NN is an independent, creatively led design studio based in Brussels. Our work is all about “approach” and “tactility”. Two keywords which generate a fascinating variety of work. As tactility is a major theme, it goes without saying that print is our favorite medium.
What does NN stand for? Nomen nescio, abbreviated to N.N., is used to signify an anonymous or non-specific person. After all, what’s in a name…
Throughout the years we have worked for, among others, A Prior Magazine, argos, ASP editions, BBL/ING, Brussel2000, Cera Foundation, Christa Reniers, daad Berlin, Damaged Goods, Daniël Ost, De Witte Raaf, Editions Françoise Blouard, Ertzberg, Generali Foundation (Vienna), KunstenFESTIVALdesArts, Lannoo, Ludion, Mercatorfonds, Middelheimmuseum, NAi publishers, Palais des Beaux-Arts, PARTS, Rosas, Sint-Lukas Brussels, SUN Publishers, Vlaams Bouwmeester, Vlaamse Gemeenschap (Agentschap Kunsten en Erfgoed), Yves Gevaert,...
NN is always looking for new opportunities.
If you have an interesting project, please contact us.
We’d love to exchange ideas.
nn bxl, rue du progrès 389 vooruitgangstraat, bruxelles 1030 brussel
tel 32 2 203 83 43
The 22nd edition of A Prior Magazine is dedicated to Picasso in Palestine, an artistic project initiated by Palestinian artist Khaled Hourani (artistic director of the International Academy of Art Palestine) and the Van Abbemuseum in Eindhoven, the Netherlands.
In June 2011, Pablo Picasso’s iconic work Buste de Femme (1943, part of the Van Abbemuseum collection) undertook a journey from Eindhoven to Ramallah, where it was exhibited for three weeks. Preceding this border-crossing loan agreement were two years of extensive research and negotiations in the legal, artistic and administrative fields.
A Prior has made a critical, multifaceted report of the journey of Picasso’s Buste de Femme to Palestine and back, exposing relations between art, politics and geography along the way – thanks to contributions from more than 15 authors and artists.
magazine; 170 x 235mm; 248pp.; English with Arabic translations
“Visual Arts Flanders 2012” is a cluster of five high-level exhibitions on contemporary art (Beaufort04 – Belgian coast; TRACK – Ghent; Middelheim Museum – Antwerp; Manifesta 9 – Genk; Newtopia – Mechelen). In order to promote these events, they asked for a logo in which the geographical locations played an important role. And the logo concept had to be flexible, so it could be easily adapted for new clusters in the future.
branding/coporate identity; client: BAM (Flemish institute for visual, audiovisual and media art)
A very short-term assignment specially conceived for the Venice Bienniale 2011. Instead of making a classic flyer for promoting a cluster of cultural events in Flanders, we decided to make a folding “box” so the flyer could be used as a freestanding object. The spacing of the events on the flyer correspond with their geographical location. The neon foil embossing accentuates the epicentre of the event. The interior of the “box” was printed in fluorescent orange, producing a “day-glow” effect.
promotional flyer; 297 x 150mm; client: BAM (Flemish institute for visual, audiovisual and media art)
This monograph on the Belgian artist Gert Robijns offers an extensive overview of his recent work (2000–2011). The carefully edited picture sequences generate a narrative flow and give insight in the different aspects of his work. With texts by Anselm Franke and Bettina Klein.
book; 210 x 270mm; 160 pp.; Dutch, French and English; Published by Lannoo
“Met nieuwsgierige blik” is a compilation of texts on creating collections and purchasing policy. All texts (ed. Paul Depondt) are based on interviews with experts in this particular field. Each text is illustrated by a work of art chosen by the interviewee. Texts and illustrations have been printed on a different paper and format to visualize the structure of the book. The cover (printed in silver and gold) reflects the idea of a collection of conversations presented as a precious picture gallery.
book; 152pp.; 170 x 230mm; Dutch
ASP Editions / Agentschap Kunsten & Erfgoed, FARO, BAM
The exhibition “disturbed SILENCE” brings together a number of artists and art works that deal with silence and perception.
With a.o. Berlinde De Bruyckere, Leo Copers, Thierry De Cordier, Raoul De Keyser, Robert Devriendt, Roni Horn, Bill Viola,…
book; 165 x 240mm; 152pp.; Dutch
Psychiatrisch Centrum Duffel
“Album / Tracks A+B” is a comprehensive catalog published on the occasion of Ana Torfs’ recent solo exhibitions in K21 (Düsseldorf) and Generali Foundation (Vienna). Two different cover versions have been published, referring to the etymology of the words “album”/ “track”.
