A PASSION THING is a magazine focused on people from around the world who are driven by this wonderful force we call passion.
A PASSION THING Issue No. 11 is a celebration of Austria’s unique charm and its entrepreneurs reflecting the passion for our home.
Featuring: Peter Phobia, Pauline Rochas, Helga Traxler, Julia Neumann, Peter Sommerer, Christian Schallert, Susi & Felix Schellhorn, Klaus Mühlbauer
From our neighborhood in Vienna: OTOTO
This monograph Think in Colour, featuring the work of Hugo Puttaert and his studio visionandfactory, shows a tight selection of work over a period of 25 years and is arranged according to the colors of the spectrum.
The cover (in three versions) was printed with thermosensitive ink. When heated, the full colour palette and the full title appear: “Think in Colour, even if you prefer black and white.” An unmistakable credo.
Foreword by Rick Poynor, texts (based on interviews) by Steven Cleeren.
As the name indicates, Grafikmagazin is a print magazine focusing on all things graphic design. Primarily it’s aimed at professional creatives and design students from Germany, Austria, Switzerland, and beyond.
Grafikmagazin presents outstanding work from graphic design, typography, illustration, photography, design theory, research, paper, and printing every two months. The editorial team of Grafikmagazin created a variety of sections and categories but selected focus themes for each issue, like “Illustration.” The topics portray how imaginative, eclectic, and playful graphic design can be while featuring successful branding concepts and niche ideas.
The extensive “Showroom” section lets readers know other creatives and the stories behind design studios worldwide. The “Design and Research” category presents interdisciplinary projects that show how science and research can benefit from creative solutions and play an active role in graphic design. In the “Production and Publishing” section, everything revolves around print. You will find exquisite books, sophisticated annual reports, and high-quality embossed greeting cards. Also, the cover artists of each issue are interviewed or get to highlight their ideas.
Each cover is printed on a different paper, and the design interprets the particular Grafik+ theme more broadly or shares a fresh perspective on a unique design technique. The Grafikmagazin team, its correspondents, and freelancers are bound and driven by the firm belief that print is not dead. With the will to prove just how alive it is, and the motivation to start something fresh yet deeply traditional, they strive for nothing less than to create another print magazine that makes history.
“When I looked at ripples on water and cracks in the ground, the annual rings of trees and ridges on mountain ranges, I saw that beautiful shapes created by nature have a certain regularity – in much the same way that a repeated line drawn by an algorithm can become an artwork.”
Nature/Code/Drawing is a reimagining of nature, depicted through the lens of generative art. Showing a vast array of subjects – from rocks and tree stumps, to mountain crests and water – Hiromasa Fukaji takes Junichiro Horikawa’s algorithms and brings them into the physical world via the use of a plotter. The result is an expressive collection of artworks where nature and technology intersect.
The publication features an augmented reality application, making it possible to watch the generation process behind all of the graphics.
Julien Gachadoat, a.k.a. v3ga, is at the forefront of the field of generative art. Instantly recognisable by his monochrome, line-based style, he has explored the interface between code and human creativity for many years; working with algorithms, playing with repetition and abstract forms, with a focus on plotters to produce physical artworks.
Some of his creations include pieces such as “Umwelt” (2021), curated for Feral File by Casey Reas, or for “Haze” (2022), part of the Tribute to Herbert W. Franke, the pioneering computer artist.
The time is right for a mid-career catalogue of Gachadoat’s groundbreaking oeuvre. With this in mind, he has teamed up with Luca Bendandi from Berlin’s Vetro Editions to devise a dynamic, paradigm-busting concept artwork titled Pathways.
This edition features a curated selection of the best plotter artworks of Gachadoat’s career to date (2018-2023), and offer a deep dive in his creative and coding processes, inspiration references, and much more.
