ANDREA BÜTTNER

Exhibition Identity

 

2015

Walker Art Center

 

Various materials:

vinyls, folded gallery guide, invitation, exhibition labels, title wall, web-images, custom type-face

Offset printing: Allegra, USA


To emphasis a connection to Büttner’s sharp woodcuts in the typography, I slightly altered the hight of U-umlaut. Instead of two dots above “U” I drew two triangle shapes based on the top-serif part of the letter ‘T”. The triangles were also used instead of the dot above letter “I”. Intrigued by the small details in Büttner’s work I created a specific punctuation that would be used throughout the identity of her exhibition. As a base for the punctuation, I used the same triangle shape to draw a comma, colon, period or apostrophe. 

AVANT GARDEN
2016

 

WALKER ART CENTER
ANNUAL BENEFIT

Concept, identity, postcard, accessories,
invitation, event design

 

Paper: 130# Options 100%
PC White Vellum Cover

5 Pantone color+ black
blue foil stamp


This year’s event will mark the opening of the Walker’s new entry pavilion, which includes an extended lobby, restaurant, and accompanying art acquisitions. Coinciding with the museum’s expansion, the identity for Avant Garden (AG) 2016 is based on the Walker’s outstanding architecture, which has many unique construction elements such as skylights, windows, and slanted walls. The design process started with gathering images of the building and architecture plans. I outlined the windows and skylights from the images and filled them with a pattern similar to the rainbow terrazzo/marble stone used on the Walker’s floors. This flexible pattern used at various scales evokes associations with confetti and the various architectural elements of the Walker’s interior architecture.

AVANT GARDEN

2016

 

WALKER ART CENTER

ANNUAL BENEFIT

Concept, identity, postcard, accessories, invitation, event design, poster, interior design

 

Folded Invitation:

Paper: 180# Options 100%
PC White Vellum Cover

5 Pantone color+ black

silver foil stamp+ die cutting

A6 & A7 Envelops


The colors in (AG) identity are taken from diverse aspects of the Walker’s building and from the new acquisitions in the lobby and Sculpture Garden: the yellow and copper from a new illuminating entrance, the oranges and pinks from a Frank Big Bear work, and the Reflex blue from a Katharina Fritsch sculpture.

The chosen serif typeface: Gletscher, balances the playful and illustrative feeling of the architecture-inspired pattern, giving a more elegant feel to the identity. The secondary typeface —relates to the diagonals used in the dramatically sculptured ceiling skylights.

2016

Walker Art Center

Performing Art Season 2016–2017

 

Tote bags, ads, buttons, video trailer,

9 posters featuring selected performances and brochure:

 

Brochure:

printed on web-press

by John Roberts (US)

38000 copies, stapled

34 pages gate folded with self cover and a long flap

size: 12,25 x 8,5 in

uncoated offset paper: #80 Opaque Smooth

typeface: Chap(alternated) by Sckich-Toikka & Theinhardt by Optimo

 


Central to this year Walker Art Center’s programming is the exhibition Merce Cunningham: Common Time, the largest survey of his work yet mounted. Cunningham-connected movement and music performances will span Musuem’s stages, galleries, and public spaces, highlighted by new commissioned. Cunningham make individualistic forms of rigorously abstract movement art propelling today’s dance forward.

 

During the design process I realised that, for me most important are two ideas contrast and the rythm: contrast between still and animated elements, rigour and freedom of arrangements, colors and grey-tones as well as using distinctive typefaces.

 

In order to break the rhythm, I needed to create one—that is why, I used Metronome as a reference. A tool used both by musicians and dancers to practise tempo. The mechanical machine besides sound has as well a visual component: swinging pendulum, based its movement I have created a line pattern. The line systems is presented in the video trailer and on  the tote bags.

 

LEE KIT:

Hold your breath, dance slowly

 

2016

WALKER ART CENTER

Identity, invitation, ads, title wall, images, gallery guide with map

Printed material: offset with 2 Pantone colors on recycling paper

 

First Lee Kit US solo exhibition curated by Misa Jeffereis
The gallery guide contains not only the traditional three-dimensional drawing of walls, but also contains discrete elements in the exhibition, such as lamps and a TV-rack to both help navigate in the space and to underline the domesticity of the exhibition.


I applied Stanley to the exhibition title “Lee Kit: Hold your breath, dance slowly,” and composed it so the viewer could feel the space and motion. Due to various material sizes on which the title would be displayed and various routes to move in the gallery space, I decided that it should be rearranged each time. This small intervention allows the viewer both to read each word separately and connect them into the original title in various orders. As I realized later on during the two weeks working with Kit, this way was also his way of creating installations: finding objects, rearranging them, and making associative connections between elements until they create a substantial entity.


