Interview with Yevgeniy Anfalov
Interview with Hannover based designer Yevgeniy Anfalov.
LIGATURE: Hello Yevgeniy how are you?
Yevgeniy Anfalov: I’m fine. We are having warm and sunny days here in Hannover. Quite unusual for this time.
L: Can you introduce yourself?
YA: Yevgeniy Anfalov, born in 1986 in Kiev, Ukraine. Since 2004 in Hannover, Germany.
L: Where does your interest in graphic and type design come from?
YA: My interest in graphic design comes from my graffiti times, where I was into styles, name writing perfecting the letter shapes and cutting out stencils. When I moved to Germany, I found a nice book by Thomas Marecki called “Lodown Graphic Engineering”. It was a wild mixture of digital collages in the spirit of David Carson, photography, street art, etc. It blew my mind, because I’ve never seen anything like this before. I’ve seen there, that all I’ve been doing before can live together nicely on the paper and can be done digitally, too. From then on, I started doing stuff on my computer and gradually got into graphic design without knowing it.
L: Would you like to explain to us one of your projects?
YA: Yes, it’s a book I’ve recently made, called “Rotary. Studio für elektronische Musik WDR Köln 1951–1981”. The book tells the story of the first electronic music studio of its kind in the world in the era of Cold War Modernism. I made my Master thesis on the work of the Swiss advertising agency GGK, where I found out that one of its members Paul Gredinger, was making music with Stockhausen. In that time, programmed art was very popular, and I realized that Stockhausen’s serialism was something like “programmed music”. And it was all made in that studio, serving primarily the broadcasting purposes. So I went to Cologne, to a Stockhausen Archive, met ex-technicians from the studio, received a lot of image material, edited it and made a book that works like a big interactive timeline.
L: Do you have a favorite typeface to work with?
YA: It is mostly like periods of time where I get into one particular typeface and explore its possibilities. Some of them stand the test of time and stay with me. Like Univers or Theinhardt, for instance. It is worth mentioning Novarese’s Forma, revived by Leonardo Azzolini.
L: Is there any designer you appreciate a lot?
YA: Let’s take this one example: Alfred Willimann. You won’t find a lot about him if you google, but those few founds possess the qualities I’m seeking for. It is traditionalism, but at the same time it has density and is totally out of space. Alongside with photographer Hans Finsler he was teaching applied layout, typography and editing at Kunstgewerbeschule in Zurich. Their tandem has made possible to teach photographers to work in the environment of communication design and vice versa. They had a craftsman’s vision of a profession, which maybe won’t work nowadays, but is still inspiring. He devoted himself to practice and teaching and was never exhibited.
My recent discovery is this archive of Solomon Telingater (http://telingater.togdazine.ru/), a Russian-Jewish typographer and designer, who stayed in the shadow of big constructivists like Rodtschenko or Lissitzky. He might have been a strong spirit, keeping working in the worst times in Soviet Union.
Speaking of now – I’m aware of projects made by Bernd Kuchenbeiser and John Morgan.
L: Is there a book which opened your eyes about design?
YA: Books by Robin Kinross are quite eye-openers.