Slanted 33 Prague E-Book

• Herausgeber: Slanted Publishers
• Kategorie: Geisteswissenschaft
• Serie: Slanted Magazine
• Sprache: Englisch

Seitenzahl: 255

Veröffentlichungsjahr: 2024

Beschreibung

In August 2018 the Slanted editors and photographer Dirk Gebhardt took a close-up look at the contemporary design scene of Prague. They had a number of good reasons to visit Prague: They wanted to meet some good friends and great designer—but also wanted to immerse themselves in history and culture, see Josef Koudelka's documentation of the Velvet Revolution, experience the disturbing world of Franz Kafka, enjoy the musical elegance of Dvorak and save their souls by inhaling the aura of UMRPUM, Prague's Academy of Art, Architecture and Design. Far away from overtourism at Old Town Square, Charles Bridge, or Prague Castle, Slanted met some of the most amazing designers who know where they're from and their roots give them a clear vision of where they want to go. They are the ones shaping the new Prague. You can find their brilliant works in this issue, and a deeper look at their opinions and views through video interviews that can be watched online on our video platform for free: slanted.de/prague. Slanted Magazine #33 comes with contributions by 20YY Designers, Patrik Antczak, Anymade Studio, Artishock, Michal Bačák, Peter Bankov, Filip Blažek, Braasi Industry, Briefcase Type Foundry, Tomáš Brousil, Monika Čejková, Čezeta motors, Anežka Hrubá Ciglerová, Design Herynek, Displaay, Petra Dočekalová, Kristina Fišerová, Fontstore, Karel Haloun, Heavyweight Digital Type Foundry, Martin Hrdina, Jitka Janečková, Kolektiv Studio, Jan Šrámek Kolouch, Linda Kudrnowská, Laboratoř, Františka Lachmanová, and many more. Im August 2018 nimmt die Slanted Redaktion zusammen mit dem Fotografen Dirk Gebhardt die zeitgenössische Designszene Prags unter die Lupe. Sie hatten eine Reihe guter Gründe, Prag zu besuchen: Sie wollten FreundInnen und großartige DesignerInnen treffen – aber auch in Geschichte und Kultur eintauchen, Josef Koudelkas Dokumentation der Samtenen Revolution sehen, die verstörende Welt von Franz Kafka erleben, die musikalische Eleganz von Dvorak genießen und ihre Seelen retten, indem sie die Aura von UMRPUM, der Prager Akademie für Kunst, Architektur und Design, einatmeten. Weit weg vom Übertourismus auf dem Altstädter Ring, der Karlsbrücke oder der Prager Burg traf Slanted einige der beeindruckendsten Designer, die genau wissen, woher sie kommen, und ihre Wurzeln geben ihnen eine klare Vorstellung davon, wohin sie gehen wollen. Sie sind es, die das neue Prag formen. Ihre brillanten Arbeiten finden sich in dieser Ausgabe des Slanted Magazins, einen tieferen Einblick in ihre Meinungen und Ansichten gibt es in Videointerviews, die online frei verfügbar sind: slanted.de/prague. Das Slanted Magazin #33 enthält Beiträge von 20YYY Designern, Patrik Antczak, Anymade Studio, Artishock, Michal Bačák, Peter Bankov, Filip Blažek, Braasi Industry, Briefcase Type Foundry, Tomáš Brousil, Monika Čejková, Čezeta Motoren, Anežka Hrubá Ciglerová, Design Herynek, Displaay, Petra Dočekalová, Kristina Fišerová, Fontstore, Karel Haloun, Heavyweight Digital Type Foundry, Martin Hrdina, Jitka Janečková, Kolektiv Studio, Jan Šrámek Kolouch, Linda Kudrnowská, Laboratoř, Františka Lachmanová uvm.

