typefaces
- eevee 2016
- cleopatra 2016
- barcelona 2018
- blade 2019
- donna & belle 2019
- lilja 2021
publications
- TYPODARIUM, Verlag Hermann Schmidt (Mainz) 2018, 2020, 2021
- CAP 74024 magazine (Milan) 2020
- MAKING POSTERS, Bloomsbury Publishers UK (London) 2020
- StyleZeitgeist magazine (New York) 2018
- AGI - 1000 CRAYONS pour la liberté d‘expression, bec en air (Marseille) 2015
- 100for10, Melville Brand Design (Munich) 2015
workshops and talks
- bauhaus.type.action lecture series, Bauhaus Weimar 2021
-
»bauhaus100 — WILD!« (workshop in typography and graphics),
BACC Bangkok Art & Culture Centre Thailand 2019 - Alumni Talk, Kunstverein Mannheim 2018
[EEVEE] TYPEFACE *mannheim
and first there was eevee: harsh but lively! the wilful beauty! use her for running text as well as for headlines. eevee comes with more than 500 characters, basic opentype features and is prepared for all european languages. so hello!
part of TYPODARIUM 2018 by lars harmsen & raban ruddigkeit, verlag hermann schmidt mainz
[EEVEE] TYPEFACE *mannheim
and first there was eevee: harsh but lively! the wilful beauty! use her for running text as well as for headlines. eevee comes with more than 500 characters, basic opentype features and is prepared for all european languages. so hello!
part of TYPODARIUM 2018 by lars harmsen & raban ruddigkeit, verlag hermann schmidt mainz
[WERKSCHAU ’14] INTERIOR DESIGN for MANNHEIMER KUNSTVEREIN *mannheim
the rough character and the clear heart! the faculty embodying its creation and inevitably its environment: industry- and university-city in inter- and counter-play with its culture.
six meters high steel walls overtopping both stories of the building, stretching the room within its height, channel the audience through gates, along its depth. all exhibits lie on concrete socles or lean on the steel construction, demonstrate the idea of fast pace and authenticity. the used materials are free of any cosmetic intervention, based on their purpose and – just because of that – suitable for a worthy presentation of the student works.
all theatrics comes from basic optical rules which let the room appear bigger and lighter than before, despite of the added five tons of weight. it persists through the haptics of its substance, tells of rhythm and rigor. steel and concrete, the rough as carrier for the subtle.
opening speech by max dudler
supervision: veruschka götz
sponsoring: BAG Mannheim + HeidelbergCement
[WERKSCHAU ’14] INTERIOR DESIGN for MANNHEIMER KUNSTVEREIN *mannheim
the rough character and the clear heart! the faculty embodying its creation and inevitably its environment: industry- and university-city in inter- and counter-play with its culture.
six meters high steel walls overtopping both stories of the building, stretching the room within its height, channel the audience through gates, along its depth. all exhibits lie on concrete socles or lean on the steel construction, demonstrate the idea of fast pace and authenticity. the used materials are free of any cosmetic intervention, based on their purpose and – just because of that – suitable for a worthy presentation of the student works.
all theatrics comes from basic optical rules which let the room appear bigger and lighter than before, despite of the added five tons of weight. it persists through the haptics of its substance, tells of rhythm and rigor. steel and concrete, the rough as carrier for the subtle.
opening speech by max dudler
supervision: veruschka götz
sponsoring: BAG Mannheim + HeidelbergCement
[WERKSCHAU ’14] INTERIOR DESIGN for MANNHEIMER KUNSTVEREIN *mannheim
the rough character and the clear heart! the faculty embodying its creation and inevitably its environment: industry- and university-city in inter- and counter-play with its culture.
six meters high steel walls overtopping both stories of the building, stretching the room within its height, channel the audience through gates, along its depth. all exhibits lie on concrete socles or lean on the steel construction, demonstrate the idea of fast pace and authenticity. the used materials are free of any cosmetic intervention, based on their purpose and – just because of that – suitable for a worthy presentation of the student works.
all theatrics comes from basic optical rules which let the room appear bigger and lighter than before, despite of the added five tons of weight. it persists through the haptics of its substance, tells of rhythm and rigor. steel and concrete, the rough as carrier for the subtle.
opening speech by max dudler
supervision: veruschka götz
sponsoring: BAG Mannheim + HeidelbergCement
[LUST – HOLY THERESA] WELTFORMAT‘14 *lucerne
finalist at the international WELTFORMAT competition in lucerne. issue: ‘desire!’
[HELLO WILD CLICHÉ by BATACLAN] MUSIC & ARTWORK *berlin
NEW EP ‘hello wild cliché‘ as ‘bataclan‘!! coming with great cover artwork and cool poster! out on cd and digital!
[LUCERNE * WORLD * JAPAN] *lucerne
poster created during the WELTKLASSE workshop with anette lenz
[BARCELONA] TYPEFACE *barcelona
BARCELONA is fast, against, sexy! she is both nonconformist and darling: she comes with around 700 glyphs in five weights, basic opentype features, and is prepared for all latin (+greek) languages.
she is a lover to a firm kind of impulsive energy – arose out of a twelve week working mania. she is a tilted grotesque; geometrically settled, but with a humanistic draw, which increases in the heavier weights. her nature is very much about the letting go and catching of curves and edges; about inconstancy and how it can »awake« things.
barcelona prefers the billboad to the novel, loud places to the seen ones. she is a protest! she is sometimes a diva when leaving the house, never without that little chic: here she is, to be used with courage!
– it smells like alcohol and hot shimmering air. rosalía sings »catalunya« and the new revolution starts heralding here from the balconies: with the deep buzz and the wild drumming on pots and pans!
[BARCELONA] TYPEFACE *barcelona
BARCELONA is fast, against, sexy! she is both nonconformist and darling: she comes with around 700 glyphs in five weights, basic opentype features, and is prepared for all latin (+greek) languages.
she is a lover to a firm kind of impulsive energy – arose out of a twelve week working mania. she is a tilted grotesque; geometrically settled, but with a humanistic draw, which increases in the heavier weights. her nature is very much about the letting go and catching of curves and edges; about inconstancy and how it can »awake« things.
barcelona prefers the billboad to the novel, loud places to the seen ones. she is a protest! she is sometimes a diva when leaving the house, never without that little chic: here she is, to be used with courage!
– it smells like alcohol and hot shimmering air. rosalía sings »catalunya« and the new revolution starts heralding here from the balconies: with the deep buzz and the wild drumming on pots and pans!
