Image courtesy of Krzysztof Iwanski
Drawing inspiration from several artistic styles, Krzysztof Iwanski combines equal parts Neo-Plasticism, Constructivism and Bauhaus, translating them into a new visual language. A touch of bold hard fonts reminiscent of the communist era create finished works the artist defines as more human, more organic.
Much inspiration is taken from the artist’s hometown of Lódz, a place once dubbed the “Polish Manchester” during the socialist era. Left behind as a seemingly forgotten post-industrial landscape, the city experienced a sharp decline after the fall of communism. Like many previously iron clad towns, the remaining open space acts as a blank canvas that attracts artists from around the world, providing the type of freedom that nurtures innovation. However, Iwanski doesn’t necessarily consider his work a result of his country’s history. He’d rather see himself as an explorer, using former communist aesthetics to delve deep into the world of Constructivism – a world he views as one of the last defined styles in design history.
Image courtesy of Krzysztof Iwanski
While Iwanski has successfully made a name for himself in the design world, he continually stresses that fellow designers remember the roots of the craft in order to do justice to its creative process and history. Iwanski uses constructive typography, which he considers the root of his work, as the foundation for visual exploration. “What fascinates me about the Bauhaus school and constructivism is the sense of structure and the way fonts build a certain order,” says Iwanski. The artist also often compares typeface to music. “Lets imagine the font is a strong bass line similar to that heard in most modern music,” he adds. “It’s always present and it leads you through the landscape of sounds. You want to know if the band is good? Just listen to the bass, which is how I see the role of font in design.”
Image courtesy of Krzysztof Iwanski
Image courtesy of Krzysztof Iwanski
While aesthetics associated with Poland’s communist era did make an imprint in his mind, Iwanski utilises their bold typefaces not as a reminder of the past, but the present feelings they evoke. “As far as I can remember,” he says, “I would look at letters and associate certain emotions behind them. For me, they were more than just shapes.”
The bass line of Iwanski’s work is found within these emotional interpretations, translated into the clear intentions behind his work. Often hand printed, this process gives him full control over the creative process while simultaneously pushing for more focus. “Screen-printing ultimately simplifies my designs,” he explains. “It moves me away from unnecessary frills and allows me to focus on what is important for the project.” Iwanski thrives on the raw creative process and its feeling of permanence. This ultimately makes his work feel purposeful, referencing the clear cut images that defined early twentieth century design.
Iwanski doesn’t let the inescapable popularity of digital design worry him. Instead, he sees the democratisation of design as a natural part of visual evolution. “Design has become more important for everyone,” he continues. “Showing itself in places such as fashion, politics, blogs and even birthday invitations. In general we are more socially aware of design, realising the role typefaces play and why specific colours cause certain emotions.” This might seem like a negative aspect that dilutes the creative process for some, but Iwanski uses it to bridge both worlds. In his mind the dream behind Bauhaus is slowly coming true.
Image courtesy of Krzysztof Iwanski
Image courtesy of Krzysztof Iwanski
Krzysztof Iwanski’s work is at Typomania, Moscow, from 28 to 29 May 2016