Screen PDF - Daab

FRESH
CUTTING EDGE
ILLUSTRATIONS-
PUBLIC
edited by slanted
2

FRESH
CUTTING EDGE
ILLUSTRATIONS-
PUBLIC
edited by slanted
2

––– Content
FOREWORD 04–05
Wayne Anthony
INTERVIEWS 06–21
INOPERAbLE Gallery
Pure Evil
Dethkills Collective
PUBLIC 22–323
JURY 324–329
INDEX 330–335
5

––– Street Art
2.0
Foreword by
Wayne Anthony
The streets of our fair cities are blessed with an electricity
which can only be described as its pulse, heartbeat or feeling
To an untrained eye big cities appear unforgiving, intimidating,
and even overwhelming. Each corner we turn bears the
hallmarks of a soulless machine with no conscious thought
for the people that walk those rounded pebbles. Commerce
is the language of this age, its arsenal stares back at us from
billboards, printed media, TV networks, computers, cell
phones, and retail outlets. Permission is not sought, requested
or demanded from the general public. In any one day, citydwellers
are exposed to thousands of images masterfully
constructed to play on our emotional insecurities, urging us
to buy more products, consume more goods or devour the
planet. Sanctioned heroes of the day instruct you how to
feel, dress, think, and act in accordance with their paymasters’
wishes. The business model works so well that most are
unaware of its existence, although for some their vehicles
of communication are the very cities themselves.
When graffiti arrived in certain hotspots around Europe
circa 1980, it was the impoverished locals that quickly adopted
this art form as the language of the streets. A dialect only
members could translate. People still have trouble reading
traditional graffiti today, although it doesn’t stop them from
admiring the lettering, colors, and shape or form. Whilst the
media and general public define the meaning of street art,
graffiti writers hold them in contempt, arguing that today’s street
artists are nothing more than glory hunters searching for fame.
Street Art 2.0 announced a new ideology sweeping throughout
cityscapes, towns, and villages. Graffiti writers design
their pieces for other writers, whereas street artists of the
new generation create works with mass appeal. Traditionally
the honor of decorating public walls fell solely at the feet of
writers;; today, a global network of artists brought together
by way of the cosmos and the information superhighway are
currently reclaiming the streets and painting some of the most
breathtaking temporary art forms you’ll ever witness.
Size varies according to artist or message. The flamboyant
may place a large piece in a public area that cannot be avoided,
others follow a less intrusive method requiring voyeurs to
venture out into the environment and discover works on their
own merits. Beautiful art isn’t only found along main streets in
populated areas;; if you’re awake street-art graffiti can be found
practically anywhere. Purists take their work off the beaten
track in search of buildings deemed ugly by a community and
transform such lonely sites into something to be loved or enjoyed
by surprised voyeurs. Breathing new energy into the architecture
of cities built upon the rigidity of left-brain orientation.
On any given morning the world awakens to random acts
of creativity produced by artists with no personal agenda other
than evoking thought beyond consumption. Such individuals
show great courage when operating outside the orthodox arena
of contemporary art by challenging the latter’s right to create
public art. It’s a risk-all game with serious consequences for
6 7
losing players. Among the tools of choice are spray cans,
posters, stencils, wheat-paste, markers, ceramics, chalks, and
stickers. Art experts declare a true masterpiece stands the
test of time, whereas street-art graffiti last anything from an
hour to twenty-five years. The most historical graffiti pieces
on earth serve nothing more than memory so today’s art
aficionados are blessed with technology. This ensures true
immortality for these innovative artists who have singlehandedly
brought our streets back to life. Street-art graffiti
puts the human back into the mainframe, allowing the public
to interact with a man / woman-made object as opposed to
mass-manufactured advertisements and commercials with a
soulless message. We are alive and the very nature of this
art form shows the world that everyday people can contribute
to the environment using uncensored grassroots techniques.
No stone is left unturned, anything or everything that filters
through the universe or media can be fused into Weapons
of Mass Creation.
–––