[BARCELONA] TYPEFACE *barcelona
BARCELONA is fast, against, sexy! she is both nonconformist and darling: she comes with around 700 glyphs in five weights, basic opentype features, and is prepared for all latin (+greek) languages.
she is a lover to a firm kind of impulsive energy – arose out of a twelve week working mania. she is a tilted grotesque; geometrically settled, but with a humanistic draw, which increases in the heavier weights. her nature is very much about the letting go and catching of curves and edges; about inconstancy and how it can »awake« things.
barcelona prefers the billboad to the novel, loud places to the seen ones. she is a protest! she is sometimes a diva when leaving the house, never without that little chic: here she is, to be used with courage!
– it smells like alcohol and hot shimmering air. rosalía sings »catalunya« and the new revolution starts heralding here from the balconies: with the deep buzz and the wild drumming on pots and pans!
[BARCELONA] TYPEFACE *barcelona
BARCELONA is fast, against, sexy! she is both nonconformist and darling: she comes with around 700 glyphs in five weights, basic opentype features, and is prepared for all latin (+greek) languages.
she is a lover to a firm kind of impulsive energy – arose out of a twelve week working mania. she is a tilted grotesque; geometrically settled, but with a humanistic draw, which increases in the heavier weights. her nature is very much about the letting go and catching of curves and edges; about inconstancy and how it can »awake« things.
barcelona prefers the billboad to the novel, loud places to the seen ones. she is a protest! she is sometimes a diva when leaving the house, never without that little chic: here she is, to be used with courage!
– it smells like alcohol and hot shimmering air. rosalía sings »catalunya« and the new revolution starts heralding here from the balconies: with the deep buzz and the wild drumming on pots and pans!
[IRRWEGE – SISYPHOS] WELTFORMAT‘17 *lucerne
finalist at the international WELTFORMAT competition in lucerne. issue: ‘detours!’
[bauhaus100 — WILD!] WORKSHOP @ BACC *bangkok
workshop by luis rutz facing typography, poster design and working techniques at the bacc bangkok art and culture centre, thailand
special thanks: narachot “brown” meesaiyaat / patrix meesaiyaat / thitiwan rasmikomain / varank subanarat
[bauhaus100 — WILD!] WORKSHOP @ BACC *bangkok
workshop by luis rutz facing typography, poster design and working techniques at the bacc bangkok art and culture centre, thailand
special thanks: narachot “brown” meesaiyaat / patrix meesaiyaat / thitiwan rasmikomain / varank subanarat
[THE FACE COAT] LEON EMANUEL BLANCK × LUIS RUTZ *paris
first ever face print on curved coat. revisit of a classic fashion piece by leon emanuel blanck. shown at paris fashionweek aw18/19
[THE FACE COAT] LEON EMANUEL BLANCK × LUIS RUTZ *paris
first ever face print on curved coat. revisit of a classic fashion piece by leon emanuel blanck. shown at paris fashionweek aw18/19
[CLEOPATRA] TYPEFACE *heidelberg
cryptic looking monotype font; round numerics to contrast the edgy letters and signs; every glyph is constructed in a strict grid, therefore wildly combinable for sharp looking patterns and new shapes!
part of TYPODARIUM 2020 by lars harmsen & raban ruddigkeit, verlag hermann schmidt mainz
[BEYOND] IPT2018 *toyama
[DISPARITY] AW2018 LOOKBOOK PICTURES FOR LEON EMANUEL BLANCK *paris
Leon Emanuel Blanck’s AW2018 collection is discourse in the tension between black and white, acceptance and rejection, radical extremes. The collection leaves little room for grey areas, reminiscent of the contemporary political landscape that resonates throughout the world.Crafted through hard contrasts, uniform swaths of colour and complete desaturation, the seams and sutures of this collection play a most pivotal role. A role that is only furthered though binding the meticulously sourced materials that form each of his pieces: precious alpaca wools, cashmere blends, mink and pony hair, robust horse leathers, resin treated corduroys and waxed heavy cottons.The conflicting discourse reaches to the core of the collection; it’s tailored pieces and elegant shapes being in perfect balance to open linings, rough edges and aggressive seam work. Further fortifying the DNA of Leon Emanual Blanck’s ANFRACTUOUS DISTORTION
[DISPARITY] AW2018 LOOKBOOK PICTURES FOR LEON EMANUEL BLANCK *paris
Leon Emanuel Blanck’s AW2018 collection is discourse in the tension between black and white, acceptance and rejection, radical extremes. The collection leaves little room for grey areas, reminiscent of the contemporary political landscape that resonates throughout the world.Crafted through hard contrasts, uniform swaths of colour and complete desaturation, the seams and sutures of this collection play a most pivotal role. A role that is only furthered though binding the meticulously sourced materials that form each of his pieces: precious alpaca wools, cashmere blends, mink and pony hair, robust horse leathers, resin treated corduroys and waxed heavy cottons.The conflicting discourse reaches to the core of the collection; it’s tailored pieces and elegant shapes being in perfect balance to open linings, rough edges and aggressive seam work. Further fortifying the DNA of Leon Emanual Blanck’s ANFRACTUOUS DISTORTION
[DISPARITY] AW2018 LOOKBOOK PICTURES FOR LEON EMANUEL BLANCK *paris
Leon Emanuel Blanck’s AW2018 collection is discourse in the tension between black and white, acceptance and rejection, radical extremes. The collection leaves little room for grey areas, reminiscent of the contemporary political landscape that resonates throughout the world.Crafted through hard contrasts, uniform swaths of colour and complete desaturation, the seams and sutures of this collection play a most pivotal role. A role that is only furthered though binding the meticulously sourced materials that form each of his pieces: precious alpaca wools, cashmere blends, mink and pony hair, robust horse leathers, resin treated corduroys and waxed heavy cottons.The conflicting discourse reaches to the core of the collection; it’s tailored pieces and elegant shapes being in perfect balance to open linings, rough edges and aggressive seam work. Further fortifying the DNA of Leon Emanual Blanck’s ANFRACTUOUS DISTORTION
[BLADE] TYPEFACE *heidelberg
blade shaped display font; combining sharp edges and tight bends. oblique style for a bold look!
part of TYPODARIUM 2021 by lars harmsen & raban ruddigkeit, verlag hermann schmidt mainz
[BLADE] TYPEFACE *heidelberg
blade shaped display font; combining sharp edges and tight bends. oblique style for a bold look!
part of TYPODARIUM 2021 by lars harmsen & raban ruddigkeit, verlag hermann schmidt mainz
[COBOLD] CONCERT POSTER 2020–07–25 @ FRANZ MEHLHOSE *erfurt
2019 end of the world: the old gods are back! classic is dead >> clear the stage: BAUHAUS is surprising another time. 100!! Welcome to the circle: the ceremony; of fetish and dissonance! ritual, fight, rhythm!
