Aleksander Znosko is a graphic designer specialised in designing visual identities, posters, publications and websites.
He lives and works in Warsaw. Aleksander has majored in both Media Art and Design at the Academy of Fine Arts in Warsaw and has participated in various collective exhibitions in Poland and abroad.
Publication designed for Marceli Adamczyk. The book contains 57 artist’s sketches from trips to three cities: New York, Prague and London.
Art Direction and Graphic Design of the newest collection “Brutball” for Polish Football Casuals. The project was inspired by brutalist architecture and casual subculture from that period.
21 Postulatów Młodych Ponad Podziałami
Visual campaign which was a part of the social action “21 Postulatów Młodych Ponad Podziałami” organized by European Solidarity Centre in Gdańsk. Project’s purpose was to illustrate the third postulate about the independence and objectivity of public media in Poland
Redesign of one of the most iconic Polish rap albums “SKANDAL”. The project was realized in collaboration with Kuba Bogacki and Krzysztof
PITUSTUDIO is a collaborative graphic studio based in Jakarta, Indonesia. Made up by different people, they combine both know-how and intuition into sure wins.
As a graphic studio, they create work that is both explorative and beautifully crafted. PITUSTUDIO is well-experienced in creating and developing visual identity, art direction, graphic design, and illustration
Kapowder was founded in 2014 and created to fit easily into your daily routine and lifestyle, with a minimalist approach to a highly crafted collection of all-natural formulas, that fulfill your wellness and beauty lifestyle.
By adding their essentials into your daily routine, it will purify, alkaline, boost energy, maintain a healthy weight and enhance skin collagen, improve skin health, gut health, and overall well-being without damaging our beautiful planet or furry friends.
Extending on their story and philosophy, PITUSTUDIO helps them to create a modern and minimalistic design, that conveys their beliefs on highly crafted collection. Keeping it straightforward and focus on their ingredients, hence curating the most suitable typeface and images that portray their product very well.
Giovanni Murolo was born in Brescia, Italy, in 1988. He studied Product Design and Communication at the University of the Republic of San Marino, and later he obtained a Master’s degree in Publishing Design at ISIA in Urbino, with a thesis project on musical notation and typography, with the supervision of Luciano Perondi.
He moved to Berlin where he worked as a freelance graphic designer. Meanwhile he realized a self-initiated project called “Politic Posters”in collaboration with the graphic designer Elisa Chieruzzi. The project concerned of 29 posters based on socio-political facts occurred during 2016.
At that time he also started designing a grotesque character called “Seagal” that would have been a three-years project: a typeface with many alternate styles, that is widely used (and tested) in his projects.
In May 2017 he moved to Paris to work for the prestigious design studio Spassky Fischer, where he worked on different editorial projects, like Spectre 01 and Classeur 02 (both published by Èditions Cosa Mentale). Completed this fulfilling work experience, he decided to return to Italy and he moved to Milan, where he worked as a freelancer. He collaborated with various graphic design studios including the Dallas studio (Francesco Valtolina and Kevin Pedron). He also taught, as Paola Lenarduzzi’s assistant, for the Editorial Design course at NABA in Milan. In the meantime he was also a tutor at ISIA in Urbino, for an identity project commissioned by the municipality. He collaborated with Filippo Emiliani for the identity of an emerging brand of bags called Object Particolare.
In 2018 Giovanni worked as graphic designer for 6 months at the Juma studio in Balerna, Switzerland.
Since October 2019 he has been working as graphic designer for Kaleidoscope, under the creative direction of Alessio Ascari and the artistic direction previously Bureau Borsche followed by the Kasper Florio studio.
Today Maximilien Pellegrini an independent Graphic Designer based in Neuchâtel, Switzerland. In parallel, He teaches graphic design at the Academie de Meuron.
MASK — Architects & design
My approach is to use the specificities offered by architecture as a tool to create a close analogy between graphic design and architecture, a parallel with the general form and the reader’s experiences. To do this, I thought and conceived the book as an architectural piece in itself, a house, a physical construction, offering to the reader the possibility to live a spatial and temporal experience through the rhythms of the sequences and the structure of the editorial composition.
The book is an articulation of images and texts, beginning with an entrance, a hall where there is an additional folder (a leporello) used as an index, an inventory of the contents. The latter oscillates between expected and unexpected, always with the aim of bringing the reader into a defined space-time. To proceed I designed a rigorous system where the reader is able to discover the various «floors», grouping all the typologies of architecture through diagrams, plans, to 3D renderings. This monograph presents the projects of architecture, design products, along with the theoretical and philosophical missions of the studio MASK Architects & Design since 2014.
Maxim Dosca is a 28 years old graphic designer currently based in Venice, Italy. He graduated from the Iuav University (Industrial Design and Visual Communication) and obtained a Masters Degree in Communication and Publishing Design at the same university in Venice. His activity focuses on topics around editorial design, print design, publishing, digital art and illustration. Alongside commissioned work he also collaborates with musicians and art galleries around the world.
As a freelance designer, some of the main challenges are staying motivated, and also accepting when an idea doesn’t always go the way you planned. Challenged by the mistakes in his works, Maxim tried to refine these quirks into dynamic ones. This is where his “metagrafik” project comes from, a personal challenge to create one poster everyday for one year. At the base of each poster are various cultural events, however, interpreted in a personal way. Using typography and image to create distinctive imagery, he refined his style to nurture his passion for graphic design. His work has an element of play which materializes a sense of original content around his own curiosity to discover new ideas and techniques.
