DON’T SAY IT. SPRAY IT.

DON’T SAY IT. SPRAY IT. – The fight of critical artists for communication.

A photographic journey of designer Judika Zerrer through the streets of Kairo during the Arabic Spring.
If art is the daughter of liberty, then what does streetart mean in a country like egypt, where a dissident thought can be life-threatening? Since the Arabic Spring the walls in the cities of egypt noticeably become wall newspapers of the revolution. On site collected photographies, facts and impressions tell the historical origin of the revolutional graffiti. During interviews acitivists and artists get a chance to speak, who (with the intention to enlighten the people) temporarily circumvent the media-censorship; following the principle: Don’t say it. Spray it.

Leafy House Plants

The cultivation of house plants does not always prove to be easy. With many plants there are special peculiarities that should be considered.

In 1899, the German botanist Udo Dammer wrote down his knowledge of the ins and outs of different houseplants and published the book ‘Zimmerblattpflanzen’ with 46 detailed plant illustrations.

120 years later, Benjamin Wurster accidentally came across a copy of this encyclopedia and now presents a new modern version of this book, including every plant illustration as well as the original German texts translated into English for the first time.

A must for every plant lover!

Kurt Weidemann – Biografische Gespräche

The graphic artist, typographer, teacher and communicator Kurt Weidemann created something unique – public images that have found their way into the collective memory, whether signets for Coop, Deutsche Bahn and Berliner Bank or typefaces for the Bible and Daimler Benz.

On the occasion of his 85th birthday, merz&solitude published the book Kurt Weidemann: Biografische Gespräche [Kurt Weidemann: Biographical Conversations], which documents his eventful life through conversations and photographs in an intensive, imaginative and also uncompromising way–a book full of vitality.

“Auffällig sein ist leichter als gut sein” [“Being conspicuous is easier than being good”]

Kurt Weidemann lived up until his death in 2011 an incredible life: This includes his poor childhood in Lübeck, his experience on the Eastern Front during World War II, five years imprisonment in a Russian camp, his apprenticeship as a typesetter after the war, his studies at the Stuttgart Art Academy, his work as a font and character developer, as an active participant in the 68 movement as a highly demanded expert in questions of design and life, as a teacher, as a Daimler service provider, as a committed university developer–the list could be continued almost indefinitely.

Since the form of conversation is the adequate form of presentation for Kurt Weidemann (except for writing and signs), the only biography of Kurt Weidemann to date appears in direct speech. It is obvious that he himself was responsible for the design of the volume. The conversations document 30 hours of intensity, fantasy, humour, uncompromising and pure vitality–a book full of entertainment, but no light entertainment. In addition, the historical and current photographs show Kurt Weidemann as a bag full of surprises.

You’re Hard to Get – Michael Jackson im Licht der Spektakeltheorie von Guy Debord

In You’re Hard to Get the designer Hannah Horst confronts two artists with each other, whose works and biographies could not be more different: Michael Jackson, the “King of Pop”, and Guy Debord, the French author, artist and revolutionary. She sees the point of connection of their confrontation in the concept of the spectacle. Jackson, who lost general recognition due to his lifestyle, especially at the end of his career, was a servant of the “society of the spectacle” all his life. Debord being one of its harshest critics. The book offers Jackson, Debord and the spectacle the framework to get in touch with each other in a creative way. Here it is important to the author not to show a finished picture of the protagonists; rather she wants to leave open what the reader associates.

You’re Hard to Get speaks especially to designers whose guiding principle is self-reflected authorship, but it is also equally readable for those who can show empathy for the ultimately tragic figure of Jackson, as well as for those who want to approach Debord from an unfamiliar perspective.

Kunstgebunden – Metamorphosen des Künstlerbuches

The term “Künstlerbuch” (artist‘s book) first came up in the 1960’s. Not a book about art or artists is meant, nor is this usually a work with literary claims (the poet-artist …). Rather the visual artist goes through such a book to the public and thus leaves the art-immanent space. In short, the book becomes the sole medium of an artistic statement, as an independent work. But how do books arise from the thoughts, images, and visions of artists?