Texts by: Julien Gachadoat, Mark Webster
The first edition of Und die Fremde ist der Tod / As Estrangement is Death with excerpts and drawings by Bruno Schleinstein was published in 2003. It was inspired by Miron Zownir’s “Die Fremde ist der Tod,” a film about and with Bruno S. The quotes – found aphorisms of sorts – are taken from the film itself. In addition, the book presents drawings by Bruno S., who created a Gesamtkunstwerk in his lifetime. Bruno S. was world-renowned for his leading roles in films by Werner Herzog: as the main character in 1974’s “The Enigma of Kaspar Hauser” and as the street musician in 1976’s “Stroszek.” The book contains accompanying texts by authors and artists who came to know Bruno S.’ life after the Herzog era: Nico Anfuso, Harry Hass, Thomas Kapielski, Mario Mentrup, Klaus Theuerkauf, and Philipp Virus. The texts were translated into English for the new edition.
About the artist:
Born near Berlin in 1932 as the illegitimate child of a German mother and a Polish father, Bruno Schleinstein spent his early years in children’s homes and sanatoriums. He repeatedly tried to escape but was recaptured every time. After finally being released in 1955, he lived in homeless shelters and halfway houses and earned his living as an unskilled worker. During this time he began to play the concertina and the accordion. In the mid-60s, he created his first drawings, illustrating the lyrics of his songs. Starting in 1963, he worked as a forklift driver for the next 28 years. In his spare time, he performed murder ballads in Berlin backyards. After a brief period of fame as an actor thanks to leading roles in films by Werner Herzog, Bruno Schleinstein returned to his previous life as a street musician and artist in Berlin. In the 90s, he made a name for himself among art collectors and fellow artists. Bruno S. died in Berlin on August 11, 2010.
Since the NFT explosion of 2021, Right Click Save has become the leading online magazine for digital art around the world, documenting a new community of creators and collectors while driving critical conversations about emerging technology.
This physical anthology of essays, interviews, and roundtable discussions celebrates a new generation of digital creators together with pioneering artists historically ignored by the art world. It is the definitive portrait of a global movement at the moment when digital art went mainstream.
For this limited print edition, Right Click Save’s Editor-in-Chief Alex Estorick has curated a special collection of the magazine’s contributions to digital art history. With a foreword by ClubNFT CEO and leading digital art collector, Jason Bailey, this book is designed for both seasoned digital art enthusiasts as well as newcomers to the conversation. By highlighting the voices of a new “golden” generation of digital artists alongside vital voices from the recent past, Right Click Save documents the moment when digital art came of age through the voices of its global community.
The use of pen plotters and other drawing machines has re-emerged as an important part of the contemporary generative and digital art scene.
Tracing the Line showcases the work of 11 pioneers of generative art, alongside more than 100 contemporary artists who use these machines in their creative practices. An incredible variety of different techniques and styles are shown, highlighting the diverse range of possibilities and approaches that pen plotters and drawing machines offer.
This book is a uniquely immersive art experience. By using a free app, you can access an extra dimension of the artworks, giving rise to a new experience – one in which the book becomes the vessel for a digital exhibition space.
Tracing the Line is a must-read for anyone interested in the contemporary generative and digital art world.
Pioneers: Manfred Mohr, Frieder Nake, Georg Nees, Herbert W Franke, Vera Molnar, Harold Cohen, Mark Wilson, Peter Beyls, Roman Verostko, Jean-Pierre Hébert, Casey Reas.
