Postcards

Postcard-Animation Postcards
Series of fourteen motifs.
Material: 265gr cardboard
Printed in Germany
Printing: offset with glossy UV sealing
You will receive fourteen postcards in an envelop

Postkarten
Serie von vierzehn Postkarten.
Material: 265gr Karton
Gedruckt in Deutschland.
Druck: Offset mit UV Glanzlackierung.
Sie erhalten 14 Postkarten in einem Briefumschlag.

Complete Set of 14 Postcards
incl. Shipping
Komplettes Set mit 14 Postkarten
inkl. Versand

Complete Set of Postcards.

€14,00 — (€16,66 incl. EU VAT. )

Thank-you-Postcard---front Introduction — The first THANK YOU Card I printed in 2012. I wanted a simple card to give to friends.


The design is inspired by the Typographic Wall Calendar which I produce since 2009. The card was received well so I designed a HAPPY NEW YEAR‘s card. As a friend of mine went to hospital I felt the need for an original GET WELL card. With the next birthday coming up, I thought how great it would be to have a typographic birthday card, which eventually became this simple CAKE on pink background card:

cake-front

In 2014 I published the fifth Edition of the Typographic Wall Calendar and since the cards were inspired by the calendar I decided to print the designs I had prepared and a total of 14 motifs as a Reward for Backers on Kickstarter.

To me, a postcard is an everyday object, that I relate to writing and holidays. Even though I find myself receiving less and less handwritten letters, on every vacation spot, every Museum store and every train station one will find postcards. I imagined how my own postcard would look like and played with the thought of receiving a card which simply features the words “New York”, “Rome”, or “Mountain view”. These thoughts eventually led to the…

BEACH-front





Postcards and Keyboards
Honestly, I was never a big fan of postcards. To me they seemed like the little brother of the letter. I thought if you want to write, then write a letter. Sometimes I think that the contemporary form of a postcard is posting a holiday picture on Facebook. With the possibility to send SMS, email and post to social networks from everywhere, the usability of a postcard seems questionable. But maybe its charm and value is in the postcard’s casualty and non-urgent character.

WRITING-front As a typographer I am interested in the disappearing of handwriting or its suppression by the typewriter. The forward march of the typewriter has been going on for quite a while. Measured by it’s invention (around 1714) it took over the quarter of a millennium. The end of handwriting looms, but the threat is out of sight. Working with used keyboard keys as a motif on postcards seems to tie the two opposites of digital communication and handwriting. A closer look turns the situation on it’s head. The postcard is an invention made in the late 19th century, therefor was introduced about 150 years after the typewriter.

Postkarten-2013-XL-12x17-5-Hello-Front











Photography
The image on this postcard renders the object at its actual size. The background of the first THANK YOU card is a cutting mate with a 5mm grid to revise the scale of the depicted. A photo can be enlarged or shrunk to any size. Rendering the depicted in actual size makes it easier for the viewer to relate to its original size.

The pictures are taken from above with a special reproduction lens to reduce distortion. Shadow and Perspective are two compositional tools for the photographer. I try to hide the fact that the picture is taken with a camera. First I try to take as much distance from the object as possible, this way all sides of each key are visible. The outcome is a picture with little to no visible perspective. With evenly lighting I remove shadows. By making the picture as neutral as possible, I hope that the viewer rather refers to the work as a picture than a photograph. This picture without photographic effects allows to look at the writing tool rather than a photo of a keyboard. The keys appear as neatly and orderly on display like butterflies in a natural museum.

When is the last time you looked at you keyboard? The keyboard itself is about to disappear, less and less phones are produced with real keypads. The touch screen succeeds the keyboard. On a touch screen, the only thing that reminds the user of an original keyboard is its image. I assume that this likeness will be replaced by speech recognition software. One could say: the future is not written but dictated.

Postkarten-2013-XL-12x17-5-Email-me-front


Memory
Do you remember the first time you read the sentence “Sent from my iPhone”?




The Card SENT FROM MY PHONE plays with the poetic sentence every iPhone politely and out of the box attaches to every email. After a short research in my mail archive I found out that I received the first mail from a phone on December 11 in 2008. I really do find something poetic in that sentence. At the time it sounded promising like a trailer of a long expected film. The idea of sending a mail from a phone would have been laughable before the introduction of the Apple product in 2007. On one hand the sentence hints that the receiver owns an expensive phone, on the other hand it points to the situation that the mail was written on the go. Writer Harris Wittels introduced with “Humblebrag” a matching term to describe the conflict between a frank statement and a show-off. In the Huffington Post Bianca Poster explains why she includes the “Sent from my iPhone” even when it is not “…purely to get out of writing a lengthy, detailed response”. SENT FROM MY PHONE shows a change that we witness but that we haven’t found the right words for.

Typographic Detail : The card is set in original Apple keys from keyboards made from 1989 to 1992 in Ireland. It is easy to spot Apple keys from their typography. The letters are positioned in the lower left and not on the upper left like most PC keyboards. Instead of an extended upright type with a rather static appeal, the typeface used here is condensed and cursive which gives the keys a fast look.

