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  • Anfalov΄s homage to the anti-communist electronic music studio

    “The Cold War was a time where the global superpowers divided the world on all fronts: science, technology but also culture” says Hannover-based graphic designer and art director Yevgeniy Anfalov of his recent book “Rotary. History of the studio for electronic music WDR 1951–1981” to It’s Nice That. “I hadn’t seen any contemporary books on this topic, so I decided to begin researching it, thinking about making this lesser-known story more accessible for a broader audience,” he adds.

    Born in Kiev, Ukraine Yevgeniy Anfalov moved in 2003 to Germany, where he studied Visual Communication at Hannover University of Applied Sciences and Arts and graduated in 2012. In 2015–17 he has been studying Art Direction in Master programm at ÉCAL, Lausanne with the major in type design, supervised by François Rappo and Kai Bernau. His graduation book project on history of electronic music "Rotary: Geschichte des Studios für elektronische Musik WDR Köln 1951–81" has obtained an award of excellence.

    Discover his portfolio here.

    and read the rest of his interview to It’s Nice That here.

  • Past & present collide in Book Book Studio's latest Offset printed project

    “From their Berlin-based design studio, the team at Book Book engage in hands-on experimentation with a collection of small-format printing presses, testing the creative potential of a technology long considered obsolete” writes Grafik’s Anna Lisa Reynolds in her feature on Book Book Studio’s latest project.

    Jan Blessing, Constanze Hein, and Felix Walser are fascinated “with the near-obsolete world of small format printers and duplicators, and in particular, their prized Roto/Rotaprint 625 Office-Offset presses” which they used to print "Im Gebirge" ('In the Mountains’) by Anna Grass, an obsolete hardback book entirely in-house. 

    “When Grass’ desire to publish something from her old hiking journals was mentioned to the team, it seemed that the ideal subject had presented itself for their book-based labour of love: a deeply personal project, with an independent spirit at the heart of its subject matter, and a connection to the past” writes Reynolds. “Book Book’s work with outdated devices such as the Roto/Rotaprint 625 might, at first glance, seem to be a print-lover’s exercise in nostalgia for a machine whose original function has been superseded by newer technology. Yet projects like Im Gebirge demonstrate the ways in which these older pieces of kit can be reappropriated and subverted to create new outcomes” she adds. 

    Office-Offset printing isn’t lost, it’s still out there, and it’s now possible to use it as an artistic medium – to take that machinery and directly interfere with the process in quite a direct, analog way. To continue that thought of combining modern technology with historical technology, and to bring those together is the idea behind our experimental space. If you look back to the time when lithography, the ancestor of the offset print, was still the main commercial printing technique, no-one thought of it as an artistic medium” says Blessing. 

    Enter Book Book’s adventure here .

  • TCCC Unity: Brody Associates designs Coke’s 1st bespoke typeface ever

    Coca-Cola has revealed its new typeface, designed by British graphic designer Neville Brody’s design studio Brody Associates, in collaboration with Coca-Cola’s global design team. This is the first time that the brand has had its own unique font in its 130-year history.

    Named TCCC Unity – an acronym of The Coca-Cola Company – the typeface was unveiled last week at the Museum of Design Atlanta by Coca-Cola's vice president of global design, James Sommerville, who told the audience that the typeface "encapsulates elements from Coca-Cola's past and its American Modernist heritage."

    The font is the first own-brand typeface in the soda company's 130-year history and it is inspired by the drink brand’s design archive.

    Coca-Cola was founded in 1886, follows in the footsteps of other brands who have recently created their own bespoke typefaces, including IBM, YouTube, BBC, Intel’s Clear font, Airbnb, GE (Inspira), Nokia and BMW.

    The typeface has been designed to work across multiple platforms, including digital and print. Regular weights will be used for text and headlines, while condensed weights will be applied to information text.

    A TCCC Unity app has also been created to provide more information about the typeface’s design and development. The app is available now on both the App Store and Google Play store.

    The font was registered as a trademark last July and revealed on January 5th by Sommerville, who explained on his Instagram account: “Geometric flair and circularity drawn from the archive form the basis of the Latin script; a large x height ensures it works in physical and digital environments.”

  • The Story of The Face is documented in all its punk infused brilliance

    Launched by NME editor and Smash Hits creator Nick Logan in 1980, The Face was Britain’s first youth magazine to present ‘youth subject matter’ beyond music alone. A strong voice of urban identity in the age of Thatcher, it rapidly became an icon of ‘style culture’, the benchmark for the very latest trends in music, fashion, photography and film.

    The publication "The Story of The Face" tracks the exciting highs and calamitous lows of the life of the magazine in two parts. 

    Part one focuses on the rise of the magazine in the 1980s, highlighting its striking visual identity – embodied by Neville Brody’s era-defining graphic designs, Nick Knight’s dramatic fashion photography and the ‘Buffalo’ styling of Ray Petri. The Face introduced Spandau Ballet and Boy George; Wham! and Sade, and was an early showcase for the works of Robert Mapplethorpe, Bruce Weber and Cindy Sherman. Part two shows how in the 1990s, after surviving the Jason Donovan libel suit, the magazine heralded the post-acid house era of Britpop and Brit Art, shifting its focus from London to the regions. However, The Face met its eventual demise in 2004. 

    With an introduction by Dylan Jones, the book -a celebration of British pop culture in the late 20th century per The Guardian- is one of the most influential publications a creative should treasure. 

    Grab your own copy here



  • Pentagram breathes the Manga spirit into type

    Titled "Mangasia: Wonderlands of Asian Comics" the Barbican's latest exhibition explores the history of Asian comics, featuring graphics and installations created by Pentagram.

    The exhibition which is currently on tour at the Palazzo delle Esposizioni in Rome, Italy, sees original manga artwork from countries including Japan, Korea, China and Taiwan.

    Curated by comic book expert Paul Gravett, the exhibition highlights some of the most famous creators, characters, graphic novels, magazines and multimedia from the world of manga, as well as the creative processes behind them. It also looks at the wider impact of manga on film and TV, music, games, fashion and contemporary art.

    "Pentagram partner Marina Willer has created the visual identity for the exhibition, which takes cues from the storytelling devices used in manga comics. These include panels featuring comic storyboards that are set at different angles and sizes. The panels appear in various colours, including bright red, yellow and pink, to distinguish each of the exhibition’s different sections and themes, and help guide visitors through the space" reports Design Week.

    Mangasia: Wonderlands of Asian Comics is running at Palazzo delle Esposizioni, Via Nazionale 194, 00184, Rome, Italy until 21 January 2018. The exhibition will then tour to Nantes, France from June to September 2018.

    Check more here