––– The spraycan
works best
outside
Interview with
INOPERAbLE
Gallery
The INOPERAbLE Gallery project and Studio was
created in January 2006. After a move in September 2008
to Burggasse 24 in Vienna the gallery established itself as a
young and one-of-a-kind space in the Austrian contemporary
art gallery scene. INOPERAbLE sees itself as much more
connected to the contemporary urban art scene when
compared with the rest of the traditional galleries, and
exhibits on a monthly basis only the best and most original
urban art. Since its conception, the gallery has exhibited
over 100 local and international artists.
–––
The INOPERAbLE gallery was set up in Vienna, Austria,
in 2006. What was your journey from street artist to
gallery owner?
I began doing graffiti when I was about 14 years old.
A friend of mine and I were walking home and a guy was
clearing out his garage and was throwing out a can of
spraypaint. We took it along with some other stuff and went
out that night to cause some mischief. That first can took
me on a long adventure leading to me almost being kicked
out of school, arrested, and looked down upon by many.
8 9
It has also taken me around the world, introduced me to
hundreds of new people and opened me up to the world of art.
I opened the gallery after I finished my studies, I wanted to
contribute something to the community that inspired me
so much. The gallery is my attempt to give something back
to the urban culture. In 2008, Nathalie joined the gallery and
until today,we have been successfully promoting the urban art
movement in Austria.
Street art and graffiti are often influenced by a particular
historical style that is closely related to location, especially
in big cities like New York, London, and Berlin. Please
describe the current general street art styles present in
Vienna and how your graffiti and street art scene has
developed over time.
The early days of graffiti in Vienna were obviously heavily
influenced by cities like New York, but over time cities in
Germany began having a larger impact. Local artists often travel
between the other German-speaking countries and therefore
brought their influences back with them. Being on the border
to the eastern European countries, Vienna has had a big
influence from them as well. A distinct Vienna style in graffiti
and street art is hard to pin down as it has become a melting
pot of styles from all over Europe.
A gallery for urban artists could be recognized as a kind
of white cube concept in that you extract the work from its
origin. How have you found public opinion alters when a
street artist brings his/her work into the gallery space?
The artists we show in the gallery are ARTISTS. Just like
any other artist they create artworks for various purposes.
The difference between “regular” artists and those we exhibit
is that a large percentage of the work created is intended for
outdoors. It is virtually impossible to bring graffiti or street art
one-to-one into a gallery, but the influences, methods, and style
are often carried over when done on a canvas for an exhibition.
Most people understand this, and appreciate the work in the
gallery even if they prefer to see it on the street.
With street works artists often make a political statement.
Do you feel such statements can preserve their status
once transferred into the gallery setting, and signify the
same meaning?
Two of the most famous political street artists are probably
Banksy and Shepard Fairey, but of course there are thousands
of others who are just as significant. Political work in the street
is very strong and can usually have a very heavy impact in a
gallery as well. The artists only need to be careful of becoming
hypocritical. For instance an artist who criticizes the gallery
scene, or a company for inhuman working conditions, and then
does an exhibition or a job for a similar company will very
quickly lose his or her credibility, which to most artists is one
of the most important things one can have.