YES-NO-MAYBE FORGOT TO REMEMBER TO FORGET is inspired by the famous country song “I forgot to remember to forget” by Elvis Presley performed in 1955.

















YES NO MAYBE reminds me of the little notes I used to write in high school. A slip of paper was folded and then under extreme caution given from hand to hand and table to table. The content of the note always stayed secret, but everybody knew who was communicating how much and with whom. Only now it seems much easier to pass the writing in the break, but I guess it was more about the jeopardy to get caught and the urge to tell everybody that one has a secret.

A strange time and when I think of it a feeling of nostalgia hits me. Long ago the handwritten folded note was replaced by the SMS and online chats. I asked students and teachers and they told me that until a certain age the notes are still exchanged in that way. But I would never like to sit in a room in which another persons forbids to write notes on paper. On the other Hand I do not want to be in a room in which others write notes and covertly share them.

The SATOR Square is a latin Palindrome. The keys read the same forwards and backwards, from bottom to top and in reverse. As a result the SATOR Square evokes a calming sense of order and complete symmetry. The earliest datable square was found in the ruins of Pompeii that was buried in the ash of Mt. Vesuvius in 79 almost 2000 years ago.

Conclusion
As symbols for handwritten and digital writing, both postcard and keyboard are about to disappear. Tactile keyboards are about to be replaced by touch screens and voice recognition just like the typewriter was meant to replace handwriting. There is no clear winner, maybe technology is not about winning. The charm of this unequal couple is in its opposition. I imagine them as two intertwined actors who are about to leave the stage, playfully teasing each other while heading for the exit.


Details:

Size: 12cm x 17.5cm
Material: 265gr cardboard
Printed in Germany
Printing: offset with UV sealing
Item ships from Frankfurt am Main, Germany to any location in the world, worldwide shipping is included.

The backside of the cards are easy to write on with pen, biro, pencil or marker.

The complete set contains 14 Cards in total.
Signed Edition: 20 cards signed and numbered on the front.
Find details bellow.

Larger quantities on request.
I hope this information is helpful to you.
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Thanks,
Harald
Postkarten-2013-XL-12x17-5-Happy-New-Year-front Einleitung — Die erste THANK YOU Postkarte habe ich 2012 gedruckt. Ich wollte eine einfache Dankeschönkarte haben die ich an Freunde geben kann. Die Karte war inspiriert von dem Typographic Wall Calendar den ich seit 2009 herstelle. Die Karte kam gut an und als nächstes entwarf ich eine Neujahrskarte (Bild links). Als ein Freund im Krankenhaus lag, dachte ich mir das ich jetzt eine gute Gute-Besserungs-Karte (GET WELL) gebrauchen könnte. Beim nächsten Geburtstag eines Freundes fehlte mir eine passende Karte (CAKE – engl. Kuchen). Für 2014 entschloss ich mich insgesamt 14 Motive für die Unterstützer des TWC auf Kickstarter zu drucken.

Die Postkarte ist für mich ein alltäglicher Gegenstand, den ich mit Schreiben und Urlaub verbinde. Auch wenn die Zahl der handgeschriebenen Briefe zurückgeht, an jedem Urlaubsort, in jedem Museumsshop und an jedem Bahnhof findet man Postkarten. Ich stellte mir die Frage, wie meine Urlaubspostkarte aussehen würde und spielte mit dem Gedanken Karten zugesandt zu bekommen auf denen New York, Rome, Berglandschaft oder Sandstrand steht. Das Ergebnis dieser Überlegung ist die BEACH Karte.

READING-front





Postkarten und Tastaturen
Ehrlich gesagt war ich nie ein großer Freund von Postkarten. Die Postkarte erschien mir als der kleine Bruder des Briefes. Ich dachte mir wenn man es ernst meint schreibt man einen Brief. Manchmal glaube ich das die zeitgenössische Ansichtskarte eine Photo auf Facebook ist. Die ständige Sendebereitschaft durch Kurznachrichten, email und sozialen Netzwerken scheint die Nützlichkeit einer Postkarte in Frage zu stellen. Aber vielleicht liegt gerade in ihrer Beiläufigkeit und Undringlichkeit der Scharm und Wert der Postkarte?

Als Typograph interessiert mich das Verschwinden der Handschrift oder deren Verdrängung durch die Schreibmaschine. Der Vormarsch der Schreibmaschine streckt sich, gemessen an der Erfindung der Schreibmaschine (etwa 1714) nun über mehr als ein viertel Jahrtausend. Ein Ende der Handschrift droht, ist aber nicht in Sicht. Das verwenden von gebrauchten Computertasten als Motiv auf Postkarten verbindet die beiden Gegensätze von handschriftlicher und digitaler Kommunikation. Beim näheren Betrachten dreht sich jedoch das Verhältnis, so ist die Postkarte eine Erfindung des späten 19 Jhd. kam also gut ein einhalb Jahrhunderte nach der Schreibmaschine auf die Welt.

