Web design for Amsterdam based artist group Public Space With a Roof. Programming by Jonas Lund.
Ongoing series of publications designed for the international photography platform Time to Meet.
Identity for photography festival The Second Act taking place at the Flemish Cultural Center de Brakke Grond in Amsterdam, September 2011.
Invitation and poster for the exhibition Gongred at Museum für Konkrete Kunst in Ingolstadt, Germany, September–December 2011. (23)
Exhibition design for A Common Dialect – an exhibition and a summer school taking place at Marres, Centre for Contemporary Culture in Maastricht – curated by Femke Dekker.
Ongoing series of 12 inch record sleeves for Cologne band PTTRNS based on ‘The Colour Form Model’ by Karl Gerstner. (22)
Web design for photographer Paulien Barbas. Programming by Jonas Lund.
Book design for the conference/exhibition Curating the European University that took place at the library of K.U.Leuven on 10 and 11 February 2011. (21)
2010
As part of our exhibition at HBKsaar Gallery in Saarbrücken, Germany, we made a work emphasizing the problem of presenting graphic design work in the context of a gallery. (20)
Poster for our exhibition at HBKsaar Gallery in Saarbrücken, Germany.
In collaboration with Paulien Barbas we designed the catalog for the monumental sculpture exhibition Beeld Hal Werk that took place in an abandoned factory hall in Amsterdam North from 4 September until 31 October 2010.
We designed A0 and A2 posters and A5 flyers for the exhibition Beeld Hal Werk and are currently working, together with Paulien Barbas, on the catalog of the exhibition due to be released end of October.
We were asked to design a poster based on the movie ‘Crni film’ directed by Želimir Žilnik, on the occasion of the conference Surfing The Black, held at the Jan van Eyck Academy in Maastricht in May, 2010. (19)
LP, CD and posters for German punk-outfit PTTRNS and their album Science Piñata.
Marco Pando is a Peruvian animation filmmaker and for the release of his short movie The Boat, at the Film Museum in Amsterdam, we designed these two sets of A6 accordion bound (post)cards.
Series of posters and invitations for DNK Amsterdam, a concert series for modern music in all its different forms.
This book is a collection of the monthly publications that we released between January and December 2009 in collaboration with Onafhankelijk Cultureel Centrum In It (OCCII) in Amsterdam.
Web design for artist Antonis Pittas. Programming by Staffan Björk. (18)
Visual identity for industrial designer Doreen Westphal.
For The Session #10 – The Sweded Session we designed and printed 17 unique t-shirts with messages taken from the 1988 science fiction movie ‘They Live’ directed by John Carpenter.
2009
Sleeve design for Amsterdam based rock band King Kong Kobra.
Poster design for our show at MZIN Bookshop & Gallery in Leipzig. (17)
We are very happy to show some of our works in an exhibition at the MZIN Bookshop & Gallery in Leipzig.
Identity for the conference OffPicnic. OffPicnic is an experiment to stretch conference boundaries and create a more activist setting – and it’s for free.
Poster for the 2009 tour of the German punk bands PTTRNS and SHOKEI. By printing the names separately, two band posters combine into one.
We are glad to announce The Last Session which we are organizing together with curator Jan Van Woensel (BE/US) from 19.09-18.10.09 at Flemish cultural center De Brakke Grond in Amsterdam. (16)
Book design for Antonis Pittas’ (GR/NL) residency project in Den Helder.
Invitations for the exhibition space A4 in Amsterdam.
A5 invitation for an exhibition with paintings by Swedish artist Teres Karlsson. (15)
Poster for a series of performances and the opening of the final exhibition of Antonis Pittas’ residency project in Den Helder.
Working on a series of publications for OCCII in Amsterdam we want to investigate into new models and possibilities of production and distribution. (14)
Typographic identity for Swedish Style – a non-profit organisation supporting Swedish design in different medias.
Traces of faces – the true Bontepike story.
2008
Posters and invitations for the ‘End of the Year Party’ at the Jan van Eyck Academy in Maastricht, 2008.
We designed and printed our own business cards and letter heads. The type is set in 16 pt Times and printed with letter press at the Rietveld Academy in Amsterdam with help from Alex Barbaix. (13)
We printed a poster at letter press workshop THE ARM in Brooklyn, New York during our visit in September 2008.