And what actually causes a visual artist to publish books? How has the genre developed since the media expansion of art in the 1960’s? The only thing that is clear is that the (visual) artist functions in the artist book as author, designer, editor and often as printer. Artists’ books are in any case today often available in specialist bookstores in immense diversity. In “Kunstgebunden – Metamorphosen des Künstlerbuches,” Nadine Thimm first tries to clarify the term: What is an artist book, and how is it defined by art historians? Which variants are there? How can the borders to related forms of publication be drawn today and how can the many borderline cases be classified?
Awarded by the Stiftung Buchkunst “The most beautiful German books Shortlist 2014”.

Blumen sind geil

Say it through the flower–who last said it in all seriousness? The language of flowers seems to be a final code of civilizing innocence. Why outsource feelings to plants? How to outsource our doubts to words? Flowers are out, soon we will need them again. They are remnants of a colorful nature and irritate with their reproductive openness. They are products of globalized trade and are everywhere where people celebrate, praise, seduce, and mourn. Which flowers are suitable for divorce? Which wreath do we wish to place on our own grave?

Flowers are beautiful–and simple: explosions in slow motion, and cut flowers continue to grow in the vase. Flowers are cool (“Blumen sind geil”) because they accompany our cultural codes. They traditionally convey very specific meanings according to the language of flowers. In the book “Blumen sind geil”, literary short texts come together with a photographic image series of stagings that complement, disturb and distort each other. A pretty-unheard book.

Der erste Eindruck zählt

Der erste Eindruck zählt (“First impression counts”)! And type matters! Understanding and applying the craft of typography.

Typography is the transformation of language into writing. Typography thus gives language a form. And this form interprets texts. Regardless of whether you want it to or not. No matter whether you do it consciously or not. You can’t not design in the selection and application of font. Better you know the basics of the craft of typography.
“Typesetter” used to be a profession that required training, but today, as a first-year student and aspiring design professional, you are expected to do your typesetting “on the side”. But because no one was born with this knowledge, this book is a kind of type-setting apprenticeship in fast-forward mode.
You get a feeling for letter and word spacing, you understand the correlation between line length and line spacing. Ligatures, small caps and special characters become close confidants and white space your sovereign helper in layout questions. Texts designed by you become more readable–and a pleasure to read. And thanks to a few tips and tricks, you will become more efficient and confident in handling fonts and layout.

A practical workshop on typography that is both well-founded and easy to understand! Sabrina Öttl will introduce you to the effects of type and how to use it in a competent and practical way. She will impart know-how on legibility and readability, guide you through the font jungle, sensitize you for subtle differences and provide you with selection criteria.
Cheat sheets and other little saviors in need bring efficiency and security to your everyday design work–and once sensitized, bad typography will be a thorn in your side forever …

Slanted Magazine #36—Coexist

Coexist—to live or exist together, in peace, at the same time, or in the same place. The first time in our lives the world is changing fundamentally. We need to rethink what all this is about. Higher, faster, and further at the expense of others cannot point the way to the future. We need to question ourselves, how we want to coexist, show consideration, and take a step back.

In summer 2020 Slanted initiated a global call for submissions questioning topics such as climate change, political power, human rights, freedom of speech, wars, and many other global issues.

More than 450 designers, illustrators, photographers, writers and artists from all over the world contributed to this extra thick issue (almost 100 pages extra—352 instead of 256)

The magazine comes along with a limited special edition which contains a high-quality shirt from Reell with a design by the AGI member Andrew Ashton. 

Awarded with ADC Award Germany (Silver).

Limited Coexist Special Edition / Magazine + Shirt

On occasion of the release of Slanted Magazine #36—Coexist, a limited special edition has been published which is exclusively available in the Slanted Shop. The edition contains a high-quality shirt from Reell with a design by the AGI member Andrew Ashton + Slanted Magazine #36—Coexist. Show your love!

Coexist–One and all, me and we
Born in 1969, Andrew Ashton grew up in between the leafy suburbs of Sydney, and rural life in the Blue Mountains, Australia. Ashton works as a graphic designer, image-maker, strategic communicator, educator, writer, gardener and parent. His creative practice is paradoxical; a meeting of artful and strategy, research and inquiry, people, and place, clients renowned and modest.

In September 2020 Ashton explained “All living things, including people are facing incredible changes and adaptations (as they have for eons), and yet have to get on with the business of living. I wanted to make a motif that spirited Coexist, that could be understood with little explanation, as a semiotic. I questioned our senses and Coexist in the context of a black and white poster image. Can Coexist be an emotion? Can Coexist be an action? How do you see Coexist? Can Coexist be simply defined? The dictionary defines Coexist–as an attitude of existing together or at the same time. In my poetic brain I responded with a line of copy: Coexist–One and all, me and we. Everything fell into place from that notion.”