Thank-you-Postcard---front Fotografie
Die Tasten werden auf jeder Karte in Originalgröße abgebildet. Der Hintergrund der ersten THANK YOU Karte ist eine Schneidematte mit 5mm Einteilungen um den Maßtab der Abbildung überprüfbar zu machen.

Ein Photo kann beliebig vergrößert und verkleinert werden. Die Abbildung in Originalgröße bringt das Bild etwas näher an den abgebildeten Gegenstand, da ich als Betrachter einen Bezug zu der tatsächlichen Größe haben kann.

Die Bilder sind stets von oben aufgenommen mit einem speziellen Objektiv um Verzerrungen zu vermeiden. Perspektive und Schatten sind Gestaltungsmöglichkeiten des Fotografen. Ich versuche diese Gestaltungsmittel so weit es geht in den Hintergrund zu stellen, um ein neutrales Bild zu schaffen. Als erstes nehme ich so viel Abstand zum Objekt wie möglich, um auf diese Weise alle Seiten der Tasten gleichmäßig sichtbar zu machen. Dadurch entsteht ein Bild mit wenig erkennbarer Perspektive. Mit gleichmäßiger Ausleuchtung entferne ich die Schatten. Das Ergebnis ist ein sehr neutrales Bild mit der Absicht, dass der Betrachter in der Arbeit mehr ein Bild, als eine Photographie sieht. Es ermöglicht für mich den Blick auf das Instrument des Schreibens und den Gebrauch der Tastatur zu lenken. Die Tasten wirken dadurch säuberlich sortiert und gleichsam aufgespießt wie Schmetterlinge im Naturkundemuseum.

Wann haben Sie zuletzt ihre Tastatur betrachtet? Die Tastatur selbst ist auf dem Rückzug, kaum ein Telefon wird heute noch mit Tasten zum Anfassen ausgestattet. Der Touchscreen löst die Tastatur ab. Im Touchscreen ist die Tastatur nur noch als Abbild vorhanden als Hinweis auf etwas, was einmal war. Ich nehme an, dass dieses Bild der Tastatur bald abgelöst wird von Spracherkennungssoftware. Man könnte sich nun hinreißen lassen und sagen: die Zukunft wird nicht geschrieben sondern diktiert.

Erinnerung
Erinnern Sie sich wann Sie das erste Mal eine Email mit dem Zusatz “Sent from my iPhone” erhalten haben?

SENT-FROM-MY-PHONE-front-
Die Karte SENT FROM MY PHONE spielt mit dem Satz den das iPhone eigenständig an jede versendete Email anfügt. Nach einer kurzen Recherche in meinem Mailarchiv finde ich heraus, dass ich am 11.12.2008 das erste Mal eine Mail von einem Telefon erhalten habe. Ich finde etwas Poetisches in dem Beisatz. Die Vorstellung etwas von einem Telefon zu senden wäre vor der Einführung des iPhone 2007 absurd. Zum einen weist der Beisatz darauf hin, dass der Absender der Nachricht ein teures Telefon besitzt, zum anderen wird auf die Situation des Schreibens von Unterwegs hingedeutet. Vom Autor Harris Wittels gibt es im Englischen bereits einen Vorschlag für ein Wort, dass den Zwiespalt zwischen aufrichtiger Aussage und Angeberei andeutet: “Humblebrag“. In der Huffington Post findet sich sogar der Vorschlag, jenes auch an Mails anzuhängen die vom Computer gesendet werden “…purely to get out of writing a lengthy, detailed response”. “SENT FROM MY PHONE” ist für mich der Ausdruck eines Wandels den wir erleben, aber noch nicht in klare Worte gefasst haben.

Typographisches Detail: gesetzt ist diese Karte in Apple Tasten die zwischen 1989 und 1992 hergestellt wurden. Das besondere an Apple Tasten ist, dass die Buchstaben nicht oben links, sondern unten links auf den Tasten platziert sind. Außerdem unterscheidet sich der Schriftschnitt kursiv und schmal wesentlich von denen anderer Hersteller.

FORGOT-TO-REMEMBER-TO-FORGET-front FORGOT TO REMEMBER TO FORGET ist inspiriert von dem 1955 erscheinen Country Song “I forgot to remember to forget” (Ich vergaß mich zu erinnern “sie” zu vergessen) von Elvis Presley.

YES NO MAYBE erinnert mich an die Zettel die ich während meiner Schulzeit geschrieben und unter der Hand weitergegeben habe. Im Klassenraum wurden gefaltete Zettel mit großer Vorsicht und mit dem Risiko vom Lehrer entdeckt zu werden von Hand zu Hand und Tisch zu Tisch weiter gegeben. Der Inhalt blieb zumeist geheim doch wusste jeder, wer mit wem wie oft schrieb. Im Nachhinein meine ich, es wäre einfacher das Geschriebene in der Pause zu übergeben, aber das Schöne war wahrscheinlich die Spannung, entdeckt zu werden und gleichzeitig das Bedürfnis allen mit teilen zu wollen, dass man ein Geheimnis hat.