Leseprobe

Welcome

to Prague

When the Russians came to Prague, I was in Paris. Milos Forman

Works

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1

STUDIO NAJBRT →P 251

1

Studio Najbrt

The Velvet Underground: Reunion 15 6 1990, 2018, Packaging, Design by Zuzana Lednická

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2

STUDIO NAJBRT →P 251

3

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STUDIO NAJBRT →P 251

Studio Najbrt

51st Karlovy Vary IFF, Film Servis Festival Karlovy Vary, 2016, Festival Design, Design by Zuzana Lednická, Aleš Najbrt, Michal Nanoru. See also p. 1

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4

STUDIO NAJBRT →P 251

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5

STUDIO NAJBRT →P 251

Studio Najbrt

Czech Philharmonic 2018 / 2019, Česká filharmonie, 2018, Poster, Catalog, Program, Design by Marek Pistora, Michal Nanoru, Aleš Najbrt

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STUDIO NAJBRT →P 251

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STUDIO NAJBRT →P 251

Studio Najbrt

52nd Karlovy Vary IFF, Film Servis Festival Karlovy Vary, 2017, Festival Design, Design by Zuzana Lednická, Aleš Najbrt, Michal Nanoru

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STUDIO NAJBRT →P 251

Studio Najbrt

13th Prague Short Film Festival, Film Servis Festival Karlovy Vary, 2018, Festival Design, Design by Aleš Najbrt, Marek Pistora

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9

STUDIO NAJBRT →P 251

Studio Najbrt

Thomas & Ruhller, 1985, Poster, Calendar, Program, Custom Type,

Design by Aleš Najbrt

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10

STUDIO NAJBRT →P 251

Peter Bankov

2nd Moscow International Experimental Film Festival, 2017, Poster

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11

PETER BANKOV →P 246

Peter Bankov

World Design Day, 2016, Poster

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12

PETER BANKOV →P 246

Peter Bankov

Zement, Maxim Gorki Theater, 2015, Poster

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13

PETER BANKOV →P 246

Peter Bankov

Gorky, 2017, Poster

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14

PETER BANKOV →P 246

Peter Bankov

Poster Workshop Berlin, 2016 , Poster

Montenegro New York, 2018, Poster

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15

PETER BANKOV →P 246

Peter Bankov

Peter Bankov Poster as Diary, 2016, Poster

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16

PETER BANKOV →P 246

Peter Bankov

Studio View

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17

PETER BANKOV →P 246

Studio Novák & Balihar

Gallery of Fine Arts in Ostrava, 2018, Poster

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Studio Novák & Balihar→P 251

Studio Novák & Balihar

Festival of Progressive Theater, Theater World Brno, National Theater Brno, 2015, Visual Concept, Posters, Video Spot, Web Design

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Studio Novák & Balihar→P 251

Studio Novák & Balihar

Norbert Grund—fecit / Jan Balzer—sculpsit | Abstraction—Création | Who is the Victor?, Gallery of Fine Arts in Ostrava, 2018, Exhibition Posters

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Studio Novák & Balihar→P 251

Studio Novák & Balihar

Last Year in Marienbad / A Film as Art, Exhibition Rufolfinum Gallery, 2016,

Visual Concept

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21

Studio Novák & Balihar→P 251

Studio Novák & Balihar

Freedom?! Festival Theater World Brno, National Theater Brno, 2018, Visual and Ideological Concept, Posters, Video Spot, Web Design

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22

Studio Novák & Balihar→P 251

Studio Novák & Balihar

5th International Theater and Music Festival Janáček Brno, National Theater Brno Opera, 2016, Visual and Ideological Concept, Posters