Ed. by Sabine Folie and Doris Krystof; texts by Mieke Bal, Sabine Folie, Anselm Franke, Michael Glasmeier, Steven Jacobs, Gabriele Mackert, Friedrich Meschede, Kassandra Nakas and Catherine Robberechts.
This book has been awarded “De Best Vormgegeven boeken 2011” (category books on art and photography / exhibition catalogues)
book; 280 x 215mm; 204pp.; German with translation in English
K21, Düsseldorf / Generali Foundation, Vienna / Verlag für moderne Kunst Nürnberg
“Cahier” is a new magazine on photography published by Sint-Lukas Brussels.
Cahier #01: The photographic image in print, ed. Steven Humblet (96pp.)
Cahier #02: The photoresque – Landscape and modernity, eds. Steven Jacobs & Geert Goiris (80pp.)
Magazine; 185 x 250mm; English
Sint-Lukas Brussels University College of Arts and Design
Ongoing series… (see A Prior Magazine 2004)
Magazine; 170 x 235mm; 248pp.
With Olivia Plender, Kara Walker, Stefaan Dheedene,…
The series “Explorations in/of Urbanism” aims to fill a gap in the contemporary debate concerning urbanism.
Book series; 240 x 230mm; English
This catalogue is an overview of the art works purchased by the Flemish Community.
On the cover we tried to visualize the recent change in purchasing policy, by scaling the names of the artists according to their purchase price. The artists were linked to each other by coloured strings, representing the different purchasing committees. The colours of these strings were continued in the ribbon bookmarks, marking the different chapters. The overview of all purchased art works was designed as a storage space, filled with containers. The empty “containers” interrupt the formal regularity and are marked by a clear varnish layer.
book; 396pp., 210x279mm.; Dutch, French and English
Vlaamse Overheid – Kunsten en Erfgoed
“Wald” is a play by the Belgian theatre company “De Parade” on the Holocaust. How can experiences in the Buchenwald concentration camp be put into words? What is the essence of this experience? The Holocaust is often described as ‘unimaginable’, ‘indescribable’ and ‘unspeakable’. Nevertheless, it is a part of man’s inherent nature to attempt the impossible over and over again.
The poster had to be indirect, more enigmatic than demonstrative. Signs in different colours, which were used to distinguish the deported, are placed next to each other, forming a line of bright triangular flags. The flags are set against a backdrop of black smoke, referring to the crematoria.
poster; 960 x 570mm
De Parade — director: Rudi Meulemans; actors: Tom de Hoog, Alain Franco, Hilde Wils
A Prior #16 was special, because the magazine was given a complete new layout. For the chapter on the work of Anouk De Clercq we looked for a design in close relationship to her work (for example the digital pixelated “echo” on the text). As the “mirror”/the “echo” is one of the major themes of her work, the cover image was printed on a glossy chrome board, trying to evoke her work than just representing it.
magazine; 170 x 235mm; 296pp.
with Anouk De Clercq, Susan Philipsz, Renzo Martens,...
Tweewaters is an extra-large urban development project in Leuven by Ertzberg, a real estate developer. The project was designed by the Belgian architects Stéphane Beel and XDGA (Xaveer De Geyter architects). Our contribution consisted of several elements such as the design of dossiers, logo, exhibition, brochure,..
“Stephane Leroux” is a luxurious publication on the creative possibilities of chocolate techniques, with splendid photos by Jean-Pierre Gabriel. The box contains two volumes, a lookbook (Matière Chocolat) demonstrating the artistry of Stéphane Leroux and a book illustrating the design techniques for chocolate. A lot of time was invested in “choreographing” the picture sequences. The oversized page numbers give an additional imposing touch to the pictures. By juxtaposing pictures on a spread with a varying scale we tried to create new image compositions.
“2009 Gourmand world cookbook awards – Second best cookbook of the year”
book; 245 x 336mm; 144pp.; 7-language edition: French, English, Dutch, Spanish, Japanese, Chinese, Arabic
Editions Françoise Blouard
For decades now, Daniel Ost has astonished the whole world with his remarkable floral creations. “Transparent” brings together more than hundred unique floral compositions inspired by wonderfull glass forms.
As always, a lot of time was spent on getting the picture sequences right.
All photos were reproduced using the latest state-of-the-art technology, rendering the pictures to perfection.
