Ondřej Báchor is a graphic designer from Czech Republic currently studying at ECAL in the Type Design’s Master program.

Hello Ondřej how are you?

I’m great. Thank you.

Can you introduce yourself?

I’m a graphic designer coming from Czech Republic, where I also studied and graduated in Graphic Design and new media at UMPRUM Academy in Prague. After graduation I worked for a shoe company Camper as a print/pattern designer and then I started freelancing in Prague. Currently I’m studying at ECAL/Master in Type design in Lausanne. In my work I’m focusing on making strong visual impact by combining various styles and techniques always in order to follow an idea and clarify the content of each project. Lately, I’m mainly concentrating on working with type as one of the basic elements of graphic design.

Where does your interest in graphic and type design come from?

Well, I remember that I started to take an interest in graphic design chiefly through three-dimensional projects, which I was dealing with back in days at my secondary school, where we had to design our technical drawings and put them into 3D. I think this is where my personal passion for geometrical shapes and graphic design comes from.

Can you tell us more about the Master you’re doing at ECAL?

Master in type design is a new branch at ECAL, which came into being by dividing Art Direction Master into Type Design courses and Photography courses. We started only a short time ago, however it’s already clear that the studies are focused mainly on typography and its application. For example at the moment we’re working on a reinterpretation/revival project of typeface according to our own choice, with Francis Rappo. We also expect several very promising workshops for example with Radim Peško.

Would you like to explain to us one of your projects?

One of the recent projects is Visual Identity for fashion designer Karolina Jurikova. This project is a collaboration between me and Jan Horcik. The initial idea was to design Karolina Jurikova’s visual identity partly, which gradually ended up into her entire visual identity inspired by her work. Even though with Jan we have different approaches towards graphic design, we do share some similarities. This surprisingly worked out well with this project, resulting in a bold and playful typeface. The idea of combining two different typefaces allows an infinitive of variations, basically a growing logotype. This is also reflected back in Karolina’s work. The main headline typeface is custom made and not for retail selling.

Do you have a favorite typeface?

In general, I’m a fan of grotesque fonts because of their simple construction and lot of small characteristic details. Owing to their good readability they open a large field of possibilities for usage and experimenting in graphic design. Among my favourites ones belongs Union and Haas Unica.

A designer that you admire?

I’m enjoying following up lots of different designer approaches crosswise art and design, but in terms of Graphic design and typography I sympathize with the 70’s wave. Thanks to the connection of simplicity of message and the usage of craft a lot of amazing things happened, mainly on local levels. Among contemporary graphic studios I like the Spassky-Fischer, and the type foundry Heavyweight from Prague, who generate a lot of heat right now.

Is there a book which opened your eyes about design?

Adolf Loos – Ornament and Crime

The last word…

I’m just about to launch a small graphic design practice together with my colleague based in Prague: nedelkabachor.com

Thank you for the interview and big up!

Pictures & projects by Ondřej Báchor.

Interview: Dennis Moya and Tiffany Bähler, 11.16