Eine komische Zeit und wenn ich an sie denke, kribbelt die Sehnsucht ein wenig im Bauch. Diese Zeit ist unerreichbar, der Zettel ist für mich längst von SMS und Chats abgelöst worden. Außerdem würde ich mich nie wieder in einen Raum setzen mit jemanden, der mir verbietet eine Nachricht auf einen Zettel zu schreiben. Auf der anderen Seite würde ich nicht in einem Raum sein wollen, in dem sich andere Zettel schreiben und verdeckt übergeben.

SATOR-SQUARE-front Das SATOR Quadrat ist ein lateinisches Palindrom. Die Tasten lassen sich vorwärts und rückwärts sowie von oben nach unten und umgekehrt lesen. Als Resultat verbreitet das SATOR Quadrat eine beruhigende Stimmung der Ordnung und Symmetrie. Das früheste datierbare Quadrat wurde in den Ruinen von Pompeii gefunden. Die Stadt Pompeii wurde 79n.Chr also vor fast 2000 Jahren unter der Asche des Vulkans Vesuvius begraben.

Schlussbemerkung
Als Symbole für die handschriftliche und digitale Kommunikation stehen beide, Postkarte und Tastatur unter dem Vorzeichen des Verschwindens. Der Touchscreen und die Spracherkennungssoftware bedrohen die Berechtigung der Tastatur genau wie einst die Schreibmaschine die Handschrift. Es ist also nicht so, dass die eine Technik die andere Ablöst, es gibt keinen Gewinner. Der Reiz dieses ungleichen Paares liegt für mich in Ihren scheinbaren Gegensätzen. Wenn man möchte, erkennt man in der Verbindung der beiden zwei sich im Abgang befindliche Darsteller, die weniger übereinander und mehr miteinander scherzen.


Details:

Größe: 12cm x 17.5cm
Material: 265gr Karton
Gedruckt in Deutschland
Druck: Offset mit UV Lackierung glänzend
Der Artikel wird aus Frankfurt am Main, Deutschland verschickt.
Die Versandkosten (weltweit) sind bereits im Preis enthalten.

Dir Rückseite ist weiss und lässt sich leicht mit Kugelschreiber, Bleistift, Tinte oder Marker beschreiben.
Serie von vierzehn Postkarten.
Zwanzig Drucke wurden signiert und nummeriert.

Größere Mengen gerne auf Anfrage.
Ich hoffe die Informationen waren hilfreich.
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Viel Spaß,
Harald

2014 Typographic Wall Calendar

2014 Typograhic Wall Calendar

Order Prints of the 2014 Typographic Wall Calendar
http://haraldgeisler.com/prints/order-prints/

kickstarter-badge-funded Holding 2014 Typographic Wall Calendar in Studio

2013
Typographic Wall Calendar
Kickstarter



Order Prints here. http://haraldgeisler.com/order-prints

Kickstarter:
2012 Typographic Wall Calendar

The Typographic Wall Calendar is a project I’ve been working on since 2009.
The calendar is made of exactly the number of used keyboard keys that represent the year.
♠ Back the Project at Kickstarter
♥ Buy a print at haraldgeisler.com/order-prints
♣ Read an Interview about the Project on the Kickstarter Blog
♦ Read the in-depth concept paper as a PDF


“…stunning reinterpretation of a calendar is a masterful example of how a designer can completely flip a genre signifier on its head. Geisler reimagines calendars in order to change the way we visualize time, and in turn, redefines what it means to save the date.”
Mike McGregor, Kickstarter, NYC



The 2012 Typographic Wall Calendar on Kickstarter: http://kck.st/2000and12




Picture shows the 2011 Typographic Wall Calendar ↓


♦ View the 2011 Typographic Wall Calendar
♦ View the 2010 Typographic Wall Calendar

Bauernstrauß

Bauernstrauß high resolution image (13599px x 9599px = 130 Megapixels) made in August 2010. Avaliable as a limited photoprint (edition of five) and offset print. Detail: Detail (actual pixels): Pricing:
Bauernstrauß – Limited edition of five
  • limited edition of five pieces
  • original photo print
  • signed and numbered on back
  • size: 170 cm x 120 cm (67in. x 47.2in.)
  • Bauernstrauß – Limited edition of five
    Price $1160 (approx. 800€)
    Item ships from Germany
    Price includes free world wide shipping.

    Please allow 2-3 weeks for delivery of packaging.
    More about the item:
    Mounting

    It is possible to sent the print ready to hang, mounted on a solid aluminium backing.
    The print is then sealed behind a polished, premium acrylic glass (2mm).

    Add $550 for mounting the print on aluminum. Mounting costs are not refundable.



    Shipping

    Item ships from Germany. The shipment is trackable online through DHL or Deutsche Post.

    For all shipments outside Germany I recommend adding a telephone-number to your address. In some cases that can speed up the delivery tremendously. The local delivery company uses that number to contact you if there are problems delivering.

