Cancel / Save Notepad

This project was funded with the help of 67 backers on Kickstarter in January 2017. Thank you.

  • incl. shipping

  • incl. shipping

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The Cancel / Save notepad is inspired by the typography and design of the classic Mac OS user interface. The typeface used throughout the classic Mac OS system in buttons, menus and dialogs is called Chicago.

Chicago and most of the other, now iconic imagery was designed by Susan Kare in the 1980’s. The Font was used up until Mac OS 7.6 (1984 – 1997).

In an article regarding Macintosh typefaces published 1991 in Electronic Publishing, type designers Charles A. Bigelow and Kris Holmes note:

“Macintosh Chicago is a distinctive design. There are few faces quite like it in traditional typography, even among so-called “display” faces, used for headlines and titling. Because Chicago is deeply integrated into the Macintosh System, used in menus, titles, etc., it is a fundamental part of the look of the Macintosh.”


    50 sheets per notepad
    148mm width
    210mm height
    upright format
    perfect binding on top edge
    offset printed
    recycled paper

The notepads are produced climate neutral (CO₂ Neutral) in high quality offset print in Germany.

Shipping: The notepads ship from Germany – shipping is included in the price. Delivery can take up to 3 weeks. Shipments are not trackable – if you wish to track your shipment or an express delivery please contact me for details.

Would you like to order more than 6 Notepads?
Contact me here.

(new) Typographic Postcards on Kickstarter

2015 Typographic Wall Calendar

“…stunning reinterpretation of a calendar is a masterful example of how a designer can completely flip a genre signifier on its head. Geisler reimagines calendars in order to change the way we visualize time, and in turn, redefines what it means to save the date.”

Mike McGregor, Kickstarter, NYC
“The more I look at this poster, the more in awe of it I am… it’s a complete revision of the way we construct time, month by month, day by day. To see a year laid that way is somehow frightening and optimistic.”
Elizabeth Kiefer, Editor at Fab, NYC
“…my heart went all a-flutter.”
— Blair Pfander, Sundance Channel, Brooklyn

— Armin Vit, Quipsologies (former Speak Up) Vol.47 No.60, Austin TX

“…simple, effective, straightforward, yet dizzying…” 

— Xiaoli Li, Formatmag

“…unique DIY…” 

— Abby Jenkins, Apartment Therapy Unpluggd, US

→Order your copy of the 2015 Typographic Wall Calendar

2015 Measurments Background
2015 Typographic Wall Calendar 720px wide

The Typographic Wall Calendar is a project I am working on since 2009.

Every year the calendar is made of exactly the number of used keyboard keys (2000 and 15) that represent the year.

This is the 6th edition of the calendar.

  • Size: 84cm x 118,8cm (A0)
  • Printed in 4 color offset
  • Printed on glossy paper
  • Glossy UV-Coating to protect colors
  • Item ships from Germany.
  • DHL Track and Trace online
  • Items are sold and shipped from Germany. Only if your shipping address is located in the EU, Sales Tax will be added in the checkout process.

    You like to purchase the item or have further questions?

      First Name :

      Last Name :

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      Message :

      Yes, I would like to receive Harald Geisler's occasional email newsletter.

      Would you like to have a closer look at the image?
      You can download a high-res (1,7MB) image here.

      Is it a real calendar? How do you read it?

      Yes! It is a real, usable calendar. This typography calendar makes finding dates a fun and creative process. If you read the keys from left to right, they show each day of the year in sequence: JANUARY TUE 01 WED 02 THUR 03 etc.

      You can think of it like a string of all dates in the year. To make things easier, every month is marked by two arrow keys. After a bit of practice, you can orient yourself quickly within the grid. It is also possible to write directly onto the calendar.

      How is it made?

      The calendar is made of two-thousand and fourteen used keyboard keys. The keys are arranged manually in a grid ( 38 x 53 + 1 = 2015 keys) to write out all days of the year 2015.

      Then the composition is photographed with a special macro lens to avoid distortion. The print of the calendar reproduces the keys in original size (1:1)

      Do the colors of the keys follow a system?

