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.

Ditroit — Ten Years Book

One decade after founding Ditroit, its creative director Salvo Giunta together with all his crew, past and present, decided to go down the memory lane and reminisce the most relevant moments to their growth, both on a human and on a professional level. Published by Mr. Giunta himself, this book is about what a design studio goes through in its first years of life and it includes testimonies by Ditroit’s members and collaborators, as well as many pictures, storyboard, sketches and stolen moments from the studio life.
In their words: “The DITROIT — TEN YEARS BOOK is like a dissertation to present to the school board after an intense decade in the classroom. In this sense, we may thus consider today to be our true starting point: we studied, we failed, we lost heart, but then we took notes, learned, and our grades eventually got better. We had fun, we went through some rough patches, but we’re finally ready for the greater challenge of adulthood.”

Let’s Play Outdoors!

“Let’s Play Outdoors!” is a book that encourages children to go and play outside and discover what nature has to offer.

Leave the house and roam outdoors: It is a fascinating place, waiting to be conquered by children with curious minds. Let’s Play Outdoors! encourages little nature detectives—not just to see, but also to listen, to touch, and to smell our surroundings. Climbing trees, watching clouds, tracing animals’ footprints, playing games outdoors …
This book is packed with simple activities and experiences to inspire the environmentally-conscious children of today. The suggested activities inspire independent learning about animals, plants, and the weather, as well as how to look after the world.

What to expect
– Over 20 activities and ideas
– Simple, easy-to-follow instructions that help the fun unfold
– Information on the importance of why and how nature works
– A bold and colorful illustration style

ABOUT THE AUTHOR
Catherine Ard’s first job after her studies was writing children’s comics. Since then, she has written and edited many craft books for children. She lives in Bristol with her family. Their little dog, Annie, sleeps at her feet while she is working.

ABOUT THE ILLUSTRATOR
Carla McRae is an Australian illustrator living and working in Melbourne. Her work covers editorial, publishing, and branding. She also likes to design socks and paints large-scale mural projects.

ABOUT THE RESEARCHER
Polly Jarman has worked for many years with young people through environmental education and outdoor activity projects.

Cercle Magazine #7 – Volcanoes

Cercle Magazine #7 – Volcanoes is all about Volcanoes! Rocks, magma, strata, stones, explosion, lava, fumaroles… With Cercle, 2019 will definitely be under the aegis of geology. Monster made of lava and ashes, the volcano impresses, but is also a source of fascination and beauty, a marker of the world’s health and dynamism. And when the lava buries all its surroundings, it is the creative energy and the destructive passion that this issue calls for. With four interviews of professionals working in art, cinema, volcanology, sociology, plus a portfolio introducing ten artists, photographers or illustrators interviewed about their practice, this seventh issue of Cercle Magazine will be the most explosive of all!

Content: Jacques-Marie Bardintzeff (Interview, France), Anton Moglia & Jérémy Landes / Velvetyne Type Foundry (font design, France), Léo Puel (Films, France), Maria Medem (Portfolio, Spain), Daesung Lee (Portfolio, South Korea), Émilie Fernandez & Alexandre Rochon (Music, France), André Demaison (Interview, France), Perrine Lotiron (Fashion, Canada), Agata Felluga (Food, Italy/France), Emmanuelle Pidoux (Portfolio, France), Verene de Hutten (Publication, France), Marion Cole (Translation, France), and many many more…

Cercle Magazine #8 – Ghosts

After a long wait during which it’s been impossible to release the magazine, our eighth issue is finally out. Cercle Magazine #8 – Ghosts explores the unexplained, the intangible, the transparent. It wonders about our relationship to ghosts, let them haunt us, make us scream with fear or laugh, whether light spectrum or wandering in the dark worlds.

Four interviews with enthusiasts professionals or amateurs, ten illustrators, photographers or visual artists, interviewed about their practice, and always varied selections, here finally is the eighth issue of Cercle Magazine.

With the point of view of Felipe Ribon, French/Colombian designer. He works on fascinating objects that allows living humans to contact deads, such as pendulum, turning tables or mirrors.