    Express shipping is available.
    I.e. 48h DHL express to anywhere in the US or Canada starts from 68€.
    If you wish express shipping please contact me here

    → Your Email :


    → Your Message :


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    .


    It is possible to pick up the item directly at my studio in Frankfurt am Main, Germany. Therefore please contact me here

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    Optional:

    , or call ahead (+49 69 13878688) to make an appointment.


    Payments and security

    It is possible to pick up and purchase the item directly at my studio in Frankfurt am Main, Germany. Therefore please contact me here

    → Your Email :


    → Your Message :


    → Please answer :
    1+2=? 

    Optional:

    , or call ahead (+49 69 13878688) to make an appointment.

    In most cases the item (physical (i.e. a print) or digital (i.e. a font file) will be purchased through PayPal. PayPal is a service provider for financial transactions. Depending on your country PayPal will offer a variety of payment options like bank transfer, credit card or EC-Card. You don't need to sign up for an account at PayPal to use the service.

    Security:

    PayPal processes your financal Information directly and transfers the payment to my account. PayPal does not share your financial information with me.
    Solution Graphics

    Please visit the PayPal.com website to find out in detail about their services.

    Alternative payment options:
    If you wish to wire the money from your bank account - your all set. After the payment is received you will receive a download link to your purchased font or if you ordered a print it will be send to you.

    If you are having problems with the payment process please contact me here

    → Your Email :


    → Your Message :


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    Optional:


    or call (+49 69 13878688).


    Returns

    Returning tangible goods:

    Returns of tangible goods (i.e. prints or plates) must be claimed within 10 days after delivery through email, phone or fax.

    Tangible goods must be send back immediately after claiming the return within the original packaging.

    Shipping costs will not be refunded. The buyer ships the item at own risk and cost. A refund will be made after the returned item arrives undamaged.

    A restocking fee of 25% of the total purchase price applies to returns of all tangible goods.
    A reduced restocking fee of 10% of the total purchase price applies to returned offset prints.

    Returning intangible goods:
    Intangible goods (i.e. font licenses) are not returnable or refundable, for obvious reasons. If your purchase is proven defective and you notify me within 5 days of your purchase, I will either provide a replacement/update to that item or refund your money.


    Sales Tax

    All prices are shown without sales tax.

    Sales tax is not applied to sales if you are located outside the European Union.

    Items are sold from Germany.
    Only to purchases made within Germany and the European Union an additional sales tax of 7% or 19% will be added to the final bill.
    You will see a breakdown of the applied taxes in your cart before checking out.

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    Offset Prints of Bauernstrauß


    “Bauernstrauß” can also be purchased as an offset print.
    In two sizes 140cm x 100cm and 100cm x 70cm starting form $105
    Find out more on the Order Flowers page.

    Echinacea

    Echinacea by Harald Geisler
    I admit the flowers in this picture (Echinacea) I had forgotten in my studio.
    After weeks they dried out, but they kept their color.
    At one point they fell down on my couch and spread everywhere.
    Since chance is an important factor in my creation process,
    I decided to work with it and to experiment and try to capture this beauty.

    I never meant to publish this picture, but after I showed my experiments to a friend he insisted that I should print them. As a tribute to the old masters of still life painting that can be found from the 16th to 18th century throughout Europe, especially in the Netherlands and Germany. My friend first thought that I had taken a picture from one of those hundred-year-old Dutch prints. He was convinced the little seeds that lay on the front glass were flies surrounding the fleeting beauty of the fading flowers. While I never intensely studied the old masters, somehow I knew their pictures. Their stillness lures to dwell in the picture. It is the meditational aspect in viewing, or the contemplational rest these pictures offer that fascinates me.

    Detail:

    Echinacea by Harald Geisler, Detail 4 The black background and subject matter too are common ground with the “old masters still life”.
    One difference I’d like to point out.
    You’ll find layers, such as objects in front of each other and with it depth,
    but surprisingly you’ll never find the illusion of perspective.

    Pricing:
    Echinacea – Limited edition of ten. Echinacea – offset print.
  • limited edition of ten pieces
  • original photo print
  • mounted on a solid aluminium backing
  • sealed behind a polished, premium acrylic glass (2mm)

  • Mounted on alumium with 2mm glass
    ↑ mount detail and backside with signature (click to enlarge)
  • signed and numbered on back
  • size: 36.4 x 51.6 cm (14.3″ x 20,3″)
  • signed on the back
  • size of the print: 50cm x 70cm (19.7“ x 27.56“)
  • printed on heavy 250g/m² glossy paper in 4 color offset
  • UV coating protects against water, dust, scratches
  • UV coating prevents colors from bleaching through sunlight
  • shipped rolled in a strong protective poster-tube
  • Echinacea – Limited edition of ten. Echinacea – offset print.
    Item ships from Germany.
    Please allow 2-3 weeks for delivery.


    €450,00 — (€481,50 incl. EU VAT. ) Add to cart / kaufen

    View Cart / Warenkorb anzeigen>↵ 
    Item ships from Germany.
    Please allow 1-2 weeks for delivery in the EU and 2-3 weeks for world wide delivery.