Is there any type of work that you avoid exhibiting
in the gallery?
We avoid or don’t exhibit works which don’t fit into
our concept. Like every other gallery, we have our own taste,
so you can find a sort of golden thread in our exhibition
history. We also think it’s suspicious when artists suddenly call
themselves street artists because they heard it is a hype and
lucrative… We search for passionate artists who just can’t live
without creating and who evoke a strong emotion in the viewer.
Most illegal artists prefer to maintain anonymity.
Does this ever make it hard for you to present street art
and graffiti in the gallery setting, particularly if the artist
has attracted the attention of the police?
Fortunately, we never really had negative reactions or
problems with police. A lot of people don’t realize that the
artists we show in the gallery also work illegally. It seems that
as soon as the art is shown in a gallery context, people who
would criticize vandalism don’t have a problem with it. We
know that the police do keep an eye on the gallery, but those
guys are more focused on searching people who do graffiti
on trains or tags and want to catch them in the act or at home
where they could find obvious photo or video material.
How can a well-known illegal artist receive direct feedback
from an exhibition? Would they perhaps tend to present
themselves as reformed characters?
A well-known illegal artist can receive direct feedback
from his friends, from other artists or internet blogs. Or he can
pretend he is a passer-by and stand close by and directly see
or listen how people react. But there are of course artists who
just do their thing and don’t care about what the others think.
How have you managed to transform negative attitudes
towards street art vandalism?
Actually, people are a lot more tolerant with street art than
they are with graffiti because it is an art form that is easy to
understand (and often easier to remove). Tags or throw-ups turn
more people angry because it is considered as willful damage
to property. As a gallery, we try our best to do explanatory
work for street art and graffiti. In most cases, people are very
curious and react positively. They are amazed about the
ideas artists have and how talented and creative they can get
in an urban environment.
Where do you see the relations of urban art to traditional art?
Like traditional art, urban art can incorporate different
media such as painting, graphics or sculpture. A lot of urban
artists have studied art and have an art-school degree. Urban
artists create art in their studios but also take the freedom to
work outside. If one looks back into art history, one can find
a lot of similarities with for example Pop Art, Nouveau Réalisme,
Land Art or Dada. Like any art movement, urban art
encompasses a group of persons who create a certain artistic
style which is not bound to a certain city or school, but turned
into a global art movement. The exciting thing about urban art:
there are no boundaries.
What is your definition of the word graffiti?
Graffiti is painting on a surface with a spraycan.
It can be done outside and inside, illegally and legally, it can
be vandalism and art, it can be letters, abstract or figurative.
In classical graffiti, an alias is propagated and there a certain
rules you have to follow. The writings are often illegible for
a wider audience and created for a peer group. But as in several
art forms, the aim is to be creative, innovative and distinctive.
Is it becoming more feasible for artists with a background
in street art and graffiti to earn a living from exhibiting
these styles in a conventional gallery space?
The artists who got famous in the streets definitely benefit
from the sales of their artworks in a gallery space. Considering
the fact that creating art in the streets is related to financial
costs, selling art in a gallery gives you the possibility to do
greater or bigger projects outside. And it’s always nice for
an artist when the audience enjoys buying your art and you
can keep doing what you actually love.
What advice can you bring to upcoming illustrators and
graffiti writers/artists who would like to experience their
work in a gallery environment?
For artists who work in a figurative way, it shouldn’t
be a problem to exhibit their art on a canvas inside the gallery.
It’s legitimate to use the spraycan on a canvas, but still, the
spraycan works best outside. For a gallery exhibition, it’s
good to see when graffiti artists experiment and grapple with
another technique than they would be using on a wall.
For artists who work in a more conceptual way and where
the environment is crucial for understanding, it is more difficult
to work in the white cube context. Those artists have to come
up with deliberate ideas, otherwise they lose their effect and
street credibility. An artist can follow a big career when he
does amazing works outside and surprises even more in
doing great works that have enough energy and impact on the
viewer inside the gallery.
–––
10 11