ANNA LYSENKO; kaliningrad, russia [piano]
MAI SHINADA; niigata, japan [piano]
NORA FRANKE; weimar, germany [dance]
OTTO HERNANDEZ; havanna, cuba [performance]
LUIS RUTZ; berlin, germany [design]
[DONNA & BELLE] EXPERIMENTAL TYPEFACE FOR TYPE TRENDS BAUHAUS *weimar
DONNA: is loud, furious, laughing! she only eats with bare hands! men fall for her because she is the raw, the young, the origin! meet her on the frozen lake
/// line follows plane / brush + digital
BELLE: infamous cat eyes, sleek dress. the black widow already stabbed twice. the warm night air tastes sweet. and so does her knife.
/// plane follows line / fotogram + digital
the morning after: it is all down to appetite! the deadly sisters came out to play … and to head for your town!
(luis rutz . type trends . götz gramlich . bauhaus universität weimar . ws18/19)
[ЛИЛЯ/LILJA] MASTER THESIS *bauhaus weimar
gewidmet lilja j. brik = muse der russischen futuristen, geliebte majakowskis, kaliber .357
lilja ist eine grotesk in drei aggregatzuständen
(klassisch > zackig > rund);
kommt in vier arten (mixed, 00, ss01, ss02);
in zwei systemen (kyrillisch / lateinisch);
[1319 zeichen];
experiment an form und funktion;
hier: bewegung durch variation / graduelle abstraktion der form an sich;
_
danke: anna lysenko, dirk wachowiak
(luis rutz . markus weisbeck . jay rutherford . bauhaus universität weimar . ws20/21)
[ЛИЛЯ/LILJA] MASTER THESIS *bauhaus weimar
gewidmet lilja j. brik = muse der russischen futuristen, geliebte majakowskis, kaliber .357
lilja ist eine grotesk in drei aggregatzuständen
(klassisch > zackig > rund);
kommt in vier arten (mixed, 00, ss01, ss02);
in zwei systemen (kyrillisch / lateinisch);
[1319 zeichen];
experiment an form und funktion;
hier: bewegung durch variation / graduelle abstraktion der form an sich;
_
danke: anna lysenko, dirk wachowiak
(luis rutz . markus weisbeck . jay rutherford . bauhaus universität weimar . ws20/21)
[ЛИЛЯ/LILJA] MASTER THESIS *bauhaus weimar
gewidmet lilja j. brik = muse der russischen futuristen, geliebte majakowskis, kaliber .357
lilja ist eine grotesk in drei aggregatzuständen
(klassisch > zackig > rund);
kommt in vier arten (mixed, 00, ss01, ss02);
in zwei systemen (kyrillisch / lateinisch);
[1319 zeichen];
experiment an form und funktion;
hier: bewegung durch variation / graduelle abstraktion der form an sich;
_
danke: anna lysenko, dirk wachowiak
(luis rutz . markus weisbeck . jay rutherford . bauhaus universität weimar . ws20/21)
[ЛИЛЯ/LILJA] MASTER THESIS *bauhaus weimar
gewidmet lilja j. brik = muse der russischen futuristen, geliebte majakowskis, kaliber .357
lilja ist eine grotesk in drei aggregatzuständen
(klassisch > zackig > rund);
kommt in vier arten (mixed, 00, ss01, ss02);
in zwei systemen (kyrillisch / lateinisch);
[1319 zeichen];
experiment an form und funktion;
hier: bewegung durch variation / graduelle abstraktion der form an sich;
_
danke: anna lysenko, dirk wachowiak
(luis rutz . markus weisbeck . jay rutherford . bauhaus universität weimar . ws20/21)
[ЛИЛЯ/LILJA] MASTER THESIS *bauhaus weimar
gewidmet lilja j. brik = muse der russischen futuristen, geliebte majakowskis, kaliber .357
lilja ist eine grotesk in drei aggregatzuständen
(klassisch > zackig > rund);
kommt in vier arten (mixed, 00, ss01, ss02);
in zwei systemen (kyrillisch / lateinisch);
[1319 zeichen];
experiment an form und funktion;
hier: bewegung durch variation / graduelle abstraktion der form an sich;
_
danke: anna lysenko, dirk wachowiak
(luis rutz . markus weisbeck . jay rutherford . bauhaus universität weimar . ws20/21)
[ЛИЛЯ/LILJA] MASTER THESIS *bauhaus weimar
gewidmet lilja j. brik = muse der russischen futuristen, geliebte majakowskis, kaliber .357
lilja ist eine grotesk in drei aggregatzuständen
(klassisch > zackig > rund);
kommt in vier arten (mixed, 00, ss01, ss02);
in zwei systemen (kyrillisch / lateinisch);
[1319 zeichen];
experiment an form und funktion;
hier: bewegung durch variation / graduelle abstraktion der form an sich;
_
danke: anna lysenko, dirk wachowiak
(luis rutz . markus weisbeck . jay rutherford . bauhaus universität weimar . ws20/21)
[ЛИЛЯ/LILJA] MASTER THESIS *bauhaus weimar
gewidmet lilja j. brik = muse der russischen futuristen, geliebte majakowskis, kaliber .357
lilja ist eine grotesk in drei aggregatzuständen
(klassisch > zackig > rund);
kommt in vier arten (mixed, 00, ss01, ss02);
in zwei systemen (kyrillisch / lateinisch);
[1319 zeichen];
experiment an form und funktion;
hier: bewegung durch variation / graduelle abstraktion der form an sich;
_
danke: anna lysenko, dirk wachowiak
(luis rutz . markus weisbeck . jay rutherford . bauhaus universität weimar . ws20/21)
[ЛИЛЯ/LILJA] MASTER THESIS *bauhaus weimar
gewidmet lilja j. brik = muse der russischen futuristen, geliebte majakowskis, kaliber .357
lilja ist eine grotesk in drei aggregatzuständen
(klassisch > zackig > rund);
kommt in vier arten (mixed, 00, ss01, ss02);
in zwei systemen (kyrillisch / lateinisch);
[1319 zeichen];
experiment an form und funktion;
hier: bewegung durch variation / graduelle abstraktion der form an sich;
_
danke: anna lysenko, dirk wachowiak
(luis rutz . markus weisbeck . jay rutherford . bauhaus universität weimar . ws20/21)
[ЛИЛЯ/LILJA] MASTER THESIS *bauhaus weimar
gewidmet lilja j. brik = muse der russischen futuristen, geliebte majakowskis, kaliber .357
lilja ist eine grotesk in drei aggregatzuständen
(klassisch > zackig > rund);
kommt in vier arten (mixed, 00, ss01, ss02);
in zwei systemen (kyrillisch / lateinisch);
[1319 zeichen];
experiment an form und funktion;
hier: bewegung durch variation / graduelle abstraktion der form an sich;
_
danke: anna lysenko, dirk wachowiak
(luis rutz . markus weisbeck . jay rutherford . bauhaus universität weimar . ws20/21)
[ЛИЛЯ/LILJA] MASTER THESIS *bauhaus weimar
gewidmet lilja j. brik = muse der russischen futuristen, geliebte majakowskis, kaliber .357
lilja ist eine grotesk in drei aggregatzuständen
(klassisch > zackig > rund);
kommt in vier arten (mixed, 00, ss01, ss02);
in zwei systemen (kyrillisch / lateinisch);
[1319 zeichen];
experiment an form und funktion;
hier: bewegung durch variation / graduelle abstraktion der form an sich;
_
danke: anna lysenko, dirk wachowiak
(luis rutz . markus weisbeck . jay rutherford . bauhaus universität weimar . ws20/21)
[DONNA & BELLE] EXPERIMENTAL TYPEFACE FOR TYPE TRENDS BAUHAUS *weimar
DONNA: is loud, furious, laughing! she only eats with bare hands! men fall for her because she is the raw, the young, the origin! meet her on the frozen lake
/// line follows plane / brush + digital
BELLE: infamous cat eyes, sleek dress. the black widow already stabbed twice. the warm night air tastes sweet. and so does her knife.