      The colors of the 2015 Calendar follow a simple pattern that refers to counting. One black key is placed in the first row, two black keys in the second row, three keys in the third and so forth. When a line is set entirely in black keys the principle switches. Then one beige key is added the next row, followed by two in the second row, three in the following line and so forth…

      An oversized New Years Card…

      The initial idea for the Typographic Wall Calendar came from a daydream. In this dream I imagined a person in a random office typing in front of a computer. The person writes letters, for example to customers. On every letter the person writes the date, a repetitive part of the job. I imagined that as the person types, the pressed keys would (somehow) sum up or accumulate. Not only would the keys be counted but also collected, ordered and stored. Over days and weeks it would become a mountain of keys. This “mountain of keys” then became the Typographic Wall Calendar.

      The project began in 2009 as a (very oversized) New Years card for my studio in Frankfurt, Germany. The response from friends and clients was overwhelming. People called up to say that they wanted to buy more or already framed it.




      In the beginning I was focusing on the idea of writing the year from beginning to end as a continuos text and to break up the common tabular structure of a calendar which divides the year in columns (months) and rows (days).

      I still find this a major point of the work. It shows clearly how dependent our imagination of time is to a tabular display and order.

      I wanted to focus on the act of writing rather than the outcome, which would be rendered text. To show the act of writing I choose to present all the keys necessary to write the year in front of you.

      After starting to work with a typewriter philosopher Friedrich Nietzsche said:

      “Das Schreibzeug arbeitet mit an unseren Gedanken”

      …the writing things collaborate on our thoughts. I like the term collaborate, because it implies that we do not use the pen as a lifeless tool to express our thoughts. The pen itself is working actively on our thoughts. The computer keyboard on screen or physically in front of us is the contemporary writing implement. If and how our writing tools work on our thoughts I leave to your imagination.


      With this collection and vast amount of keys in front of me different thoughts arise. All around me people complain about the loss of handwriting, filled with nostalgia a friend buys a $500 Montblanc pen. But I also noticed that other people are talking with nostalgia of old keyboards. This article on Ars Technica is about the IBM Model M that was build in the 80s, in another article from PC World the same device is praised as the world greatest keyboard. As a typographer I noticed typographic aspects that I would like to draw your attention to.

      The Macintosh Exception

      In the picture above you see an Apple Keyboard with an IBM Model M behind, both are build in 1989.

      A small detail is the positioning of the letter. On all Personal Computer keyboards letters are placed in the upper left on the key cap. The only exception are Macintosh keyboards. Apple placed the letter on the lower left, until 2007 with the Apple Keyboard A1243.

      Apple decided for a rather daynamic italic condensed sans serif typeface, whereas most other keyboard manufacturers until today prefer an extended bold and sometimes rounded sans serif.

      In 2007 Apple introduced their flat keyboards model A1243 which also placed the label in the center of the key with an Upright rather airy geometric sans serif typeface.

      To me there is no argument for a design decision to place the label in the lower or the upper left. Once hands are placed on a keyboard the keys become invisible but tangible. That is why the little nobs on the J and F are so important to me. I like the placement of the letter in the center, it makes the device less complex and reminds me of old typewriters, where the keys had round caps with beautiful slab serif letters on it.
      Here is an overview of different keys with different Typefaces on them.

      Click to enlarge


      But also major changes in society are reflected in keyboard design.


      On the first day of January in 2002 the Euro currency was introduced. After 1999 keyboard manufacturers started to print a € sign next to the E key. This makes it easy to spot the age of a european keyboard.

      All calendars ship from Germany. Shipping costs are calculated based on your location. The calendars will be send in a strong protective poster tube (112cm long – 7.5 cm diameter). Top and bottom end of the tube are filled with bubble wrap to cushion the prints. The poster tube is then packaged in a protective rectangular box to make shipping and handling easier.


      All shipments that include the Typographic Wall Calendar are trackable online and covered by insurance. After the calendars are sent out you will receive an email from DHL with the tracking information and status information.

      So far the Typographic Wall Calendar has been shipped to 41 countries around the globe: Argentina, Australia, Austria, Belgium, Brazil, Canada, Croatia, Denmark, Estonia, Finland, France, Germany, Greece, Hong Kong, Iceland, India, Indonesia, Ireland, Israel, Italy, Japan, Korea, Liechtenstein, Luxembourg, Malaysia, Mexico, Netherlands, New Zealand, Norway, Portugal, Russia, Saudi Arabia, Singapore, South Africa, Spain, Sweden, Switzerland, Taiwan, Thailand, United Arab Emirates, United States of America.

      Photography Situation



      After producing the first edition in 2009 for 2010 on my own, in 2010 the project became a Kickstarter campaign to upfront production costs. The response was very positive. After a successful campaign with 205% funding, over 90 calendars were shipped to people all over the globe.