For ten days we worked and lived in an abandoned apartment building in Hoyerswerda in Eastern Germany and made a catalogue for the European Postgraduate Residency program that took place there during the summer.
A1 double-poster printed for the release party of The HOLIDAY Session in Summer 2008.
T-shirt with the five most fundamental questions one should ask oneself in any design related process. When put on a T-shirt they become questions about life in general. Why, how, when where, what? Popular culture meets philosophical thinking if you want. (12)
Poster for ‘Graphic Design Festival Breda’. We published a work by Paul Gangloff, proposing archetypes for the DIN series from A1–A8. (11)
Poster for Cologne based band PTTRNS.
Twelve inch record sleeve for Stockholm based band ‘The Je Ne Sais Quoi’. The original vinyl was used as a printing plate, reversing the vinyl production process onto the sleeve. (10)
Graphic identity for fashion designer Ulrika Sandström. The design is based on her name and the way it can be written in different ways; Ulrika Sandström, U. Sandström, Ulrika S., etc.
Bimonthly fanzine in collaboration with Tomas Adolfs, Staffan Björk, Orpheu De Jong, Kalle Mattsson, Tarja Szaraniec and Monica Tormell. (09)
Poster printed for the release party of The COLO(U)R Session.
“The book features nine of their most ambitious projects so far: films, installations, and photographic works that focus on the dismantling, re-allocation, or re-appropriation of once highly idealistic modernist architecture, and the implications of such changes.
(…)”
2007
Exhibition catalogue for Dutch artist Gerald van der Kaap. The catalogue is an edit of his archive, a collection of images in a specific order. (08)
Posters and T-shirts for an exhibition on Andy Warhol at KS1/K-Swiss Amsterdam. The gossiping in Warhol’s diary writings, the power in this kind of language and how it can make relations between people becomes the element for a series of posters and T-shirts. (07)
Yearbook for the Jan van Eyck Academy, Maastricht, 2007. The structure of the year was taken literally as the concept for the design: each day of the year corresponds with one page in the book. If nothing was going on, according to the official program, the page was left blank. (06)
‘Research & Practice’ is a publication presenting the work of five graduate students from different disciplines within art and design at Konstfack Department of Interdisciplinary Studies in Stockholm.
Poster design for the Video Weekend event at Jan van Eyck Academy in Maastricht, the Netherlands.
Look book for fashion designer Ulrika Sandström and her autumn/winter collection 07–08 ‘Confetti’. 24 images are placed in a sequence and a new image follows directly after the previous one. Naturally the formats generates the croppings of the images.
Invitations for ‘We Are Going Underground’, Stockholm and Tokyo, 2007. The exhibition is an alternative platform for designers to show their work in a more inspiring environment in contrast to the big fairs.(05)
Seven inch record sleeve for the Cologne based outfit PTTRNS. By shifting the stamped out circles of the cover and the inner sleeve, all parts of the sleeve are shown at once, the sleeve designs itself. (04)
2006
Thinktank 0.1 is a publication that was conceived within the groupware research and development project of the same name, initiated by Inga Zimprich 2005 – 2007. (02)
This book – designed in 2006 for the Gerrit Rieveld Academy in Amsterdam – proposes an interdisciplinary take on art education and blurs out the borders between the different disciplines.
Poster announcing the release of NDSM Magazine.
A magazine for and about the NDSM Wharf in the north of Amsterdam, an old ship construction factory which now provides studio space for artists and designers. The magazine was released in 4 issues, each of them setting out with another aspect of the theme non-profit and approaching editorial work and design in a different way. (03)
Business card for graduate student. Who am I? What can I do? What do I want to do? The first published work for Our Polite Society is a series of business cards that questions the identity of the graphic designer and use the title Counselling rather then Graphic Designer. On the back side a text informs about the past, present and future of the designer.
2005
Application folder for the Preparatory course at the Gerrit Rietveld Academy in Amsterdam.
Re-enactment of a kidnapping box originally designed by by the second generation of the Red Army Fraction in 1976. (01)
— Theo Van Doesburg ‘Manifesto of Concrete Art’ 1930
(22) In 1986 Karl Gerstner outlines his own examination of the colour-form relationship in his book, ‘The Forms of Colour’. Amongst other things he examines Kandinsky’s well known metaphysical ideas on the correspondence between colour and form: square = red, triangle = yellow, circle = blue. He reevaluates these findings and introduces a system of ‘Colour Signs’. Next, with the help of computer programming, Gerstner further develops the system yielding new primary forms: astroid, diagon and sinuon and establishes what he calls ‘The Colour Form Model’.