    €60,00 — (€71,40 incl. EU VAT. ) Add to cart / kaufen

    View Cart / Warenkorb anzeigen>↵ 
    More about the item:
    Shipping

    Item ships from Germany. The shipment is trackable online through DHL or Deutsche Post.

    For all shipments outside Germany I recommend adding a telephone-number to your address. In some cases that can speed up the delivery tremendously. The local delivery company uses that number to contact you if there are problems delivering.

    Express shipping is available.
    I.e. 48h DHL express to anywhere in the US or Canada starts from 68€.
    If you wish express shipping please contact me here

    → Your Email :


    → Your Message :


    → Please answer :
    2+2=? 

    Optional:

    .


    It is possible to pick up the item directly at my studio in Frankfurt am Main, Germany. Therefore please contact me here

    → Your Email :


    → Your Message :


    → Please answer :
    1+1=? 

    Optional:

    , or call ahead (+49 69 13878688) to make an appointment.


    Payments and security

    It is possible to pick up and purchase the item directly at my studio in Frankfurt am Main, Germany. Therefore please contact me here

    → Your Email :


    → Your Message :


    → Please answer :
    1+1=? 

    Optional:

    , or call ahead (+49 69 13878688) to make an appointment.

    In most cases the item (physical (i.e. a print) or digital (i.e. a font file) will be purchased through PayPal. PayPal is a service provider for financial transactions. Depending on your country PayPal will offer a variety of payment options like bank transfer, credit card or EC-Card. You don't need to sign up for an account at PayPal to use the service.

    Security:

    PayPal processes your financal Information directly and transfers the payment to my account. PayPal does not share your financial information with me.
    Solution Graphics

    Please visit the PayPal.com website to find out in detail about their services.

    Alternative payment options:
    If you wish to wire the money from your bank account - your all set. After the payment is received you will receive a download link to your purchased font or if you ordered a print it will be send to you.

    If you are having problems with the payment process please contact me here

    → Your Email :


    → Your Message :


    → Please answer :
    1+1=? 

    Optional:


    or call (+49 69 13878688).


    Returns

    Returning tangible goods:

    Returns of tangible goods (i.e. prints or plates) must be claimed within 10 days after delivery through email, phone or fax.

    Tangible goods must be send back immediately after claiming the return within the original packaging.

    Shipping costs will not be refunded. The buyer ships the item at own risk and cost. A refund will be made after the returned item arrives undamaged.

    A restocking fee of 25% of the total purchase price applies to returns of all tangible goods.
    A reduced restocking fee of 10% of the total purchase price applies to returned offset prints.

    Returning intangible goods:
    Intangible goods (i.e. font licenses) are not returnable or refundable, for obvious reasons. If your purchase is proven defective and you notify me within 5 days of your purchase, I will either provide a replacement/update to that item or refund your money.


    Sales Tax

    All prices are shown without sales tax.

    Sales tax is not applied to sales if you are located outside the European Union.

    Items are sold from Germany.
    Only to purchases made within Germany and the European Union an additional sales tax of 7% or 19% will be added to the final bill.
    You will see a breakdown of the applied taxes in your cart before checking out.

    You have further questions?

    → Your Email :


    → Your Message :


    → Please answer :
    1+2=? 

    Optional:

    2011 Typographic Wall Calendar

    ↓ introductory Video.

    “…stunning reinterpretation of a calendar is a masterful example of how a designer can completely flip a genre signifier on its head. Geisler reimagines calendars in order to change the way we visualize time, and in turn, redefines what it means to save the date.”
    Mike McGregor, Kickstarter, NYC

    “…one-of-a-kind…”
    Armin Vit, Quipsologies (former Speak Up) Vol.47 No.60, Austin TX

    “…der minutiöse Wahnsinn, …(der) eher an J. Johns oder einen sehr disziplinierten J. Pollock erinnert als an deinen normalen Wandkalender.” 

    Hans Schumacher, slanted.de / projektgrafik.de, Berlin

    “DuMont Tipp – Ein besonderes Kalenderprojekt”
    DuMont Kalenderverlag, dumontkalender.de, Cologne

    “Creative of the week” 

    Gerrie Smits, The RAAKonteur
    #20
    , London

    “…staggering image…”
    Erik Brandt, geotypografika.com, Minneapolis

    “It’s a completely unique project, and both an expensive and huge undertaking…”
    
Jamie Homer, flush-left.co.uk, UK

    “…thought intrigued…” 

    Idealog Weekly,idealog.co.nz, New Zealand

    “…ambitiøse…” 

    Thomas Arendt, blog.makeyourmark.dk, Denmark


    “…perfekte Tastenkombination für das kommende Jahr.” 

    Publique, itspublique.de, Germany

    “…amazing…” 

    Andrew Dobrow, Geektoplasm

    “…unique DIY…” 

    Abby Jenkins, Apartment Tharapy Unpluggd, US

    “…This is calendar ART. This is art that is a CALENDAR…” 

    km, Clerk & unwell, Chicago

    “…VIDEO DES TAGES: 2011 Typographic Wall Calendar…ein völlig einzigartiges Projekt.” 