FICTIONAL JOURNAL.COM

2016–Ongoing

PR Communication materials / Print materials / Website Design

Collaboration with: Sophie Rzepecky and Heini Lehtinen (Editor/Curator)

FJ is an online publication for design theory and practice that navigates the societal contexts of design. Publishing 2–3 issues a year, the journal opens a theme for investigation, collecting works from the Fictional Collective and invited guest contributors through open calls. Each issue consists of a range of contributions, including: text-based and image essays, illustrations, film, objects, performances, and interventions. The platform first introduces the viewer to issue descriptions and later shows related contributions. In order to present the potential range of content from contributors, we created a flexible system. We took advantage of the full width of the screen, dividing it between areas for notes, images, and text. In combination with two different typefaces, this allows for an enhanced online reading experience.

A LINE, HOWEVER SHORT, HAS AN INFINITE NUMBER OF POINTS

Andrés Ramírez Gaviria

2016

 

Book

size: 21 x 26 cm

128 pages, 9 sections

quantity: 500

offset printing: Paul Gerin GmbH & Co KG

paper: Munken Lynx 100g (B&W Pages)

Claro Bulk 135g (image Pages)

cover: Munken Lynx 300g


This catalogue was published on the occasion of a solo exhibition at the Museum of Modern Art, Santo Domingo, Dominican Republic, 24 February—29 May 2016. The work of Andrés Ramírez Gaviria borrows cultural references from the histories of art, design, science, and technology, reconfiguring them through methodologies that imagine alternative modes of perception and thought. The notion of decoding information and issues of communication are highly present in the artist’s works. The book cover and title pages play with this problem of decoding through readability by the individual letter forms that act like points on a grid. This also simultaneously refers to the title itself and the structural arrangements of the work.

 

YEB WIERSMA

 

2015/2016

 

Concept and web design, CSS stylesheet, portfolio, cv, grant application, and business cards

 


A website for a Dutch artist, whose body of work consists of exercises in reading, movement, and acting as engaging catalysts to re-enter the present in a more compelling, playful, and vital manner. The diversity of these various forms relates to the ways in which we understand and perceive the world and the serendipitous interactions that influence our human condition. Wiersma’s work often involves collaboration, combining efforts to re-arrange language and use different media to create new narratives. As the work is heavily referential an important part in the design was emphasizing another referential form, the footnote. Hovering a cursor over the footnotes enlarges and duplicates images. In this way text and images overlay each other, creating a cohesive unity with her artist practice.

FLYER

 

2016

ONOMATOPEE

size:  21 x 14,8cm

recycling paper

digital printing


Invitation for two exhibition opened on 28th November, Spielraum part of Radical Aesthetics #2 by Slovenian artist Jasmina Cibic and Paper is a leaf that will destroy us in its fall, by Sarah Van Lamsweerde.

FLYER

 

2016

ONOMATOPEE

 

size: 21 x 27 cm

digital printing


Flyer made for Onomatopee featuring gallery program during Dutch Design Week 2016 in Eindhoven.

MAGAZINE

 

2016

WALKER ART CENTER

 

Offset printing by Shapco

quotation:4000


Each two month Walker Art Center releases 24pages magazine featuring information about exhibitions, performances, Walker Cinema and much more.  Designers works with established grid, creating new layouts, arranging photo-shooots, selecting images and proofing them.

 

 

Meredith Monk

 

2016

Walker Art Center

Postcard

 

Offset printing by Carslon

quantity: 3500

One Pantone printing, Landnáma typeface by Or Type

 

 


Meredith Monk’s groundbreaking exploration of the voice as an instrument in what is now called “extended vocal technique” expands the boundaries of musical composition, building landscapes of sound that unearth feelings, energies, and memories for which we have no words. My design captures the experience of her performances, which despite their seeming simplicity are quite complex compositions. The type mimics this quality, spreading out in playful and dynamic arrangements. Each separated letter functions like the individual, emphasized voices of a Monk’s performance. The selection of a single light pink color serves uniting image and type while playing with the subtle differences between it and the white font.

WALKER CINEMA FLYER
MAY- JUNE 2016

 

Walker Art Center

 

quantity:3000

Offset printing by Shapco, USA

CMYK+ Pantone

Typeface by Briefcase Type Foundry


The Walker Cinema features a wide range of contemporary moving image artists and explores the history and creative use of the medium, while representing our global community and engaging our audiences with artistic approaches to the ideas that define our times.