      In 2011 the 3rd Edition of the Typographic Wall Calendar received an overwhelming funding of $18,089 from 428 international Backers.

      In 2012 (4th Ed.) and 2013 (5th Edition) the Typographic Wall Calendar was also successfully funded through Kickstarter.

      Museums Edition


      The Typographic Wall Calendar was an ‘Editors Pick’ at GQ Germany, featured on and reviewed in ‘DESIGNER‘ an Art/Design magazine from Tel Aviv!


      The project was printed in NOVUM – World of Graphic Design (Issue 02/12) and featured two times on


      I always wanted my work to be featured in the Italian Vogue. I never thought of being featured in a feminist and social justice magazine from Chicago!

      In Broad #70 “Tech Cell-fie” (p.38) between articles on the Future is Queer, Medicine and Gender, Cyborgs, GMOs, Fahrenheit 451 and quotes from Einstein (really!). Who wouldn’t want that? And does this say something about me?

      Typotopografie Frankfurt

      Typotopografie is a kind of German Lonely Planet for typographers. Each issue focuses on one city and features typographic places and people in that area. The editors from Berlin and Munich contacted me and especially wanted to write about the Typographic Wall Calendar project. I am very happy to see the final piece printed:


      Gregor Calendar Award 2013 January


      In January 2012 the Typographic Wall Calendar won the Gregor International Calendar Award in Stuttgart. Yes, there are awards especially for calendars in Stuttgart.

      The Typographic Wall Calendar on display at the Gregor Award in Stuttgart(picture right).

      In the catalogue the Jury wrote:

      “In an intelligent and charming manner, this one-page calendar shows us how to get used to the new year. This is daily fodder for the gray cells and simultaneously poster-like and attractive”

      Gregor Catalogue

      What do other people say about
      the Typographic Wall Calendar?

      “Tipp”, Jürgen Siebert, Berlin

      “Empfehlung der Redaktion” — GQ (Germany), Munich

      ”…pretty weird…” Smashing Magazine @smashingmag, Freiburg, Germany

      Design Milk

      “Typographic Wall Calendar by Harald Geisler doesn’t scream calendar but is a fun print for your wall with a gentle nod to the year.”
      — Caroline Williamson, Design Milk, The Best 2013 Modern Calendars, US

      “Creative of the week” — Gerrie Smits, The RAAKonteur #20, London

      “…der minutiöse Wahnsinn, …(der) eher an J. Johns oder einen sehr disziplinierten J. Pollock erinnert als an deinen normalen Wandkalender.” — Hans Schumacher,, Berlin

      “…unique DIY…” — Abby Jenkins, Apartment Therapy Unpluggd, US

      “…staggering image…” — Erik Brandt,, Minneapolis

      “…thought intrigued…” — Idealog Weekly,, New Zealand

      “…This is calendar ART. This is art that is a CALENDAR…” —km, Clerk & unwell, Chicago

 — Thomas Arendt,, Denmark

      “…perfekte Tastenkombination für das kommende Jahr.” 
— Publique,, Germany

      What is that text at the bottom of the Poster?

      The text bellow the image is about the work.

      You can read it here





      The Work is about the act of notating time in order to organize it. While calendars nowadays are typically used to optimize per-sonal potential by marking events and managing interaction with others, this calendar offers a view on the management of time itself.

      The design prompts a series of questions. First, what is the picture? Is it just keys or is it some-thing else? The different colors seem to follow a secret code that contains information.

      The colors follow a simple pattern that refers to counting. One black key is placed in the first row, two black keys in the second row, three keys in the third and so forth. When a line is set entirely in black keys the principle switches. Then one beige key is added the next row, followed by two in the second row, three in the following line and so forth…

      Is that information reimagined as a calendar, the question becomes how to act with it. Does the usage of this calendar relate to how calendars or how keyboards are normally used? Do I have to press a series of keys to mark an event? Is it a time machine?

      Past Forward

      The ancient Egyptians oriented themselves in time by imagining the past before their eyes and the future behind their backs. In contemporary culture we tend to structure ourselves the other way around, looking towards the future ahead of us and the past behind us. A calendar displays both the future and the past in front of us. It is a notation form that functions as a tool, an instrument for organizing, managing and imagining oneself in interaction with the world.

