“Ichi-go ichi-e” — “One lifetime, one meeting”
A Japanese four-character idiom that describes a cultural concept of treasuring the unrepeatable nature of a moment. The term reminds people to cherish any gathering that they may take part in, citing the fact that any moment in life cannot be repeated; even when the same group of people get together in the same place again, a particular gathering will never be replicated, and thus each moment is always a once-in-a-lifetime experience.
All the people, whatever their race, origin, coexisting together.
All in harmony of planet earth
The graphic design studio OOOZ Club and graphic designer Tanja Geltsch designed the Magazin NO PROBLEM with works from BAM Photographers.
Shot in Barcelona over a weekends time, the easy-peasy fashion & automotive related images portray Noé, Irina, and Frederic. The whole series entailed cruising around and shooting with the clique and the collectors car BMW M6 from 1986.
The aim was to create a bubble, an environment where people would feel such a “NO PROBLEM,” peer-to-peer interaction on set. The limited edition magazine includes the legendary extraterrestrial ALF that was hanging from the rearview mirror of the shooting car, wearing his most famous quote “NO PROBLEM” from the TV shows that aired on NBC in 1986 too.
To fit the visual language, OOOZ Club and Tanja Geltsch created a a unique and timeless design, added fresh colors and experimental layouts, which transfer exactly the vibe Ben and Martin of BAM Photographers created back in Barcelona.
Limited Edition
If you want to get the splendid Limited Edition, you have to follow the good ol’ALFER with some simple rules:
– Donate 35 Euro to “Learning Lions,” which is a non-profit organization in Eastern Africa and supports its ICT Education program that helps young adults to live a life full of better opportunities: www.learninglions.org/donate
– It’s easy, helps people, and you’re doing something really good … Plus, you will get a nice magazine instead of spending your bucks on another round of frozen pineapple margaritas on a Friday night. Or just do both. 🙂
– Send a copy of your gracious donation receipt and your shipping address to: [email protected]
– Receive the BAM ~NO PROBLEM~ L94 Limited Edition Magazine fresh out of the press.
NO PROBLEM
Title: BAM – NO PROBLEM – L94
Designers: OOOZ Club together with Tanja Geltsch
Authors: BAM Photographers
Editors: BAM & OOOZ Club
Publishers: Self Published
Release date: December 2019
Volume: 124 pages
Format: 210 × 297mm
Language: English
Production/Finishing: F&W Druck- und Mediencenter GmbH
Retail price (in €): Donation
This work is about a feeling we all have. We are less able to go anywhere. But we’re also starting to recognize it may be better to go less and that super-fast growth may bounce back at us.
During quarantine, I’ve realized that doing less can be a positive thing.
Screenprint on paper (65×50 cm)
“20+1. Ein Vergleich von ausgewählten serifenlosen Schriften der letzten zwanzig Jahre.” is a study that was produced as part of the “Jahreskurs Typografie” (tgm Munich), led by Rudolf Paulus Gorbach, that captivates both with its content and its careful and aesthetic design: a comparative investigation of sans serif typefaces from the last twenty years.
In the first chapter the proportions of upper and lower case letters are shown. Chapter Two deals with the capitals of the twenty-one scriptures and Chapter Three with the common ones.
Twenty-one (20+1) fonts for one sans serif font each year! A book for all those who daily use sans serif fonts, who are perhaps still searching for the right one and who have always lost themselves in the small, fine but decisive differences, but also wanted to find them again.
Including: Quay Sans 1990, DTL Argo 1991, Myriad 1992, Scala Sans 1993, TheSans 1994, DIN 1995, Dax 1996, Corpid 1997, ITC Officina Sans 1998, Linotype Aroma 1999, FF Fago 2000, Compatil Fact 2001, PTL Manual Sans 2002, FF Unit 2003, FF Nexus Sans 2004, Monitor 2005, Phoenica 2006, Candara 2007, Museo Sans 2008, Secca 2009 und Carter Sans 2010
20+1
Publisher: August Dreesbach Verlag
Author: Manuel Kreuzer
Format: 21 × 30 cm
Volume: 144 pages
Workmanship: Swiss brochure
Price: € 18.–
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letterspace.amsterdam usually showcases Amsterdam’s typography through informal monthly gatherings, lectures and presentations. However, with the 23rd edition of letterspace aligning with #36daysoftype and coinciding the height of the global CoViD-19 pandemic, the organizers decided instead to invite their speakers and visitors to push the possibilities of the OpenType Font Variations technique.