/// plane follows line / fotogram + digital
the morning after: it is all down to appetite! the deadly sisters came out to play … and to head for your town!
(luis rutz . type trends . götz gramlich . bauhaus universität weimar . ws18/19)
[MAI SHINADA] AD POSTER 3021 for COBOLD *weimar
part of a promotion series for COBOLD art collective
ANNA LYSENKO; kaliningrad, russia [piano]
MAI SHINADA; niigata, japan [piano]
NORA FRANKE; weimar, germany [dance]
OTTO HERNANDEZ; havanna, cuba [performance]
LUIS RUTZ; berlin, germany [design]
[BLADE] TYPEFACE *heidelberg
blade shaped display font; combining sharp edges and tight bends. oblique style for a bold look!
part of TYPODARIUM 2021 by lars harmsen & raban ruddigkeit, verlag hermann schmidt mainz
[BLADE] TYPEFACE *heidelberg
blade shaped display font; combining sharp edges and tight bends. oblique style for a bold look!
part of TYPODARIUM 2021 by lars harmsen & raban ruddigkeit, verlag hermann schmidt mainz
[DISPARITY] AW2018 LOOKBOOK PICTURES FOR LEON EMANUEL BLANCK *paris
Leon Emanuel Blanck’s AW2018 collection is discourse in the tension between black and white, acceptance and rejection, radical extremes. The collection leaves little room for grey areas, reminiscent of the contemporary political landscape that resonates throughout the world.Crafted through hard contrasts, uniform swaths of colour and complete desaturation, the seams and sutures of this collection play a most pivotal role. A role that is only furthered though binding the meticulously sourced materials that form each of his pieces: precious alpaca wools, cashmere blends, mink and pony hair, robust horse leathers, resin treated corduroys and waxed heavy cottons.The conflicting discourse reaches to the core of the collection; it’s tailored pieces and elegant shapes being in perfect balance to open linings, rough edges and aggressive seam work. Further fortifying the DNA of Leon Emanual Blanck’s ANFRACTUOUS DISTORTION
[DISPARITY] AW2018 LOOKBOOK PICTURES FOR LEON EMANUEL BLANCK *paris
Leon Emanuel Blanck’s AW2018 collection is discourse in the tension between black and white, acceptance and rejection, radical extremes. The collection leaves little room for grey areas, reminiscent of the contemporary political landscape that resonates throughout the world.Crafted through hard contrasts, uniform swaths of colour and complete desaturation, the seams and sutures of this collection play a most pivotal role. A role that is only furthered though binding the meticulously sourced materials that form each of his pieces: precious alpaca wools, cashmere blends, mink and pony hair, robust horse leathers, resin treated corduroys and waxed heavy cottons.The conflicting discourse reaches to the core of the collection; it’s tailored pieces and elegant shapes being in perfect balance to open linings, rough edges and aggressive seam work. Further fortifying the DNA of Leon Emanual Blanck’s ANFRACTUOUS DISTORTION
[DISPARITY] AW2018 LOOKBOOK PICTURES FOR LEON EMANUEL BLANCK *paris
Leon Emanuel Blanck’s AW2018 collection is discourse in the tension between black and white, acceptance and rejection, radical extremes. The collection leaves little room for grey areas, reminiscent of the contemporary political landscape that resonates throughout the world.Crafted through hard contrasts, uniform swaths of colour and complete desaturation, the seams and sutures of this collection play a most pivotal role. A role that is only furthered though binding the meticulously sourced materials that form each of his pieces: precious alpaca wools, cashmere blends, mink and pony hair, robust horse leathers, resin treated corduroys and waxed heavy cottons.The conflicting discourse reaches to the core of the collection; it’s tailored pieces and elegant shapes being in perfect balance to open linings, rough edges and aggressive seam work. Further fortifying the DNA of Leon Emanual Blanck’s ANFRACTUOUS DISTORTION
[DREAM BABY DREAM] 7585 × THOUSAND LIVES / PRE LAUNCH BERLIN FASHION WEEK *berlin
peter kirn (berlin) / halv drøm (berlin) / scruffy kittn (nyc) / frank willens (schaubühne berlin)
[CLEOPATRA] TYPEFACE *heidelberg
cryptic looking monotype font; round numerics to contrast the edgy letters and signs; every glyph is constructed in a strict grid, therefore wildly combinable for sharp looking patterns and new shapes!
part of TYPODARIUM 2020 by lars harmsen & raban ruddigkeit, verlag hermann schmidt mainz
[THE FACE COAT] LEON EMANUEL BLANCK × LUIS RUTZ *paris
first ever face print on curved coat. revisit of a classic fashion piece by leon emanuel blanck. shown at paris fashionweek aw18/19
[THE FACE COAT] LEON EMANUEL BLANCK × LUIS RUTZ *paris
first ever face print on curved coat. revisit of a classic fashion piece by leon emanuel blanck. shown at paris fashionweek aw18/19
[bauhaus100 — WILD!] WORKSHOP @ BACC *bangkok
workshop by luis rutz facing typography, poster design and working techniques at the bacc bangkok art and culture centre, thailand
special thanks: narachot “brown” meesaiyaat / patrix meesaiyaat / thitiwan rasmikomain / varank subanarat
[bauhaus100 — WILD!] WORKSHOP @ BACC *bangkok
workshop by luis rutz facing typography, poster design and working techniques at the bacc bangkok art and culture centre, thailand
special thanks: narachot “brown” meesaiyaat / patrix meesaiyaat / thitiwan rasmikomain / varank subanarat
[#F*!XX by LUIS RUTZ] PROMO 100FOR10 *munich
100for10 is an art work-element initiated by melville brand design munich. print is dead – is never dead. to publish a book is a bad idea – is a very good idea. 100for10 is a series of art books, of which each issue contains 100 black and white pages and costs only € 10. 100for10 is distributed world wide!
