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Charming contrasts


Even though a whole rainbow of colours is available, creatives still love black and white. Elegant, expressive and somehow fascinatingly elusive, this play of light and shade gives rise to some fantastic work of all kinds. Starting with a wonderful, lavishly produced cover, we bring you exciting work in black and white!


novum 02.19 is also available as a PDF for €8.99

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For example, we look at the new Frankenstein book, impressively illustrated by Martin Stark in black and white, and we conduct an interview with this gifted illustrator. Sagmeister+Walsh, too, delight us with some insights into a new and exciting project. In Australia we discover the Dolphin Hotel which had it´s new visual identity done all in monochrome (m35). François Olislaeger intrigues us with an installation … entirely without colour. For their own CI, the creatives at Forth+Back also went for monochrome, as did Paul Belford in his packaging for a brand of soap. All this and more awaits in the monochrome world presented in novum 02.19.

In the Showroom section we interviewed Kilian Stauss in his studio processform and talked about interdisciplinary work and the delights of the unexpected. A thought-provoking encounter!  We head to Thailand, to Jackkrit Anantakul and delight in his fireworks display of colour and form. In the Netherlands, we discover a talented duo - twins Janna and Hilde Meeus, and their top-class graphic design. Then there´s Studio91 and the intriguing story of how it got going … something you´ll not find by googling.
A new series by Patrick Rössler takes us to the more hidden aspects of the Bauhaus, on this, the 100th anniversary of the influential design school. We bring you the first part in this issue.

The cover

The splendid, mostly hand-finished (!) cover of this issue plays with contrasts in multiple ways: two levels give added charm – finely lasered by Stigler and also hand laminated there. The material AstroKing by Gruppo Cordenons in variants black and white provides the perfect base.

You can read just how this was created, and about the technique of delicate lasering and laminating in an interview with Andrea Stigler in this issue. A handy hint in case you want to try out this technique: If you want to do it in a large print run, then start planning well ahead, because it takes time. A lot of it is high-precision work done by hand, and you don´t get this kind of perfection overnight. The result is even more fascinating: Our typographical cover in black and white, designed by Melville Brand Design, was in expert hands at Stigler, who have the skill and patience to produce this kind of quality. Our choice of paper for this – AstroKing (250 gsm, white and 350 gsm black) from Grupo Cordenons, was also perfect for this production: The deep black variant was used as the background, because for lasering it would have produced too much black dust. The bright white variant was no problem to laser. To avoid any colour leakage of the black paper (this, too, you have to check), we varnished the surface, which in turn produced a very interesting surface feel.

We also did a binding test on it at f&w (offset printing) – with laminated sheets the final thickness is very much something to take into account.


processform (GER)
Jackkrit Anantakul (THA)
Meeusantwerp (NLD)
Serie: 100 Jahre Bauhaus
Studio 91 (GBR)

BIS Studio Graphique (FRA)
Forth + Back (USA)
François Olislaeger (FRA)
M35 (AUS)
Martin Stark (GER)
Paul Belford (GBR)
Sagmeister+Walsh (USA)
Studio Oeding (GER)

Cover: Melville Brand Design
Fotos: Tobias Holzmann / Miriam Zimmer
Offset-Druck: f+w
Filigranlaserung + -kaschierung: Stigler GmbH
Papier: AstroKing (Gruppo Cordenons)