We are presenting our Typeface of the Month: Forever Grotesk by Nouvelle Noire, their contribution to the category of Swiss Grotesque typefaces.
The success story of the Grotesque typefaces began at the dawn of the 20th century with typographic workhorses such as Akzidenz Grotesk, Stein Grotesk, amongst others. In the 1950s Max Miedinger created the first Swiss version of those typographic multi-talents, named “Neue Haas Grotesk” (today Helvetica). In parallel, Adrian Frutiger published “Univers,” both globally recognized and becoming standard choices for designers. Since then the world hasn’t lost its appetite for Swiss Style Grotesque typefaces. Even so, over the years many amazing contributions have come in the form of Haas Unica, Theinhard Grotesk, and Akkurat, just to name a few.
Seventy years after the start of this success story, Nouvelle Noire is ready to make a contribution to this ensemble of outstanding type families. It took them some time to find a perfect form that fills the gap between simplicity and neutrality. They didn’t want to design yet another “neutral” typeface.
The designers have searched for shapes that are simple and which encourage the designer to create amazing things—and by the way make other people smile. Nouvelle Noire is calling this type family Forever Grotesk, celebrating a desire to keep just a tiny bit of the spirit of the original meaning “Grotesque” alive for years to come.
Forever Grotesk
Foundry: Nouvelle Noire
Designer: Anton Studer
Release: May 2020
Format: OTF, TTF, WOFF, EOT, Variable
Weights: Thin, Light, Normal, Medium, Bold, Black, Fat and Italics
Price: From 60.– CHF
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Distancing Together, poster I made for this difficult time.
We are physically distancing but we are all doing it together.
So that is something which is actually connecting us.
Distancing Together, poster I made for this difficult time.
We are physically distancing but we are all doing it together.
So that is something which is actually connecting us.
Every crisis is also an opportunity. Maybe we learn from the invisible enemy that we humans are friends. Maybe we learn to cooperate, not just to copying. Maybe we find more cohesion in this time of confrontation.
To be able to coexist we must shrink our ego and grow our common sense.
Intervention on four advertising billboards where new posters was installed with the message BLAH, BLAH, BLAH, BLAH
The new posters were overlade on existing advertising from Scientology Church, Catholic Church and Political adv
Questioning, provoking, highlighting the forgotten and generating empathy is what the “look with another eyes” posters have to promote. The posters centralize those who are seen on the society margins in order to focus on essential services and questions about the situation of the poorest classes in this moment of crisis. The phrases surrounding the photograph are a plea for empathy, respect and admiration for these people. Grids, in a proportion that is not 100% respected, show a breakdown of the status quo and the tireless search of the human being to find a perfect formula.
“Only the unity of all can bring the well-being of all”, referenced from Robert Muller’s esteemed quote, references the idea of unity in solace and ‘meditation’, a key idea that is very much needed in this time of such a pandemic.
“Co?No?-Existence” takes into consideration a wordplay of British philosopher Bertrand Russell’s famous quote. The visual language includes the vast ocean of darkness encapsulating what we know as the universe, and the Earth as the only planet that we see the existence of living life thus far. The pictogram is also a play on the visual imagery of an eye, calling into play the meaning of multiple perspectives and acts of protest that reign within these trying times.
“Anthropocenic Futures: Grace Abounds” takes a keen reference to the visual language used in the artist’s original body of work, Anthropocenic Futures in Singapore: An Investigative Bureau. The assets used in the project postures a fluid and unsettling yet unknown nature of what the future entails. “Grace Abounds” shines light on the hope that is left in humanity, as people from around the globe stand united to combat this unfortunate pandemic that has halted the world in immeasurable extents.
The idea is to make people coexist with the world, by looking at the evil we are doing to the Earth and reminding us not to hurt each other.
Communication these days is running via Zoom, Skype, Webex or Instagram. I miss real face to face conversations. Coexisting side by side and not together sucks.