      Early Western calendars were lists that marked holy days. They were not a tool for measuring time, but rather a medium for arranging religious actions. Religious calendars were used cyclically, read over and over again like a mantra. The development of the calendar from the notation of religious events to a premise for personal management reflects the changing position of individuals in Western society and their increasing self awareness. Unlike religious calendars, personal calendars are linear. They enable referencing the personal past to design the personal future. Both systems can be used to locate the present. In both the future becomes past, but only in the religious calendar does the past become the future again.

      Writing with Keys

      The Typographic Wall Calendar is both an image and a written text at the same time. The picture contains 2015 used keyboard keys arranged like text. The number of keys used, represents the year. The picture shows the tools used to create text rather than the outcome of using the tool. Starting in the upper left, the composition reads the year followed by the month and each day of the year.

      Working typographically, I treated the Gregorian calendar as a text and considered the writing of time by assembling the keys of this calendar dictation into a picture. The medium of keys emphasizes the treatment of writing in contemporary society, where a keyboard is the writing implement.

      The image of the keyboard key suggests the possibility of action. Keys are meant to be pressed. We press the button labeled with an uppercase B and a lowercase b appears on the screen or paper. We hit the return key and a process in the machine starts i.e. the carriage moves from the right to the left or a program is executed. The results of key actions, not the keys themselves, are meant to be read.

      I remember from learning typing, that I memorized how each letter’s position relates to the location of my hand on the keyboard. For example to write a g, I move the index finger of my left hand one key to the right and press. This memory to me is not accessible verbally, textually or literally, but as a memory of movement.

      Reading the picture with movement in mind, it becomes a notation form for two hands. An instruction that is imaging the reading of the writing of a calendar from beginning to end of a year. Then it is no longer a list of holy days but an instruction to recreate a written calendar.

      Time Maps

      A calendar is a special approach to time. A map structures space, makes it accessible to particular operations.

      A calendar works similarly. The structure divides time into pieces, it sets marks and generates distances. Calendars make time frame able, measurable and tradable. It makes the future predictable and evaluable. How could a day be planned if it wasn’t divided into hours or daytimes?

      Elementary School Time

      The structure of calendar time is manifested by its geometrical appearance. Duration is mapped to distance. Events are expressed in area. I still remember how time was constructed for me in elementary school. Each semester we created a weekly plan. The grid moved one unit at a time, left to right, from Monday to Friday. The school hours (each 45 minutes) spanned one unit each, from the top of the paper to the bottom. The week went by, left to right, and then started over again. It was a strange outcome: quadrants and intervals in a special map-like experience of the week.

      A calendar is modeling time not accurately; each calendar transports a vision or a cultural attitude towards time.
      My elementary school calendar was designed according to tabular thinking. Historically tables were used to compare lists of information and to make calculations within lists. As such they were essential to the advent of trade, to organizing and running ware- houses. The ghost of calculus is in the table.

      All basic mathematical operations are connected to operations within tables of information. Tables were used to gain trading potentials. Better knowledge of warehouse inventories lead to more appropriate prices on the market. The structure of tables refers to calculation, to the organization of goods, merchandise or wares. By teaching children to use a table to organize time, they become part of a modern cultural heritage of treating time like commodity.

      There are many subtleties in the geometrical visualization of time, in the design of time. When ten o’clock Monday is put next to ten o’clock Tuesday it creates a visual relation which does not exist temporally. In most common calendars Saturday and Sunday are put together as one unit (i.e. on one page or section of one business day). Why is that done? Because these days are commonly without value for trading related actions, or are not processable within a trade related structure or system (i.e. family, religion, social relations). But if time is treated like tradable merchandise or goods, is that not contradictory to how time is experienced?

      Sand Glass

      To me, time appears perceivable only in the present moment. Plans and prediction of future events might become true in the presence. To do so, a plan makes me take action in the presence, to force a specific event in the future I.e. I better go now, because tomorrow I want to be at the beach. So far and until now the future is not part of, but points into presence. Past does not become present, but memories and recordings of the past can be remembered. I like the word remember a lot.

      The word re-membering suggests to me, that through an activity the past can become a member of the presence again. Still this membership is of a different nature than the original and actual experience. Walking in the sand on a beach has a different value to me, than to remember walking in the sand.

      Whether one plans ahead or remembers the past, both relate to direct and immediate being.

      A calendar helps to align oneself in time by remembering the past and planning the future, to put both in the context of the present moment. The process of orientation is for some people an act of imagination with the past behind and the future ahead.