––– Make
a statement
Interview with
Pure Evil
In 1990 PURE EVIL left the Poll Tax Riots of London
behind and went to live in California where he spent ten
years ingesting weapons-grade psychedelics, thinking
about stuff, making electronic music and printing T-shirts.
Inspired by skateboard culture and the West Coast
character graffiti of Twist he returned to London and
picked up a spraycan and started painting weird fanged
vampire bunnies everywhere.
–––
You opened the Pure Evil Gallery 2007, it’s situated in the
heart of Hoxton, London. What was the motivation to show
street art and graffiti-influenced work in a gallery context?
I had worked on a Santas Ghetto show before opening
my own space. Santas Ghetto was a yearly event where Banksy
and Co. took over an old shop and turned it into a gallery. It
was a lot of fun. I decided to do something like that permanently,
also based on Aaron Rose’s ALLEGED gallery that was in
New York in the 90s. It was a simple idea and was an easy
way to ease into running a gallery proper.
Are there certain pieces that you could/should never
show in the gallery space rather than on the street?
No I don’t think so. maybe only pieces that were
completely HUGE that wouldn’t fit in here.
The name Pure Evil is related to an experience in childhood:
you killed a rabbit and imagined its ghost returning to haunt
you. What is your philosophy behind Pure Evil and how has
this spectral rabbit influenced your work and life? Does
your creative work often have an autobiographical influence?
I like to explore the darker side of the wreckage of Utopian
dreams and the myth of the Apocalypse, a belief in the lifechanging
event that brings history with all its conflicts to an
end. I’m into dead things, dead celebrities and dead pets. Its fun
to channel all that dark stuff through my artwork, people say
I’m a pretty mellow guy and it’s probably due to my art catharsis.
We would love to talk with you about the Pure Evil Ethos.
It reads like a manifesto: “We are opposed to seeing artists
as a commodity.“ Please can you elaborate on this idea?
I don’t want to have to think “Is this artist going to make
us a profit?” or “This guy’s art exhibition has to sell sell sell.”
Because I am making ok money selling my own art, then it’s
not a prerogative to do shows that people are going to buy,
its more important to show art I believe in. Right now we have
a show with loads of willies and pussies in it. It’s a hard sell.
“No conceptual artists or poseurs”, “No curators allowed
in the building they will be shot on sight”.
How do you select artists to present their work in the gallery?
I spend a lot of time online looking at artist’s websites, and
12 13

looking in the streets, and at other galleries’ shows and also
just absorbing different images of artwork from flickr, tumblr,
facebook… it’s quite a maelstrom of thumbnails…
If a popular graffiti vandal exhibits artwork in the gallery
do they ever attract rival artists/crews or the police?
Yeah there’s SO MUCH politics to deal with when you are
showing graffiti artists. Everybody is polarized and there’s
always so much BEEF. I love it, I love the conflict, every day
I expect to see my window painted over because somebody
thinks my gallery is lame and they want to get over. The
police definitely monitor what’s going on, but I think they
have bigger things to worry about than a street art/graffiti
gallery. The local council has been in to tell us to stop painting
everywhere, so we’ve had to tone things down on the streets.
Having a big PURE EVIL written on the front of the gallery
makes it very easy for the authorities to find you. It’s better
to go and paint in Moscow, Ulan Bator or Sao Paulo.
“Principles before Profit”. In Bansky’s film Exit Through the
Gift Shop Thierry Guetta “Mr. Brainwash” talks about his
business importing cheap secondhand clothing from France
then repackaging it as designer vintage. He occasionally sells
these items in his store on La Brea as templates to high-end
designers like Ralph Lauren: “Buy for $2, sell it for $200.
We turn trash to gold, and I start making a lot of money.”
Later, he seems to work with the same principle. A little
bit of spray here and there, and that’s it. How easy is it
to make gold from street art?
It is really not that easy. He got a big boost with the
association with Banksy and Shep Fairey and he then ran with it.
A lot of people are realizing that it’s important to work hard and
do good work…
With the get-rich-quick attitude in popular culture, is the
term “sell-out” irrelevant today considering the current
financial implosion?
Everybody is selling something. Good business is good art…
Would you work for a big brand like Nike or Coca Cola?
We have a show in the gallery with Adidas next week…
but I’m not sure about Nike and Coca Cola…
You have become very successful as Pure Evil with solo
shows in Berlin, Sydney, Beijing and many more. What
experiences and emotions have you encountered traveling
the world as a rebellious artist?
Massive amounts of adrenaline. Whenever I go to a city
I get out and paint and going to a new city where you don’t
know the logistics of where to paint and there’s a strong
possibility of getting caught is pretty intense. The best time
was painting NAZI SCUM on a Nazi place in Mongolia.
That was nutty.
“Wear your Politics proudly”
Street art is a way to say No! To make people think.
Some of the work out there is very political. Is the message
more important than the aesthetic appearance? How
do you feel when it comes to the discussion of form over
function in political street art?
I think if you can say anything, then why not say something.
Make a statement. If something is bugging you then get out
there and write it on a wall.
“We are an Alternative Ideological Force”
Pure Evil Gallery is consistently pushing boundaries by
showcasing an eclectic mix of art as well as hosting a
multitude of experimental film nights, creative workshops
and live music sessions. How does the music you produce
relate to your visual work?
A lot of the time it is a way to relax… to get away from
running the gallery and just make some beats and drumming
and trying to channel the amazing power of John Bonham. It’s
the same feeling as going skateboarding and hurting yourself…
It’s a way to get all that aggression out. It’s also another good
way to feel a bit like a rock star for a few hours…
“The Gallery should be a Mecca for Independent artists”
There is a grey area between what is street-art and what
is graffiti. Graffiti artist (and owner of London agency
14 15

