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HypoVereinsbank

Graphic Design

HypoVereinsbank

HypoVereinsbank
meditation design exklusives prospekt buettenpapier

HypoVereinsbank

Brochure

 

Project | Invitation »Meditation in Words and Sounds« by the Chairman of the Board (CEO) of Hypobank to the Board of Directors and Supervisory Board of the Bank.
Year | 1998.
Client | HypoVereinsbank Munich (today UniCredit).
Sector | Financial services, insurance and banking.
Services | Graphic design.
Note | The brochure was awarded the »German Prize for Graphic Design« with the »highest design quality« (reddot best of the best) by the Design Zentrum Nordrhein Westfalen in cooperation with the Allianz deutscher Designer (AGD), the Bund Deutscher Grafik-Designer (BDG), the Bund Freischaffender Foto-Designer (BFF) and the Verband der Grafik-Designer (VGD), among others.

Further information in German
 Design Zentrum Nordrhein Westfalen zeichnet Wolfgang Beinert aus

meditation design exklusives prospekt innenseite

Background information
A commentary by Dr Zoi Kotitsa

 

»Meditation in Words and Sounds« was conceived as an invitation for the board of directors and supervisory board of a Munich mortgage and exchange bank to the pilgrimage church of St. Maria im Weingarten on the Kirchberg near Volkach on the Main. Here Beinert wants to visualise a state, even a mood: meditation. And he becomes quiet. In a soft script, the destroyed Garamont Amsterdam by M. F. Benton, he composes a sparse text in soft light grey and wine red, the colours of the prototypographs. The silence, however, is immediately implied by the many embossed, i.e. non-printed, words: one touches and is silent. And the two pages of thin Japanese endpaper even force one to meditate: one listens while gently turning the pages and remains silent. In this way, a »meditation in tones« takes place not only through the music played during the event, but also through the material used.

At the centre of it all is the personality of Tilman Riemenschneider, who carved the famous statue of the Madonna in the Rosary in Volkach’s St. Maria im Weingarten. His name appears on the first and last page of the invitation, where there is also a short biography. However, one also thinks of the famous woodcarver through the materials used. The hand binding with bast cords and the natural paper with straw for the seal make him really (touchable).

All in all, Beinert concentrates on the essentials in the design and achieves an unusual combination: beautiful design with content.

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Wolfgang Beinert