Slanted × Reell—A perfect fit
Founded in 1997 with a simple idea, functional, well-designed pants, Reell is a pan-European brand on a mission to innovate. Well beyond simply being a pants specialist, their backbone remains quality products at honest prices. A passion for aesthetic and clean design makes what they are. The Reell family has grown with athletes, artists, and free spirits who manage to pursue their passion and remain true to themselves. These individuals represent who they are.

The shirt is available in a unisex size of S–XL. To find the right size, please check Reell’s size chart online.

Photos by Reell

Coexist: Atlas of Circles

In the context of the open call for submissions for Slanted Magazine #36—COEXIST, République Studio from Paris designed this wonderful poster entitled “Atlas of Circles”: »From natural elements to invented objects, solid or liquid, huge or microscopic, things that makes us strong or vulnerable, scared or joyful, this way of depicting the links between nature and culture is based on the Mnémosyne Atlas of Aby Warburg. By playing with scales and circles, it reinforces the uniformity and the connection than can happen between items that compose our day-to-day life. Because everything is in constant dialogue, we need to re-evaluate our relationship with the planet and with others.«

Designhelps

Those who have power also have responsibility. The power of designers is to decide about function, material and production methods, to inform and to create needs. Therein lies also a cultural, social and ecological responsibility. This is the starting point for Bjørn Küenzlen’s “Designhelps” to analyze the tension between design and responsibility over the last 150 years, which shows that design – despite growing consumer criticism – is still primarily a tool of industry. But there are promising approaches and pioneers for a new understanding of design characterised by responsibility. What distinguishes this global design? Where are its opportunities? In which areas is it already being successfully practiced? In “Designhelps,” Küenzlen presents possible applications, especially in ecologically and socially effective areas that have been neglected in design until now, but which open up new, meaningful challenges for committed designers.

Bjørn Küenzlen, born 1981 in Bietigheim, studied communication design at Merz Akademie Stuttgart and graduated in 2006 with a Master of Arts in European Media.

To Destroy is to Create / To Create is to Order

Designers are reluctant to comply with the demand to destroy their work. Even in everyday life, acts of destruction are seen as the exact opposite of a creative process. Destroy something in which you have put your heart and soul? Never! In “To Destroy is to Create / To Create is to Order,” Sabine Kost shows us that there are definitely possibilities to understand destruction not only as something purely destructive but to use it conceptually in the creative process. By recognizing conscious acts of dissolution of material or abstract orders as a creative method, paralyzing habits and logics in the creative process can be called into question. This path of the unplanned and spontaneous ultimately enables innovation.

The book “To Destroy is to Create / To Create is to Order” analyses the relationship between chaos and order and highlights the role of destruction in the creative process by using works by well-known artists and designers such as Duchamp, Arp, Tinguely, Burroughs, Rainer, Carson and Gehry. At the same time, Sabine Kost with her innovative book design provides an example of her method: forget everything you know and work with what is revealed to you in chaos.
Sabine Kost, born 1983, studied communication design at Merz Akademie Stuttgart.

Should the Artist Become a Man of the World?

The traditional (Kantian) concept of the lonely, “wage-free” artistic genius seems to have disappeared in modernity. The traditional artist subject is currently fading away; it is increasingly being replaced by a kind of manager figure. The artist’s name functions as a brand (label), behind which the associated artistic work–not to mention its craftsmanship–almost completely recedes. This new type of artist, for whom ideal-typical current high-flyers of the business such as Hirst or Eliasson can stand, lets people work and works in a team. As a kind of “idea machine” in the background, he seeks to optimize the production volume of his art factory for the market as much as possible, creates networks, conducts public relations work and cooperates with companies. He himself appears as a curator or critic in his own cause and routinely stages his person.

In “Should the Artist Become a Man of the World?,” Kamil Doronyai takes a stroll along the unwieldiness of the traditional concept of the artist; especially with the help of key figures such as Warhol and Koons, this peculiar transformation of being an artist, including the resulting repercussions on the artistic production methods, will be made clear. Is art fully embedded in the market?