      I hope this Typographic Wall Calendar offers you a valuable and inspirational insight to the construct of a calendar, an everyday tool to mark and process time through the act of writing.

      Harald Geisler

      December 2014

      Would you like to have a closer look at the image?

      You can download a high-res (1,7MB) image here.

      You have a question?

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        Prices are shown without VAT.
        Items are sold and shipped from Germany. Only if your shipping address is located in the EU, Sales Tax will be added in the checkout process.

        Typographic Postcards


        Series of postcards.
        Material: 265gr cardboard
        Printed in Germany
        Printing: offset with glossy UV sealing, some with matte finish, some are also stickers.
        You will receive twenty-eight postcards in a protective envelop
        Serie von Typografischen Postkarten.
        Material: 265gr Karton
        Gedruckt in Deutschland.
        Druck: Offset mit UV Glanzlackierung, manche mit matter veredelung, einige Karten sind Aufkleber.
        Sie erhalten alle Postkarten in einem verstärkten Umschlag.


        Introduction — The first THANK YOU Card I printed in 2012. I wanted a simple card to give to friends.

        The design is inspired by the Typographic Wall Calendar which I produce since 2009. The card was received well so I designed a HAPPY NEW YEAR‘s card. As a friend of mine went to hospital I felt the need for an original GET WELL card. With the next birthday coming up, I thought how great it would be to have a typographic birthday card, which eventually became this simple CAKE on pink background card:


        In 2014 I published the fifth Edition of the Typographic Wall Calendar and since the cards were inspired by the calendar I decided to print the designs I had prepared and a total of 27 motifs as a Reward for Backers on Kickstarter.

        To me, a postcard is an everyday object, that I relate to writing and holidays. Even though I find myself receiving less and less handwritten letters, on every vacation spot, every Museum store and every train station one will find postcards. I imagined how my own postcard would look like and played with the thought of receiving a card which simply features the words “New York”, “Rome”, or “Mountain view”. These thoughts eventually led to the…


        Postcards and Keyboards
        Honestly, I was never a big fan of postcards. To me they seemed like the little brother of the letter. I thought if you want to write, then write a letter. Sometimes I think that the contemporary form of a postcard is posting a holiday picture on Facebook. With the possibility to send SMS, email and post to social networks from everywhere, the usability of a postcard seems questionable. But maybe its charm and value is in the postcard’s casualty and non-urgent character.


        As a typographer I am interested in the disappearing of handwriting or its suppression by the typewriter. The forward march of the typewriter has been going on for quite a while. Measured by it’s invention (around 1714) it took over the quarter of a millennium. The end of handwriting looms, but the threat is out of sight. Working with used keyboard keys as a motif on postcards seems to tie the two opposites of digital communication and handwriting. A closer look turns the situation on it’s head. The postcard is an invention made in the late 19th century, therefor was introduced about 150 years after the typewriter.



        The image on this postcard renders the object at its actual size. The background of the first THANK YOU card is a cutting mate with a 5mm grid to revise the scale of the depicted. A photo can be enlarged or shrunk to any size. Rendering the depicted in actual size makes it easier for the viewer to relate to its original size.

        The pictures are taken from above with a special reproduction lens to reduce distortion. Shadow and Perspective are two compositional tools for the photographer. I try to hide the fact that the picture is taken with a camera. First I try to take as much distance from the object as possible, this way all sides of each key are visible. The outcome is a picture with little to no visible perspective. With evenly lighting I remove shadows. By making the picture as neutral as possible, I hope that the viewer rather refers to the work as a picture than a photograph.

        This picture without photographic effects allows to look at the writing tool rather than a photo of a keyboard. The keys appear as neatly and orderly on display like
        butterflies in a natural museum.

        When is the last time you looked at you keyboard? The keyboard itself is about to disappear, less and less phones are produced with real keypads. The touch screen succeeds the keyboard. On a touch screen, the only thing that reminds the user of an original keyboard is its image. I assume that this likeness will be replaced by speech recognition software. One could say: the future is not written but dictated.


        Do you remember the first time you read the sentence “Sent from my iPhone”?