(21) “There is a history of the practice of reading, of writing, of making and shaping text, of designing and publishing books. This is not just a cultural or social history, but also a material history of objects and devices. A catalogue of an exposition where the practice of reading and writing and the materiality of the book and the text is at stake, faces the present as an occasion for experimenting as well. That catalogue is part of the university, its practice of publishing, and seeks to address the present in between past and future. The catalogue dismantles the book object, seeks to disentangle the book as reading and writing device and lays down its essential components. As a container the catalogue is filled with words and images looking for a place and making space; it is closed, it can be opened but never be closed in the same way; it works, it changes and makes time; the catalogue creates layers, constructs authors, produces new references, constitutes a scene of names; it invents readers. And similar to all experiments, the time of writing and reading is irreversible.”
— ‘On Experiments, Roundtables and Containers’ by Maarten Simons, Joris Vlieghe, Mathias Decuypere, Jan Masschelein
(20) Representation describes the signs that stand in for and take the place of something else. (…) In literary theory representation is commonly defined in three ways:
– To look like or resemble
– To stand in for something or someone
– To present a second time to re-present
(…) To represent is “to bring to mind by description,” also “to symbolize, to be the embodiment of;” from O.Fr. representer, from L. repraesentare “to present,” lit. “to place before”.
(…) A representation is a type of recording in which the sensory information about a physical object is described in a medium. (…) Aristotle discusses representation in three ways:
– The object: The symbol being represented.
– Manner: The way the symbol is represented.
– Means: The material that is used to represent it.
— Wikipedia
(18) Randomness is closely connected with the concepts of chance, probability, and information entropy, randomness implies a lack of predictability. Randomness, as opposed to unpredictability, is held to be an objective property – determinists believe it is an objective fact that randomness does not in fact exist. Also, what appears random to one observer may not appear random to another. One of the intriguing aspects of random processes is that it is hard to know whether a process is truly random. An observer may suspect that there is some ‘key’ that unlocks the message. This is one of the foundations of superstition, and is also a motivation for discovery in science and mathematics. Popular perceptions of randomness are frequently wrong, based on logical fallacies.
(17) Other quotes and quotations:
– Some books are undeservedly forgotten; none are undeservedly remembered. W. H. Auden
– Nothing is as new as something which as been long forgotten. German Proverb
– A check or credit card, a Gucci bag strap, anything of value will do. Give as you live. Jesse Jackson
– It’s not how long life is but the quality of our life that is important. Roger Dawson
– The quality of your life is the quality of your relationships. Anthony Robbins
– The quality of an organization can never exceed the quality of the minds that make it up. Harold R. McAlindon
– The quality of expectations determines the quality of our action. Andre Godin
– Precious beyond price are good resolutions. Valuable beyond price are good feelings. H. R. Haweis
– My country, always wrong. Student Slogan
(16) An end of an object is a point where it terminates, or stops. When the object is thought of as running in a certain direction, the end is whichever end occurs last, or is furthest from the beginning.
End may also refer to:
– End (philosophy)
– End (category theory)
– End (topology)
– End can also denote a monoid (or a ring) of endomorphisms
– End (American football)
– Ending (linguistics)
– End key on a modern computer keyboard
– End Records, a record label
– “End”, a name of a song by the band named The Cure from their 1992, compilation named Wish (album)
END may refer to:
– European Nuclear Disarmament
– Endoglin, a glycoprotein
– Exotic Newcastle Disease
Ending may refer to:
– Alternate ending
– False ending
– Happy ending
– Multiple endings
– Twist ending
(15) The Endless Realm
I have nothing
Nothing!
How really is I am …
Nothing is mine.
How treasured rich am I
I have the treasure of nothing …
Vast endless nothing
That branches out into realm beyond realm.
This and these are mine
Together they are nothing.
The idea of nothing
The notion of nations
Nation … notion
I have the treasure of nothing
All of it is mine.
He who would build a magic world
Must seek my exchange bar
In order to partake of my endless
Treasure from my endless realm of nothing.