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23

Studio Novák & Balihar→P 251

Rostislav Vaněk

Pablo Neruda: Ode to Typography (Fragment), 1977, Book, 38.7 × 21.3 cm

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24

Rostislav Vaněk→P 252

Rostislav Vaněk

A Spatial Alphabet, Collaboration with Robert Hlůže, 2018

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25

Rostislav Vaněk→P 252

Rostislav Vaněk

A Spatial Alphabet, Collaboration with Robert Hlůže, Sketches, 2014

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Rostislav Vaněk→P 252

Rostislav Vaněk

Cover of the Architectural Review Rassegna 86 / 2007,

Light in Architecture, Peter Zumthor, Kunsthaus Bregenz, 29.5 × 23 cm

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Rostislav Vaněk→P 252

Rostislav Vaněk

Samuel Beckett: Play, 1970, Theatrical Poster

Studie 1, 1969, LP Cover / The Score, 1971 , Woodcut

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Rostislav Vaněk→P 252

Rostislav Vaněk

Hjalmar Bergman: Memoirs of a Dead Man, Odeon, 1976, Book Cover

John Cage / Edgar Varèse, LP Cover, 1969

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Rostislav Vaněk→P 252

Rostislav Vaněk

Czechoslovak Airlines, 1991, Typeface Logotype, Visual Style,

Collaboration with Radomír Leszczynski

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Rostislav Vaněk→P 252

Rostislav Vaněk

Metro Manual, 1988, Information and Orientation Pictograms

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Rostislav Vaněk→P 252

Parallel Practice

Center For Contemporary Art Futura in Prague, 2013,

Visual Identity, Posters, Applications, Booklets, Microsites

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Parallel Practice→P 250

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Parallel Practice→P 250

Parallel Practice

New Dictionary of Old Ideas, MeetFactory Prague, 2018, Visual Identity

Parallel Practice

Pramen (The Spring), UMPRUM, 2018, Book Design, Editorial, 224 pages

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Parallel Practice→P 250

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Parallel Practice→P 250

Parallel Practice

Tanec Praha, Young & Rubicam, 2018, Visual Identity

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36

Parallel Practice→P 250

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Parallel Practice→P 250

Parallel Practice

Vladimir 518; Ultra Ultra, BiggBoss, 2017, Album Art,Collaboration with 20YY Designers

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Parallel Practice→P 250

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Parallel Practice→P 250

OKOLO

Manifesto, 2015, Glass Studio at UMPRUM, Publication, 24 × 17 cm

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40

OKOLO →P 249

OKOLO

B Mag Vol. 3 & 4, SK Babice, B Running Mag, 2016 / 2017, 194 pages, 22 × 29 cm

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OKOLO →P 249

OKOLO

Art is Truth, Pasta Oner, DSC Gallery, 2017, Exhibition Catalog

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OKOLO →P 249

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OKOLO →P 249

OKOLO

28th Graphic Design Biennale Brno, Moravian Gallery, 2018, Exhibition, Various Materials

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OKOLO →P 249

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OKOLO →P 249

OKOLO

Vogue First Issue Exhibition, Vogue CS and Museum of Decorative Arts

in Prague, 2018, Metal and Textile

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46

OKOLO →P 249

OKOLO

Objects if Refinement, Self-initiated Project, 2017–2018, Exhibition

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47

OKOLO →P 249

20YY Designers

Roger Hiorns, Galerie Rudolfinum, 2015, Exhibition Identity

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20YY DESIGNERS →P 246

20YY Designers

Jiří Kolář: Grimace of the Century, National Gallery Prague, 2018,

Exhibition Identity, Catalog, 208 pages, 21 × 27 cm

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20YY DESIGNERS →P 246

20YY Designers

Bonjour Monsieur Gauguin / Čeští umělci v Bretani 1850–1950, 2017, Artbook, 308 pages, 17.3 × 24.5 cm

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50

20YY DESIGNERS →P 246

20YY Designers

Jindřich Chalupecký Award: Final 2016, Visual Identity, Book

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20YY DESIGNERS →P 246

20YY Designers

Katharina Grosse: Wunderbild, National Gallery Prague, Walther Koenig, 2018, Catalog with 800 Individually Painted Covers, 168 pages, 23 × 31 cm

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20YY DESIGNERS →P 246

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20YY DESIGNERS →P 246

20YY Designers

Magdalena Jetelová: Touch of Time, National Gallery Prague 2017,

Exhibition Identity, Catalog, 264 pages, 21 × 27 cm

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20YY DESIGNERS →P 246

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20YY DESIGNERS →P 246

Studio Marvil

OCH! Olgoj Chorchoj Exhibition, Moravian Gallery, 2016,

Exhibition, Catalog, 23 × 28.5 cm, Design by Jiří Karásek

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STUDIO MARVIL →P 251

Studio Marvil

Bomma Lighting, Bomma, 2017, Catalog, 23 × 32 cm, Identity, Design by Jiří Karásek

