visual in the book, but the lettershapes appear somewhat simplified, geometrically more pronounced, and less mannered. While some specialists question Telingater’s authorship, the piece aligns with other typographic work from the last phase of his career: After the dire years of Stalinism, the comparably liberal climate of the Khrushchev Thaw allowed Telingater to release acclaimed printing types such as Titulnaya (1955–62) and Akzidentnaya (1959), win a Silver Medal at the International Book Fair in Leipzig (1959), and design the first issue of Sovetish Heymland (סאָוועטיש היימלאַנד), a Yiddish-language literary magazine published by poet Aron Vergelis in Moscow (1961).
Although clearly fascinated by the personal hand-lettering style of the source, Yevgeniy Anfalov chose a distinctly digital approach to achieve a formal reappraisal. He stripped the drawings of any details that he perceived as superfluous, and he systematically unified the shapes, before re-considering each letter under optical criteria to avoid an all too mechanical feel. He designed a large number of entirely new glyphs in order to create a typeface suited for contemporary design projects. For LL Heymland’s first public appearance in TATE ETC. magazine (Summer 2020, designed by Studio Ard), Yevgeniy also drew a whole set of custom ligatures which have since been added to the font.
From the start, LL Heymland is published containing full character sets for both Latin and Cyrillic, a first for Lineto. Some of these shapes are rooted in a Cyrillic adaptation of Koch Antiqua found in a Russian manual book on type design from 1970, as well as in a few other sources from that time. Both the Latin and Cyrillic versions result from a process similar to Chinese whispers, connecting the German 1920s via the Soviet 1960s and 70s with the present day, making LL Heymland a playful exercise in post-modernism. It provides a contemporary option for anyone interested in the multi-faceted legacy of Roman capitals.
About the Designer
Born in Kyiv (Ukraine) in 1986, Yevgeniy Anfalov moved to Germany in 2003. He studied Visual Communication at Hannover University of Applied Sciences and Arts, and he launched his own design practice in 2010, two years before graduation. LL Heymland is Yevgeniy’s first typeface on Lineto. He is currently completing a redraw of Stephan Müller’s LL Chernobyl (1998), to which he added a Cyrillic counterpart.
LL Heymland
Type Foundry: Lineto
Designer: Yevgeniy Anfalov
Font Engineering and Mastering: Alphabet, Berlin
Release: September 2020
Weight: Character sets for Latin and Cyrillic in Regular
Test Version: Yes, login for Lineto Trialfonts
Price: CHF 120.– (≈ € 110.–)
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Marginalia
The publication Marginalia draws our attention to the overlooked elements that coexist in carefully designed books. Removing the text and images from a selection of art books designed by Anja Lutz in close collaboration with the individual artists reveals the nondescript details: the margins, the edges, the backgrounds, the spaces between the lines …
Each book is unique in its choice of format, material, layout, composition, and rhythm. The selected pages underwent a process of transformation in which Lutz dissected them with surgical precision, layer by layer, removing their vital parts, and revealing their skeletons—the actual support of the content. The results are filigree grids, fragments of images, and traces of the layout that form intricately layered compositions of voids, exposing the hidden relationships between the pages.
Marginalia is an investigation into the anatomy of books—the physical object, its materiality, and inner structure. It is an attempt at mediating the emptiness. The quiet and yet eloquent remaining spaces seem to have their own language—that of an abstract visual poetry of books.
Marginalia is a personal interpretation of the books designed by Anja Lutz with and for the following artists: Kader Attia, Sonia Boyce, Angela Bulloch, Jeanne van Heeswijk, Christine Hill, Hannah Höch, Hella Jongerius, Loriot, J. Mayer H., Laercio Redondo, Julian Rosefeldt, Lawrence Weiner amongst many more.
Marginalia
Author: Anja Lutz
Designer: Anja Lutz // Art Books
Format: 24.5 × 33 cm
Volume: 112 pages
ISBN: 978-3-941644-00-7
Price: € 28.–
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For more information about “Marginalia” please visit the facebook page.
