Editor’s column

We’ve removed the logo from the cover, but anyway have to announce the content somehow. Therefore, I have the opportunity to stay in the literal sense of «carrier» of information — why don’t I print the headline on my own t-shirt? The magazine has turned to the second ten. Issues, not years old.

But sometimes I find myself thinking that Projector comes out too often. We do not have time to properly recover from the previous issue, when we realize next one is due. Sometimes you want to stay in the role of a cabinet reclusive scientist, a true book worm, having converted the relationship with time into a completely different category — unhurried, deeply academic lifestyle. What a fuss in the face of eternity?! If dreaming, it would be, of course, a magical pastime to sit down for a couple of months in the library, looking through sources, bury yourself among original documents and prepare in the end a serious article, aimed at ten (I’ll be brave — two dozens!) readers. Please don’t think I consider my magazine journalism a frivolous pastime. It’s also a job. A good job, broad one (read — shallow), superficial.

But dreams remain dreams. And I don’t want to completely give up the idea that someday I will be able to rebuild the relationship with time, do not watch the clock and start being «deeper», but not rushing like mad back and forth across the surface.



    Projector № 2(11) 2010

    The new issue with a heavenly bright black cover has ben published! Only this time Projector has let itself give the cover to the protagonist of the edition. But we don’t call him by name - everybody hip will recognize him at once.

    The magazine opens with its traditional historical publication about the hero of the twentieth century, Verner Panton, who headed the designer plastic revolution of the sixties and then throughout his life remained one of the most radical innovators in the field of object and interior design. Looking at his crazy colors, op-art ornaments and futuristic shapes, we can suppose Panton was not averse to mind-expanding drugs. But it’s all fantasy for the tabloids. In fact, Panton was one of the few designers of the twentieth century, who until last years of his life remained youthfully enthusiastic and preserved the freshness of perception and the incredible lightness of being. Anna Kozhara writes about Verner Panton. And the magazine thanks the company Vitra for their help in preparing this publication.

    panton_1
    panton_2

    Next — our protagonist. «He is here». We don’t addres him, but everybody knows who he is.

    he_is_here

    The traditional author’s project by Olga and Alexander Florensky this time presents Skeletons are different — to your arrention.

    skelettons

    Project №3 «Lettering» begins with the publication of a new historical series. Alexey Dombrovsky explores the legacy of Sergei Chekhonine. The first article thoroughly considers the three covers of his graphics albums: Chekhonin, Tschechonin, S. Chekhonin — three languages, three graphic solutions. In addition, there are many more magical font works of the artist, reproduced with the help of his lifetime editions.

    tschechonine

    Next, a Saint-Petersburg gallery owner and collector Vitaly Tretyakov presents font cards of early twentieth century from his extensive collection. Quoting the founders of lettrism Eugene Ionesco and Isidore Izu, Tretyakov gives compelling and touching proof of the thesis that a letter is «a unit of poetry and beauty».

    postcards

    Project № 4 «Subject» opens the publication by senior editor Mitya Kharshak about the collection of «traffic light men» and Berlin design project Ampelmann.

    ampelmann_1
    ampelmann_2

    To continue, there’s the traditional story of the outstanding twentieth-century design objects from the collection of Vitra factory. This time it’s the chair La Chaise by Ray and Charles Eames. Nina Filyuta tells about it.

    la_chaise

    She has also written the following text about the mysterious object of environmental design by Boremir Bakharev. His works have already been published in one of the previous issues of the magazine. This time Bob presents a black transformer that can take many forms, depending on which function you want it to have. A black box full of essence.

    black_box

    The project «Photography» presents the works and magic tools of the photographer Alexey Alekseev. He is one of the movers of the revival ofrare photographic techniques and the re-discoverer of the wet-collodion printing method. He’s a scrupulous collector and restorer of unique optical and photographic equipment of the century before last, he transforms the whole photo process from shooting to making the image into a magic mystery. By the way, both the author of the photos — Alexey Alekseev, and the author of the text — Anna Kozhara- are depicted in the portraits published in the magazine.

    alexeev_1
    alexeev_2
    alexeev_3

    Project № 8 «School» presents the works by the students of Konstantin Startsev. Now Saint-Petersburg doesn’t have a more active and really live department of graphics than the one of Startsev. At any exhibition, where student graphic design is shown, the works by his students are always the most vibrant, creative and somehow otherworldly professional and free. Next issues will undoubtedly continue showing the works by Startsev’s student. There is something to see!

    startsev_1

    In the project №9 «Books» our constant author, polymath and expert on book history Mikhail Karasik shows a rare formation of books of the 1910s — books on wallpaper! This is something completely unimaginable.

    wallpapers

    Also, Projector is diving deeper and deeper into the recent history of Russian design periodicals. The member of our editorial board Sergei Serov recalls how in the early nineties there was, and then closed the design magazine Greatis. Five issues, five heavenly beautiful covers by Vladimir Chaika.

    greatis

    Projector № 2(11) 2010

    Read the full e-version on issuu.com