Kamil Doronyai, born 1983, studied communication design at the Merz Akademie Stuttgart. He lives and works in Stuttgart.

Von der Subkultur zur Kulturindustrie

In nine analyses, Claß outlines in “Von der Subkultur zur Kulturindustrie” the theory of the “culture industry” and shows how global players adapt the protest messages and subversion strategies of critics and integrate them into their advertising in the sense of an ironically self-referential “anti-marketing”: from revolution to aesthetic subversion. While the Situationists still put Marx quotes into the mouths of advertising girls as a subversion strategy, Che Guevara has long since become a pop idol. Baader-Meinhof has become Prada-Meinhof, Nike advertises with street art, and Diesel uses historical images in ironic campaigns for successful living. “Von der Subkultur zur Kulturindustrie” has been recognized by the Stiftung Buchkunst in 2006.

Jörg-Steffen Claß, born in 1976, Merz Akademie graduate 2004, is founder and managing director of designdealer/agentur für kommunikation in Stuttgart.

“A wonderfully transversely conceived and visually non-streamlined designed book. Outstanding.” Uta Schneider, director of the Stiftung Buchkunst.

Perspektiven des Critical Design

Can design, as it is currently practiced, live up to the engineered environment? Is it still possible to provide our everyday objects with a real additional value? Does it forward usability? Or does it only exist to make products “sexy” in the consumer world, only serving as yet another reason to buy something? Is a connection between design and science necessary and if so, is it realizable? How has the design-process to change so that “Design” gets more seriously perceived as an academic discipline. And which additional value is then inherent in this kind of design?

Jana Thierfelder dedicates herself to those and similar questions by addressing the notion of  “Critical Design” coined by Anthony Dunne in the nineties.
“Perspektiven des Critical Design” is her final project at the Merz Akademie, University of Design, Art and Media, Stuttgart.

Antimedien im digitalen Zeitalter

(Mass-) media communicate, and they are designed media-specifically in order to communicate optimally. This everyday view of the media is in many ways problematic. For example, it remains unclear what exactly “optimal” means: optimal in the sense of the recipients’ understanding of the information transmitted, or optimal in the sense of the best possible exploitation of capital?
What if, according to Brecht’s radio theory, mass media are usually not just communicating? Then optimal media design–in the sense of a dialogical, mutually open, “democratic” communication process–would mean that the structure of the existing media would first have to be reversed. In this sense Karl Kraus already spoke of an “anti-medium.”

Starting from this term, Jan Steinbach attempts a small theory of the anti-medium in “Antimedien im digitalen Zeitalter” (or in English: Anti-media in the digital age), taking up various art and media-critical approaches of the historical avant-garde but also referring to current movements of a self-proclaimed “communication guerilla.”
“Anti-medium” is a (mass-) medium, which in contrast to the dominant media activates the recipient instead of merely numbing him.

The booklet “Antimedien im digitalen Zeitalter” is looking for new communication strategies. It consists of a cultural-theoretical essay that deals with the abstract problem of the anti-medium. On the other hand, it offers an illustrated magazine that makes a creative attempt to be an anti-medium itself. The work is completed by an “anti-media-materialist manifesto,” which works as a kind of guide for the creation of an “anti-medium.”

Jan Steinbach, born 1983, studied communication design at the Merz Akademie Stuttgart.

Today is Tomorrow’s Yesterday

“These pages were never intended to be public so it’s kind of a personal exercise here. I like the idea of people seeing what’s in my brain somehow. I always have had the curiosity of seeing other artist’s notebooks and dig in their mentality in order to understand better their work. Now it’s time to share mine.”

Rubén Sánchez is a self-taught artist, born and raised in Madrid (1979), adopted by Barcelona and Dubai in the past years. He is coming from the subcultures of graffiti and skateboarding with graphic design and illustration as a background.

With this book he gives an insight into his very personal sketchbooks for the first time, diaries full of notes, experiences, drawings, printing experiments, quotations, tickets etc. Sketches of many works, which can be found in many countries around the globe in the context of art festivals, commissioned works, humanitarian projects or international exhibitions, but also as any kind of “uncommissioned” works.

“My work is made of messages to depict through strong interactions and chain reactions. A visual balance always surrounded by a Mediterranean vibe, in a journey with no destination.”

