Slanted 28—Warsaw → 248 Dirk Gebhardt

→ 248 Dirk Gebhardt Slanted 28—Warsaw WASZ FA typeface fontarte 2 2016 3 Places of Origin: Polish Graphic Design in Context DesignMarch in Reykjavik Poster The Wild West, A History of Wrocław’s Avant-Garde FONTARTE 2015 Zachęta National Gallery of Art Book → 248 1 / 6 Slanted 28—Warsaw → 248 2 / 6 Slanted 28—Warsaw Kosmos wzywa! fontarte 4 Cosmos Calling! 5 2014 Zachęta, National Gallery of Art Book accompanying the exhibition Cosmos Calling! Art and Science in the Long Sixties Miss Swiss 2 2014 Pro Helvetia and Fontarte Editions Exhibition Catalog for Piktogram Gallery ARTUR MAGDALENA artur frankowski magdalena frankowska → 248 3 / 6 Slanted 28—Warsaw → 248 4 / 6 Slanted 28—Warsaw Artist-run initiatives fontarte 6 and galleries 7 2015 SZTUKA CIĘ SZUKA Book Across realities, Wojciech Bruszewski 2015 Arton Foundation Book → 248 5 / 6 + Dirk Gebhardt Slanted 28—Warsaw → 248 6 / 6 Slanted 28—Warsaw The M-Z Route—exhibition super super 14 2015 15 Hanna Kokczyńska, Jacek Majewski, Marcin Romaniuk, Monika Piekoszewska, Joanna Pamuła National Museum of Poland Spacial and Visual Design Book 8th Art & Fashion Forum Chic Geek 2014 Jacek Majewski, Hanna Kokczyńska, Mikołaj Molenda, Studio Bridge, Jacek Kołodziejski, David Błażewicz, Rafał Grobel, Stary Browar Promo Campaign for Fashion and Technology Festival → 252 7 / 8 Slanted 28—Warsaw → 252 8 / 8 Slanted 28 Warsaw Institute for Advanced Study noviki 16 Warsaw 17 2016 NOVIKI Identity and Poster KATARZYNA MARCIN katarzyna nestorowicz marcin nowicki → 250 1 / 8 Slanted 28—Warsaw → 250 2 / 8 Slanted 28 Warsaw NOTHING TWICE noviki 18 2015 19 Cricoteka, Cracow Exhibition Identity and Book The Make Yourself at Home Guide to Warsaw 2016 Anna Ptak, Rani al Rajji, Christiaan Fruneaux, Edwin Gardner (Monnik) Centre for Contemporary Art Ujazdowski Castle Subjective Guide to Warsaw Book → see also p. XX ff., XX ff., XX ff. → 250 3 / 8 Slanted 28 Warsaw → 250 4 / 8 Slanted 28—Warsaw POST / ERA syfon studio 28 2015 / 2016 29 Institute of Design Kielce Poster series 70 × 100 cm SYFON STUDIO URSZULA FILIP urszula tofil filip tofil → 252 1 / 6 Slanted 28—Warsaw → 252 2 / 6 Slanted 28—Warsaw 50/50/50 edgar bąk studio 48 2016 49 50 posters of 50 graphic designers for the 50th anniversary of International Poster Biennale in Warsaw EDGARBĄK → 247 STUDIO1 / 8 Slanted 28—Warsaw → 247 2 / 8 Slanted 28—Warsaw The Anatomy of Love edgar bąk studio 52 2016 53 Centrum Nauki Kopernik Poster ATypI conference 2016 60th annual conference of ATypI Posters → 247, 248 5 / 8 + Dirk Gebhardt Slanted 28—Warsaw → 247 6 / 8 Slanted 28—Warsaw BREATHE mamastudio 68 2014 69 Piotr Holub, Pawel Marcinkowski, Michal Pawlik Mamastudio Marbling Project Autor Rooms 2016 Magdalena Ponagajbo, Konrad Sybilski Hotel Identity → 249 3 / 6 Slanted 28—Warsaw → 249 4 / 6 Slanted 28—Warsaw De Morgen jacek utko 78 2014 79 In cooperation with Arne Depuydt Redesign of the Belgian daily JACEK UTKO Newspaper → 252 3 / 6 Slanted 28—Warsaw → 252, 248 4 / 6 + Dirk Gebhardt Slanted 28—Warsaw De Morgen jacek utko 80 2014 81 In cooperation with Arne Depuydt Redesign of the Belgian daily Newspaper → 252 5 / 6 Slanted 28—Warsaw → 252 6 / 6 Slanted 28—Warsaw Pollywood zerkaj studio 82 2016 83 Blue Bird Publishing house Book and Poster, B1 → 253 �YSZARD1 / 4 Slanted 28—Warsaw → 253 2 / 4 Slanted 28—Warsaw zerkaj studio 84 Poster Expo with Andrzej 85 Wróblewski painting 2015 The Art of Poster Gallery / Modern Art Museum Warsaw Poster, B1, Offset Wine holiday Janowiec 2015 Malopolska Wine producers association Poster, B1, Offset Ryszard Kajzer—posters Bits & Pieces Gallery 2015 Poster, B1, Bits and Pieces → 253 3 / 4 Slanted 28—Warsaw → 253, 248 4 / 4 + Dirk Gebhardt Slanted 28—Warsaw British Steel rosław szaybo 86 1980 87 Judas Priest �OSŁAW CD Cover → 252 1 / 6 Slanted 28—Warsaw → 252 2 / 6 Slanted 28—Warsaw XX Muzeum Jazz Festival 2015 rosław szaybo 90 Ostrów Wielkopolski / Poland 91 Poster → 252, 248 5 / 6 + Dirk Gebhardt Slanted 28—Warsaw → 252 6 / 6 Slanted 28—Warsaw Warsaw Calling grzegorz laszuk 92 2015 93 Theatrical Poster → 249 G�ZEGORZ1 / 6 Slanted 28—Warsaw → 249 2 / 6 Slanted 28—Warsaw TR Warszawa Theatre grzegorz laszuk 94 2015–2016 95 Posters → 249 3 / 6 Slanted 28—Warsaw → 249 4 / 6 Slanted 28—Warsaw 120 121 FONTNAMES ILLUSTRATED Janek Koza Dawid Ryski Piotr Socha Agata Królak Ola Niepsuj Tomasz Walenta Tymek Jezierski Agata Nowicka Agata Dudek Typeface: Polish Dirty News, designed by Piotr Wozniak (066.FONT) → 247–253 Fontnames Illustrated Slanted 28—Warsaw → 267 Janek Koza Slanted 28—Warsaw fontnames illustrated 128 129 Typeface: Pokrak (freak), designed by Piotr Wozniak (066.FONT) Typeface: Strefa (zone), designed by Aleksandra Slowinska → 267 Agata Nowicka Slanted 28—Warsaw → 267 Agata Dudek Slanted 28—Warsaw essay 130 131 Poland in the early twentieth century was not featured on the map of Europe, be‑ ing parceled into three partitions and subject to various political, economic and cultural influences. The most liberal of these areas was the Austrian partition, and