Zum Abschluss des Wintersemesters 2019/20 belegte die Typografie-Klasse von Prof. Jan Haux einen Workshop in der berühmten Druckwerkstatt p98a von Erik Spiekermann in Berlin. Die 20 Student*innen bekamen eine Tour durch die Werkstatt und eine Einführung in die technischen Abläufe des klassischen Walzendrucks. Im Anschluss hatten sie die Gelegenheit, einen kurzen Text ihrer Wahl typografisch umzusetzen und dann auf einer der Maschinen per Hand zu drucken.
As the world celebrated 100 years of Bauhaus, we asked: what can a design course do to build on and challenge the prominent “Bauhaus” narrative that has proliferated in design schools around the world? How has “how” and “what” we learn changed since 1919?
What would a more open-ended, imaginary, and pluralistic approach to teaching the Bauhaus, and identity design, look like?
In Staff’s „Isometric Thrill“, the designer reimagines well-known imagery for classic films. By using an isometric illustration approach as well as a standardized visual language, the narrative stories of the films are presented in a modern way.
Imigro: the rise of a new outcast subculture
For Khalilzadegan’s BA project, she produced the first issue of her ongoing publication, Imigro. At the exhibition she launched the magazine as well as built a floor-to-ceiling moodboard featuring pita bread, printed images, maps, and a Persian rug.
In her words: Imigro is an alter ego, a product of society. This work is a personal confession; an homage to double-identity and cultural heritage (s). It shows the complexity of integration and assimilation into a new culture as well as the creation of a new subculture that results from the mixing of two conflicting cultures. Imigro is a contemporary visual storyboard using photography and three-dimensional research items.
Betrieben von WordPress | Theme: Baskerville 2 von Anders Noren.