BUY HERE
[BARCELONA] TYPEFACE *barcelona
BARCELONA is fast, against, sexy! she is both nonconformist and darling: she comes with around 700 glyphs in five weights, basic opentype features, and is prepared for all latin (+greek) languages.
she is a lover to a firm kind of impulsive energy – arose out of a twelve week working mania. she is a tilted grotesque; geometrically settled, but with a humanistic draw, which increases in the heavier weights. her nature is very much about the letting go and catching of curves and edges; about inconstancy and how it can »awake« things.
barcelona prefers the billboad to the novel, loud places to the seen ones. she is a protest! she is sometimes a diva when leaving the house, never without that little chic: here she is, to be used with courage!
– it smells like alcohol and hot shimmering air. rosalía sings »catalunya« and the new revolution starts heralding here from the balconies: with the deep buzz and the wild drumming on pots and pans!
[BARCELONA] TYPEFACE *barcelona
BARCELONA is fast, against, sexy! she is both nonconformist and darling: she comes with around 700 glyphs in five weights, basic opentype features, and is prepared for all latin (+greek) languages.
she is a lover to a firm kind of impulsive energy – arose out of a twelve week working mania. she is a tilted grotesque; geometrically settled, but with a humanistic draw, which increases in the heavier weights. her nature is very much about the letting go and catching of curves and edges; about inconstancy and how it can »awake« things.
barcelona prefers the billboad to the novel, loud places to the seen ones. she is a protest! she is sometimes a diva when leaving the house, never without that little chic: here she is, to be used with courage!
– it smells like alcohol and hot shimmering air. rosalía sings »catalunya« and the new revolution starts heralding here from the balconies: with the deep buzz and the wild drumming on pots and pans!
[BARCELONA] TYPEFACE *barcelona
BARCELONA is fast, against, sexy! she is both nonconformist and darling: she comes with around 700 glyphs in five weights, basic opentype features, and is prepared for all latin (+greek) languages.
she is a lover to a firm kind of impulsive energy – arose out of a twelve week working mania. she is a tilted grotesque; geometrically settled, but with a humanistic draw, which increases in the heavier weights. her nature is very much about the letting go and catching of curves and edges; about inconstancy and how it can »awake« things.
barcelona prefers the billboad to the novel, loud places to the seen ones. she is a protest! she is sometimes a diva when leaving the house, never without that little chic: here she is, to be used with courage!
– it smells like alcohol and hot shimmering air. rosalía sings »catalunya« and the new revolution starts heralding here from the balconies: with the deep buzz and the wild drumming on pots and pans!
[BARCELONA] TYPEFACE *barcelona
BARCELONA is fast, against, sexy! she is both nonconformist and darling: she comes with around 700 glyphs in five weights, basic opentype features, and is prepared for all latin (+greek) languages.
she is a lover to a firm kind of impulsive energy – arose out of a twelve week working mania. she is a tilted grotesque; geometrically settled, but with a humanistic draw, which increases in the heavier weights. her nature is very much about the letting go and catching of curves and edges; about inconstancy and how it can »awake« things.
barcelona prefers the billboad to the novel, loud places to the seen ones. she is a protest! she is sometimes a diva when leaving the house, never without that little chic: here she is, to be used with courage!
– it smells like alcohol and hot shimmering air. rosalía sings »catalunya« and the new revolution starts heralding here from the balconies: with the deep buzz and the wild drumming on pots and pans!
[BARCELONA] TYPEFACE *barcelona
BARCELONA is fast, against, sexy! she is both nonconformist and darling: she comes with around 700 glyphs in five weights, basic opentype features, and is prepared for all latin (+greek) languages.
she is a lover to a firm kind of impulsive energy – arose out of a twelve week working mania. she is a tilted grotesque; geometrically settled, but with a humanistic draw, which increases in the heavier weights. her nature is very much about the letting go and catching of curves and edges; about inconstancy and how it can »awake« things.
barcelona prefers the billboad to the novel, loud places to the seen ones. she is a protest! she is sometimes a diva when leaving the house, never without that little chic: here she is, to be used with courage!
– it smells like alcohol and hot shimmering air. rosalía sings »catalunya« and the new revolution starts heralding here from the balconies: with the deep buzz and the wild drumming on pots and pans!
[Ẏ4UɟtzĀ] IMAGE POSTER *heidelberg
poster for anna rahel hirsch as part of the 2016 fashion collection image
[HELLO WILD CLICHÉ by BATACLAN] MUSIC & ARTWORK *berlin
NEW EP ‘hello wild cliché‘ as ‘bataclan‘!! coming with great cover artwork and cool poster! out on cd and digital!
[L:U:S:T] CAPTCHA‘14 *mannheim
poster created during a workshop with niklaus troxler
[WERKSCHAU ’14] INTERIOR DESIGN for MANNHEIMER KUNSTVEREIN *mannheim
the rough character and the clear heart! the faculty embodying its creation and inevitably its environment: industry- and university-city in inter- and counter-play with its culture.
six meters high steel walls overtopping both stories of the building, stretching the room within its height, channel the audience through gates, along its depth. all exhibits lie on concrete socles or lean on the steel construction, demonstrate the idea of fast pace and authenticity. the used materials are free of any cosmetic intervention, based on their purpose and – just because of that – suitable for a worthy presentation of the student works.
all theatrics comes from basic optical rules which let the room appear bigger and lighter than before, despite of the added five tons of weight. it persists through the haptics of its substance, tells of rhythm and rigor. steel and concrete, the rough as carrier for the subtle.