ORDINARY PICTTURES

 

2016

Walker Art Center

Invitation & Flyer

 

offset-printed and debossed

printed by Shapco Printing, USA

paper: Mohawk Superfine Ultrawhite
Smooth Cover, 65lb and Lynx Opaque
Smooth Cover, 100lb

various dimensions

 

 


Featuring works by some 45 artists, Ordinary Pictures surveys a range of conceptual picture-based practices since the 1960s through the lens of the stock photograph and other forms of industrial image production. Focusing on the industry’s distinctive modes of production, distribution, and presentation, Ordinary Pictures foregrounds the work of artists who have done much to probe, mimic, and critique this overlooked aspect of our visual environment.  Identity plays with repetition and multiplication of images.

OUT THERE

 

2015

Performance Flyer

Walker Art Center

 

Offset printing

by Carlson Print, USA

Silver Metallic Pantone

Double Gate folded

Paper: 100lb Gloss Text

5,5 x 7 7/8 in

quantity 16,000


A Festival of Performance Alternatives: Out There brings startling, vital, provocative, and often joyous new forms of theatrical expression to the Twin Cities. Beginning as a modest two-weekend series, Out There has grown into a full-fledged monthlong festival featuring new global performances, workshops, dialogue sessions, salons, and other activities throughout January.

INDEPENDENT

SPIRIT AWARDS

 

2016

Walker Art Center

 

size: 6.5 x 10.25 in

2-sided flyer, offset-printed

Paper: Springhill Tag White 150lb

Quantity: 8,700

printed by Allegra Printing, USA

Typeface: Topol by Heavyweight combine with  ITC Franklin Gothic


Film Independent Spirit Awards is a celebration of the forward-thinking pioneers who bring an exclusive vision to filmmaking. For this postcard, I wanted to create a clear, adjustable structure that could contain the program and festival description. As the festival supports visual storytelling, I thought the form of the newspaper—with its huge headers and images fitting the grid and columns with information—seemed the most appropriate and flexible format for narration. The condensed and bold typeface underlines the uniqueness and sharpness of the awarded movies. The font is balanced with thick grid lines, creating an impactful strong design, compacted with information.

21 Objects for Hesitation

and Reimagining Their

Many Selves For

 

Onomatopee  2015

 

Dimension: 148 x 210 mm

Paper: 100gr cyclus offset recycyle

Pages: 32 pages with self-cover

Editions: 400

Details: Red staples

24 pages in black and white and 8 in colour


Publication, printed on occasion of performative exhibition in Onomatopee, Eindhoven. Each day one of the 21 ceramic objects is place outside of the gallery space, to be taken by a passing by person or visitor. Publication features selected works of the artist and two essays, which reflects on her new body of work.

Illustrations This Is Work


For Fictional Collective

2015

Size: A3

Details: printed in black on Risograph


Used within the online publication Thisiswork.org, as well as in the window-display of ‘This Is Work’ exhibition by Fictional Collective at Depot Basel in Basel, Switzerland. The illustrations represent four different chapters and topics inside the general theme of precarious creative working conditions.

21 Objects for Hesitation

and Reimagining Their Many Selves

Onomatopee, 2015


Posters: A3 size 

printed in black on Risograph.

Flyers: A5 size,

printed digitally on recycle paper


PR communication material for exhibition of Helen Cho at Onomatopee. Helen Cho’s performance 21 Objects of Hesitation (2013-ongoing) explores the materiality of ceramics and the poignancy of their dissemination, in relation to her experience of diaspora and Korean roots.

Landscape Architecture Practise: Van Beek, Rietveld, Beaufort 


Commission for Kade 05, 
2014

Branding: logo, letterhead, envelopes, business cards, website, project booklets.


Visual identity for a landscape architecture bureau Van Beek Rietveld Beaufort, based in Amsterdam, Netherlands. Bureau practices a multidisciplinary approach to landscape design, art and urbanism. The identity derives from a symbolic line that refers to various landscape forms. The line has a second meaning: it connects the names of three company partners: Van Beek, Rietveld and Beaufort with their specialisation.

AUTOMOTIVE WEEK


Commission for Kade 05

2015


Branding: logo, website, flags

business cards, flyers,

badges, ect.


Identity for Automotive Week in Helmond, NL. This identity relates to smart mobility, new automotive technologies and eco-friendly cities. The logo is a dynamic typographic solution based on the letter ‘A’ which bends to create ‘M’ and by rotating  ‘W’  creating abbreviation AMW (Automotive Week).

Passings to Presents.

Silence and Golden in the work

of Filippo Minelli

(first artist monograph)
Onomatopee 2014


Dimension: 17 x 24 cm

Cover: Soft

Paper: Muncken rough 120 grams

Pages: 128

Editions: 1000

Details: Japanese Binding, perforation,

inside pages in full colour, outside pages

in grayscale.