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STUDIO MARVIL →P 251

Studio Marvil

PRIM ELTON CRONO, ELTON hodinářská, 2018, Clock Face Design, Design by Jiří Karásek

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STUDIO MARVIL →P 251

Studio Marvil

PPF Bank, PPF 2018, Logo, Identity, Stationery,Design by Olga Benešová, Jiří Karásek

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STUDIO MARVIL →P 251

Studio Marvil

TON Collection 2016–2017, TON, 2016, Identity, Catalog, 21 × 26.5 cm, Design by Jiří Karásek, Pavel Zelenka, Tereza Pavelková

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STUDIO MARVIL →P 251

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STUDIO MARVIL →P 251

Displaay

Reckless, 2017, Typeface

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DISPLAAY →P 247

Displaay

Roobert, 2017, TypefaceMatter, 2017, Typeface

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DISPLAAY →P 247

Displaay

Fellix, Gellix, Hellix, Yellix, 2011, Typeface

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DISPLAAY →P 247

Displaay

SCA Sans, 2018, Custom Typeface

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DISPLAAY →P 247

Displaay

Wallop, 2013, Typeface

Museet Sans, Museet Serif, 2017, Custom Typeface

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DISPLAAY →P 247

Anymade Studio

Startup, Prague City Gallery, 2018, Exhibition

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ANYMADE STUDIO →P 246

Anymade Studio

After late for Pro: Officework, MeetFactory Prague 2017, Exhibition

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ANYMADE STUDIO →P 246

Anymade Studio

Bastl Super Zine, Bastl Instruments, 2017, Zine, 120 pages, 19 × 26 cm

Epos 1967–1980, The Brno House of Arts, 2017, Book, 240 pages, 24 × 31 cm

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ANYMADE STUDIO →P 246

Anymade Studio

Lunchmeat Festival 2018, 2017, Visual Identity

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ANYMADE STUDIO →P 246

Anymade Studio

Brno Art Open—Sculptures in the Streets, The Brno House of Arts, 2017, Visual Identity

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71

ANYMADE STUDIO →P 246

Anymade Studio

Medium Figure, Prague City Gallery, 2017, Exhibition Catalog

Alfons Mucha, Prague City Gallery, 2019, Visual Identity

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ANYMADE STUDIO →P 246

Anymade Studio

The Brno House of Arts, 2016–2018, Visual Identity

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ANYMADE STUDIO →P 246

ReDesign

Prague Spring, 2016, unrealized, Poster, 70 × 100 cm

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REDESIGN →P 250

ReDesign

1912 Exhibition, 2012, Poster, 70 × 100 cm, Design by Martin Groch, Klára Kvízová

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REDESIGN →P 250

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REDESIGN →P 250

ReDesign

Živel No. 26, 2005, Magazine, 29 × 23 cm, Art Concept by Petr Krejzek, Design by Radim Peško, Photo by Adam Holý

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REDESIGN →P 250

ReDesign

Živel No. 1, 27, 25, 39, 1995–2018, Art Conc. by Petr Krejzek, Design by Klára Kvízová, Radim Peško, Petr Krejzek, Photos by Václav Jirásek, Adam Holý

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REDESIGN →P 250

ReDesign

Ernst Mach Workshop, 2013–2016, Posters, 70 × 100 cm,

Design by Klára Kvízová

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REDESIGN →P 250

ReDesign

Academia Film Olomouc, 2012, Poster, 70 × 100 cm,

Design by Petr Krejzek, Klára Kvízová

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80

BRIEFCASE TYPE FOUNDRY →P 246

Briefcase Type Foundry

Briefcase News 01, 2014, Specimen, 32 pages, 31.5 × 47 cm,

Design by Marius Corradini (Studio Side2), Radek Sidun

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81

BRIEFCASE TYPE FOUNDRY →P 246

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BRIEFCASE TYPE FOUNDRY →P 246

Briefcase Type Foundry

TYPO 9010, 2015, 399 Czech digitized typefaces 1990–2010, Book, 288 pages, 22 × 30 cm, Design by Zuzana Lednická, Radek Sidun

83

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BRIEFCASE TYPE FOUNDRY →P 246