Contemporary artists: Acrylcode Berlin (Felipe Infantino), Algorigraph (Fabian Eck), Antigoon, Frank Aubry + Andreas Rau, Barbe Generative Diary (Peco), Martin Bauer, Arno Beck, Deniz Bicer, Chris Bly (machine.arm), Bondtruluv, Geoffrey Bradway (Chromatocosmos), Bustavo (Gustavo Muñoz), Joel Cammarata, Dan Catt (Revdancatt), CEK (Giorgio Cecatto), Michelle Chandra, Sougwen Chung (Studio Scilicet), Desmond Clarke , Andee Collard, Dirk Dallas (Dirka), Matt DesLauriers, DiDiffArt (Diana Becker), The Dot Is Black (David Mrugala), Kristine Erstad Vegard, Julien Espagnon, Allen F, Sven Björn Fi, Hiromasa Fukaji + Horikawa Junichiro, Julien Gachadoat (v3ga), Pablo Garcia , Generative Artworks, Kjetil Golid (Kgolid), Greweb, David Guerrero, Cory Haber, Licia He, Tyler Hobbs, Matthew Hughes, Jessica In (Shedrawswithcode), Ralf Jacobs, Jenslabs (Jens Clarholm), JMY (Jimmy Herdberg), Floris de Jonge, So Kanno + Takahiro Yamaguchi, Simon Kirby, Daniela Kröhnert, Guillaume Lagarde (Entropismes), Land Lines Art, Beatrice Lartigue (Lab212 Collective), Tom Lauerman, Sunjoo Lee + Ko de Beer, Jürg Lehni, LIA, Loackme, Lenia Mascha, Simone Mauer, Kyle McDonald + Matt Mets, Arjan van der Meij, Liz Melchor, Huw Messie, Emre Meydan (Thresfold), Mmachine, Cezar Mocan, Moodsoup (Stefan Reyniers), Ivan Murit, Sohan Murthy, Kris Northern (phidelity), Noumenal, Dimitri Otxa, Pierre Paslier, Pavlovpolus (Pablo Azóçar A.), Abe Pazos Solatie, Arnaud Pfeffer, Playmodes, Paul Prudence, Paul Rickards, Meg Rodger, Con Ryan, Catalin Sandu, Heliodoro Santos Sánchez, Lisa Schwalbe (Gridtheline), Marcel Schwittlick, Seohyo (Seo Hyojung), Sfd.Art (Andreas Schönfelder), Luke Shannon, Shih Wei-Chieh , Spatial Matters (Nicola Lorusso), Strano (Marcel Giannoccaro), Studio Joanie Lemercier , Studio Strauss , Alida Sun, Maksim Surguy, Targz, Tofa (Christopher Noelle), Patrick Tresset, Frederick Vanhoutte (Wblut), Benjamin Vedrenne, Lars Wander, Victor Wong, Zancan.
Texts by: Freya Marshall, Wolf Lieser, Pablo Garcia, Jürg Lehni
Media Partners: Generative Hut, Galerie DATA Paris, DAM Projects Berlin, Pen Plot Art
Plants have always symbolised more than what meets the eye: beauty, fragility, renewal, and the delicate balance of life on Earth.
Neo Botanica – An Atlas of Artificially Generated Flora is a new take on the world of botanicals, showcasing the work of contemporary artists who create gardens of imaginary flora.
Its pages bloom with artificial hybrid flowers and computer-coded bioforms in a collection of extraordinary new species.
A key is hidden inside each of the book’s pages. By using a free app, an extra dimension of the artworks can be accessed – unlocking an animation and bringing the images to life.
Beautifully designed, and with over 260 botanical artworks from leading digital artists, Neo Botanica is a reimagining of the natural world – as you’ve never seen it before.
Featured artists: Refik Anadol, Tatsuru Arai, Luca Bogoni, Andrea Brewster, Andee Collard, Zach Darren Corzine, Mauro Cosenza, Linda Dounia, Stephan Duquesnoy, Elekktronaut (Bileam Tschepe), Entangled Others, Katherine Frazer, Hannes Hummel, Hypereikon, Joann, Markos Kay, Ryoichi Kurokawa, Jim Linear, David Lisser, Fuse*, Generative Art Studio, Phenomena Labs, Andréa Philippon, Andrés Reisinger, Anna Ridler, Monica Rizzolli, Nat Sarkissian, Drake Smith, Leonardo Solaas, Spacefiller (Alex Miller), Ivona Tau, Aurèce Vettier.
You may have found an old Konica at the thrift store or inherited a Leica, or you may be one of the many younger photographers who are being drawn to analogue for the first time, as a way to enrich and expand their practice. In either case, this book provides all the information needed to help you understand your camera and get out and start using it.
The fundamental technical sides of both cameras and photography are covered. There are, however, no tips on how to take ‘better’ photos, no sections on lines and shapes, silhouettes, texture or composition. This is purely a technical manual: once you have mastered the mechanics of photography, you will have total creative control over your camera, a tool for taking photos exactly as you want them.