    Carina Czisch, Grafiker.de, Berlin


    The Typographic Wall Calendar is about the act of notating time.
    Representing the year written out in 2011 Keyboard Keys, it measures 100 x 70cm (27.56“ x 39.37“).

    In the PDF you’ll find hi-res Images of the 2010 and 2011 version, along with an Interview by Michael McGregor (Kickstarter, NYC) and a text about the cultural relational background of calendars.

    The “2011 Typographic Wall Calendar” is a continuation of the 2010 “prototype”.
    The print costs of the 2011 version were raised through a Kickstarter Project.


    Printable hi-res PDF (9.3 mb)





    The “2011 Typographic Wall Calendar” is available online →http://haraldgeisler.com/order-prints/ and in these stores:

    Berlin:
    do you read me?

    Magazine und Lektüre der Gegenwart, Auguststrasse 28, Berlin-Mitte
    Open: Mon- Sat 10 –19.30h

    Frankfurt am Main:
    Buchhandlung Walter König

    Hasengasse 5-7 (next to Kleinmarkthalle), Frankfurt am Main
    Open: Mon-Fri 10-19h, Sat 10-18h

    Souvenir Frankfurt
    Kaiser Passage 29 – Kaiserstrasse 62-64, Frankfurt am Main
    Closed: Monday
    Open: Tue – Fri 10-20h, Sat 10:30 – 16:30
    Making of Pictures:

    Sorting Keys ↑

    Arranging ↑

    Photographing ↑
    Shipping ↑

    Kickstarter:
    2011 Typographic Wall Calendar

    Good News: On November 25th 2010 the Kickstarter funding campaign was successful with 205%!



    Screenshot from the Kickstarter Site ↑ The Campaign had many supporters.
    Here are some quotes that I liked very much:

    “…stunning reinterpretation of a calendar is a masterful example
    of how a designer can completely flip a genre signifier on its head.
    Geisler reimagines calendars in order to change the way we visualize time,
    and in turn, redefines what it means to save the date.”

    Mike McGregor,
    Kickstarter, NYC

    “…one-of-a-kind…”
    Armin Vit,
    Quipsologies (former Speak Up) Vol.47 No.60, Austin TX

    “…der minutiöse Wahnsinn, …(der) eher an J. Johns oder
    einen sehr disziplinierten J. Pollock erinnert als an deinen
    normalen Wandkalender.”
    Hans Schumacher,
    slanted.de / projektgrafik.de, Berlin

    The Kickstarter Website can be visited here: http://kck.st/20eleven
    To get more information about the Typographic Wall Calendar please follow the link to the “prototype” 2010 Typographic Wall Calendar” here.
    To read the lengthy interview about the production click here: http://bit.ly/q_and_a_cal

    You like a copy? →http://haraldgeisler.com/order-prints/

    The Original Kickstarter Video↓
    And finally: the 2011 Typographic Wall Calendar↓

    Typographic Keyboard Wall Calendar

    Thanx for sharing! You’re awesome!


    Update: The Typographic Wall Calendar 2011 and 2010 can be purchased here → http://haraldgeisler.com/order-prints/.

    The Typographic Wall Calendar is about the act of notating time in order to organize it. While calendars nowadays are typically used to optimize personal potential by marking events and managing interaction with others, this calendar offers a view on the managing of time itself.

    What the Press says:
    “This keyboard calender by Harald Geisler has us wondering why we don’t keep calenders around the office anymore? Oh right, it’s 2010. Well, we figure a calender better be pretty unbelievable to have us putting away Google Calender, and this one really is. Made up of thousands of keyboard keys, this calender depicts the date in simple, effective, straightforward, yet dizzying way…” says Xiaoli Li from Formatmag.
    Typographic Keyboard Wall Calendar - Harald Geisler

    This is the wall calendar for the year 2010.
    It’s made of two thousand and ten keyboard keys.

    This design offers a new visual experience of time, differently than your average wall calendar. It looks beautiful on the wall, and makes finding dates and marking events a creative process.

    The size of the print is B0 70cm x 100cm (27.56″ x 39.37″).



    The printing is done with a standard 4c offset printing machine on 135g/m² glossy paper, finished with a UV coating to protect the colors from bleaching. The UV coating also provides protection against water and dust.



    The keys are arranged by hand and photographed line-by-line to achieve high resolution and minimize the barrel distortion caused by the cameras lens. The result is a gigantic image of 323 Megapixel (15119 x 21378 px, 1,83 GB Photoshop RGB).

    Sorting the Keys



    Concept:

    download concept as PDF

    The Typographic Keyboard Wall Calendar is about the act of notating time in order to organize it. While calendars nowadays are typically used to optimize personal potential by marking events and managing interaction with others, this calendar offers a view on the managing of time itself.