Cracow, the former capital and seat of Polish kings, served as the symbolic center of this supposedly non‑existent country, with a significant part of Poland’s artistic, literary and publishing activities being concentrated in that city. So it is no sur‑ prise that the vast majority of pioneers of twentieth century design, such as the later to be discussed Karol Frycz, Wojciech Jastrzębowski, Bonawentura Lenart, Adam Półtawski and many others that could not be fitted in this volume (Edmund Bartłomiejczyk, Antoni Procajłowicz, Ludwik Misky, Zygmunt Kamiński, PIERWSZE Władysław Skoczylas) came from Cracow or at least POKOLENIA were educated at its Academy of Fine Arts. Shaped in an environment steeped in the symbolism and works of Art Nouveau, these young artists were entering adult life at the beginning of a new century. For 1900–1945 this generation, the best indicators of the new aesthetic currents were the English Arts and Crafts movement, and especially, thanks to its direct cultural and admin‑ istrative proximity, the Wiener Werkstätte, founded in 1903 by Josef Hoffmann PIOTR and Koloman Moser. In Cracow, work on artistic issues had already been under‑ way at the end of the previous century. The Polish Society of Applied Arts (1901) along with its main organizer, the critic Jerzy Warchałowski, was examining is‑ RYPSON sues of “design” in arts and crafts and applied graphics, though with still no clear The graphic artists and designers pre‑ connection with industrial production1. The activities of the armir (acronym sented in this article belong to the standing for Architecture, Sculpture, Painting and Crafts) Group, supported by the first three generations of artists, who Science and Industry Museum, and the rise of the Cracow Workshops (1913) crys‑ were to set the directions and paths of development for graphic design in tallized the artistic environment of those seriously involved in graphic design, Poland. The first of these are artists among whom were such eminent artists as the renowned book arts connois- born in the eighties of the 19th centu‑ seur and practitioner Bonawentura Lenart, the extremely versatile Wojciech ry, the second—those who came into Jastrzębowski—painter, graphic artist, letterer and creator of bas‑reliefs and tapes‑ the world in the following decade, while the third group comprises de‑ tries, or the painter, graphic artist and stage designer popular two decades later, signers born in the 20th century. This Zofia Stryjeńska. However, the Cracow and Warsaw publishing centers were insuf‑ distinction is not for the sake of any ficient for a more dynamic development of graphic design—what was needed were bookkeeping order—its importance state‑funded public service commissions and modern, capitalist advertising. These stems from the great acceleration of Polish history in the first half of the two driving forces were only launched a dozen or so years later, twentieth century. Despite the fact with the advent of the reborn Polish state. that mere decades separated them, each of these generations began their Poland reappeared on the map of Europe in 1918. The architects of the new state creative careers and professional work under very different faced the mammoth task of merging three culturally different territories devas‑ circumstances. tated by war, lying within borders that had undergone alterations and revisions by force of arms, ethnically very diverse and shaken by internal and external de‑ stabilizing forces. The search for a national style undertaken at that time was closely associated with the birth of the new state. Intertwined in this process were more conservative tendencies, represented by the above‑mentioned Cracow → 251 Essay Slanted 28—Warsaw → 251 Pierwsze pokolenia 1900–1945 Slanted 28—Warsaw essay 132 133 environment, with the aspirations of the Formists group that were shaped during Along with Warsaw’s graphic artists, such as Edmund Bartłomiejczyk and Józef the First World War. In short, as Piotr Piotrowski put it using the terminology of Tom, they were at that time creating a decorative style, but one that evoked homely Rogers Brubaker, there had been an attempt towards “nationalization of modern‑ motifs, quite quickly seen as conservative traditionalism. Offering their talents to ism.”2 In that first decade of independence, neither Bunt—the Poznan–Berlin soci‑ state institutions, they were treated by the more radical artistic circles as ety of expressionists nor, inevitably, the Jewish expressionists of the Jung Idysz representatives of official state art. This generation at the same time group achieved such a position as the Formists or the Rytm group, constituted the first induction of art and graphic design created following their breakup (1922), which included, educators in Poland. among others, Skoczylas and Kamiński. The second generation presented in this chapter—those artists that were born in the last decade of the 19th century—made their debut in an already independent Poland.

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