RareKind), David Samuel, says: “Graffiti in a gallery
is not a real thing, what people need to know is that the
work is by graffiti artists, people with a history, people
who painted at first not for money, but for appreciation
within their culture. When they hit the gallery scene they
put themselves out there as artists, not as graffiti writers
and have the same struggles as any other artist.” Do you
agree?
Yeah, it’s true… Somebody like EINE who used to
be a tagger and paint trains is always going to do something
interesting in a gallery and it will be informed by every other
experience he has had prior to that. It’s like moonrocks, take
a rock off the moon and it loses its context, BUT as an
artefact it still is relevant.
“We need to have the feeling of exhilaration from meeting
an artist and seeing their work.” What is your view
about the chances for graffiti-inspired illustrators and
artists in the current commercial market compared
with the past?
I think illustration is kind of drawing from the head, and
art is more from the heart. The main aim is to be an artist and
I find that then the commercial offers will come in. If you have
your own style and it’s really strong then people will come to
you. HOWEVER it sometimes helps to be in the right place
at the right time and meeting some people who can help you
really is useful. One great piece of advice I heard was from
an artist who wanted to move on up, he looked at where all the
artists he liked and admired were exhibiting, and what kinds
of awards and projects they had been getting, and then he just
went along that route. It’s no good just blanket-bombing every
location, it’s more important to do a bit of research before
you drop those art bombs willy nilly.
Besides running a gallery you are still a street-artist.
How do you manage to straddle the commercial, artistic
and street worlds?
It’s quite a conflict, but I am managing. I don’t do
psychedelics anymore, I think if I did I would flip out
with all the pressures I am under… ooh poor me.
Do you ever see yourself as becoming part of
the commercial art establishment?
Yeah I can’t wait until I get to do that whole Andy Warhol
thing, and crazy people are shooting me because they think
I have too much power over them. It’s going to be AWESOME!
Where do you see the relations between urban art
and traditional art?
Well we’ve been able to create our own media, create our
own galleries and create our own art stars independent of the
mainstream. Lets see what happens next, I’m pretty excited and
also a little bit apprehensive.
What advice can you bring to upcoming illustrators and
graffiti writers/artists who would like to experience their
work in a gallery environment?
HEY ARTIST! If you want people to take you seriously,
take yourself seriously. Get your work together in a decent
folder or create a good way to present it all. People who come
in and go “Er hey I have one good sketch in my book, check
it out” or fumble with their phone trying to show you a 2-inch
by 2-inch picture aren’t going to get taken that seriously.
HEY GALLERIST/ART DIRECTOR! I always think that
ANYONE who comes to show you their art is coming to
show you a piece of their soul so it is important to be respectful
and to give them good advice. If their work doesn’t fit with
your particular gallery then maybe there may be suggestions
that you can give them as to where their work may fit.
16 17
–––

––– Public
—Rems182
Truly Design
Streetportraits
The portraits’ gaze reflect the
daily urban reality by which they
are surrounded and turns them
24 25
into stone, calcifying them on
the wall. Their cement epidermis
reflects a state of mental blind-
ness, an intimate detachment.

