hey, hey, hey, just think while you've been getting down and out about the liars and the dirty dirty cheats in the world you could have been getting down to this sick beat
Marko Vuleta-Djukanov | http://markovuletadjukanov.com
"A year in posters” is a project by kreativøperativ. It is a spontaneous project, inspired by love for good design. The idea was to create two posters a month throughout 2014. Themes in posters are in no relation with time of the year, although it might appear that way. They are results of insipiration in a moment."
What you see and what you can make from it. Marko is the second perspective guy. Whatever needs to be built, it’s equally challenging and rewarding to enhance it. After 10 years of looking at things from a different angle, he enjoys design for one simple reason. Creativity breeds innovation, innovation breeds creativity. And this is one job where that wheel just keeps on turning.
The design of the typeface Moskau Grotesk is based on the signage created for the Café Moskau in Berlin by the graphic artist Klaus Wittkugel in the beginning of the 1960s.
The Café Moskau, across from the Kino International on Karl-Marx-Allee in Berlin Mitte was one of the prestige edifices of the former DDR (German Democratic Republic). Built in the early 1960s, it advanced over the years and changing social developments to a trademark building of the capital. The lettering display on the roof was created by the graphic artist Klaus Wittkugel (October 17, 1910 – September 19, 1985). He had been Professor at the School for Applied Arts in Berlin, and, in addition to the creation of many posters, book covers and postage stamps, he was responsible for the signage of the Kino International as well as for the complete graphic treatment for the Palace of the Republik.
The signage for the Café Moskau with the words »RESTAURANT«, »CAFÉ«, »KONZERT« and »MOCKBA« set in capital letters, becomes the basis for the Moskau Grotesk which was developed by Björn Gogalla in 2013. This face should not be seen as an imitation. A few shortcomings were »fixed«. In favor of maintaining the core characteristics some unique features were, however, not relinquished. Lower case letters and the missing capital letters were designed from scratch. It is not surprising that the plain, unassuming geometrical direction of the basic character style forms a bridge to the architecture of the 1960s. Inspired by the then favored, diverse possibilities inherent in the architectural example and wall reliefs, two complimentary pattern fonts emerged.
Download it here: http://myfonts.us/RQExlp
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Are we in the clear yet?