Texts are featured on neutralized “white cube” pages, which allow you to focus on the text.Images are purposely hidden between perforated pages. Discovering images inside Japanese folded perforated pages evokes curiosity and surprise. The book encourages interaction and invites you to tear apart pages, adding character and a feeling of uniqueness. Once open, the book never looks like it did in the beginning.

Ideas and Thoughts

by Helmut Smits

Book published alongside artist

Exhibition at Onomatopee, 2013


Dimension: 140 x 100 mm

Softcover: Wibalin Buckram cover

Paper: Muncken rough 120 grams

Pages: 144

Editions: 2500

Details: Type in foiled print,

70 black illustrations


The sketches in the notebook ‘Ideas and Thoughts by Helmut Smits’ capture bright solutions and inventions in the conditions of our daily routines, perceived both within our social and our visual horizon.

Chaos, 2014


Illustrations- limited edition

– self published

Size: A5

Paper: Biotop 100gr


Form, 2014

 
Illustrations limited edition

– self published

Size: A6

Paper: Biotop 100gr


PUNT.POINT

A self-guided tour at Van Abbemuseum

2013 – 2014 (still on display)

Internship

Assisting artist Sara Wookey & Rennie Tang with developing concept of the tour, design of the tool-kit: The yellow felt bag contains a round pillow, red crayon and two round  booklets. Notebook, invites visitors to leave notes and comments, while guide contains further instructions and map with points. These points indicates where you can perform proposed body positions to experience space and artworks in the museum differently.


‘Point.Punt’ is a project that questions our awareness of the way that our bodies inhabit, move through, organize and choreograph public space, of Museum. Wearable tool-kit, special designed for this tour invites the participants to explore different ways of moving through the architecture of the Museum. The Tool-kit permitted new modes of behaviour and social interaction in a restricted environment.

TOOLSHOP

Communication & display

at Van Abbemuseum, Eindhoven 

2013 – 2014 (still on display)

Internship

 
Installation, communication

and display furniture including:

– Communication system

– Materials, tools to use

– Designing furniture

– Wooden panel system


‘Toolshop’ is a room inside of the exhibition, where visitors could come and choose their tour, which had coinciding tool, displayed there. I have designed wooden panel system, with holes that could easily adjust to all display needs. Alongside, I designed simple furniture, and communication materials, which were printed on the wooden panels, while vinyl stickers were used on  the wall. The main goal was a clear and simple communication that encourages visitors to pick up a tour.

Book Selling Catalogue


Lecturis 2012


Dimension: A5 size

Paper: Houtvrij offset

Pages: 48

Editions: 1000

Details: Offset printed, in colour


During my internship at Lecturis Publisher and Printer, I designed their very first selling catalogue. They continue to use this template till now, just increasing the size.

MA graduation project

at Design Academy Eindhoven, 2014.

Exhibited during Dutch Design Week

in Eindhoven, Netherlands


Dimension: A5

Paper: Biotop paper

Pages: 128 

Details: Glue binded, digital print in colour

Limited edition, self-published


This project questions non-verbal communication by presenting a series of staged pictures that analyses’ the behaviour and body movement of politicians. Title inspired by Amy Cuddy, a social Psychologist, who research on body language. She claims that: “your body langue shapes who you are”. So by using simple tweaks to body language, she had helped people become more powerful.

This Is Work:

Redefining Creative Life Stability.


For Fictional Collective, 2015

– Images for PR communication & social media,

– Graphic materials for exhibition: handouts, invitation, information text & window display text


A participatory exhibition, were in each event dealt with different aspects of precarious creative work by creating debates, workshops and performances. With the goal of creating “living knowledge”,  we have develop a visual language related to communication via internet:such as google docs, chats, ect.


PR materials Onomatopee 2015

Posters: A3 size,  printed in black on Risograph.

Flyers: A5, printed digitally on recycle paper.

PR communication materials for few exhibition at Onomatopee.

Civil Provision!

Exploring subjects of relational property.

Newspaper published alongside exhibition

in Belgrade, curated by Onomatopee 2014


Logo, flag, exhibition design.

Newspaper featuring all the materials that

showed the process of the artist’s work

and the research done on location.


Dimension: A4 size

Paper: verbeterd courantruk ISO 72 52g/m2

Pages: 32

Editions: 400

Details: English with some parts in Serbian,

printed with a risograph in three colours.


Civil Provision! is part of A.C.T. Democ(k)racy project curated by Onomatopee, and exhibited in Belgrade, Serbia. The project stimulates the desire of people for exchange and production. Artist were working with Roma settlers using garbage and waste materials. Rather than showing productions in a gallery space, the artistic services was shown in the streets of Belgrade, providing transcending and poetic opportunities to people’s public wishes.