—Rems182
Truly Design
Streetportraits
31

—Sepe
Waiting
43

—Skount
Strata Feeding Time
62 63
—Noah Mac Donald
Keep Adding
Silo
Created in an abandoned
grain silo in El Paso, Texas.
Photo: Christ

—Noah Mac Donald
Keep Adding
Wave Nest
Created for a public park containing a
public pool, wavy blue architecture and
a purple octopus sculpture, all taken into
consid eration when designing the mural.
64
—IEMZA
Untitled
Photo:Thierry Gaudé
65

—mK
Fanoe
66
—Joe Wetering
Melting
67

—IEMZA
Untitled
Photo: Thierry Gaudé
71

—Benjamin Mohr
Freiheit
72
—Shoboshobo
Toulouse
Wall drawings at Colomiers arts center/
Tetsunori Tawaraya, Sumi ink club,
Dennis Tyfus and Hendrik Hegray, 2010
73

—Paul Santoleri
PAWZANT
Omega Warm Garden Sunrise
Installation at Red Gallery,
Hull, UK, 2007
“Throatflower”, drawing
installation at Triangle workshop,
D.U.M.B.O. Festival, NYC, 2008
—Paul Santoleri
PAWZANT
74 75
Waste Shrine
Interior, at CESTA, Tabor, ink
on wall. Czech Republic, 2008

—Lake
Write the Wall
127

—Ovni
Barcelona Mural
—Clemens Behr
128 129
Diagonal Mar
Public installation in Barcelona
made with cardboard, paint,
tape and newspapers, 2009

—Clemens Behr
Hello Everything
Installation, at Boheme Precaire
exhibition in Dortmund/Germany
2009. For the expo we tried
to mix styles and get the most
out of the 14 hours we had to
rearrange the space.
131

—Knut Erik Oeverjord
UREDD design agency
Portalen Parking-House
Inspired by the building’s architecture,
the walls were illustrated from the idea
of combining nature and ricepaper with
a multistorey car-park.
—Thomas Weyres
148 149
PAW
Tape-graffiti-pieces at gallery 33,
Berlin, 2010

—Karl Grandin
Tranan
Seven-color mosaic artwork in the
restrooms of restaurant Tranan in
Stockholm, 2005
150
—Karl Grandin
The Garden of Earthly Delights
Permanent graffiti in one of the
restrooms at restaurant Riche in
Stockholm, painted together with
Björn Atldax, 2008. The Garden
of Earthly Delights is an inter-
pretation of an altarpiece triptych
created by Hieronymus Bosch in
the early sixteenth century.
151

—Karl Grandin
Nightlife
The Nightlife Owl was projected
onto the side of the Stedelijk
Museum/Post CS building during
the night of Art Beat, an art event
in connection with the Amsterdam
Museum Night in 2005.
152
—Fernanda Cohen
Sugar Restaurant Murals
The look and feel of the illustrations
for the walls of the restaurant/club
Sugar were designed keeping in mind
a festive, fun and active audience
who would identify with the scenery.
153

154
—Trapped in Suburbia
Torture Basement
Redesign of the torture exhibition
in museumgoudA. All the information is
hand painted/drawn on the floor with
UV-paint. You can only see something
when you put on the UV-flash light
otherwise it is just a white floor.
155

—Irene Sackmann
Im Wald
230 231
—Zonenkinder Collective
Barking up the wrong tree