Caroline Callard, historian and author of Le temps des fantômes: Spectralities of the Old Regime from the 16th to the 17th century clarifies our vision of ghosts in terms of history and how their presence has been felt even in the courts.

Stephane Du Mesnildot, critic for Les Cahiers du Cinéma. Asian cinema specialist and author of a book on ghosts in Japanese cinema, he is also the co-director of the exhibition Hells and Ghosts of Asia at Quai Branly.

Mack Rides, German family company, founder of Europa Park and maker of many ghost trains and other haunted houses for parks around the world.

Artists, illustrators, photographers: Jules Julien (France), Stephan Tillmans (Germany), Angela Deane (USA), Akos Major (Hungary), Eduardo Mata Icaza (Costa Rica), Eva Feuchter (Germany), Josh Courlas (USA) and Rhys Ziemba (USA).

Shape Grammars

How can unique pieces be mass produced? Or: How can the computer take over and support creative work? Sol LeWitt writes in his Sentences on Conceptual Art: “The idea becomes a machine that makes the art. […] There are many side effects that the artist cannot imagine. These may be used as ideas for new works.” A form is removed from the status of pure art as soon as it is filled with unambiguous information or applied utility. Its poetic function as art is thus weakened, its practical function as design is strengthened.

With the right system, an idea can also become a machine that produces design instead of art. This is then called generative design. However, this form of design is primarily used to display complex data sets or to fire off overwhelming visual spectacles.

Based on the work of Sol LeWitt, graphic designer Jannis Maroscheck has designed and programmed his own production systems that can draw an unlimited number of individual graphic shapes.

The result is a systematic catalog—a kind of dictionary of shapes—for browsing and exploring geometric systems, in which one can always discover something new. Shape Grammars is intended as a handbook for graphic designers for the design of fonts, logos and pictograms, which, in addition to 150,000 generated shapes, shows some potentials and limitations of generative design. At the same time, the work serves as a basis for further research on more complex systems and artificial intelligence. The computer can thus already function as a dialog partner in the creative process.

Awarded with ADC Award Germany (Silver).

Slanted Special Issue Rhineland-Palatinate

Above all, Rhineland-Palatinate stands out for its wine with 65 percent of German wine being produced there. But what about design? Following the Special Issues of Babylon (2013), Marrakech (2016), and Rwanda (2019), we were curious to find out more about our Heimat Germany and highlight regional differences.

The first destination of our journey took us right across the Rhine, to Rhineland-Palatinate. In its state capital Mainz, Johannes Gutenberg invented letterpress printing and delivered the first printed Bible in 1456, and probably drank a pint of wine on it. The state was formerly founded from the French occupation zone after a referendum on the state constitution on May 18th, 1947, two years before the founding of the Federal Republic of Germany. The black, red, and gold of the flag of the Hambach Festival, the first democratic demonstration, are still the colors of the Federal Republic of Germany today.

The state has a long tradition of arts and craftsmanship, supported and kept alive by a strong middle-class as well as strong regional institutions and cultural drivers. Awards such as the State Prize for Arts and Crafts promote, amongst others, outstanding gem and jewelry designers, ceramists, silversmiths, carpenters, barrel makers, and textile designers of the region.

With the help of descom—Designforum Rhineland-Palatinate we sourced designers, photographers, illustrators and makers—all people who love their region and are passionate about what they do. So yes, beyond beautiful landscapes with vineyards, rivers, forests, and castles, Rhineland-Palatinate is a shining example of design in Germany, that moves with time while sticking to its roots.

Slanted Magazine #35—L.A.

From the perspective of a European, Los Angeles is the opposite of our old metropolises. The sprawling multi-dimensionality is alien, and for many, gets on our nerves: the tangled network of highways and the constant driving around (damn you, General Motors streetcar scandal!), the emphasized nonchalance and never ending optimism of everyone, the sunny weather, the ingenious modernist architecture, the film industry, the tourists and the shitty art museums … perhaps, just perhaps everything about this city gets on our nerves. Despite, or maybe because of all of this, L.A. is a fucking awesome city, both in the Biblical sense and the slang sense. This staggering awesomeness is fucking undeniable.

