Ateljé Altmann: Graphic Work 2017-2023
€32
Keyword: 21st century, graphic design, identity, typography, logo design, Swedish-Swiss graphic designer
Size: 205 x 275 mm
Pages: 120
Format: hardcover
Language: English
Illustrations: in colour throughout
Preface: Mike Dempsey
Photography: Anton Renborg among others
Book design: Christian Altmann
Printing: Printografen
Publisher: Ateljé Altmann
Pub Year: 2023
Weight: 672 gr
ISBN: 9789152759110
Description
Article no.: 9789152759110
A selection of new work by the Stockholm-based creative director Christian Altmann, founder of Ateljé Altmann.
Altmann's work for clients like Acne, Magasin III, Reflex Arkitekter, Cykelfabriken, Vasamuseet among others
From the publisher:
When looking through this new Ateljé Altmann book, what is clear is the studio’s ability to produce work of supreme quality by using ‘intelligent’ creativity. It is achieved through dialogue, investigation and discovery in a close working collaboration between the studio and its clients. Out of the relationship comes a unique visual language for the client.
The result of this philosophy is showcased throughout the pages of this collection. Another notable aspect is the attention to detail in the finished physical objects, such as the elegant book featuring the work of photographer Sølve Sundsbø, where the graphic design respects and never overwhelms the work it is presenting; the purity of the beautifully restrained packaging for Genova; and the witty signing programme for Knivsta Centrum, picking up on the architectural details used in the building. This continues into the studio’s entrée into the world of fashion publications with its art direction and editorial design for Vogue Scandinavia. Taking a pleasing departure from the long-established visual presentation of this genre, the covers of the collector’s editions (a unique connecting series) take inspiration from the paintings of abstract pioneer Hilma af Klint, supported
by a new font created for the series.
The humble logo is another area where Ateljé Altmann excels, and they share my belief that a logo should be immediate, memorable and simple, capable of surviving the crudest forms of reproduction. Three perfect examples featured are the charming dot screen mark for Brunmåla Animal Practice; the elegant simplicity of the mark for PaperShell, a paper company pioneering sustainable solutions; and the logo symbolising new property company Källberga.
Since the successful introduction of the Altmann Grotesk font in 2020, Ateljé Altmann has created a further six fonts: UA Custom, Diptyque Saint-Germain, Nobia Sans, Mini Rodini Sans, Hilma and BB Stencil.
All in all, this book presents a design consultancy riding above the predictable, delivering thoughtful work of originality, clarity and elegant simplicity that, in my view, transcends time and style.
Mike Dempsey / London 2023
Altmann's work for clients like Acne, Magasin III, Reflex Arkitekter, Cykelfabriken, Vasamuseet among others
From the publisher:
When looking through this new Ateljé Altmann book, what is clear is the studio’s ability to produce work of supreme quality by using ‘intelligent’ creativity. It is achieved through dialogue, investigation and discovery in a close working collaboration between the studio and its clients. Out of the relationship comes a unique visual language for the client.
The result of this philosophy is showcased throughout the pages of this collection. Another notable aspect is the attention to detail in the finished physical objects, such as the elegant book featuring the work of photographer Sølve Sundsbø, where the graphic design respects and never overwhelms the work it is presenting; the purity of the beautifully restrained packaging for Genova; and the witty signing programme for Knivsta Centrum, picking up on the architectural details used in the building. This continues into the studio’s entrée into the world of fashion publications with its art direction and editorial design for Vogue Scandinavia. Taking a pleasing departure from the long-established visual presentation of this genre, the covers of the collector’s editions (a unique connecting series) take inspiration from the paintings of abstract pioneer Hilma af Klint, supported
by a new font created for the series.
The humble logo is another area where Ateljé Altmann excels, and they share my belief that a logo should be immediate, memorable and simple, capable of surviving the crudest forms of reproduction. Three perfect examples featured are the charming dot screen mark for Brunmåla Animal Practice; the elegant simplicity of the mark for PaperShell, a paper company pioneering sustainable solutions; and the logo symbolising new property company Källberga.
Since the successful introduction of the Altmann Grotesk font in 2020, Ateljé Altmann has created a further six fonts: UA Custom, Diptyque Saint-Germain, Nobia Sans, Mini Rodini Sans, Hilma and BB Stencil.
All in all, this book presents a design consultancy riding above the predictable, delivering thoughtful work of originality, clarity and elegant simplicity that, in my view, transcends time and style.
Mike Dempsey / London 2023