        The Card SENT FROM MY PHONE plays with the poetic sentence every iPhone politely and out of the box attaches to every email. After a short research in my mail archive I found out that I received the first mail from a phone on December 11 in 2008. I really do find something poetic in that sentence. At the time it sounded promising like a trailer of a long expected film. The idea of sending a mail from a phone would have been laughable before the introduction of the Apple product in 2007. On one hand the sentence hints that the receiver owns an expensive phone, on the other hand it points to the situation that the mail was written on the go. Writer Harris Wittels introduced with “Humblebrag” a matching term to describe the conflict between a frank statement and a show-off. In the Huffington Post Bianca Poster explains why she includes the “Sent from my iPhone” even when it is not “…purely to get out of writing a lengthy, detailed response”. SENT FROM MY PHONE shows a change that we witness but that we haven’t found the right words for.

        Typographic Detail : The card is set in original Apple keys from keyboards made from 1989 to 1992 in Ireland. It is easy to spot Apple keys from their typography. The letters are positioned in the lower left and not on the upper left like most PC keyboards. Instead of an extended upright type with a rather static appeal, the typeface used here is condensed and cursive which gives the keys a fast look.

        FORGOT TO REMEMBER TO FORGET is inspired by the famous country song
        “I forgot to remember to forget” by Elvis Presley performed in 1955.

        YES NO MAYBE reminds me of the little notes I used to write in high school. A slip of paper was folded and then under extreme caution given from hand to hand and table to table. The content of the note always stayed secret, but everybody knew who was communicating how much and with whom. Only now it seems much easier to pass the writing in the break, but I guess it was more about the jeopardy to get caught and the urge to tell everybody that one has a secret.

        A strange time and when I think of it a feeling of nostalgia hits me. Long ago the handwritten folded note was replaced by the SMS and online chats. I asked students and teachers and they told me that until a certain age the notes are still exchanged in that way. But I would never like to sit in a room in which another persons forbids to write notes on paper. On the other Hand I do not want to be in a room in which others write notes and covertly share them.

        The SATOR Square is a latin Palindrome. The keys read the same forwards and backwards, from bottom to top and in reverse. As a result the SATOR Square evokes a calming sense of order and complete symmetry. The earliest datable square was found in the ruins of Pompeii that was buried in the ash of Mt. Vesuvius in 79 almost 2000 years ago.


        Sometimes… “SORRY seems to be hardest word” (Elton John). The keys of this card were placed and photographed on a yellow lined paper block, which is a standard writing block in the United States of America. The red dots are sunk through ink blots from a previously written love-letter.

        As symbols for handwritten and digital writing, both postcard and keyboard are about to disappear. Tactile keyboards are about to be replaced by touch screens and voice recognition just like the typewriter was meant to replace handwriting. There is no clear winner, maybe technology is not about winning. The charm of this unequal couple is in its opposition. I imagine them as two intertwined actors who are about to leave the stage, playfully teasing each other while heading for the exit.


        Size: 12cm x 17.5cm
        Material: 265gr cardboard
        Printed in Germany
        Printing: offset with UV sealing
        Item ships from Frankfurt am Main, Germany to any location in the world, worldwide shipping is included.

        The backside of the cards are easy to write on with pen, biro, pencil or marker.

        Larger quantities on request.
        I hope this information is helpful to you.
        You have a question?

          First Name :

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          Einleitung — Die erste THANK YOU Postkarte habe ich 2012 gedruckt. Ich wollte eine einfache Dankeschönkarte haben die ich an Freunde geben kann. Die Karte war inspiriert von dem Typographic Wall Calendar den ich seit 2009 herstelle. Die Karte kam gut an und als nächstes entwarf ich eine Neujahrskarte (Bild links). Als ein Freund im Krankenhaus lag, dachte ich mir das ich jetzt eine gute Gute-Besserungs-Karte (GET WELL) gebrauchen könnte. Beim nächsten Geburtstag eines Freundes fehlte mir eine passende Karte (CAKE – engl. Kuchen). Für 2014 entschloss ich mich insgesamt 27 Motive für die Unterstützer des TWC auf Kickstarter zu drucken.

          Die Postkarte ist für mich ein alltäglicher Gegenstand, den ich mit Schreiben und Urlaub verbinde. Auch wenn die Zahl der handgeschriebenen Briefe zurückgeht, an jedem Urlaubsort, in jedem Museumsshop und an jedem Bahnhof findet man Postkarten. Ich stellte mir die Frage, wie meine Urlaubspostkarte aussehen würde und spielte mit dem Gedanken Karten zugesandt zu bekommen auf denen New York, Rome, Berglandschaft oder Sandstrand steht. Das Ergebnis dieser Überlegung ist die BEACH Karte.