The four differtent languages are spread throughout the book, working as pauses. Varnished forms referring to glass objects contain the text fragments.
book; 280x280mm.; 180pp.; 4-language edition: English, French, German, Dutch
lithography: Miller Graphics, Agfa Gevaert (Rudy Van Hoey)
Citygraphy#01 is the first volume of essays on the representation of modern urbanity.
The classical approach of the Citygraphy-series might be perceived as a statement by its instigator & editor Dirk Lauwaert. Citygraphy is a series about content, where typography has a serving function.
As no cover image was able to visualize the full content of “Citygraphy”, we decided to use a color field as the recognizing element for the series. A square color field, which would have a different tone for each new edition.
book; 112pp.; 165x240mm.; Dutch
Sang Hoon Degeimbre is one of the most exciting chefs in Belgian haute cuisine. Words won’t do any justice to his cuisine, so a visit is the only way to discover why everyone is talking about L’Air du Temps!
The first volume consists of more than 90 recipes, the second volume is an hommage to all local suppliers of the restaurant.
book; text and photos: Jean-Pierre Gabriel; 230x300mm.; vol. 1: 240pp. vol. 2: 96pp.; Dutch and French
Editions Françoise Blouard
Corporate identity for a management partnership specializing in legal advice.
logo; corporate identity
As we have been working for Daniël Ost since the opening of his Brussels’ shop in 2005, it was almost self-evident that we would tackle the website sooner or later...
The website offers a great preview of the fascinating creations by Daniel Ost.
Maps can hardly be called sexy. And yes, if we have to choose between the serious and the cheerful... we definitely go for the last. So that’s why we decided to print the map on the cover in a laser-foil.
The small rectangle on the contents page is a graphical representation of the volume of each text. Each text has a different gray scale, each chapter is indicated by a silver strip.
The different chapters are introduced by a picture printed in silver, giving the picture an abstract touch.
The silver element continues on the text pages in the form of vertical lines, increasing in density towards the spine of the book.
book; 176pp.; 220x330mm.; Dutch
“Anatomy” is the catalogue of the work with the same name shown for the first time at the daad-gallery (Berlin). The expensive hard cover finishing is knocked off by the cheap cardboard used for the cover. The deconstructed title on the cover not only refers to the work but also to the place where the work was photographed: a former anatomical theatre. This publication can be seen as a book translation of the video and slide installation.
exhibition catalogue; 64pp.: 210x305mm.; German and English
The challenge: creating a reference book without its gravity.
The cover is a tissue of lines and names, visualizing the purchases by the different institutions. The tissue was made unreadable by the black cloth-binding which intercuts the tissue. The edge painted in flashy orange gives the book a frivolous and naughty touch at the same time. The playful character of the book is maintained throughout its interior pages. The overview of all purchased art works, for example, was layed out as if it were a stamp collection.
This book was rewarded with the “Plantin-Moretus price 2006” (art and photo books). “A very well-considered, innovating and charming book”, according to the jury.
book; 456pp., 210x279mm.; Dutch, French and English
Vlaams Ministerie van Cultuur, Jeugd, Sport en Media
DO-magazine is a flower and lifestyle magazine with Daniël Ost as its central guide.
The cover image is shifted vertically, creating a white border where the contents and logo are placed.
The logo of DO-magazine refers to the eternal cycle of life (∞).
magazine (pilot project); 96pp.; 220x290mm.; Dutch and French
A corporate identity for a real estate project with an old malting plant as a central element.
logo; corporate identity; website
Poster and flyer for the presentation of the work of sixteen graduating PARTS-students, the dance school founded by Anne-Teresa De Keersmaeker (Rosas). A picture of Muybridge has been reduced to an abstract rhythm of lines and was printed in fluo orange. A grid lays on top of it, dividing/fragmenting the picture in sixteen parts (as many as graduating students).
poster and flyer
This assignment started from zero. There wasn’t even a name for the brand new financial holding. One of our proposals got chosen in the end: Ertzberg.
The client wanted a timeless logo with a contemporary look. Finally the client opted for a slightly deconstructed “E”. Material and colors were chosen: black, chrome, and a distinct brownish grey.
A lot of effort was spent on the stationary. It’s an experience in every way. The tactile surface of the paper, the embossed logo, the hot stamped name in black,... The ultimate luxury.
logo; corporate identity; website
The traditional company season card was replaced by a poster on which visuals were layered upon each other as if it were a chaotic slide projection in 3D. The poster is perforated by a linear grid of small holes. On the reverse side of the poster, the matching tour data can be found in the corresponding outlines of the projected images. Each performance is highlighted by a perforated orange dot.