    Past Forward
    The ancient Egyptians oriented themselves in time by imagining the past before their eyes and the future behind their backs. In contemporary culture we tend to structure ourselves the other way around – looking towards the future ahead and the past behind. A calendar displays both the future and the past in front of us. It is a notation form that functions as a tool, an instrument for organizing, managing and imagining oneself in interaction with the world. Early Western calendars were holiday calendars that marked holy days. They were not a vehicle for measuring time, but rather a medium for arranging religious actions. Religious calendars were used cyclically — read over and over again like a mantra. The development of the calendar from the notation of religious events to a premise for personal management reflects the changing position of individuals in Western society and their increasing self-awareness. Unlike religious calendars, personal calendars are linear. They enable referencing the personal past to design the personal future. Both systems can be used to locate the present. In both the future becomes past, but only in the religious calendar does the past become the future again.

    Writing With Keys
    The Typographic Keyboard Wall Calendar is an image and a written text at the same time. The picture contains 2010 keyboard keys. [The keys are arranged like text; treated like letters the arrangement of keys become a picture.] Working typographically I treated the Gregorian calendar as a text and considered the writing of time by assembling the keys of this calendar dictation into a picture. My medium of keys emphasizes the treatment of writing in contemporary society, where a keyboard is the writing implement. [The calendar is marked with the keys that would be used to print or write it- showing the tool used to create text rather than the outcome of using the tool.]

    The image of the keyboard key suggests the possibility of action. Keys are meant to be pressed. We press the button labeled “A” and an „a“ appears on the screen or paper. We hit the return key and a process in the machine starts – i.e. the carriage moves from the right to the left or a program is executed. The results of key actions, not the keys themselves, are meant to be read.

    The design prompts a series of questions. First, what is it [the picture]? Is it just keys or is it something else? The different colors seem to follow a secret code that contains information. Once that information is recognized to be a calendar, the question becomes how to act with it. Does the usage of this calendar relate to how calendars or how keyboards are typically used? Do I have to press a series of keys to mark an event?

    The picture becomes a movement instruction. An instruction that is imaging the reading of the writing of a normal calendar from beginning to end of a Year. It is no longer a list of holydays but an instruction to re-create a written calendar.

    Time Maps
    A calendar is a special approach to time. A map structures space—makes it accessible to particular operations. A calendar works similarly. It divides time into pieces. It sets marks and generates distances. Calendars make time frameable, measurable and tradable. It makes the future planable and predictable. How could a day be planed if it wasn’t divided into hours or daytimes?

    The structure of calendar time is expressed by its geometrical structure. Duration is mapped to distance. Events expressed in area. I still remember how time was constructed for me in elementary school. Each semester we created a weekly plan. The grid moved one unit at a time, left to right, from Monday to Friday. The school hours (each 45 minutes) spanned one unit each from the top of the paper to the bottom. The week went by, left to right, and then started over again. It was a strange outcome–quadrants and intervals in a special map-like experience of the week.

    Time is not modeled accurately by a calendar; each calendar transports a vision or a cultural attitude towards time. My elementary school calendar was designed according to tabular thinking. Historically tables were used to compare lists of information and to make calculations within lists. As such they were essential to the advent of trade–to organizing and running warehouses. In the table is the ghost of calculus. All basic mathematical operations are connected to operations with tables of information. Tables were used to gain trading potentials. Better knowledge of warehouse inventory lead to more appropriate prices on the market. So the structure of the table refers to calculation, to the organization of goods, merchandise, or wares. By teaching children to use a table to organize time, they become part of a modern cultural heritage of treating time like commodity.

    There are many subtleties in the geometrical visualization of time—in time design. When twelve o’clock Monday is put next to twelve o’clock Tuesday it creates a visual relation which does not exist temporally.

    In most common calendars Saturday and Sunday are put together as one unit (i.e. on one page or section size of one business day). Why is that done? Because these days are commonly without value for trading related actions or are not processable within a trade-related structure or system (i.e. family, religion, social relations, shopping for food). But if time becomes, through structure (in this case a calendar) a tradable merchandise or good, is that not contradictory to how time is experienced? Time is perceivable only in the present. Plans and prediction of future that might come real in the present, but they are not part of presence. Also there is no past that becomes present—just memories and recordings of the past that are remembered in the present but not relived. Whether we plan ahead or remember the past it relates to our direct and immediate being.

    A calendar helps us to orient in time by remembering the past, planning the future and to put both in a context to locate the presence. The process of orientation is, for some people, an act of imagination with the past behind you and the future in front of you. The Typographic Keyboard Wall Calendar similarly requires orientation in a flow. The calendar happens only when you see yourself in front the calendar. The view of putting keyboard keys next to each other is an instruction to do a movement in the operation of writing in which you mark or process time.

    APPENDIX:
    Technical details

    The size of the print is B0 70cm x 100cm (27.56“ x 39.37“).
    The printing is done with a standard 4c offset printing machine on 135g/m² glossy paper,
    finished with a UV coating to protect the colors from bleaching. The UV coating also provides protection against water and dust.

    Get your Copy for 2011: →here