We wanted to meet Ed Ruscha to talk about his mysteriously seductive and motionless-looking reductive paintings. Unfortunately it didn’t work out, but his piece “Hollywood is a verb” inspired the three different titles/cover variations of this issue. We would also have liked to see David Hockney, who fled the austerity and grey oppression of England (an early Brexit) to Los Angeles to discover a sunny and hedonistic city. No dice there, either. But hey!, in a town like L.A. and on a production like Slanted’s, not everything has to work out. Often, the best things happen when they’re not planned, just as they did here.

We hung out with the wonderful actor Udo Kier and learned a lot about Hollywood and his life. We spent a superb evening with Sarah Lorenzen and her husband, photographer David Hartwell, who meticulously restored the Neutra VDL Studio and Residences, the home of architect Richard Neutra (see our video interviews), and a number of other luminaries.

Our partner-in-crime Ian Lynam introduced us to tons of great designers, artists and teachers, who all—really, all—when asked where their allegiance lies: with N.Y. or L.A., yelled “L.A.!!!” without batting an eyelid. You can find their brilliant works in the new issue, and a deeper look at their opinions and views through video interviews that can be watched online on our video platform for free.

Illustrations, interviews, essays, and a huge appendix with many useful tips and the best Californian typefaces complement the issue thematically.

Have a look at our limited L.A. special edition, containing an enamel pin showcasing your love for a good read, and a super glossy notebook to write down all your ideas.

Offset Printing: Stober
Silkscreen Printing: Seismografics
Paper: PERGRAPHICA® by Mondi Group

Awarded with German Design Award (Special Mention).

Auslöser Magazine Issue 3

Interview with Paul Albert Leitner, Nadia Morozewicz, Daniel Chatard, Katrin Koenning.

Behind the scenes: Vienna Secession.

In detail: Apple QuickTake

further 01

The Fotobus Society, set up by Christoph Bangert, is a network that connects more than 400 photography students from 29 German and European universities and photography schools. Members can avail themselves of a wide range of cultural and social activities offered by the association. At the heart of the community is a 30-year-old bus serving as a mobile photography school that regularly carries members to photo festivals, symposia, and professional events. Over the last years, the association has firmly established itself as a promoter of cultural and academic exchange within the international photography scene.

FURTHER 01 is showcasing selected works by members, inaugurates a series that from now on will be published annually by Verlag Kettler. The projects presented in this first edition offer an overview of different contemporary approaches that oscillate between documentary and conceptual photography, challenging and crossing the boundaries of the genre. Many of these works have already received international awards. Collected in a single volume, they provide intriguing insights into today’s young European world of photography.

Works by: Arne Piepke, Mafalda Rakoš, Vivian Rutsch, Max Slobodda, Felix Kleymann, Lena Kunz, Elias Holzknecht, Martin Lamberty, Maximilian Mann, Lucas Bäuml & Lando Hass, Alexander Ziegler, Ole Witt, Luise Jakobi, Ronja Hermann, Jann Höfer, Ingmar B. Nolting, Kristina Lenz, Markus Seibel, Patrick Junker, Lukas Kreibig, Sebi Berens, Rafael Heygster, Richard Heinicke, Magnus Terhorst & Thomas Morsch, Anna Roters, Theresa Albers, Fabian Ritter, Katja Sterzik & Wolfgang Gähtgens & Ronja Hermann & Florian Genz, Monika Hanfland, Victoria Jung, Elena Fiebig, Marvin Böhm, Josh Kern, Benedikt Ziegler

Şimdi heißt jetzt

“The first thing a big city does to us is sneak into their language, and if we don’t curse, the curse will fall on our cells.” Şimdi heißt jetzt (“Şimdi means now”)  is a collection of personal essays. Fifteen authors tell of their encounters, adventures, and crises in Istanbul—lively, honest, humorous, and sometimes melancholic.

The interplay of atmospheric illustrations and background information on everyday Turkish culture creates a complex picture of this city in which so many cultural influences, social ideas and individual dreams mix together.