Since the 1980s Daniël Ost has been considered one of the world’s most highly regarded ‘florists’.
The extraordinary creativity of his work justifies his being described as a floral artist.
“East x west” is a synthesis of works generated by the dialogue between the eastern and western art of flower arrangement.
The lay out of the book runs parallel with this dialogue between East and West. All attention is focused on the work of Daniel Ost, the graphic design is its ally, not its competitor. A lot of effort has been spent on the tactility of the book and the structure of the sequences.
book; 240 pp.; 350x350mm; bound; in a luxury slip case
4-language edition: English, French, German, Dutch
Business cards may have an impact, in all meanings of the term. For Christa Reniers the business cards was upgraded to a true collector’s item. The card on which the jewel is printed, seems to float away from the rest of the card. Sophisticated minimalism.
business card; 190x60mm.
“Gallery 146” is specialized in design from the 1920s to the 1980s and kinetic/pop art.
For their new gallery space located in Brussels (Avenue Louise 146), a new logo was designed. It evokes the sophisticated angles of hi-tech seventies design and it refers to the spiral staircase of the gallery, one of the key elements of the gallery space.
An abstract moon landscape serves as a cover image, a free association with the scenography. A dotted grid on the landscape refers to the scientific mapping of the moon. The song titles are set as imaginary areas on the back cover.
cd; music by Hahn Rowe
performance by Meg Stuart and Benoît Lachambre
The exhibition “Vlaams Bouwmeester” at the Unesco-building in Paris wanted to show architecture in Flanders and how the Flemish Government Architect can play an important role in it.
The brochure translates the visual elements of the exhibition (designed by Van Geystelen-Thys architecten) into a compact brochure, thus forming a perfect mirror of the exhibition.
brochure; signage; invitation card
brochure: 16pp.; 300x185mm.; French and English
A series of pictures called “le flash”... The title was definitely shouting out for a flashy cover material. The pictures were printed on a two-sided raster-embossed paper, giving the photos a seventies touch. The pictures are separated by a transparent shiny grey tinted foil, so the pictures can never be seen at the same time with the same intensity.
Our work is not always about the formal approach of design, sometimes it goes further beyond that. When the board of A Prior Magazine wanted to mark a fresh start in 2004, they were looking for a new designer to restyle the magazine. The first discussions were not about the design itself but about the structure of the magazine. How can we clarify the structure of the magazine to the reader? Wasn’t legibility of the texts overlooked in previous editions? How do we deal with publicity? And also, how would A Prior position itself in the international range of art magazines.
#09 with Goele De Bruyn, Daan Van Golden, Jimmy Durham
#10 with Ana Torfs, Franciska Lambrechts, Daniël Robberechts
#11 with Ger Van Elk, Gabriel Kuri, Harald Thys & Jos De Gruyter
#12 with Erik Van Lieshout, Ragnar Kjartansson, Steven Shearer
#13 with Joe Scanlan, Koenraad Dedobbeleer, Paulina Olowska
extra issue #01 (Making sense in the city)
#14 with Sven Augustijnen, Deimanthas Narkevicius, Joachim Koester
#15 with Valérie Mannaerts, Martha Rosler, Allan Sekula
#16 with Anouk De Clercq, Susan Philipsz, Renzo Martens
#17 with David Maljkovic, Daniel Knorr, Kristina Norman
#19 with Olivia Plender, Kara Walker, Stefaan Dheedene,…
#20 with Ruth Buchanan, Victor Burgin, Mekhitar Garabedian, Ian Kiaer, Vincent Meessen
#21 with Danai Anesiadou, Gabriel Lester, Luis Jacob
#22 Picasso in Palestine
Inventing a name for a company can be tough but it’s always a nice challenge when you can participate in this start-up process as a designer. “YUSE” was one of our proposals which got chosen from a shortlist of over twenty names. The logo could be seen as an abstract version of the modular software offered by the company.
logo; corporate identity; brochure
Sometimes our passion for design and architecture brings us to new challenges. When a client asked if we would be interested in restyling an apartment, we didn’t have to think twice. The project can best be described as minimal hotel chic.
photos: Jean-Pierre Gabriel
published in Knack Weekend, “wonen special”, 13 october 2004
Niche Trading is a company which is specialized in buying/selling food products and ingredients. Their continuous search for products worldwide has been visualized in a sonar-like graphic element.
logo and business cards
Lithos produces an exclusive range of switches and sockets based on the form of the square. The minimalist approach was reflected in the small catalogue that was produced for a small target audience. The minimalist approach was reflected in the small catalogue (printed on heavy cardboard) that was produced for a small target audience.
logo; corporate identity; catalogue
In a short interview and 12 keywords this booklet evokes the work of fashion designer Florence Mascia, who spent several years working for Kenzo. The felt cover was perforated by circles, on the one hand affecting the legibility and on the other revealing a fragment of the interior pages.