opening speech by max dudler
supervision: veruschka götz
sponsoring: BAG Mannheim + HeidelbergCement
[WERKSCHAU ’14] INTERIOR DESIGN for MANNHEIMER KUNSTVEREIN *mannheim
the rough character and the clear heart! the faculty embodying its creation and inevitably its environment: industry- and university-city in inter- and counter-play with its culture.
six meters high steel walls overtopping both stories of the building, stretching the room within its height, channel the audience through gates, along its depth. all exhibits lie on concrete socles or lean on the steel construction, demonstrate the idea of fast pace and authenticity. the used materials are free of any cosmetic intervention, based on their purpose and – just because of that – suitable for a worthy presentation of the student works.
all theatrics comes from basic optical rules which let the room appear bigger and lighter than before, despite of the added five tons of weight. it persists through the haptics of its substance, tells of rhythm and rigor. steel and concrete, the rough as carrier for the subtle.
opening speech by max dudler
supervision: veruschka götz
sponsoring: BAG Mannheim + HeidelbergCement
[WERKSCHAU ’14] INTERIOR DESIGN for MANNHEIMER KUNSTVEREIN *mannheim
the rough character and the clear heart! the faculty embodying its creation and inevitably its environment: industry- and university-city in inter- and counter-play with its culture.
six meters high steel walls overtopping both stories of the building, stretching the room within its height, channel the audience through gates, along its depth. all exhibits lie on concrete socles or lean on the steel construction, demonstrate the idea of fast pace and authenticity. the used materials are free of any cosmetic intervention, based on their purpose and – just because of that – suitable for a worthy presentation of the student works.
all theatrics comes from basic optical rules which let the room appear bigger and lighter than before, despite of the added five tons of weight. it persists through the haptics of its substance, tells of rhythm and rigor. steel and concrete, the rough as carrier for the subtle.
opening speech by max dudler
supervision: veruschka götz
sponsoring: BAG Mannheim + HeidelbergCement
[EEVEE] TYPEFACE *mannheim
and first there was eevee: harsh but lively! the wilful beauty! use her for running text as well as for headlines. eevee comes with more than 500 characters, basic opentype features and is prepared for all european languages. so hello!
part of TYPODARIUM 2018 by lars harmsen & raban ruddigkeit, verlag hermann schmidt mainz
[EEVEE] TYPEFACE *mannheim
and first there was eevee: harsh but lively! the wilful beauty! use her for running text as well as for headlines. eevee comes with more than 500 characters, basic opentype features and is prepared for all european languages. so hello!
part of TYPODARIUM 2018 by lars harmsen & raban ruddigkeit, verlag hermann schmidt mainz
[EEVEE] TYPEFACE *mannheim
and first there was eevee: harsh but lively! the wilful beauty! use her for running text as well as for headlines. eevee comes with more than 500 characters, basic opentype features and is prepared for all european languages. so hello!
part of TYPODARIUM 2018 by lars harmsen & raban ruddigkeit, verlag hermann schmidt mainz
[EEVEE] TYPEFACE *mannheim
and first there was eevee: harsh but lively! the wilful beauty! use her for running text as well as for headlines. eevee comes with more than 500 characters, basic opentype features and is prepared for all european languages. so hello!
part of TYPODARIUM 2018 by lars harmsen & raban ruddigkeit, verlag hermann schmidt mainz
[EEVEE] TYPEFACE *mannheim
and first there was eevee: harsh but lively! the wilful beauty! use her for running text as well as for headlines. eevee comes with more than 500 characters, basic opentype features and is prepared for all european languages. so hello!
part of TYPODARIUM 2018 by lars harmsen & raban ruddigkeit, verlag hermann schmidt mainz
[WERKSCHAU ’14] INTERIOR DESIGN for MANNHEIMER KUNSTVEREIN *mannheim
the rough character and the clear heart! the faculty embodying its creation and inevitably its environment: industry- and university-city in inter- and counter-play with its culture.
six meters high steel walls overtopping both stories of the building, stretching the room within its height, channel the audience through gates, along its depth. all exhibits lie on concrete socles or lean on the steel construction, demonstrate the idea of fast pace and authenticity. the used materials are free of any cosmetic intervention, based on their purpose and – just because of that – suitable for a worthy presentation of the student works.
all theatrics comes from basic optical rules which let the room appear bigger and lighter than before, despite of the added five tons of weight. it persists through the haptics of its substance, tells of rhythm and rigor. steel and concrete, the rough as carrier for the subtle.
opening speech by max dudler
supervision: veruschka götz
sponsoring: BAG Mannheim + HeidelbergCement
[WERKSCHAU ’14] INTERIOR DESIGN for MANNHEIMER KUNSTVEREIN *mannheim
the rough character and the clear heart! the faculty embodying its creation and inevitably its environment: industry- and university-city in inter- and counter-play with its culture.
six meters high steel walls overtopping both stories of the building, stretching the room within its height, channel the audience through gates, along its depth. all exhibits lie on concrete socles or lean on the steel construction, demonstrate the idea of fast pace and authenticity. the used materials are free of any cosmetic intervention, based on their purpose and – just because of that – suitable for a worthy presentation of the student works.
all theatrics comes from basic optical rules which let the room appear bigger and lighter than before, despite of the added five tons of weight. it persists through the haptics of its substance, tells of rhythm and rigor. steel and concrete, the rough as carrier for the subtle.
opening speech by max dudler
supervision: veruschka götz
sponsoring: BAG Mannheim + HeidelbergCement
[WERKSCHAU ’14] INTERIOR DESIGN for MANNHEIMER KUNSTVEREIN *mannheim
the rough character and the clear heart! the faculty embodying its creation and inevitably its environment: industry- and university-city in inter- and counter-play with its culture.
six meters high steel walls overtopping both stories of the building, stretching the room within its height, channel the audience through gates, along its depth. all exhibits lie on concrete socles or lean on the steel construction, demonstrate the idea of fast pace and authenticity. the used materials are free of any cosmetic intervention, based on their purpose and – just because of that – suitable for a worthy presentation of the student works.
all theatrics comes from basic optical rules which let the room appear bigger and lighter than before, despite of the added five tons of weight. it persists through the haptics of its substance, tells of rhythm and rigor. steel and concrete, the rough as carrier for the subtle.
opening speech by max dudler
supervision: veruschka götz
sponsoring: BAG Mannheim + HeidelbergCement
[FÄCHER] 22. ART FAIR *karlsruhe
fan city karlsruhe!
[HELLO WILD CLICHÉ by BATACLAN] MUSIC & ARTWORK *berlin
NEW EP ‘hello wild cliché‘ as ‘bataclan‘!! coming with great cover artwork and cool poster! out on cd and digital!