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Briefcase Type Foundry

Original Alphapipe Typeface, 1974, Jiří Rathouský archive,

Selection of Book Covers from the Gama Edition, Odeon, 1980–1992

BRIEFCASE TYPE FOUNDRY →P 246

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Briefcase Type Foundry

BC Mikser, 2015, Typeface, Design by Filip Kraus

85

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BRIEFCASE TYPE FOUNDRY →P 246

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SUPERIOR TYPE →P 251

Superior Type

Superior Objects, 2016–ongoing, Self-initiated Art Project,

Design by Vojtěch Říha, Matěj Polách

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SUPERIOR TYPE →P 251

Superior Type

Kunda Book, 2015, Typeface, Specimen, Design by Vojtěch Říha

Superior Type

Echo, 2019, Typeface, Design by Vojtěch Říha

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SUPERIOR TYPE →P 251

Superior Type

Luxor, 2017, Custom Typeface, Design by Vojtěch Říha

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SUPERIOR TYPE →P 251

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SUPERIOR TYPE →P 251

Superior Type

Slavia, 2018, Typeface, Design by Vojtěch Říha, Matyáš Machat

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SUPERIOR TYPE →P 251

Superior Type

Dres, 2014, Typeface, Design by Vojtěch Říha

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HEAVYWEIGHT DIGITAL TYPE FOUNDRY →P 247

Heavyweight Digital Type Foundry

Haas Effect #9, Endless Illusion Records, 2017, Diptych Poster

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HEAVYWEIGHT DIGITAL TYPE FOUNDRY →P 247

Heavyweight Digital Type Foundry

Nuckle, 2018, Typeface

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HEAVYWEIGHT DIGITAL TYPE FOUNDRY →P 247

Heavyweight Digital Type Foundry

Atlantic, 2019, Typeface

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HEAVYWEIGHT DIGITAL TYPE FOUNDRY →P 247

Heavyweight Digital Type Foundry

Atlantic, 2019, Stonecraft

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HEAVYWEIGHT DIGITAL TYPE FOUNDRY →P 247

Heavyweight Digital Type Foundry

Pano, 2016, Typeface Specimen, 70 × 100 cm

Advertising

slanted 34

autumn

europe

2019

slanted.de/shop

out now

Czech Brands

Czech Brands

Braasi Industry

Čezeta motors

Master & Master

PBG

123

CZECH BRANDS

Slanted 33—Prague

Company name: Braasi Industry

Founded in: 2014

Founder: Šimon Brabec and Eliška Slámová

Employees: 6

Points of sale: Shops and webshops in Europe and Japan

Core: Urban backpacks

Headquarter: Dělnická 67a, Prague 7 Holešovice

Most popular model: Wiker, Noir

URL: braasi.com

Slanted 33—Prague

Czech Brands

Braasi Industry

is a family boutique factory founded by a couple of two young architects Šimon Brabec and Eliška Slámová. They specialize mainly in the produc-tion of everyday carry backpacks from quality materials made in Czechia.

Šimon and Eliška started to produce back-packs for their own and their friends’ use years ago. As demand grew, they decided to move on. Nowadays you can find them in a workshop, they designed themselves, based in a recon-structed old factory in Prague’s trendy district of Holešovice.

Less is more in Braasi and so the produc-tion follows simple rules: Combining functionality and aesthetics, timelessness and practicality. Products are simple and functional, yet stylish and detail-focused.

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CZECH BRANDS

124

Czech Brands

Čezeta motors

The Čezeta, Koch created, quickly became the iconic scooter design all over the communist world from Cuba to Vietnam. Recognizable for its chic aerodynamic look, it’s style captured the excitement of Sputnik, Gagarin and all the starry wonders of the 1950s. Home in Prague, it re-ceived its nickname “The Pig,” a fair comparison to western Europe’s little Vespa.

Its look charmed the world with over 120,000 being sold. Many of these vintage bikes are still in use today as proof of their legendary quality.

In 2013, Čezeta launched one of Europe’s first projects to build a hi-tech electric scooter. After five years in development, the production started in 2018 and a first series of 30 bikes were produced. From Spring 2019, a second series of improved Čezeta are available to rent and buy.