The circular holes are repeated on the business card in transparent plastic. The circular pattern was printed on both sides (in UV matt varnish). The interference of the two circular patterns resulted in a new pattern. A part of the text was mirrored on the transparent card, keeping the idea of a front and a back.
business card and brochure;16pp.; 155x215mm; French
A pocket-size telephone book for the Belgian cultural field. The enlarged barcode on the cover continues its way to the interior pages where it constitutes the background pattern for the classic notebook, including the red margin. The font “Bell Centennial” (which was developed specifically for phone books) has been used oversized for the different chapter pages. As a result the drawing interventions used to increase legibility are visualized in the verge of deformation.
book; 312pp.; 120x215mm
Ministerie van de Vlaamse Gemeenschap / De Witte Raaf boeken
“Nus sommes” is an ABCdaire with “the nude” as general theme. We wanted to have a page layout with a lot of white space and a typeface in a large font size, in order to slow down the rhythm of reading. For the text, we choose the “Tyfa” which is not an obvious choice, but we liked the sensual and baroque quality of this typeface.
book; with texts by Federico Ferrari and Jean-Luc Nancy
168pp.; 120x195mm; French
Yvest Gevaert Editeur
Fresh and you is a high quality fast food restaurant, offering natural and fresh products. When the client came to us, he knew what he didn’t want as a company logo. No olive trees, no vegetables, no yin and yang... Finally we came up with a logo based on an abstract organic structure which could be seen as a synthesis of organic and human life.
logo; corporate identity
Fragma is an exclusive multi-brand store in Antwerp carrying the collections of Hussein Chalayan, Missoni, Marni, Narciso Rodriguez, Cesare Paciotti,… For the shop we designed the logo, bags, business cards, advertisements and a range of invitation cards.
logo; business cards; packaging; ads
Lessons in modesty. That’s how you could call the design of this book. The artist Guy Mees wanted a book in which presence of a graphic designer could not be felt. How to achieve this zero degree and still be designing? In a very subtle way the result of this attempt relates to the work of Guy Mees. The cover refers to his lace sculptures. Several lace patterns were printed at random over each other, resulting in different cover versions and disturbing the serial aspect of publishing.
book; 256pp.; 240x285mm; Dutch and French
The newsletter is conceived as a small booklet, folded along a zigzag line. The cover also serves as an envelope.
newsletter; 120x235mm.; Dutch
How to bring six artists together who have very little in common (except for the fact that they have been chosen by an international jury) into one single catalogue? That was one of the issues for the catalogue of the Prix de la Jeune Peinture Belge 2001, a prestigious concours for young artists which takes place at the Palais des Beaux Arts in Brussels. The catalogue was conceived as a volume with six booklets, each separated by a black cardboard paper, slightly larger than the booklets. This formal intervention created a large freedom, allowing the pages to be filled in individually (without having to cope with a global format or without being confronted with the work of the other artists).
With a.o. Sven Augustijnen, Hans Op De Beeck, Michael Van Den Abeele
exhibition catalogue; 142pp.; 162x240mm.; Dutch and French
Mercatorfonds / Palais des Beaux-Arts, Brussels
Creating great ads with bad visuals may not be an impossible mission, though we’d rather start with great pictures. That’s why we prefer to be involved in the process from the very beginning. And photo shootings are a part of it.
The main theme of this book was the relation between modern art and the textile grid. The editor and curator of the exhibition suggested to have a tapestry on the cover, which seemed an obvious choice. We managed to convince him, however, to go for a more abstract approach of the cover image. An enlarged textile grid was used as the backdrop for the lettering. The book opens in a filmic way, confronting colors and details with each other. A prelude to its content.
exhibition catalogue; 272pp.; 205x280mm.; English
Palais des Beaux-Arts, Brussels
Anne Teresa De Keersmaeker (Rosas) founded the dance school P.A.R.T.S in 1995. Ever since the Performing Arts Research and Training Studios have an intake of about sixty students per year from around 25 countries, who learn all the main dancing techniques over a period of four years. Every year auditions are held all over the world to recruit new students. Instead of the ordinary flyer, we designed a school notebook with a twist. The patterns refer to the graphic language Anne Teresa De Keersmaeker often used for her choreographies.