Whether as a primer or a reference manual, this is the perfect book to (re)kindle your love of analogue photography.
Reviews:
“Having read it from cover to cover, I will hereby be officially recommending a copy of this book to every film photographer that I meet … It says on the cover ‘Reference manual for shooting film,’ and it most certainly is. The layout is easily accessible and engaging, with cross references on every page, a comprehensive index, and handy charts right at the back. The contents cover everything: from information about exposure and filters, to fundamental camera function, and beyond!” — Film Shooters Collective
“A strong recommendation. It manages to explain the more complex subject matter without over complication or getting too bogged down in unnecessary detail.”— 35mmc.com
“Superb design and a bespoke typeface for a new guide to analogue photography” — Creative Boom
Bloomerang Avatar Cards are your companions. Each one embodies a distinct quality – a creative superpower.
Use these cards as inspiration to create your brand’s archetype or to identify qualities you’d like to develop within your team or yourself. The back of each card features a description of what the avatar represents.
This set includes 20 avatars.
Watch video: https://www.youtube.com/watch?v=jfnc7P8wh9k
How can we break through a culture of mistrust? Suspicion regarding our fellow beings, the authorities and enterprises is growing, blamed on passing the buck and feelings of impotence. We seek remedies in regulations, contracts and procedures, assurances, audits and consultancy. As well as in good governance and transparency. But do they actually make for real trust? Is trust not always somewhat blind?
Trust—Building on the Cultural Commons highlights the crucial role played by cultural commons, shared ‘common’ life and its customs, practices, knowledge and values. After all, trust is a matter of culture, emotion and even aesthetics. Wide-ranging trust starts with the sharing of vulnerabilities, and it is Pascal Gielen’s belief that the ‘common’ provides the necessary scope. Breathing space and scope for experiment. How might a society and a policy build on this?
This book is an English and international version of “Vertrouwen: Bouwen op het cultureel gemeen,” written by Pascal Gielen and published by Valiz in November 2023. For this new English language publication, Gielen has broadened the scope of the former book, and has included several international case studies of cultural commons.
Pascal Gielen is a writer and full professor of sociology of culture and politics at the Antwerp Research Institute for the Arts (ARIA) where he leads the Culture Commons Quest Office.
Karina Beumer is a visual artist. Her work starts from drawing, and often leads to other forms of art, such as music, video, sculptures, writing.
Wicked Arts Education helps you to design exciting arts educational programs from scratch. These arts programs make a meaningful connection between the culture of the student, the arts, and society. We have tested our arts educational design strategies around the world and found that they challenge arts educators to explore curriculum ideas collectively, creatively and productively.
In a time of individualization and polarization, we believe in the power of learning collectively about, in, and through the arts. Although Wicked Arts Education can be used to create personalized learning trajectories, it advocates building learning communities in which students and teachers share interests, expertise, and opinions.
Wicked Arts Education can be used in a variety of educational contexts: from primary to higher education, and for arts curricula inside and beyond schools. The term ‘arts’ underlines that this workbook is suitable for the visual arts, music, dance, theatre, film or design, but also for designing interdisciplinary arts projects and courses. So, whether you are an arts teacher, an artist, or a curriculum designer, or if you want to set up a single lesson or a complete arts curriculum, this book is for you!
Valiz supported by Amsterdam University of the Arts.
Kenya Hara inspires the world with his impeccable design – from the subtle atmospheres and environments he creates as the art director of Muji, to his ethereal exhibition designs, to his simple everyday objects, packaging and books. His design aesthetic can be traced back to a private practice: the diligent drafting of ideas and forms in delicate sketches and drawings which ultimately develop into convincing solutions.
For the first time in his career, Kenya Hara gives insight into the captivating early stages of his design process. Ranging from tentatively sketched beginnings to confident designs of complex concepts, Draw immerses readers in the renowned designer’s forty-year-long process of sketching and drawing by hand, leaving no doubt about the origins of his authentic designs.