Company name: Čezeta motors

Founded in: 1957

Designer of its iconic shape: Jaroslav František Koch

Employees: 11

Core: Electric scooters

Factory: Prostějov (CZ)

Most popular model: Čezeta Type 506 (winner of “scooter of the year” at Prague Motosalon 2019)

URL: cezeta.com

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CZECH BRANDS

125

Master & Master

founded by Ondřej Zita and Luděk Šteigl a few years ago, excels in a production of simple and efficient contemporary furniture of minimalist forms and natural production techniques. They create furniture as a product of everyday life. They pay homage to the legacy of the everyday product design, which is simple and easy to produce and use. 

Company name: Master & Master

Founded in:2012

Founder:Ondřej Zita, Luděk Šteigl

Points of sale:Webshop and showroom in Prague

Core:Furniture

Headquarter:Milady Horákové 6, Prague 7 Holešovice

Most popular model:Diamond table trestles

URL:masterandmaster.eu

Czech Brands

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CZECH BRANDS

126

PBG

is a Prague-based fashion accessories studio founded in 2011 by Aneta Vojtová and Tereza Horáková. PBG is designing and producing minimalistic and practical bags, backpacks, and other leather accessories.

They create all of their products from scratch, source the highest quality materials from all over the world and pride themselves on the best quality and design for a practical but fashion-able accessory.

Company name: PBG

Founded in:2011

Founder:Aneta Vojtová, Tereza HorákováPoints of sale:Webshop, showroom in Prague, shops across Europe

Core:Bags and fashion accessories

Headquarter:Bečovská 1567/1b,

Prague 22 Uhříněves

Show Room:Klimentská 3, Prague 1

Most popular model:Cross body purse

URL:pbgstudio.com

Czech Brands

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CZECH BRANDS

127

Fontnames Illustrated

Fontnames Illustrated

Michal Bačák

Magdalena Rutová

Jan Šrámek Kolouch

Tomski&Polanski

Patrik Antczak

Jindřich Janíček

Františka Lachmanová

128

Fontnames Illustrated

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Pivo / Michal Bačák

129

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Fontnames Illustrated→P 246

Kolecka / Magdalena Rutová (LINOSTOCK)

130

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FONTNAMES ILLUSTRATED →P 248

Nudista / Jan Šrámek Kolouch

131

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Fontnames Illustrated→P 248

Klaviatura / Tomski&Polanski

132

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FONTNAMES ILLUSTRATED →P 252

Happy Killer / Patrik Antczak

133

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Fontnames Illustrated→P 246

134

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FONTNAMES ILLUSTRATED →P 252

Slavia Press / Jindřich Janíček (taketaketake)

135

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Fontnames Illustrated→P 248

Spinka / Františka Lachmanová

10 × 10 Inside Prague

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136

10 × 10

Inside Prague

Petr Babák

Monika Čejková

Anežka Hrubá Ciglerová

Kolektiv Studio

Jan Matoušek

Oficina

Pavla Pauknerová

Side2

Petr Štěpán

Adéla Svobodová

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10 ×10 →P 246–252

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1.

What made you become a designer / illustrator / photographer / typographer / curator?

Petr Babák Well, I always sit on multiple chairs and I enjoy it. I am a graphic de-signer, university teacher, and journalist. I’m often invited to projects as an artist, and we often work with architects. I’m also a football player, a member of the F1 Team! In 2002 I set up my own graphic studio Laboratoř and since 2005 I have a graphic design studio and teach New Media at the Academy of Arts, Architec-ture and Design in Prague. I try to write and do so regularly.

Monika Čejková It was kind of natural for me, but I would say I was influenced a bit by my grandfather who was a telegrapher for the Czechoslovakian air force and he was rejected out of army after 1968. So he had more time for his hobby—painting, which he spent loads of weekends with. As a child I was fascinated by it. I graduated at fash-ion design high school and after that I decided to get a wider view, so I moved to Prague to study History of Art at Charles University. At the same time I started to work at Meda Mladek’s Museum Kampa and then I started my own exhibitions.