Today, on Bounty Hunters, Antonio Calvino.
Antonio Calvino started his business as a freelancer graphic designer in 2015, after working in an advertising studio and improving his field of expertise thanks to the studies at the Academy of Fine Arts in Catania in Graphic Design / Business Communication.
Lover of reasoned simplicity and useful design, in 2019 opened his own studio that deals with art direction, branding and editorial design.
Skillrep, is a new brand of sunglasses, clothes and sports equipment, based In Texas, USA.
From the beginning the intent was to use the letters SR for the logo. After some initial proposals, together with the customer, we opted for the use of the negative space in the logo. This optical effect recalled in some way the optics and therefore the customer’s products, but this was not enough.
The definitive logo was immediately appreciated. It with a simple shape of an inclined rectangle, creates the S and the R and two triangles in negative, one above the other, which form an arrow in an upward direction, an enticement to overcome your limits and continue more and more up.
From the simple shapes of the logo, whole branding has been developed, with a pattern with a clear reference and a use of black and white in photographs with outlined subjects and the use of typography.
Today we meet Dennis Elbers, founder and curator of @Graphicmatters
“Visual images are everywhere in our physical and digital world. They determine how we see the world and how we act. We don’t always realise that graphic designers help us by creating order out of chaos, providing clarity in complex matters or speaking to our emotions. They visualise urgent matters so we can understand them quickly. Graphic (design) Matters.”
1. What is “Graphic Matters”? When was it born?
Up to now Graphic Matters is a biannual festival on graphic design. We feature mostly self-initiated projects by designers that care about current issues. We like to show attitudes over disciplines. Our main audience isn’t just other designers, but also young professionals in media and journalism. Our projects show the impact of visual communication and hopefully inspires them to develop a more critical view and (re-)value design in their practice.
2. Who is your team made up of and what is your background before “GraphicMatters”?
Currently our team holds 7 professionals working on both Graphic Matters and Blind Walls Gallery. We also have a pet project called 3sec.gallery. Many people expect me to be a graphic designer, but I actually studied painting and printmaking. Graphic Arts was always a fascination. After graduating from art school (2003) I started curating shows in mixed disciplines. This evolved into a speciality in graphic design. In 2008 the Graphic Design Museum opened in Breda. The world’s first (and at that time only) museum dedicated to graphic design. It would show only the tip of the iceberg, in white rooms without context, for people that are already interested and paid for a ticket. As a young curator working on multi disciplinary exhibitions I gained much interest in the power of graphic design. Together with some friends I initiated Graphic Design Festival Breda. A biannual festival that would complement the museum by showing emerging designers, in public space, for everyone and for free.
3. For more than 10 years you have organized festivals and events full of activities. How much work and time is behind it? How you choose locations, artists and topics?
In our team we spend about 3 full time jobs on Graphic Matters, during festivals we have freelancers and over 50 volunteers to help us. In the past a full cycle from developing the concept, finding funding, pre-production, execution and follow-up took almost 2 years. After this some of our projects would start an European tour to be displayed at other festivals. As the main curator I initiate theme’s and develop these with co-curators. I take my inspiration from what I see, hear, read… I try to sense what is going on in society and connect this to the (future) practice of designers. This is why we hardly show commercial work, this is always following fashion, while we try to stay ahead. We enjoy not having out own venue, but to be able to find exciting places and contribute to their development.
4. You have recently collaborated on the “Stay sane, stay safe” project. Tell us more about and how was this collab born?
After the first shock of lock-down we saw 2 kinds of graphic design erupt. Shopkeeping creating/inventing all kinds of messages and signing to inform people about the new situation. This was different everywhere. Often very confusing. It showed design is a profession 😉 On the other hand we saw designers that visually responded to the situation. As their practice was often pauzed they started to create messages of hope. The Hague based studio Lennarts & De Bruijn together with copywriter Overdeschreef did something similar and decide to include others. Their call for Stay Sane, Stay Safe posters reminded my of our biannual Open Call for posters. Designers from all over the world replied, but their work could only be seen online, and mostly was seen by other designers. So to break this we took the projects to the streets in 3 stages. First 6 weeks of lockdown we presented 12 poster designs in 275 A0 sized commercial frames in public space of Breda. As cool designs kept coming we extended he selection from 12 to 46. These posters became part of two pop-up shows that travelled for 4 weeks. The installations were presented in different squares and parks around our city. Currently stage 3 is the exhibition of 75 designs in our 3sec.gallery. A drive-by gallery in the city center.
5. Graphic and visual design surrounds us both in the physical and digital world. How do you think this will be in 10 years?
I don’t think it will be different. But we try to influence the messages behind the images. The content we see right now (specially in public) is mainly commercial. We don’t like the idea of what we see in public space (both digital and physical) is determined by commercial parties. Putting out more artistic and challenging images is our way of making people aware of the impact visual communication has.
6. Any exciting future projects we can expect?
Always! We started a proces to turn Graphic Matters from a biannual festival into an ongoing program of events. Throughout the year we want to set up more events (masterclasses, talks, public interventions and international exhibitions) from our Graphic Matters Lab. Here we research the themes of the festival together with designers and other stakeholders. By doing so the festival will have stronger content, but will also evolve in shape and duration. First Graphic Matters Lab projects can be expected in 2021.