Set to inspire the next generation of creatives, the book can be read as a gentle, persuasive call for the return to analogue processes in the design cycle.
From a practical tool to status symbol, the walking stick is a universal object that has been imbued with symbolism, craftsmanship, and innovation throughout its history. Across different cultures and eras it has taken on different uses and meanings, whether agricultural, religious, ceremonial, orthopaedic or sartorial. Eighteen designers ranging from Jasper Morrison to Julie Richoz were invited to reimagine the walking stick for an exhibition at the Triennale Milano curated by the Milan-based Japanese designer Keiji Takeuchi. This elegant book showcases their designs and demonstrates how a humble object can be a source of pleasure and pride.
Presented in a slim vertical format suited to its subject matter, Walking Sticks is introduced by Keiji Takeuchi and includes photographs by Miro Zagnoli as well as an essay by the design curator and critic Marco Sammicheli, which explores the cultural significance of this understated object.
The Anatomy of the Architectural Book examines approaches to structuring, constructing and designing architectural books and traces how they have changed over time. The discipline has been exposed to debates, just as building construction has been exposed to the charms of book making.
Dafi Kühne is one of Switzerland’s foremost poster designers whose diverse, bold work embraces both traditional production tools and modern design processes. Although his posters are printed on presses from the 1960s, they do not look like typical letterpress prints. Instead, they connect with the history of letterpress production while pushing the boundaries of long-established graphic and typographic techniques. Using analog printing presses, computer software applications, laser cutters, and freshly cast hot-metal-type, he creates wildly creative, large-format posters. Working from his vast letterpress studio in the Swiss Alps, Dafi Kühne simultaneously drives poster culture and upholds the cult of the poster.
Kühne’s first monograph with Lars Müller Publishers, True Print, served as an introduction to Dafi’s work from the years 2009 to 2016. Poster Cult focuses on the processes, background and context that inform his more recent poster work.
Dafi Kühne is a Swiss designer who works with analogue and digital techniques to produce fresh and unique letterpress-printed posters. Using very different kinds of tools — from a computer to a pantograph — for his compositions, he pushes the boundaries of design. Never afraid of getting his hands dirty in his creative workshop, Dafi Kühne embraces the labor involved in the entire process of creating a poster, from initial idea to finished product.
Fusing modern means with the century-old tradition of letterpress, he forms a new vocabulary for how to communicate through type and form in a truly contemporary way. Never retro, his work is a clever response to the search for new possibilities of graphic expression: True Print.
The cities of Rome and Las Vegas commonly sit at opposite ends of what architecture represents: whereas the former capital of the Roman Empire is perceived as ancient, proper and eternal, Sin City is described as flashy, vulgar and fake. Yet, both find themselves historically and contemporarily at the intersection of power and play.
Released fifty years after Denise Scott Brown and Robert Venturi’s now canonical “Learning From Las Vegas” (1972), the images in this book capture the atmosphere of both cities from the sky to the ground, revealing unexpected similarities and rediscovering Las Vegas’s extravaganza on the streets of Rome. Iwan Baan’s photographs contrast and subvert common perceptions of authenticity and artificiality and ultimately question such bipolar distinctions. In their dialogue, the photographs follow Scott Brown and Venturi’s plea to first look, understand and only then judge.
Typo-Poster Typo Ping Pong #1 | Riso Print | Misprint + Unikat from TypoGraphicDesign as a Riso Poster in DIN A3.
Each misprint is only available 1 time. Limited Special Edition.
Design: Typo Graphic Design ■ Manuel Viergutz
Typeface: Typo Ping Pong #1
Size: 29,7 cm B × 42 cm H (DIN A3)
Paper: Metapaper, warmwhite, extra rough 175 g/m2 (uncoated paper FSC + PEFC, 100 % made from wind energy)
Colors: Eco-friendly risography with spot colors Black, Orange and Medium Blue from drucken3000 in Berlin
Colors on the screen may differ from the original.
Typo-Poster Typo Ping Pong #1 Eyes rom TypoGraphicDesign as a Riso Poster in DIN A3.