Anežka Hrubá Ciglerová My parents. My father is an architect and mother is a photographer also my grandparents were artists. My younger brothers are architects. So I always say that I have nogenes for anything else than art, archi-tecture or design.

Kolektiv Studio Personal computer and Times New Realism.

Jan Matoušek The original excitement came from graffiti—that was where I discovered the magic connection between a person, letters, and the microcosm of the urban landscape. In graffiti, you create a visual code, you build a fictional and real character at once, you build interactions with the other characters in the game and inhabitants of the city. I think I’m simply pushing the essence ofthis excitement to other levels and forms. Basically, I’m just following what was

ignited a long time ago. I see where I’m going the right way and where I go astray. If you’re conscious of them, mistakes are the best education. That’s why I don’t regret anything. In a way, it’s a game, and in this game, I push my character to the goals I’ve set through the limits that are set externally.

Jan Matoušek, New Wave—Academy of Fine Artsin Prague, 2017. Book, 16.5 ×22 cm.

Oficina Oficina started in 2008 andit was the only studio fully dedicated to motion design in the Czech Republic.Motion design was not a very well known term back in those days. For us it was a natural form of expression mostly because two founding direc-tors are graduates from graphic design and animation. We’ve influenced each other and learned from each other, too. Embracing the unknown and gaining more knowledge became the source of studio’s vitality. We do not put anybody into a strict role. Everyone in the studio,as well as external collaborators, are usually multidisciplinary creatives.

Pavla Pauknerová I have not been cou-rageous enough to study graphic design, however, I am currently writing and lecturing about it, curating exhibitions, etc. I see this as a great privilege. In-stead of arguing with clients, I can talk to students about topics I choose freely. I’m not forced to make any compromises.

Side2 Well, I guess it was gradual: frenetic doodling as a little boy at the beginning, attending after-school art classes next, later passing aptitude ex-ams to a secondary art school and then to an art college. Surely, an important factor was meeting the right inspiration-al people at all these levels. Originally

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I wanted to be an architect but my pro-gress was more intuitive rather than focused and thus chance and circum-stances combined led me to graphic design and visual communication.

Petr Štěpán At the beginning it was just fun, then studies came and now it’s more about work, meetings, work meetings, paperwork, and responsibility. And fun of course.

Adéla Svobodová When I was in high school I was interested in art in general. I studied Graphic Design and Fine Arts and always tried to find a way to connect those two fields together. I started by working on a few graphic design projects for friends. Then, after my studies, I worked on projects in both fields, art and graphic design. Nowadays I do mostly graphic design, focusing on books for artists and cultural institutions.

2.

František Štorm, artist, photographer, graphic designer, musician, teacher, and type designer, graduated from the Academy of Applied Arts in Prague, studying at the School of Book and Type Design under Prof. Jan Solpera. He con- sidered Solpera to be a “guru” for him and his generation of typographers, teaching him to be “personal rather than useful, with an emphasis on an original, unmistakable attitude.” Do you have any idols or “gurus?”

Petr Babák I am a graduate of the same atelier as František. My professor was also Jan Solpera, and I certainly appre-ciate him for his openness and the fact that he left me in the atelier and let me work on my mostly free projects, gave me the freedom because he knew I was on my way … always on a definitely thin line between graphic design and art. As for “gurus,” besides Jan Solpera, it is certainly a holy trio of Czech artists: Dalibor Chatrný, Jiří Valoch and J.H. Kocman. Artists who, each from their point of view, often worked with the subject of the book. From the world’s artists, it is a wide range of names and certainly not just names in the field of graphic design, they are actually always on the list. I am inspired by creators

from a wide variety of areas and from different times, not only from the past, such as Henri Michaux, Novalis, Jens Lekman, Kim-Ki Duk, Sutnar, Louis Kahn, Karel Tiege, Bon Iver, Kazimir Malevich, Philip Starck, Giotto, Andrej Tarkovsky, El Lisickij, Albrecht Dürer, Ssion, or the new audio mogul Connan Mockasin. It’s a great crowd of very different authors working with both the maximum emo-tion and the cool calculator, so I like it. I do not lock up with new impulses.