— Sun Ra
(14) The OCCII (Onafhankelijk Cultureel Centrum In It) is a venue for alternative and independent music in Amsterdam, the Netherlands. The organization is mostly run by volunteers and has its roots in the squatting movement; the building was squatted in 1984 and “legalized” in 1989. Next to the concert hall, there’s also a café (called the Kasbah), a restaurant (called MKZ), a library (Bollox), a theatre for children (Kinderpret), a bike workshop (Farafina), a sauna (Fenomeen), rehearsal studios, and a big courtyard.
— The building the OCCII resides in was built as a horse tram garage with stables in 1883/84 by architect Abraham Salm (1857-1915), who also designed (together with his father G. B. Salm) the buildings where popular commercial venues Melkweg and Paradiso now operate.
— The OCCII has no central programming, instead there are several programming groups that set the agenda. Some of these groups are Le Club Suburbia (mostly indie and post-punk), Hex (new wave and gothic), Muziek Kapot Moet (experimental music, electronic, noise, weird pop), Spellbound (electronic, dance), The Real Amsterdam Underground (punk, hardcore, crust) and Cool Schmool (dance, indie, riot grrrl, mostly female fronted).
— www.occii.org
(13) “A business card makes up one of the most important pieces in your consultant marketing kit. You typically hand over a card just moments after making an important connection. If that important contact receives a card with perforated edges, a bit of an inkjet smudge, slightly off-center wording, and a run-of-the-mill design, how do you think you’ll look to them? Will they take you seriously? Will they believe you’re really a consultant or will they wonder if you just whipped up these cards to hand out in emergencies? (...) So, if you want to look professional, don’t create your own business cards. Invest in them and improve your return on investment.”
— www.consultantjournal.com
(12) “We don’t see our work as art; we don’t see our work as making beautiful things. It is the result of social movement. It is not fashion or a special view of art. We try to establish our connection with the social situation in our work … The answers to our problems must be the questions: Why, how, when where, what?”
— Modified excerpt from a quote by Paul Schuitema from the book ‘What is a designer’ by Norman Potter
(11) “(...) Could honoured wellborn not tell me, where the forms of our paper makers are produced, or whether they, which I doubt, make their own? I once gave an exercise to a young Englishman, whom I taught in algebra, to find a sheet of paper for which all formats (forma patens, folio, 4, 8 and 16) are similar to each other. Having found that ratio, I wanted to apply it to an available sheet of ordinary writing paper with scissors, but found with pleasure, that it already had it. It is the paper on which I write this letter. The short side of the rectangle must relate to the large one like the side of a square to its diagonal.
This form has something pleasant and distinguished before the ordinary. Are these rules given to the paper makers or has this form spread through tradition? (...)”
— Excerpt from G. Lichtenberg’s letter to J. Beckmann, Göttingen, 25. Oct. 1786
(10) The first step in the record pressing process is the creation of the master disk, or acetate. The plater coats each acetate with a thin layer of silver which is then electro-plated with nickel. When this plate is separated from the acetate, the metal that was facing the disk now has ridges where the grooves were. This plate is called the father. The father plate is oxidized, and plated again. The resulting plate, when separated from the father, becomes a metal duplicate of the acetate, with grooves again. This plate is called the mother plate and is shelved for future use.
One father can produce 10 mothers, and one mother can produce 10 stampers. One stamper can produce about 1000 vinyl records. Therefore, this three step process can produce up to about 100,000 vinyl records before remastering.
(09) “The Session manufactures theme-zines in the finest DIY spirit, serving serious readers through a distribution network consisting of dealers. (...) The Session will favourize, focus and execute. It will continue to be committed and maintain a strong balance sheet with an anarchistic yet anal leadership.”
(08) A pamphlet is an unbound booklet (that is, without a hard cover or binding). It may consist of a single sheet of paper that is printed on both sides and folded in half, in thirds, or in fourths (called a leaflet), or it may consist of a few pages that are folded in half and stapled at the crease to make a simple book.
Pamphlets are very important in marketing as they are cheap to produce and can be distributed easily to customers. Pamphlets have also long been an important tool of political protest and political campaigning for similar reasons.
— Wikipedia
(07) “Bianca and Halston seem like they’re a couple now, they really do. It’s like a romance. But Bianca is so upset about Mick, and I’m surprised that she is, because she could get somebody rich in a minute. Somebody said to Halston, ‘Why don’t you marry Bianca?’ and he put his hands on his hips and said, ‘Because I’m the hostess here.’
