![]() “Even though I prefer working digitally more – you can go back from visually bad decisions more easily.” Sauterleute also creates his designs with “moods”, aligning his work into the unique qualities and the identity of each event – especially font. “My whole workflow is similiar to when I paint,” he continues. “Abstract shapes layered over each other, woven self-made typography, and some 3D renderings.” His flyers often look like other-wordly, metallic landscapes, where smooth and abrasive textures come together, and he quotes artists such as Anja Kaiser and Kristýna Kulíková as influencial in his work. “The visual space is mostly dominated by free compositions,” he says. Reacting, collaborating and adding another layer to music through images felt - and still feels - really good.”Īlthough most of the artwork he creates is digital, Sauterleute still refers to it as “painting”. I fell in love with the freeness and the possibilities of those kinds of projects. “I focused more on the details, and always trying to improve. "He’d just started off with his Strangelove party series, and gave me the opportunity to do a couple of posters for him.” Coming from what Sauterleute describes as “painting and the sometimes lonely studio-work,” his passion for music-related projects developed. “Job had seen some flyers I’d done for the Sleep In event," he remembers. Sauterleute got in touch with Job Jobse, a regular face at Nachtdigital festival. “I wanted to work more freely, and rave posters gave me the opportunity to create images on a playful basis.” “The first two years at Leipzig’s Art Aacademy were super focused on aquiring technical skills - which quickly became quite boring to me,” he says. Finding his feet designing flyers for hardcore and punk shows, the German designer moved to Leipzig, and quickly got into rave culture, electronic music and the city’s underground scene. “As a painting student, I’ve always been driven by creating images,” Lion Sauterleute tells DJ Mag. ![]() CB are set to launch a project with Apple Music at the end of January, and recently won the pitch for the creative at the next Somerset House Summer series – we are looking forward to sharing everything we’ve created.” Check out more of Caterina Bianchini's work here. “2020 sees us welcoming our fourth member to the studio,” Bianchini shares, “we set up the studio at the beginning of last year, so it’s a really exciting time for us. Bianchini also mentions Obby & Jappari, who are responsible for outlandish designs for album artwork, as well as for bigger brands like Nike, and Hassan Rahim and Connor Campbell.Ī new decade sees more huge movements in store for the small, East London design space. “Some of my favourite designers are Ben Arfur and Jacob.J.Wise, also CMDP.FK” she says – the former having designed outside the realms of electronic music, for bands like Bring Me The Horizon, as well as for parties like Master Mix. If I was to class it as anything I'd say it is basic and pretty shit.”īianchini cites artwork by Alex McCullough for Nic Tasker’s Whities label, and London party Left Alone's, flyers, created by Our Place design studio, as work she finds inspiring. “It’s usually me just drawing something super fast because I want it to be a part of the composition, and usually the extent it goes to is flowers, cartoons, eyeballs - then back to flowers. “I do use illustration in my work,” Bianchini explains, although it’s not something that sees much development. “I like to use them in a visual way, making them part of the composition, rather than them just being used to communicate the event information.” Her designs range from more informative flyers, where the text is the focus, for clubs like Glasgow’s Sub Club, to more illustrative pieces like her 2018 flyer for Apophis Club, and London’s Five Miles. “I create the typefaces used across all my poster art, and call them art faces,” she says. ![]() When it comes to her flyers and rave art, the majority of Bianchini’s work is “type lead”, and font comes to the forefront. It trained me to work with instinct, rather than create art that abided by any sort of rules or inspired by any sort of style.” It was amazing, we would just churn out flyers - sometimes four a day. I think this was my real first insight into rave art. “It was me and Joe (Mason, London) – we were the full design department for Boiler Room globally. ![]() “I began working for Boiler Room in 2016,” she tells DJ Mag. The designer grew up in an Italian household studying the arts – art history, music and music theory – and her interests soon progressed from classical piano and opera, to electronic music. Working from a studio in Bethnal Green in a small team of three, Caterina Bianchini describes the artwork from CB as “Charismatic, empathetic, and brave”.
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