Aleš Najbrt 1991–1995
The second half of the 1990s saw the rise of the culture of the new “normalised” freedom, not caused only by the post-revolutionary maelstrom after the implosion of the restrictive system, but a new urban civilisation with its first insecure and celebrated attempts at design books, restaurants and clubs. It was boosted by the early products of the electronic revolution, employed artificiality, dance rhythms, and sometimes even email, mobile phones and shampoo. It is hard to imagine Najbrt, a fan of the primal energy of the Sex Pistols and the Czech band Katapult, melodies by the Beatles and decent humour of the Czech actor and author Jiří Suchý, as a hardcore raver, but the optimistic synthetic colours, striking patterns adapted from the flower-power of the 1960s and pastels of the 1950s, went down well with him. He just rounded his edginess into the period ecstasy of polyester plush. At the time of creation of the visual for his own exhibition at the National Technical Museum, he was mainly enchanted by the “blur” function on his Mac LC II. He first extended his typeface Prague Five, then blurred it, and eventually hardened it. An entire deformed alphabet emerged for promoting the exhibition.
1996 Aleš Najbrt
Production estimated up to 14 days, the possibility of printing sizes S to XL
price 400 CZK