— And then we all went over to a place called the Ice Palace on 57th and Sixth. It’s lesbians and hustlers. Bianca was dancing around, but she’s so unhappy, and she and Halston were trying to get Jed to go home with them, and they were asking me if this was okay. She said, ‘Nobody likes me.’ Everybody was wet from drinks getting spilled on them.”
— ‘The Andy Warhol Diary’, Monday, January 2, 1978
(06) Year 2007 (MMVII) was a common year starting on Monday of the Gregorian calendar in the 21st century.
The year 2007 was designated:
• Year of Rumi
• International Polar Year
• International Heliophysical Year
• European Year of Equal Opportunities for All
• Year of the Dolphin
• Scotland’s Year of Highland Culture
—Wikipedia
(05) “(...) And the public gets what the public wants. But I want nothing this society’s got – I’m going underground, (going underground). Well the brass bands play and feet start to pound. Going underground, (going underground). Well let the boys all sing and the boys all shout for tomorrow. (...)”
— The Jam, ‘Going Underground’, Polydor Records, 1980
(04) The vinyl LP jacket and the 7"/12" sleeve are the areas to receive considerable attention to graphic design, and will contain the most important and pertininent information about the recording, assuming there is no visible record label with such information.
— Wikipedia
(03) “The ancients built Valdrada on the shores of a lake, with houses all verandas above the other, and high streets whose railed parapets look out over the water. Thus the traveler, arriving, sees two cities: one erect above the lake, and the other reflected, upside down. Nothing exists or happens in the one Valdrada that the other Valdrada does not repeat, because the city was so constructed that its every point would be reflected in its mirror, and the Valdrada down in the water contains not only all the flutings and juttings of the facades that rise above the lake, but also the rooms’ interiors with ceilings and floors, the perspective of the halls, the mirrors of the wardrobes. (…)”
— Excerpt from Italo Calvino, ‘Invisible Cities’ (Cities and Eyes)
(02) Print on demand (POD), sometimes called publish on demand, is a printing technology in which new copies of a book are not printed until an order has been received. “Print on Demand” developed only after digital printing began, because it was not economical to print single copies using traditional printing technology such as letterpress and offset printing. Print on demand with digital technology is used as a way of printing items for a fixed cost per copy, regardless of the size of the order. Print on demand is often used to print and reprint “niche” books that may have a high retail price but limited sales opportunities, such as specialist academic works. An academic publisher may be expected to keep these specialist titles in print even though the target market is almost saturated, making further conventional print runs uneconomic. Many of the smallest small presses, often called micro-presses because they have inconsequential profits, have become heavily reliant on POD technology. This is either because they serve such a small market that print runs would be unprofitable or because they are too small to absorb much financial risk.
(01) “The kidnaping was supposed to take place outside of the minsters home. Norbert and Armando would take care of her. If she had gards, Armando was incharge of injuring them, in worst case he might be forced to kill them. They planned to transport her by car to a point and from there on put her in a van and drive paralell to the interstate till they reached the bridge. The car transport was calculated to 15 minutes and during that time the minister would be put to sleep and placed in a box, were in wich she hardly could fit.”
— Translated excerpt from the book ‘Commando Holger Meins: the drama on the West-german embassy and Operation Leo’ written by Dan Hansén and Jens Nordqvist
Contact and Links
Special thanks to Paulien Barbas for photographing our work.
We would like to thank the Netherlands Foundation for Visual Arts, Design and Architecture (Fonds BKVB) for their support.
A note about the type
Times New Roman is a serif typeface commissioned by the British newspaper, The Times, in 1931, designed by Stanley Morison and Victor Lardent at the English branch of Monotype.
It was commissioned after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The font was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older font named Plantin as the basis for his design, but made revisions for legibility and economy of space. As the old type used by the newspaper had been called Times Old Roman, Morison’s revision became Times New Roman. The new typeface made its debut in the 3 October 1932 issue of The Times newspaper, and after one year, the design was released for commercial sale.
— Microsoft has distributed Times New Roman with every copy of Microsoft Windows since version 3.1. As with Times on the Apple Macintosh, it is used as the default font in many applications, especially web browsers and word processors. However, Microsoft replaced Times New Roman with Calibri, a sans-serif font, as the default font in Microsoft Office 2007 and Microsoft Office 2008 for Mac, although Times New Roman is still included as an optional font. Times New Roman has grown to become the modern day pencil font.