          Postkarten und Tastaturen
          Ehrlich gesagt war ich nie ein großer Freund von Postkarten. Die Postkarte erschien mir als der kleine Bruder des Briefes. Ich dachte mir wenn man es ernst meint schreibt man einen Brief. Manchmal glaube ich das die zeitgenössische Ansichtskarte eine Photo auf Facebook ist. Die ständige Sendebereitschaft durch Kurznachrichten, email und sozialen Netzwerken scheint die Nützlichkeit einer Postkarte in Frage zu stellen. Aber vielleicht liegt gerade in ihrer Beiläufigkeit und Undringlichkeit der Scharm und Wert der Postkarte?

          Als Typograph interessiert mich das Verschwinden der Handschrift oder deren Verdrängung durch die Schreibmaschine. Der Vormarsch der Schreibmaschine streckt sich, gemessen an der Erfindung der Schreibmaschine (etwa 1714) nun über mehr als ein viertel Jahrtausend. Ein Ende der Handschrift droht, ist aber nicht in Sicht. Das verwenden von gebrauchten Computertasten als Motiv auf Postkarten verbindet die beiden Gegensätze von handschriftlicher und digitaler Kommunikation. Beim näheren Betrachten dreht sich jedoch das Verhältnis, so ist die Postkarte eine Erfindung des späten 19 Jhd. kam also gut ein einhalb Jahrhunderte nach der Schreibmaschine auf die Welt.

          Die Tasten werden auf jeder Karte in Originalgröße abgebildet. Der Hintergrund der ersten THANK YOU Karte ist eine Schneidematte mit 5mm Einteilungen um den Maßtab der Abbildung überprüfbar zu machen.

          Ein Photo kann beliebig vergrößert und verkleinert werden. Die Abbildung in Originalgröße bringt das Bild etwas näher an den abgebildeten Gegenstand, da ich als Betrachter einen Bezug zu der tatsächlichen Größe haben kann.

          Die Bilder sind stets von oben aufgenommen mit einem speziellen Objektiv um Verzerrungen zu vermeiden. Perspektive und Schatten sind Gestaltungsmöglichkeiten des Fotografen. Ich versuche diese Gestaltungsmittel so weit es geht in den Hintergrund zu stellen, um ein neutrales Bild zu schaffen. Als erstes nehme ich so viel Abstand zum Objekt wie möglich, um auf diese Weise alle Seiten der Tasten gleichmäßig sichtbar zu machen. Dadurch entsteht ein Bild mit wenig erkennbarer Perspektive. Mit gleichmäßiger Ausleuchtung entferne ich die Schatten. Das Ergebnis ist ein sehr neutrales Bild mit der Absicht, dass der Betrachter in der Arbeit mehr ein Bild, als eine Photographie sieht. Es ermöglicht für mich den Blick auf das Instrument des Schreibens und den Gebrauch der Tastatur zu lenken. Die Tasten wirken dadurch säuberlich sortiert und gleichsam aufgespießt wie Schmetterlinge im Naturkundemuseum.

          Wann haben Sie zuletzt ihre Tastatur betrachtet? Die Tastatur selbst ist auf dem Rückzug, kaum ein Telefon wird heute noch mit Tasten zum Anfassen ausgestattet. Der Touchscreen löst die Tastatur ab. Im Touchscreen ist die Tastatur nur noch als Abbild vorhanden als Hinweis auf etwas, was einmal war. Ich nehme an, dass dieses Bild der Tastatur bald abgelöst wird von Spracherkennungssoftware. Man könnte sich nun hinreißen lassen und sagen: die Zukunft wird nicht geschrieben sondern diktiert.

          Erinnern Sie sich wann Sie das erste Mal eine Email mit dem Zusatz “Sent from my iPhone” erhalten haben?


          Die Karte SENT FROM MY PHONE spielt mit dem Satz den das iPhone eigenständig an jede versendete Email anfügt. Nach einer kurzen Recherche in meinem Mailarchiv finde ich heraus, dass ich am 11.12.2008 das erste Mal eine Mail von einem Telefon erhalten habe. Ich finde etwas Poetisches in dem Beisatz. Die Vorstellung etwas von einem Telefon zu senden wäre vor der Einführung des iPhone 2007 absurd. Zum einen weist der Beisatz darauf hin, dass der Absender der Nachricht ein teures Telefon besitzt, zum anderen wird auf die Situation des Schreibens von Unterwegs hingedeutet. Vom Autor Harris Wittels gibt es im Englischen bereits einen Vorschlag für ein Wort, dass den Zwiespalt zwischen aufrichtiger Aussage und Angeberei andeutet: “Humblebrag“. In der Huffington Post findet sich sogar der Vorschlag, jenes auch an Mails anzuhängen die vom Computer gesendet werden “…purely to get out of writing a lengthy, detailed response”. “SENT FROM MY PHONE” ist für mich der Ausdruck eines Wandels den wir erleben, aber noch nicht in klare Worte gefasst haben.