Design: Typo Graphic Design ■ Manuel Viergutz
Typeface: Typo Ping Pong #1
Size: 29,7 cm B × 42 cm H (DIN A3)
Paper: Metapaper, warmwhite, extra rough 175 g/m2 (uncoated paper FSC + PEFC, 100 % made from wind energy)
Colors: Eco-friendly risography with spot colors Orange and Medium Blue from drucken3000 in Berlin
Colors on the screen may differ from the original.
Typo-Poster Typo Ping Pong #1 Mouse from TypoGraphicDesign as a Riso Poster in DIN A3.
Design: Typo Graphic Design ■ Manuel Viergutz
Typeface: Typo Ping Pong #1
Size: 29,7 cm B × 42 cm H (DIN A3)
Paper: Metapaper, warmwhite, extrarough 175 g/m2 (uncoated paper FSC + PEFC, 100 % made from wind energy)
Colors: Eco-friendly risography with spot colors Orange and Black from drucken3000 in Berlin
Colors on the screen may differ from the original.
B-Boys, Fly Girls & Horticulture documents the photo project by Paul Hutchinson dedicated to the Hip Hop scene in Germany and India. The photographer grew up in a post fall-of-the-wall Berlin and used to be part of the Hip Hop circles in the 90s. Now he approaches this youth culture as an attentive observer.
In his work, Paul Hutchinson shows the subculture as a sensuous experience. Through his both sober and sensitive photographic look he provides the insights into the daily life, surroundings and individual stories of the young hip-hoppers. For his portraits, he keeps taking new perspectives showing the juveniles as immersed, almost isolated individuals. The rhythm and motion that are commonly associated with this music and dance culture are only indicated through their attributes while the real ambience is created by carefully chosen details. An overall image emerges from this nonlinear narrative and the fragmentary shots convey a genuine impression.
The young photographer develops his own style that combines documentary and poetics and expresses the inner motion through the aesthetics of color and form. The pictures from the Botanical Garden in Bangalore are presented alongside the pictures of the Hip Hop scene. They serve as a metaphorical imagery to explore the idea of “exoticism” that corresponds with the “foreignness” of the Hip Hop culture in India.
“But it is this spirit of negating all pragmatic circumstances, of pushing on and on, affirming life, that I found so inspiring while working amongst the youngsters in east and west.” (Paul Hutchinson in B-Boys, Fly Girls & Horticulture, 2015)
In his second monograph, Paul Hutchinson looks at an underground station in the Neukölln district of Berlin. Wildlife Photography is a playful journey into an every-day appearance of exoticism.
In 2014 the interior design of the U-Bahnhof Hermannstraße had suddenly been overhauled: aiming to avoid further potential spaces for graffiti, the train station was redesigned into a lively jungle scape. The columns, walls, doors, the tiles and floors, were filled with colorful illustrations, merging into large frescos that cover the inside of the station. Hutchinson has taken this as starting point for a conversation with the mindset behind the illustrations and to hint at the socio-urban context in which this jungle has been placed: originally a laborers’ stronghold, the immediate environment of the train station is still quite far from being gentrified, the inhabitants by now mainly of non-German descent.
As an eager customer of Berlin’s public transport system and part of the local community Hutchinson, as most of his neighbors, at some point was unable to stop asking himself what this jungle was all about. Where do the monkeys, tigers and parrots come from, and what are they looking for here, underground?
In this publication images from the U-Bahnhof are juxtaposed with seemingly “real exotic” pictures. A fake jungle is placed next to a real one: we see a real butterfly next to a fake anteater, an illustrated bird meeting his live counterfeit, observe a girl in a leopard suit dancing. All this while the architecture of a public space merges with depictions of animals that radiate their own photo-ethnographic feel – and with graffiti.
While Paul Hutchinson’s first publication with The Green Box mainly looked at something familiar to him within a foreign setting – Hip Hop culture in India –, this artist book investigates something utterly foreign within an environment he feels only natural about – a Berlin underground station.
With a postface by Shahin Zarinbal.