Şimdi heißt jetzt is intended to make encounters possible. Encounter with new impressions and personal perspectives that arouse curiosity and create connections between Turkey and Germany.

We are far away from each other. We are close to each other. And we care about each other.

With contributions from Tuğba Yalcınkaya, Carina Plinke, Matthias Wechsler, Seda Sina, Neslihan Yakut, Marie Hartlieb, Navid Linnemann, Onur Sesigür, Zeynep Ünal, Seden Filiz Güleç, Onur Sekmen, Derya Reinalda, Marlene Resch, Uğur Ugan, Sabrina Raap.

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 “Richtlinien und Normen für die visuelle Gestaltung”, 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.

Karl-Heinz Drescher—Berlin Typo Posters, Texts, and Interviews

Karl-Heinz Drescher (born on October 7, 1936 in Quirl; died on May 19, 2011 in Berlin) was a graphic artist working at Bertolt Brecht’s world famous theater Berliner Ensemble as a graphic designer for almost 40 years. In addition to his work at this house, Drescher also worked for other organizers, museums, galleries, and theaters, amongst others the Akademie der Künste der DDR, the Maxim-Gorki-Theater, and the Deutsche Staatsoper in Berlin. His catalog of works today comprises over 400 posters, about one third printed with letterpress.

In a one-year research, the designer Markus Lange contacted Drescher’s family and conducted various interviews with companions and friends to find out more about this talented designer, who studied from 1955 to 1960 in the former GDR at the same school as he did (Burg Giebichenstein, formerly Hochschule für industrielle Formgestaltung).

For the first time, this book summarizes most of Drescher’s (typographic) posters in one comprehensive volume and contains texts and interviews by various authors such as Dr. Friedrich Diekmann, Dr. Sylke Wunderlich, Helmut Brade, Niklaus Troxler, Gerd Fleischmann, Jamie Murphy, Erik Spiekermann, Ferdinand Ulrich, Götz Gramlich, Peter Kammerer, Vera Tenschert, Cesarina and Alessandro Drescher. “Karl-Heinz Drescher—Berlin Typo Posters, Texts, and Interviews” serves as a review of the life of an extraordinary theater graphic designer but also as an inspiration for the here and now.

Awarded with Type Directors Club New York, and Tokyo TDC Award.

Original Poster: K.H. Drescher “Britisches Bühnenbild”

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 153: Britisches Bühnenbild → 1980
Internationales Theaterinstitut der DDR
81.2 × 57.4 cm
Limited to one poster.

Garbage Dog

In a down and out city, Garbage Dog huddles in his cardboard home dreaming of sweet pies and meaty sausages. Even in the darkest of times, a kind dog keeps his spirits up and looks after others. The warmth of Garbage Dog’s character in a cruel city reminds us all that kindness and sympathy is something we create.

A sweet tale that shows how the best gift is one we can all give—the gift of kindness.

 

A Map of the World

For centuries we have used the tools of cartography to represent both our immediate surroundings and the world at large—and to convey them to others. In our age of satellite navigation systems and Google Maps, personal interpretations of the geography around us are becoming even more relevant. Contemporary maps have evolved into platforms for cutting-edge illustration, experimental data visualization, and personal visual storytelling, just like A Map of the World.

A new generation of designers, illustrators, and mapmakers has been discovering their passion for various forms of illustrative cartography and A Map of the World is a compelling collection of their work. It showcases specific regions, characterizes local scenes, generates moods, and tells stories beyond sheer navigation. From accurate and surprisingly detailed representations to personal, naïve, and modernistic interpretations, the featured projects in this updated version range from maps and atlases inspired by classic forms to cartographic experiments and editorial illustrations.

Six Little Birds

What do six little birds do once they’ve learned to fly? One bird nibbles on a sunflower, another flies dangerously close to a hawk, and one little bird says goodbye to all of the birds who are flying south. During winter, another little bird meets some new friends, and finally, the story finishes in the spring in a full circle, right where it all began.

Simple rhymes and colorful illustrations make Six Little Birds a charming pop-up for small children. The book gives children counting skills, and it teaches them about the four seasons, nature and the cycle of life.