Summer 2020

Spassky Fischer: Concrete moves

The work of this prolific young French studio is founded on practicality and systems, while transcending such prosaic methods [EXTRACT]

French studio Spassky Fischer aptly describes its systematically conceived output as ‘concrete’ graphic design. Spassky Fischer (named after the 1972 chess championship finalists) works with type as if it were as much building material as language, or in such a way as to render explicit the literally constructive potential of typographic form – as a material that can be piled up and stacked, arranged word by word, like bricks in endlessly reconfigurable walls. Founded in 2014 by Thomas Petitjean, Hugo Anglade and Antoine Stevenot, the studio now comprises five with Manon Bruet and Julia Andréone, who joined a year later…

Poster at Mucem (the Marseille-based museum dedicated to the Mediterranean), for ‘Roman-Photo’ an exhibition about the commercially successful (if critically dismissed) genre of the Italian postwar photo-novel.
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Multi-part poster displays for Mucem. This poster series showcases the studio’s concrete typography – key elements of the visual identity are stacked and chopped to fit the available physical space.

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John-Patrick Hartnett, designer, writer, lecturer, London

Read the full article in Eye no. 100 vol. 25, 2020

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Eye is the world’s most beautiful and collectable graphic design journal, published for professional designers, students and anyone interested in critical, informed writing about graphic design and visual culture. It is available from all good design bookshops and online at the Eye shop, where you can buy subscriptions and single issues.

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