The Lost Orange by Kalina Zlatkova

The Lost Orange

Contents

4. Introduction

53. CULTURE 54. Children’s Books

7. Todor Vardjiev

58. Magazines 62. Television Graphics

13. POSTERS

66. Vinyl

14. Film Posters 18. Political Posters

70. OTHER RELICS

20. Advertising

72. Cigarettes

24. Theatre

74. Matches 76. Bottle Caps

29. Dimitar Trendafilov

78. Labels 80. Consumption

35. VISIBLE SIGNS

84. Personal Care

36. Trademarks

86. Plaques

40. Stamps

90. Signs

44. Philatelic Envelopes

47. Stefan Gruev

Introduction

Nearly twenty one years ago, I came to this Earth through the means of my mother’s womb and a small, somewhat desolated country, far away from England and deep into the Balkan mountains. Bulgaria – my Home. Post-Socialist Bulgaria to be precise. Both my sister and I were born after 1989, when Bulgaria officially rejected all Soviet influence and became an “Independent Democratic Nation”. Never the less, we were brought up in the remains of a culture which will be forever imprinted under our skin. It will always be the voice of our elders, our conscience, and our own voice which we carry within, and which we will almost obligatorily continue to carry regardless of our age and where we are in the world. It is to this very day manifested through all our surroundings. It lays within our furniture, our appliances, our clothes, our books, our toys, the tools in the garage and the jars in the basement. It’s in the kitchen cabinets where we keep the same crystal and the same dinnerware we’ve had for the last 40 years. It’s in the tiles of our bathroom, which have had the exact same pattern since the house was built back in 1953. Where I come from, time has stopped, and even if the Communist Party is no longer in power, everything still looks the same, it only feels different. But not good different. The majority of people in Bulgaria don’t have a lot nor are they brought up with much. Such is the case with my family. Belongings are passed from generation to generation. They are cherished and treasured, not because of their monetary value but because the opportunity to exchange them for their modern equivalents is simply - non-existent. What one is born with is what one has, it is in our own interest to make things last, even if they are already older than the age of both us and our siblings summed together.

I remember when I was a child, my uncle gave me a book which my grandparents bought him back in the time when they were living in Algeria and he was attending a Russian school there. The book itself was in Russian. It was the story of a little orange, with a purple vest, which gets lost in a forest and befriends a beetle and a bear, who later on help him find his way home. The plot isn’t anything special, but the illustrations in the book – they were divine. Never since have I been equally mesmerized by such skill as the one which was portrayed in the drawings and the detail of that story. And I remember the feeling with the same intensity still, for that was the first time I was able to say with certainty, that when I’d grow up, I would love to make books which would be held and gazed at with the same praise and affection. The objects which have indeed lasted, which live on – do so in every household. And not only. They are in our street signs, our trademarks, our schools, our adverts, our fashion, our architecture, our products, our agriculture, our technologies - our whole life. We don’t notice them, but they haven’t faded because the people who built them, made sure to create them in such a way that they’d always be of not good, but great use. They will always be contemporary, because their design is timeless. It is precisely from this timelessness that we grow as the children and grandchildren of a culture which no longer reproduces but never seizes to exist. The men and women who constructed and enforced the basis for this model, the many talented Bulgarian illustrators, designers, architects, musicians, writers, bohemians – all artists, are the ones who have today replaced their great teachers and become masters of the creative trade. They are the link to what remains of the greatest era in Bulgarian design so far.

This book has been built from the many projects and graphic masterpieces of great artists like Boris Angelushev, the father of Bulgarian Illustration, and Stefan Kanchev – the Father of Bulgarian Graphic Design. These great people, their students and colleagues are whom we receive inspiration from. The brilliant minds which did not succumb to political propaganda and kept creating beautiful works of art just for the sake of it. Just because they had the same passion and love for a piece of paper and a single brush as we ourselves have today. The following pages carry some of my personal favourite works, artists, their personal messages and teachings. This is not an encyclopaedia of all Bulgarian design ever made, if such is your expectation, then put the book back on the shelf and move on. If not, then you are more than welcome to indulge in and fall in love just as I have, with every object and every word printed hereby. With the hope you shall find interesting things, which will set your imagination ecstatically ablaze, I leave you to it, and if indeed you come across anyone you like, write their name down, look up their culture, become part of it… and then share it with the rest of the world too.

