VIRUS

Every crisis is also an opportunity. Maybe we learn from the invisible enemy that we humans are friends. Maybe we learn to cooperate, not just to copying. Maybe we find more cohesion in this time of confrontation.

BLAH

Intervention on four advertising billboards where new posters was installed with the message BLAH, BLAH, BLAH, BLAH
The new posters were overlade on existing advertising from Scientology Church, Catholic Church and Political adv

Look With Another Eyes

Questioning, provoking, highlighting the forgotten and generating empathy is what the “look with another eyes” posters have to promote. The posters centralize those who are seen on the society margins in order to focus on essential services and questions about the situation of the poorest classes in this moment of crisis. The phrases surrounding the photograph are a plea for empathy, respect and admiration for these people. Grids, in a proportion that is not 100% respected, show a breakdown of the status quo and the tireless search of the human being to find a perfect formula.

Of All

“Only the unity of all can bring the well-being of all”, referenced from Robert Muller’s esteemed quote, references the idea of unity in solace and ‘meditation’, a key idea that is very much needed in this time of such a pandemic.

Co?No?-Existence

“Co?No?-Existence” takes into consideration a wordplay of British philosopher Bertrand Russell’s famous quote. The visual language includes the vast ocean of darkness encapsulating what we know as the universe, and the Earth as the only planet that we see the existence of living life thus far. The pictogram is also a play on the visual imagery of an eye, calling into play the meaning of multiple perspectives and acts of protest that reign within these trying times.

Anthropocenic Futures: Grace Abounds

“Anthropocenic Futures: Grace Abounds” takes a keen reference to the visual language used in the artist’s original body of work, Anthropocenic Futures in Singapore: An Investigative Bureau. The assets used in the project postures a fluid and unsettling yet unknown nature of what the future entails. “Grace Abounds” shines light on the hope that is left in humanity, as people from around the globe stand united to combat this unfortunate pandemic that has halted the world in immeasurable extents.

Together

Step back to zero and think about how we can work together for a slightly better future of coexistence. Times of elbow society should be over. Charity and solidarity are more important than ever before. We need each other, so team up!

Identity between imposition and deduction

Putting together a map of the Ringrastaße in Wien with some of its buildings and some graphs and data about the contemporary migration in Austria, the poster aims at questioning what’s the meaning of monument nowadays. Epitaphs, palaces, cathedrals and equestrian statues were erected in the past in order to assert an identity. Nowadays, in a time where everything get counted and measured, statistic deserves the role to delineate identity. In a post-monarchical and post-ecclesiastical, where power doesn’t (or at least shouldn’t) belong to a single person or restricted group but should rather be held by to the whole population, identity is not an imposition anymore but rather a deduction.

History Is Always Happening

HISTORY IS ALWAYS HAPPENING

As an exercise in word play and text management within a predefined grid systems,
I created an eight column by eleven row grid prior to formulating any textual content.
I had only a vague idea of both the message I wanted to impart and the designs overall aesthetic quality. Mentally roaming around the English lexicon I ran into 16 words that complied with the grid system and formed a simple message that pertains to our current global state of affairs as well as our future efforts to coexist with one another.

WE ARE NOW
INVOLVED
IN A TRULY
HISTORIC
ENDEAVOR
THAT WILL
DEFINE US

PLEASE BE
CREATIVE

Guidelines and Standards for Visual Design

Less than a quarter of a century after the end of National Socialism, Otl Aicher was commissioned to design the “cheerful” XX. Olympic Games in Munich, 1972. He took a systematic and scientific approach, liberating visual communication from national pathos and reducing it to the essential, in the spirit of the Bauhaus: purpose. The manual Guidelines and Standards for Visual Design, completed in 1967, is an astonishingly clear set of rules, a flexible system of colors, forms and writing that allowed Aicher’s team and partners to “play freely” and saved “unnecessary preparatory work and time-consuming detailed decisions.”

Aicher had a comprehensive requirement: everything should be able to be designed. With the results from more than 100 design areas, he succeeded in creating an extraordinary broad effect of the appearance and, in addition, in setting new standards in corporate design. To this day, Guidelines and Standards for Visual Design for Munich 1972 is considered the most successful design project of all the Olympic Games.

Otl Aicher (1922–1991) was an internationally acclaimed graphic designer and educator, renowned for his corporate identity work, visual communication systems, and typography. With concise corporate designs for commercial enterprises, for example the Deutsche Lufthansa, his visual communication system for the Munich Olympic Games of 1972, and in particular as co-founder (together with Max Bill) and rector of the Hochschule für Gestaltung Ulm—an experimental design school in the spirit of the Bauhaus—he achieved a high reputation worldwide.

Guidelines and Standards for Visual Design

Author: Otl Aicher
Publisher: Niggli
Volume: 44 pages
Language Book: German, Booklet: English, French, and Spanish
Format: 22.5 / 63 × 30 cm
ISBN: 978-3-7212-0999-0
Price: € 78.–
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