[BEAUTY, FORM, FUNCTION IN TYPOGRAPHY] TYPOGRAPHY DAY ‘18 *mumbai
[BARCELONA] TYPEFACE *barcelona
BARCELONA is fast, against, sexy! she is both nonconformist and darling: she comes with around 700 glyphs in five weights, basic opentype features, and is prepared for all latin (+greek) languages.
she is a lover to a firm kind of impulsive energy – arose out of a twelve week working mania. she is a tilted grotesque; geometrically settled, but with a humanistic draw, which increases in the heavier weights. her nature is very much about the letting go and catching of curves and edges; about inconstancy and how it can »awake« things.
barcelona prefers the billboad to the novel, loud places to the seen ones. she is a protest! she is sometimes a diva when leaving the house, never without that little chic: here she is, to be used with courage!
– it smells like alcohol and hot shimmering air. rosalía sings »catalunya« and the new revolution starts heralding here from the balconies: with the deep buzz and the wild drumming on pots and pans!
[BARCELONA] TYPEFACE *barcelona
BARCELONA is fast, against, sexy! she is both nonconformist and darling: she comes with around 700 glyphs in five weights, basic opentype features, and is prepared for all latin (+greek) languages.
she is a lover to a firm kind of impulsive energy – arose out of a twelve week working mania. she is a tilted grotesque; geometrically settled, but with a humanistic draw, which increases in the heavier weights. her nature is very much about the letting go and catching of curves and edges; about inconstancy and how it can »awake« things.
barcelona prefers the billboad to the novel, loud places to the seen ones. she is a protest! she is sometimes a diva when leaving the house, never without that little chic: here she is, to be used with courage!
– it smells like alcohol and hot shimmering air. rosalía sings »catalunya« and the new revolution starts heralding here from the balconies: with the deep buzz and the wild drumming on pots and pans!
[BARCELONA] TYPEFACE *barcelona
BARCELONA is fast, against, sexy! she is both nonconformist and darling: she comes with around 700 glyphs in five weights, basic opentype features, and is prepared for all latin (+greek) languages.
she is a lover to a firm kind of impulsive energy – arose out of a twelve week working mania. she is a tilted grotesque; geometrically settled, but with a humanistic draw, which increases in the heavier weights. her nature is very much about the letting go and catching of curves and edges; about inconstancy and how it can »awake« things.
barcelona prefers the billboad to the novel, loud places to the seen ones. she is a protest! she is sometimes a diva when leaving the house, never without that little chic: here she is, to be used with courage!
– it smells like alcohol and hot shimmering air. rosalía sings »catalunya« and the new revolution starts heralding here from the balconies: with the deep buzz and the wild drumming on pots and pans!
[BARCELONA] TYPEFACE *barcelona
BARCELONA is fast, against, sexy! she is both nonconformist and darling: she comes with around 700 glyphs in five weights, basic opentype features, and is prepared for all latin (+greek) languages.
she is a lover to a firm kind of impulsive energy – arose out of a twelve week working mania. she is a tilted grotesque; geometrically settled, but with a humanistic draw, which increases in the heavier weights. her nature is very much about the letting go and catching of curves and edges; about inconstancy and how it can »awake« things.
barcelona prefers the billboad to the novel, loud places to the seen ones. she is a protest! she is sometimes a diva when leaving the house, never without that little chic: here she is, to be used with courage!
– it smells like alcohol and hot shimmering air. rosalía sings »catalunya« and the new revolution starts heralding here from the balconies: with the deep buzz and the wild drumming on pots and pans!
[ACUD GETS WET] EVENT POSTER @ ACUD *berlin
WET VIENNA is running berlin. girl power @ acud!
dj kündigung (wet vienna) / jesse g (deep trouble) / ace of diamonds (no shade) / justin time (wet vienna)
[bauhaus100 — WILD!] WORKSHOP @ BACC *bangkok
workshop by luis rutz facing typography, poster design and working techniques at the bacc bangkok art and culture centre, thailand
special thanks: narachot “brown” meesaiyaat / patrix meesaiyaat / thitiwan rasmikomain / varank subanarat
[bauhaus100 — WILD!] WORKSHOP @ BACC *bangkok
workshop by luis rutz facing typography, poster design and working techniques at the bacc bangkok art and culture centre, thailand
special thanks: narachot “brown” meesaiyaat / patrix meesaiyaat / thitiwan rasmikomain / varank subanarat
[THE FACE COAT] LEON EMANUEL BLANCK × LUIS RUTZ *paris
first ever face print on curved coat. revisit of a classic fashion piece by leon emanuel blanck. shown at paris fashionweek aw18/19
[THE FACE COAT] LEON EMANUEL BLANCK × LUIS RUTZ *paris
first ever face print on curved coat. revisit of a classic fashion piece by leon emanuel blanck. shown at paris fashionweek aw18/19
[CLEOPATRA] TYPEFACE *heidelberg
cryptic looking monotype font; round numerics to contrast the edgy letters and signs; every glyph is constructed in a strict grid, therefore wildly combinable for sharp looking patterns and new shapes!