          Typographisches Detail: gesetzt ist diese Karte in Apple Tasten die zwischen 1989 und 1992 hergestellt wurden. Das besondere an Apple Tasten ist, dass die Buchstaben nicht oben links, sondern unten links auf den Tasten platziert sind. Außerdem unterscheidet sich der Schriftschnitt kursiv und schmal wesentlich von denen anderer Hersteller.

          FORGOT TO REMEMBER TO FORGET ist inspiriert von dem 1955 erscheinen Country Song “I forgot to remember to forget” (Ich vergaß mich zu erinnern “sie” zu vergessen) von Elvis Presley.

          YES NO MAYBE erinnert mich an die Zettel die ich während meiner Schulzeit geschrieben und unter der Hand weitergegeben habe. Im Klassenraum wurden gefaltete Zettel mit großer Vorsicht und mit dem Risiko vom Lehrer entdeckt zu werden von Hand zu Hand und Tisch zu Tisch weiter gegeben. Der Inhalt blieb zumeist geheim doch wusste jeder, wer mit wem wie oft schrieb. Im Nachhinein meine ich, es wäre einfacher das Geschriebene in der Pause zu übergeben, aber das Schöne war wahrscheinlich die Spannung, entdeckt zu werden und gleichzeitig das Bedürfnis allen mit teilen zu wollen, dass man ein Geheimnis hat.

          Eine komische Zeit und wenn ich an sie denke, kribbelt die Sehnsucht ein wenig im Bauch. Diese Zeit ist unerreichbar, der Zettel ist für mich längst von SMS und Chats abgelöst worden.
          Außerdem würde ich mich nie wieder in einen Raum setzen mit jemanden, der mir verbietet eine Nachricht auf einen Zettel zu schreiben. Auf der anderen Seite würde ich nicht in einem Raum sein wollen, in dem sich andere Zettel schreiben und verdeckt übergeben.

          Das SATOR Quadrat ist ein lateinisches Palindrom. Die Tasten lassen sich vorwärts und rückwärts sowie von oben nach unten und umgekehrt lesen. Als Resultat verbreitet das SATOR Quadrat eine beruhigende Stimmung der Ordnung und Symmetrie. Das früheste datierbare Quadrat wurde in den Ruinen von Pompeii gefunden. Die Stadt Pompeii wurde 79n.Chr also vor fast 2000 Jahren unter der Asche des Vulkans Vesuvius begraben.

          Manchmal fällt es schwer SORRY zu sagen. Die Tasten auf dieser Karte sind auf gelben linierten Papier fotografiert welches ein Standart Schreibpapier in den USA ist. Die roten Sprenkel sind Abdrücke der vorherigen Seite des Blocks, auf welchem zuvor mit roter Tinte ein Liebesbrief geschrieben wurde.

          Als Symbole für die handschriftliche und digitale Kommunikation stehen beide, Postkarte und Tastatur unter dem Vorzeichen des Verschwindens. Der Touchscreen und die Spracherkennungssoftware bedrohen die Berechtigung der Tastatur genau wie einst die Schreibmaschine die Handschrift. Es ist also nicht so, dass die eine Technik die andere Ablöst, es gibt keinen Gewinner. Der Reiz dieses ungleichen Paares liegt für mich in Ihren scheinbaren Gegensätzen. Wenn man möchte, erkennt man in der Verbindung der beiden zwei sich im Abgang befindliche Darsteller, die weniger übereinander und mehr miteinander scherzen.


          Größe: 12cm x 17.5cm
          Material: 265gr Karton
          Gedruckt in Deutschland
          Druck: Offset mit UV Lackierung glänzend
          Der Artikel wird aus Frankfurt am Main, Deutschland verschickt.
          Die Versandkosten (weltweit) sind bereits im Preis enthalten.

          Größere Mengen gerne auf Anfrage.
          Ich hoffe die Informationen waren hilfreich.
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