Walkshow
This year’s Werkschau of graduates in Communication Design at RheinMain University of Applied Sciences, Wiesbaden, Germany, is entitled Walkshow and will still take place until the 4th of March.
Since it was not possible to hold their exhibition within a closed venue, due to the corona crisis, the current Werkschau is being presented in a completely new format. Several institutions and businesses have provided the graduates with their shop windows for presentation. The 26 projects of the graduates will be showcased in lit windows. This new concept has turned the exhibition into a city tour and with its many stations invites the audience to take a stroll through the city itself. The exhibition is thus aptly named Walkshow.
The different projects are visible in public spaces throughout the day. The full effect of the exhibition however is most prominent in the evenings when the monitors and orange lights illuminate the Walkshow windows. The exhibition comprises a big range of concepts: from an elaborate design book on exceptional female athletes, a projection mapping project on a model of the facade of the State Theater, a self-help platform for people with rare medical conditions, up to a filmic installation on the topic of intuition or to the creation of an upcycling start-up for furniture.
Albeit group shows are not possible under the current circumstances, the Walkshow offers the graduates a platform to present their diverse and timely concepts and designs. And a wider audience is being offered the chance to get to inform themselves on the achievements of the young creative scene of Wiesbaden.
An extraordinary answer to extraordinary circumstances.
Walkshow
What?
26 projects, 14 locations, 29 graduates
When?
From February 18th to March 4th, 2021
Where?
At 14 locations in the city of Wiesbaden
Find a map of the locations here
ZUM LICHT
In 2018, Prof. Felix Müller and the Berlin-based light artist Nils-R. Schultze won the Light-Art-Competition BTHVN 2020 in honor of the 250th birthday of Ludwig van Beethoven, with their light installation series ZUM LICHT.
The task was, to tie in with the musical work of Beethoven and to establish a connection to his birthplace Bonn. A transformation, though not to the extent that the city has changed since Beethoven’s work, is the goal. The urban spaces are to be experienced in a new way, and new and different (light) images are to be created in the minds of the visitors, which will remain in their memories. The short days and long nights in Beethoven’s month of birth—December—form the stage for our nightly illumination of the city. The pictures from Bonn go out into the world and at the same time should be shown, that Beethoven’s musical work is present in the world and still gives impulses. The illuminations follow the basic idea of the lighting project, to unite a wide range of different appearing installations into one overall picture in the urban space of Bonn.
The ten installations are distributed like a gallery course in the city center and are never more than four minutes’ walk apart from each other. So the audience walks through the city, as the young Beethoven could have done 230 years ago.
The artists offer installations with a long-distance effect, installations that relate to specific urban spaces, installations that can be experienced by the senses, experimental objects, and independent light sculptures.
Based on the artists more than eight years of experience with light objects in the urban space of Berlin in the winter months, they made the decision, to propose a mix of conventional light or conventional light with simple controls and only a few projections. The light objects should be placed in the urban space, that they are well spread in the city center and generate a wide variety of images. The light installations should be within walking distance. The audience is invited to walk from installation to installation. In December 2019, the Bonn city center was filled with ten large light installations. A catalog was be published in 2020.
ZUM LICHT
Artists: Nils-R. Schultze & Felix Müller
Prize Offerer: Beethoven Jubiläums GmbH
Jury: Christian Lorenz (Artist Director Beethoven Jubiläums GmbH), Rein Wolfs (Intendant Bundeskunsthalle Bonn), Stephan Berg (Intendant Kunstmuseum Bonn), Christina Vegh (Kestnergesellschaft Hannover), John Jaspers (Director Lichtkunstzentrum Unna), Bastiaan Schoof (Artistic and technical producer Amsterdam Light Festival)
Awards: “Gold Winner” Muse Design Award 2020 NewYork, Lighting Design Award 2020 London (nomination), German Design Award, “Special Mention” for Light Installations for the Beethoven-Year 2020 in the category Excellent Architecture—Lighting Design