—Pablosherrero
Lamp post
232
—Pablosherrero
English garden
233

––– Jury
session
326
327

––– Jury
members
328
Johannes König
www.johanneskoenig.com
www.melvilledesign.com
Johannes is art director at Melville Brand
Design. He mixes analogue and digital
techniques: drafts which are designed on
the computer are treated with acrylic paint
and other materials. In the process, he
often introduces typo graphic quotations
from songs, poems or various content
into his work.
André Rösler
www.der-roesler.de
André studied design in Pforzheim where
he took his degree in 1997. He has
worked as a freelance illustrator, designer
and animation director. He illustrated
several picture books for Peter Hammer
Publishing house. His work was awarded
various design prizes e.g. the ADC-award
for illustration. He teaches illustration
at the university of applied sciences
in Würzburg.
Michael Luz
www.michaelluz.de
Michael was born 1964 in Stuttgart.
He currently works as illustrator in his
own studio for various agencies and
publishers. In his current project he
presents each day a new illustration on
his website. The project will end after
365 days.
Raban Ruddigkeit
www.ruddigkeit.de
www.freistil-online.de
Mone Maurer
www.monemaurer.com
www.aortica.net
Mone was born in Holzgerlingen 1976.
She is an illustrator & creative director,
studied medicine, graphic design,
illustration and media art. She mixes
traditional tools and techniques with
digital media. Mone’s artworks were
published e.g. in brand eins, die ZEIT,
+rosebud, ROJO, Neon, several books
from Gestalten Verlag and Taschen
Verlag. Together with Piero Borsellino
she produces the magazine AORTICA.
Raban was born in Leipzig in 1968.
the GDR. After ten years as an illustrator
and designer for magazines e.g. Das
Magazin and ten years as art director
in advertising e.g. Scholz & Friends,
Jung von Matt, he has linked these
two worlds in his own Berlin agency.
He is the Founder of Freistil – Best
Of European Commercial Illustration.
329

330
—André Rösler
331

Published and distributed worldwide by
DAAB MEDIA GMBH
Scheidtweilerstrasse 69
50933 Cologne/Germany
Tel. + 49 221 690 48 210
Fax + 49 221 690 48 229
www.daab-media.com
www.edaab.com
Book Idea by
Ralf Daab
Concept by
Ralf Daab and Lars Harmsen
daab Corporate Design by
Meiré und Meiré
––
Edited by
Slanted c/o MAGMA Brand Design GmbH & Co. KG
www.slanted.de
www.magmabranddesign.de
www.volcano-type.de
Creative Direction
Lars Harmsen
Managing Editor & Art Direction
Philipp Louven
Assistents
Julian Müller, Jan Kiesswetter
Jury
Johannes König, www.johanneskoenig.com
Michael Luz, www.michaelluz.de
Mone Maurer, www.monemaurer.com
André Rösler, www.der-roesler.de
Raban Ruddigkeit, www.ruddigkeit.de
Copy Editor
Christiane Blass
Copy Proof reading
––
Foreword
Wayne Anthony, www.londonstreetartdesign.com
Interviews
INOPERAbLE Gallery, www.inoperable.at
Pure Evil, www.pureevilclothing.com
Dethkills Collective, www.dethkills.com
––
Typefaces
Bysshe, Obiter, DTruck, Rosenthal by David Millhouse
www.defalign.com, www.volcano-type.de
Times New Roman by Stanley Morison, Victor Lardent
www.linotype.com
––
Printed in Italy
Thanks to
all those fantastic contributors out there. We recieved over 16.000 pieces
of work form all over the world in a record time of 2 months.
Friends and team: Tom Barbereau, Piero Borsellino, Tobias Dahl, Ina
Doncheva, Flo Gaertner, Silke Hensel, Sabine Hoffmann, Boris Kahl, Julia
Kahl, Matthias Kantereit, Verena Kiesel, Monika Kraus, Moritz Müller,
Anja Neidhardt, Sarah Schmitt, Martin Schonhoff, Anna Straetmans, Lukas
Weber, Ulrich Weiß.
HFG Karlsruhe for providing us the spaces for the jury selection.
Jochen Sand for photography during jury sessions.
Special thanks to Ralf Daab.
––
Copyright 2011, DAAB MEDIA GMBH
All rights reserved. No part of this publication may be reproduced or
transmitted in any form or by any means, electronic or mechanical, including
photocopy, recording or any information storage and retrievalsystem, without
permission in writing from the copyright owner(s).
All images in this book have been reproduced with the know ledge and
priror consent of the individuals con cerned. No responsibility is accepted by
producer, publisher, or printer for any infringement of copyright or otherwise
arising from the contents of this pub lication. Every effort has been made to
ensure that credits accurately comply with information supplied.
ISBN 978-3-942597-05-0
––
Join our community
www.edaab.com and present your work to a worldwide audience.

www.edaab.com
ISBN: 978-3-942597-05-0
9 783942 597050