Liquid Frontiers

Show menu

Wertzeichen Europoa
Atelier Dreibholz/Paulus M. Dreibholz

As a convinced European I am primarily interested in the potential for exchange between people: a potential which Europe has offered and must continue to offer.

My own identity – whether coloured by nation, region, culture or interest – has a relationship with others with whom exchange – the overcoming of uncertainties and fears – leads to a better understanding of the overall situation and makes it possible to make wiser decisions.

This is precisely what happens in this design. The red ö – symbolising Austria – flows as form and colour into the e of Europe. The result is an area of colour (not an area of grey), in which (colour) values flow together and influence each other. At the same time both the ö and the e dominates the colour of its counterpart which it requires in order to define its own boundary.

Below this, the typographic formula AUSTRIA : EUROPE depicts a relationship.

The font “Avenir” is a suitable choice - both formally and nominally.

Paulus M. Dreibholz (*1977)

One characteristic of the Austrian typographer and graphic designer Paulus M. Dreibholz, born 1977, is a research-based approach in which he consistently draws from the close relationship between language and his specialist field of typography. The focus of the atelier which was established in London in 2003 is an intense practical and theoretical examination of the complex relationship between statement and form. The result of this can be seen in the concise and uncomplicated design of fonts, books and catalogues for, above all, architects, artists and universities, as well as in the reflections on the subject, which the designer publishes from time to time. Subtitled “A Plea for Conscious Design”, his 2011 publication “Reading Forms“ outlines a philosophy that not only guides the work of himself and his studio but which he also passes on to his students in both London and Vienna. This philosophy is based not on dogma - whether in theory or in practice – but on dialogue and on the exchange of arguments. This lends not only a self-critical, intersubjective foundation but also an ethical dimension to Dreibholz’ design approach.