Petr Babák, Chris Kraus: I Love Dick, Editorial, 2018.

Monika Čejková When I was younger I used to have idols and gurus. When it comes to curating, I read a lot about the history of curating. Recently I have been more inspired by different tiny bits from fashion, theater, literature or artitself. It’s kind of distorted but in the endthe pieces create some idea. I travel around Europe, visiting ateliers, galleries and meeting new artists. I would say I filter stuff a lot and aside from this I still get inspiration from books and magazines as well. And I would say that right now I search for art and artists who’s work is based on convergence of media or art and culture symbols.

Anežka Hrubá Ciglerová František Štorm was my teacher and I really appreciate his work. But to be honest, I don’t feel I have a specific graphic or typographicguru. I think that I have learned the most from my classmates. After school I was inspired by people who were around me in the studio (mostly former classmates).

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I was also very influenced by Dutch graphic design. I studied five months at KABK (Royal Academy) in The Hague in a studio led by professor Gert Dumbar. Actually he was always telling us that our classmates are the ones, from which we can learn the most! I had great classmates there—Lauri Toikka, Florian Schick, Sueh Li Tan, Ján Filípek. Some of them became quite famous typogra-phers. So maybe they can be somewhat of a role model to me.

Kolektiv Studio Václav Bělohradský, Bruno Latour, Vít Havránek, Franz Fanon, Ivo Kijonka, Eugen Fink, Václav Magid, Karl Marx, Michal Hauser, Jacques Derrida.

Jan Matoušek No specific ones, at least not in the sense of a single person. When you relate yourself in any way to someone you consider a model, this creates duality and disjointedness. Inone’s life, one should search for and find the teacher in oneself. If I were tomention someone I consider my teacher,it would be Petr Babák, with whom I studied and later worked. He gave me a lot of important weapons which are at the center of my creativity, though I continue transforming them: Truth in things and discourse. A certain insolence. Searching for the essence and finding unexpected solutions. A desire to search and innovate.

Oficina To call some of the artists we like a guru would be quite misleading. We don’t think there is anybody like Peter Saville or Karl Martens, who both influenced a whole generation of de-signers. There might appear somebody like that but probably needs to grow yet. Nevertheless, we’ve always admired mostly British motion design. Because motion design was unknown at Czech schools, we started to visit foreign festivals to meet foreign artists. We wanted to help motion design to get established here, too, and that’s why we’ve decided to start our own festival called Mouvo around four years ago. Thanks to the festival, we bring some of the finest motion designers from anywhere around the globe to Prague.

Pavla Pauknerová Most of my teachers—either at a high school or both universities—were my role mod-els. Their personalities and specific ways of thinking probably influenced me more than the knowledge they provided me with. As I lecture myself, I often have to ask whether or not my approach is specific and unique enough to influ-ence my students in a similar way.

Side2 I believe that it’s good to beable to apply both features—personal attitude as well as usefulness. I have never dwelled on having some kind of unique personal style. I prefer when “style” expresses a type of thinking and conceptual content processing, which usually points you in the right direction when choosing the adequate form and expression. In this sense I don’t have just one “idol” but a whole lot of admi-rable examples both contemporary and historical.

Petr Štěpán I was lucky to study at the same academy under Jan Solpera, as well. Then another very lucky and crucially important ten years of coop-eration with Aleš Najbrt at his studio. That environment and all the team members (Zuzana Lednická, Pavel Lev, Mikuláš Macháček, Bohumil Vašák, Marek Pistora …) and last but not least, the studio clients shaped me into the designer I am now.

Adéla Svobodová I don’t have any idols or gurus in graphic design. In my case, people and magazines served as my mainsource of inspiration. I was influenced by other designers and artists’ works, rather than by their personalities. I’ve always tried to keep up with the works of people I’m interested in.

3.

What are the good and what are bad aspects of design education in the Czech Republic?

Petr Babák In my opinion, everything, good and bad, is in the quest for the identity of a young person who is form-ing at elementary and above all in high school. As a student who chooses to be at a middle school of art, it is crucial that he meets pedagogues on his way.

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I do not want to reduce the role of col-lege, but the student