As the budget was very low, the newsletter was designed as a large envelope of which could be folded out on all sides and on which the text was printed. Invitation cards could be easily inserted without extra shipping charges.
newsletter and invitation cards
Palais des Beaux-Arts
Vincent Everarts is a photographer specializing in high quality reproductions of work of arts. The color control patches are one of his most essential tools and that’s why it became the central element of his corporate identity.
letterhead, greeting and business card
“Vacant City” is a book on urban development, in this case the Brussels Mont des Arts-site.
“Vacant City” can best be described as a complex and eclectic collage book. Texts, essays, archive material, photography and architecture projects are woven into a dense structure.
The typography of the cover hints at the “Libertés”-series by J.J. Pauvert, published in the sixties.
book; 384pp.; 170x235mm.; English
NAi publishers / Brussel2000
The newsletter had to be produced with a low budget. As the photos were of high quality, we decided to conceive the newsletter as two large folded posters: one poster for Rosas and one for PARTS. Geometrical patterns are a constant in the work of Rosas. That’s why we took the principle of the golden section, not merely as a guideline for the text but using its construction lines as the background pattern as well. The newsletter had to be bilingual (Dutch and French). Instead of placing the two languages on a separate spread, we opted for a confrontation, by juxtaposing them.
(in collaboration with Jan Minne)
The biennial festival “Sum/some of the parts” brings together a selection of the work produced at Rosas, Parts and Ictus.
A fractured surface was used a visual element, as the festival represented only a fraction of the work produced at the former industrial residency “Blanchisserie de Forest”.
The X-group was a research project for European dancers and choreographers.
Starting point for the poster and flyer was an oversized letter X which was fragmented in 13 segments, each representing one of the participants.
poster and flyer
The corporate identity was based on the ever evolving timecode of a videotape which can be seen in underscan-mode on a monitor.
For argos we created not only the corporate identity but several invitation cards and catalogues as well.
(in collaboration with Jan Minne)
corporate design; print; website
All symmetric formed letters of “Damaged Goods” were printed on the front side, asymmetric letters were printed on the back. By using embossing on both sides, the letters—which had become meaningless elements—were united to spell out the name of the dance company, Damaged Goods.
(in collaboration with Jan Minne)
business cards and compliment cards
This group exhibition took place in the streets around a square in Saint-Gilles (Brussels). The geographical location of the streets constituted the backbone for the organic shape on the cover.
(in collaboration with Jan Minne)
poster and brochure
The budget was extremely tight, a situation we tried to use to our best advantage. We bought an old, obsolete stock of yellowed paper, once intended for school notebooks. As there was no money for offset printing, the brochure was duplicated with a Risograph printer. The result was rather ironic: a low tech brochure for a high tech festival on new media. The proposal for the logo of Constant never made it to its final version…
(in collaboration with Jan Minne)
IYO was a graphic design studio, a project in collaboration with Jan Minne. We felt that a manifesto in five episodes was not a bad start for a graphic design studio. We selected fifty people we would have liked to work with and every day we sent them a new episode of our manifesto. Every episode consisted of a sheet of tissue paper containing a short stamped text. The rather mysterious text was related to the work of a graphic designer in an abstract way. The sheets were sent out in a transparent plastic sleeve. The text was blocked with black tape on the sleeve, an additional graphic element which prevented people from reading the text without opening the sleeve at the same time. The last sheet of the “manifesto” contained our logo and address.
(in collaboration with Jan Minne)
This book is still of great importance to me as it inadvertently pushed me into graphic design. The publication “Martini Martini” was part of an exhibition on one of the most exciting fifties buildings in Brussels, the Martini Tower. As demolition plans were taking shape, we wanted to draw attention to this particular building.
The book was printed in the colors of Martini: dark blue combined with gold. The beautiful photographs by Marie-Françoise Plissart were alternated with transparent paper with an embossed spider web pattern, which confered a hint of the past on the actual situation. Unfortunately, it foretold what was about to happen to this once glorious skyscraper.
(in collaboration with Funcke)
photos by Marie-Françoise Plissart ; texts by Bruno De Meulder and Eric De Cuyper
32pp.; 270x300mm; Dutch and French
Yang, Kritak, KunstenFESTIVALdesArts