Questions to Europe / Fragen an Europa

What is Europe? And what is the European Union? Questions to Europe by Paula Riek introduces children to Europe and the European Union in a playful way and answers fundamental questions about its structure and function. Even more difficult, current questions in the European context are posed in a child-friendly way and leave room for a dialog between parents and child when reading (aloud). A children’s book from the age of 6, available in English and German language.

Wortgestalten – Visualisierung und Analyse kinetischer Typografie

Wortgestalten – Visualisierung und Analyse kinetischer Typografie is understood as the visualization and analysis of kinetic typography–the range here extends from the visualization of dynamics in print to the most diverse forms of moving type in film and art, and even research. As a reading and picture book, it allows the reader to draw his own conclusions. In addition to people who are professionally involved in writing, it appeals to all those who have maintained an enthusiasm for letters.

»Wortgestalten von Julia Fuchs hat in dieser Zeit einen hohen Stellenwert. Mit großer Kompetenz hat sie die über Jahrhunderte gewachsenen Regeln aus der Buchdruckkunst in die digitalen Medien fortgeschrieben.« [“Wortgestalten by Julia Fuchs has a high value in this period. With great competence, she has applied the rules which have developed over centuries from the art of letterpress printing into the digital media.”–Kurt Weidemann]

Monopoli

Monopoli is an Apulian city and not a board game, because this is written at the end with a “y.” Also, you will not find an avenue of castles or a bathing street in Monopoli. No, in the charming old town of Monopoli there are alleys with names like “Via Santa Maria” or “Via Guiseppe Garibaldi.” Monopoli was founded by Greeks in the classical antiquity and later over the centuries Normans, Byzantines, Staufers, Habsburgs, and Bourbons ruled here. And all of them left their traces in architecture, music, dialects and foods and beverages. But one thing had never changed and still won’t. The people of Monopoli have a very close emotional bond with their sea.

The Munich photographer Stefan Braun has been drawn to Monopoli in Puglia time and again for 25 years. With his camera he has documented the life in the narrow streets, the hustle and bustle of the fishing port and the delicacies in the cooking pots. When you look at his pictures you can feel that Stefan Braun has fallen in love with this little town and its people. The people of Monopoli trust him and let him get close to them. The pictures of Stefan Braun are not just snapshots. The pictures tell stories without words. Thus the tired, fearful faces of the fishermen tell of the difficult and often dangerous days at sea. The women proudly hold freshly baked, delicious foccacia into the camera and the old men tell each other stories from their youth while playing cards every day.

Who wants to understand what Monopoli is, should travel to Puglia or buy this impressive book. Or even better: do both.

(Text provided by Andreas Bönte)

Blasé – Fortschritt durch Langeweile

Boredom is a well-known and feared phenomenon that reminds some people of uselessly spent Sunday afternoons, while others are reminded more of a latent, dull and somewhat hopeless feeling that comes to the fore when you haven’t managed to get really excited about something for a long time.The anthology Blasé – Fortschritt durch Langeweile [Blasé–Progress through Boredom] deals with different ways of expressing and dealing with this former mortal sin in the seven booklets it contains.

Christine Dorst contrasts the various points of view with a wide variety of means of expression: photo series, interviews, a production of Beckett’s Waiting for Godot, a self-experiment and a collection of song lyrics, as well as a short cultural-historical phenomenology of boredom, in which the author develops an impressively simple philosophical model of life and self-surfeit in a cultural-historical retrospective. In doing so, she encounters various forms of boredom and retraces historical perspectives, from Seneca to Thomas Aquinas, Schopenhauer to Heidegger, from the former assessment as a mortal sin to the positive evaluation as the mother of all creativity.

One central insight of Blasé – Fortschritt durch Langeweile points to the socio-cultural integration of this seemingly subjective phenomenon: we get bored when we cannot fulfil our expectations of ourselves in a concrete situation, whether in the office or as a young person in the suburbs, where we cannot do what we would like to do, or when, due to a certain oversaturation, we no longer know what we would like to do. The louder the overall cultural imperative: Have fun! becomes noticeable, the more favourable the breeding ground for boredom.

Yearbook of Type II

The development and distribution of new typefaces has changed radically due to the ever-increasing digitalization of the media. Desktop publishing and programs for designing your own fonts enable a previously unimaginable wealth of new fonts. To keep this welcome variety manageable, the Yearbook of Type II features a selection of new releases from around the world – from major type publishers to small, independent typographers and foundries.

