21.11.2011 releases
Atelierul de grafică has the pleasure of inviting you Saturday, November 26th, 7 pm at Café Verona - Carturesti, to the launch of the second GF book: Graphics without computers. Letters. Hand-drawn, Embossed, Volumetric. The launch will be accompanied by a small exhibition of materials reproduced in the volume.

What we are about to show you is a cutting out of objects from their ori­ginal contexts. We pre­­­sent se­veral types of graphic images: first there is one type of image still fun­­ctioning in the pu­blic space, but suffocated by the requirements of con­temporary life (cables, an­­tennas, air conditioning, etc.) and then there is another, less available, taken out from industrial spaces or museum archives. These are images that are either forgotten or ignored by some and completely unknown to others.
Beyond showing you these images, we continue to believe that lingering on the construction of a form may provide better results than those allowed by the dyna­mic technologies of today, and that eliminating direct human intervention from the field of graphics – let us say –, means, in fact, the complete suppression of this art.
This second book in the graphicfront project follows into the footsteps of its predecessor in bringing to light a rich diversity of forms and denominations, while emphasising a simple approach, which uses primary tools – design and execution without having a computer handy. Today, we can observe that this approach has produced some well-made items, as well as some that are completely absurd, out of hand, lost amongst directives and fixed forms. 

Exerpts from the book

Ioana Gruenwald
[...] By looking at the images collected in this book I am able to “rewind the film”, letter by letter. Back in those times the message was direct and unequivocal. You were told to do this or that. Nothing was ever only a suggestion. And just as our parents were urged to stuff us with sweets, so the workers in the factories and on the buil­ding sites were given instructions, directions or warnings in a language that was authoritative yet highly accessible by its “target groups”. There was no place for linguistic flourishes at a time when people – some of whom had been brought overnight from the country to the city – constantly needing to be reminded how to work in a factory or on a building site.[...]

Caterina Preda
[...] Where at the outset of the transition period people’s main desire was to break with the past, to start anew, now there is a gradual increase in interest in the past as an aesthetic resource. And in the case of Romania, the lack of discernment, the reconversion of the past without attempting to retain its aesthetic qualities, or the senseless destruction have fostered a need to regain certain aesthetic reference points. Gradually, the past is to a certain degree becoming frequen­table again. Parts of it, some of its remnants are being reclaimed and displayed or introduced into the contemporary visual environment. [...]

Rudolf Gräf
[...] In architecture, the obsession with manifestos is translated into a need to transmit an explicit and legible message. The written word is one of the fundamental aspects of communicating with the outside, influencing the image of modern metropolises in an increasingly striking way and transforming them into written spaces. The letter thus became ubiquitous4g, but this prominence of the written text remained relatively controlled, at least in mo­dern architectural trends, which are faithful to the idea of Gesamtkunstwerk. Later, National Socialism would perfectly grasp the role that letters were able to play in communicating with the masses and would use it as a stage prop.[...]

More details about the book here

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