Manuel Birnbacher’s practice is a curious amalgam of smart, contemporary graphic design and strangely compulsive art-like-work (see the throbbing rock on his homepage). A portfolio like this is an open and well-spoken answer to some nasally voiced questions about the parameters of applied design and when it turns into “art” or Art or art.
What Manuel has – no doubt honed during his simultaneous education at the Pratt Institute New York and at the Bauhaus University Weimar – is an ability to apply fundamental/classic graphic design with deft communicability and then in the same breath use them, for example, to manipulate unfortunate deformities into the faces of America’s Civil War heroes.
It is one of the most commendable features to his work that even this strangeness is of a high quality, it makes his body of work so much more memorable and, as a parting gift, the designer will never again let us see a picture of Abraham Lincoln without us conjuring a mental image of the old president’s face falling off. A thank you to Manuel.
- Chaz Bundick talks us through the new digitally personable Company website
- Animator Frances Haszard’s gender neutral breakup story
- Photographer Norman Behrendt depicts Turkey’s majestic mosques
- Explore North Korean graphic ephemera in Phaidon’s new book
- “Have a process you can apply to any situation, space or time”: what we learned from Converse’s Lovejoy Art Benefit
- Standards Manual return with catalogue of 400 objects relating to New York City Transit
- Polaroid’s creative director Danny Pemberton introduces new brand Polaroid Originals
- Artist Dominique Pétrin on creating her very own domestic product
- Universal Everything animate emotive wallpapers for new iPhone devices
- Herburg Weiland’s meticulous editorial designs are typographically-driven
- The Visual History of Type author Paul McNeil selects and dissects his six favourite faces
- Breakdown Press’ Joe Kessler picks out his most-treasured books