This independent compendium presents the individual typefaces or typeface families on a double-page spread, providing visual impressions as well as background and detailed information on the typeface’s features. In addition, a section with essays offers background knowledge, technical aspects, instructions or descriptions from the scene. The publication of the Yearbook of Type II serves designers or agencies as inspiration and help in the selection of typefaces, but also appeals to all those interested in contemporary typefaces and type design as a catalog and reference work.

– Detailed presentation of the individual fonts
– Comprehensive background information
– Index with classification
– Index with the designers
– Essays

With fonts from the following foundries: 29Letters, A is for…, AB Type Foundry, ADTypo, AinsiFont, Atelier télescopique, Atlas Font Foundry, Baldinger • Vu-Huu, binnenland, Bold Monday, Brownfox, Cape Arcona Type Foundry, Carrois Type Design, die Typonauten, dutchfonts, FaceType, Fatype, Font Bureau, Fontfabric, fontfarm.de, FontFont, FontMesa, Fontsmith, FONTYOU, Gestalten, Great Lakes Lettering, HVD Fonts, Indian Type Foundry, International House of Fonts, Jan Fromm, Hubert Jocham, Kimmy Design, Kontour Type, Lanston Type Co., Latinotype, Letterwerk, Los Andes Type, LucasFonts, Ludwig Type, Milieu Grotesque, Monotype, Moshik Nadav Typography, Nonpareille, Nouvelle Noire, Novo Typo, P22 type foundry, PampaType, Parachute, phospho, PintassilgoPrints, Playtype, primetype, Production Type, profonts, Rene Bieder / Design and Direction, Resistenza.es, Retype Foundry, Typedesign, Rui Abreu / R-typography, Henning Skibbe –Typefaces, Sorkin Type, Storm Type Foundry, studio type, Suitcase Type Foundry, Talbot Type, TipografiaRamis, Tipografies, TipoType, tntypography, Tour de Force Font Foundry, type me! fonts, Type-Ø-Tones, typecuts, Typejockeys, Typesenses, Typetanic Fonts, TypeTogether, Typocalypse, Typofonderie, Typotheque VOF, Urtd, URW++ Design & Development GmbH, Volcano Type, Willerstorfer Font Foundry, xplicit GmbH, Zeugler

With essays from Rudolf Barmettler, Thomas Huot-Marchand, Jakob Runge, Alice Savoie, Ole Schäfer, Rainer Erich Scheichelbauer

NOT THE END OF PRINT

Self-publishing is the trend–even among designers. Today, graphic designers develop and publish magazines and books on their own, creating a platform where they can work autonomously as authors, far away from their everyday job situation. Here they have complete control over the aesthetics and content of the project. The medium of choice is often the book: in the age of digitalisation, where information can be accessed and changed anywhere and at any time in a matter of seconds, the printed book seems almost like a loan to eternity.

The haptic qualities of the book link the content much more closely with sensual perception, creating a more direct and personal access for the reader. In addition to changes in the role of the designer in the context of the digital revolution, which at the same time makes self-publishing possible in its present form, designer Isabel Seiffert places particular emphasis on the sensory experience and its role in the communication process.

“NOT THE END OF PRINT” captivates through the unique symbiosis of modern, digital production technology and traditional production methods. It is a statement in the very form of its production (embossing, gilding, screen printing): a bibliophile bow to the medium of print, literally a precious object.

Original Poster: K.H. Drescher “Bertolt Brecht”

Karl-Heinz Drescher (1936-2011) was a graphic designer who worked for almost 40 years at the world famous Berliner Ensemble theater of Bertolt Brecht. His catalog of works today comprises over 400 posters, about a third of which are printed by letterpress. The original posters from the archive are provided by the family of K.H. Drescher. Despite the great age, they didn’t lose any of their value and history, that’s behind every single one of them.

More about Karl-Heinz Drescher can be found in the comprehensive book K.H. Drescher: Berlin Typo Posters, Texts, and Interviews published by Slanted Publishers.

WV 273. Bertolt Brecht. Untergang des Egoisten Fatzer → 1987
Berliner Ensemble
114.8 × 81.2 cm
Won the 1st prize in the selection “Die 100 besten Plakate des Jahres 1987” of the GDR.