Named anchors
This website uses so called ‘named anchors’ (
Copyright © Our Polite Society.
All rights reserved.
We are happy to announce our collaboration with the Bauhaus Dessau Foundation. In 2012 we will be in charge of two issues of the Bauhaus Magazine, the quarterly released program folder and other (exhibition-) related printed matter.
Amsterdam Art/Book Fair 2011
Our Polite Society (together with lots of other people from all over the world) will show work and sell books at Amsterdam Art/Book Fair 2011. Come by and visit us at our table at Brakke Grond on Saturday between 13–19 and Sunday between 12–18.
Exhibition
Some Things Better Change
Our Polite Society at HBKsaar gallery
Exhibition open from 6 November until 12 December 2010
Opening times: Wed–Fri from 17–20:00, Sat from 12–18:00
Address: Keplerstrasse 3-5, 66117 Saarbrücken/Germany
Book presentation
Beeld Hal Werk
on Sunday 31 October at 17:00
Catalogue for sale on Saturday 30 and Sunday 31 October
Price catalogue: € 20 (at the exhibition) / € 29,90 (afterwards)
Entrance exhibition: € 5 / free with a catalogue
Address: Gedempt Hamerkanaal 85, Amsterdam-Noord
Release party
The Session #11 – The Sample Session is a 10 inch vinyl record with contributions by Nicolai and Tomas Adolfs, Elinor Archer, Andre Avelas, Mats and Staffan Björk, Ian Brown, Gerbrand Burger, Colophon/Mobile Carrion, Cotopaxi, Attila Csihar/Void Ov Voices, Rickard Daun, Sam de Groot, Orpheu de Jong, Lars Ekman, Elfenbeinturm, Emmusica, Erratic Boulder, Fyoelk, Willum Geerts, Sæmundur Thor Helgason, Will Holder, Yutaka Hoshino, H...enrik Kihlberg, Klaus, Jesse Koolhaas, Matthias Kreutzer, Cindy Lee, Luva, Maia Lyon-Daw, Simon J Mason, Kalle Mattsson, Moemlien, Finn Öhlund, Stephen O’Malley, Leo Park, Taatske Pieterson, Lisa Premke, PTTRNS, Jonathan Sachse Mikkelsen, Alban Schelbert, Jens Schildt, Floris Schönfeld, Strange Boutique, Stuff Linear, Clas Svahn/UFO-Sweden, Tarja Szaraniec, TAPE THAT/Christophe Meierhans & Koen Nutters, Monica Tormell, Tarvo Varres, Joris Verdoodt, Simon Wald-Lasowski, Henrik Wallin, Eli Walter with Jules van Hal & Amber van den Eeden and Hollie Witchey with John Blackford.
—Live performances:
—(starting around 20:00)
—– Cotopaxi (D)
—– Mobile Carrion (NZ)
—– Yellow Socks (DK)
—– Nutters/Avelas (NL/P)
—Kulter
—Sanderijnstraat 21
—(near Erasmuspark)
—Amsterdam, Netherlands
The record will be available for the special price of 10 euros during the night.
Exhibition
The Situation Room is an exhibition of works by graphic designers Na Kim, Our Polite Society (Jens Schildt & Matthias Kreutzer), Nina Støttrup Larsen, Janna & Hilde Meeus and Karl Nawrot.
— Also with the presentation of Echo’s Book, a publication of the Department of Reading edited by Sönke Hallmann and designed by Paul Gangloff.
— Saturday 24 April, 8pm
— Gallery P/////AKT
— Amsterdam
Exhibition
Different Ground is an exhibition of contemporary Dutch graphic design that will be held in St. Petersburg, Russia in the Bulthaup Gallery within the frame of a program called ‘Window to the Netherlands’ by Netherlands Consulate General in St. Petersburg.
— The exhibition features more than 30 projects from 24 young Dutch graphic designers, recent graduates of either Gerrit Rietveld Academy or Werkplaats Typografie. The exhibition aims to introduce local public to the processes and context of modern graphic design.
— Opens on 8th of April and will last for two weeks. As part of the program, three speakers were ivitationsd to give lectures during the first weekend.
Book presentation
‘OCCII January–December, 2009’
Wednesday 17.02.10, 20:00
OCCII, Amstelveenseweg 134, Amsterdam.
— We will present the project we’ve ben working on during 2009 for and about OCCII – our favourite venue for alternative and independent music in Amsterdam.