part of TYPODARIUM 2020 by lars harmsen & raban ruddigkeit, verlag hermann schmidt mainz
[WET#09] EVENT POSTER *vienna
‘GIRLS LOOKING FOR GIRLS’: monthly announcement poster series for the feministic event series ‘WET’ in vienna. every few weeks i get a new women’s torso sculpture, which i then translate into a poster
[DISPARITY] AW2018 LOOKBOOK PICTURES FOR LEON EMANUEL BLANCK *paris
Leon Emanuel Blanck’s AW2018 collection is discourse in the tension between black and white, acceptance and rejection, radical extremes. The collection leaves little room for grey areas, reminiscent of the contemporary political landscape that resonates throughout the world.Crafted through hard contrasts, uniform swaths of colour and complete desaturation, the seams and sutures of this collection play a most pivotal role. A role that is only furthered though binding the meticulously sourced materials that form each of his pieces: precious alpaca wools, cashmere blends, mink and pony hair, robust horse leathers, resin treated corduroys and waxed heavy cottons.The conflicting discourse reaches to the core of the collection; it’s tailored pieces and elegant shapes being in perfect balance to open linings, rough edges and aggressive seam work. Further fortifying the DNA of Leon Emanual Blanck’s ANFRACTUOUS DISTORTION
[DISPARITY] AW2018 LOOKBOOK PICTURES FOR LEON EMANUEL BLANCK *paris
Leon Emanuel Blanck’s AW2018 collection is discourse in the tension between black and white, acceptance and rejection, radical extremes. The collection leaves little room for grey areas, reminiscent of the contemporary political landscape that resonates throughout the world.Crafted through hard contrasts, uniform swaths of colour and complete desaturation, the seams and sutures of this collection play a most pivotal role. A role that is only furthered though binding the meticulously sourced materials that form each of his pieces: precious alpaca wools, cashmere blends, mink and pony hair, robust horse leathers, resin treated corduroys and waxed heavy cottons.The conflicting discourse reaches to the core of the collection; it’s tailored pieces and elegant shapes being in perfect balance to open linings, rough edges and aggressive seam work. Further fortifying the DNA of Leon Emanual Blanck’s ANFRACTUOUS DISTORTION
[DISPARITY] AW2018 LOOKBOOK PICTURES FOR LEON EMANUEL BLANCK *paris
Leon Emanuel Blanck’s AW2018 collection is discourse in the tension between black and white, acceptance and rejection, radical extremes. The collection leaves little room for grey areas, reminiscent of the contemporary political landscape that resonates throughout the world.Crafted through hard contrasts, uniform swaths of colour and complete desaturation, the seams and sutures of this collection play a most pivotal role. A role that is only furthered though binding the meticulously sourced materials that form each of his pieces: precious alpaca wools, cashmere blends, mink and pony hair, robust horse leathers, resin treated corduroys and waxed heavy cottons.The conflicting discourse reaches to the core of the collection; it’s tailored pieces and elegant shapes being in perfect balance to open linings, rough edges and aggressive seam work. Further fortifying the DNA of Leon Emanual Blanck’s ANFRACTUOUS DISTORTION
[BLADE] TYPEFACE *heidelberg
blade shaped display font; combining sharp edges and tight bends. oblique style for a bold look!
part of TYPODARIUM 2021 by lars harmsen & raban ruddigkeit, verlag hermann schmidt mainz
[BLADE] TYPEFACE *heidelberg
blade shaped display font; combining sharp edges and tight bends. oblique style for a bold look!
part of TYPODARIUM 2021 by lars harmsen & raban ruddigkeit, verlag hermann schmidt mainz
[COBOLD] CONCERT POSTER 2020–07–25 @ FRANZ MEHLHOSE *erfurt
2019 end of the world: the old gods are back! classic is dead >> clear the stage: BAUHAUS is surprising another time. 100!! Welcome to the circle: the ceremony; of fetish and dissonance! ritual, fight, rhythm!
ANNA LYSENKO; kaliningrad, russia [piano]
MAI SHINADA; niigata, japan [piano]
NORA FRANKE; weimar, germany [dance]
OTTO HERNANDEZ; havanna, cuba [performance]
LUIS RUTZ; berlin, germany [design]
[DONNA & BELLE] EXPERIMENTAL TYPEFACE FOR TYPE TRENDS BAUHAUS *weimar
DONNA: is loud, furious, laughing! she only eats with bare hands! men fall for her because she is the raw, the young, the origin! meet her on the frozen lake
/// line follows plane / brush + digital
BELLE: infamous cat eyes, sleek dress. the black widow already stabbed twice. the warm night air tastes sweet. and so does her knife.
/// plane follows line / fotogram + digital
the morning after: it is all down to appetite! the deadly sisters came out to play … and to head for your town!
(luis rutz . type trends . götz gramlich . bauhaus universität weimar . ws18/19)
[ЛИЛЯ/LILJA] MASTER THESIS *bauhaus weimar
gewidmet lilja j. brik = muse der russischen futuristen, geliebte majakowskis, kaliber .357
lilja ist eine grotesk in drei aggregatzuständen
(klassisch > zackig > rund);
kommt in vier arten (mixed, 00, ss01, ss02);
in zwei systemen (kyrillisch / lateinisch);
[1319 zeichen];
experiment an form und funktion;
hier: bewegung durch variation / graduelle abstraktion der form an sich;
_
danke: anna lysenko, dirk wachowiak
(luis rutz . markus weisbeck . jay rutherford . bauhaus universität weimar . ws20/21)
[ЛИЛЯ/LILJA] MASTER THESIS *bauhaus weimar
gewidmet lilja j. brik = muse der russischen futuristen, geliebte majakowskis, kaliber .357
lilja ist eine grotesk in drei aggregatzuständen
(klassisch > zackig > rund);
kommt in vier arten (mixed, 00, ss01, ss02);
in zwei systemen (kyrillisch / lateinisch);
[1319 zeichen];
experiment an form und funktion;
hier: bewegung durch variation / graduelle abstraktion der form an sich;
_
danke: anna lysenko, dirk wachowiak
(luis rutz . markus weisbeck . jay rutherford . bauhaus universität weimar . ws20/21)
[ЛИЛЯ/LILJA] MASTER THESIS *bauhaus weimar
gewidmet lilja j. brik = muse der russischen futuristen, geliebte majakowskis, kaliber .357
lilja ist eine grotesk in drei aggregatzuständen
(klassisch > zackig > rund);
kommt in vier arten (mixed, 00, ss01, ss02);
in zwei systemen (kyrillisch / lateinisch);
[1319 zeichen];
experiment an form und funktion;
hier: bewegung durch variation / graduelle abstraktion der form an sich;
_
danke: anna lysenko, dirk wachowiak
(luis rutz . markus weisbeck . jay rutherford . bauhaus universität weimar . ws20/21)
[ЛИЛЯ/LILJA] MASTER THESIS *bauhaus weimar
gewidmet lilja j. brik = muse der russischen futuristen, geliebte majakowskis, kaliber .357
lilja ist eine grotesk in drei aggregatzuständen
(klassisch > zackig > rund);
kommt in vier arten (mixed, 00, ss01, ss02);
in zwei systemen (kyrillisch / lateinisch);
[1319 zeichen];
experiment an form und funktion;
hier: bewegung durch variation / graduelle abstraktion der form an sich;
_
danke: anna lysenko, dirk wachowiak
(luis rutz . markus weisbeck . jay rutherford . bauhaus universität weimar . ws20/21)
[ЛИЛЯ/LILJA] MASTER THESIS *bauhaus weimar
gewidmet lilja j. brik = muse der russischen futuristen, geliebte majakowskis, kaliber .357
lilja ist eine grotesk in drei aggregatzuständen
(klassisch > zackig > rund);
kommt in vier arten (mixed, 00, ss01, ss02);
in zwei systemen (kyrillisch / lateinisch);
[1319 zeichen];
experiment an form und funktion;
hier: bewegung durch variation / graduelle abstraktion der form an sich;
_
danke: anna lysenko, dirk wachowiak
(luis rutz . markus weisbeck . jay rutherford . bauhaus universität weimar . ws20/21)