“ Typography is both magic and pain the Art of all Time! ” 7

Тодор Варджиев

Born in 1943 in Blagoevgrad, Todor Vardjiev, attended the Academy of Art in Sofia and after winning a international design competition, carried on with his studies in Germany. He graduated from the Herder-Institut for German and the Academy of Graphic and Editorial Design in Leipzig. In 1972, he obtained his master's degree in Editorial and Graphic design in the course of Prof. Dr. Albert Capri and prof. Walter Schiller. After graduation he returned home to become an artist-editor for the publishing media Народна Младеж (People’s Youth) and three years later linked his fate with the National Academy of Arts, where he teaches today. Between 1989 and 1990 he served as Vice-Rector, and during 2003 and 2005 became head of the department "Book and Printed Graphics". From 2007 to 2008 he was a visiting professor at the University of Applied Sciences in Amman - Jordan. Along with the large number of creative expressions at home and abroad international awards won by the artist also deserve special attention. Among them are a bronze medal at the International Book Fair - IBF, Leipzig, 1977; as well as gold and silver medals at the Biennial of Graphic Design Brno (1980 and 1984), of which he is a honorary member. He is also responsible for our current set of identity documents, the trademarks of the National Academy of Arts, the airline "Bulgaria Air", the Ministry of Environment, Sport-Toto, Atlantic Club in Bulgaria and ДАИТС (DAITS). He has demonstrated in many European and world capitals, through design reports and calligraphy, the achievements of Bulgarian design. Typographer, calligrapher, graphic designer and teacher, prof. Vardjiev stands among the individuals who have strongly influenced the development of some of the leading contemporary Bulgarian graphic designers.

Prof. Vardjiev how did it happen, how did you recognize the silhouette of a letter as a sign of your own game’s field? I’m reminded of an anecdote: "What is your work?”, "I paint.", "Yes, you paint, but what is your job?". Well, I have been painting since I was little. "Pictures" in books impressed me. When underneath some of them was written a short sentence, I always searched for it in the text. Maybe in a way of checking by myself how the artist had done his job. My father also painted. He was an amateur. He didn’t know the notes, but still played the violin regardless – an old Czech one. He didn’t ask of me to "play" nor to paint. Everything was in goodwill on my behalf. Even when an ad came out in the paper for open admission to the Art School in Sofia, my word was the final and crucial one. My father painted "for himself" - Hristo Botev, Vasil Levski, Gotse Delchev. Only in black, framed portraits on the walls in our kitchen, where we used to sit for longer. They looked like the originals but my father thought necessary to 'artistically' write their names under each image. I really envied him for those drawings. No less fascination did I feel for their names. In fact, whilst I accepted drawing as a normal and achievable occurrence, I perceived letters as an unusual event – in simple terms, not a job for anyone. I didn’t understand, but I felt that everything was exactly in place. I don’t remember my father watching from somewhere. He was a milkman, my grandfather – a lime-burner. Which is probably why I "fall" for white. And to make whites whiter I reached for the black. Where is there anything blacker than black letters? We paint them black, look at them on the monitor in black, and read them in black. Here we are not thinking only about the graphic black form of written signs, but about "playing" with the white – the one on the inside and the one which surrounds the letter. For me the highest height of “aerobatics” is the drawing of a letter sign - the graphic symbol of sound for millenniums. A phenomenon, thanks to which, civilization has been preserved until today. As I entered the Academy of Arts, my biggest influence was one of my first teachers - Prof. Dr. Vasil Yonchev. He was an outstanding teacher, our greatest theorist in size today, author of remarkable scientific works, awarded at world forums such as the International Book Fair in Leipzig. His lectures at the Academy will remain unforgettable to me. It was exactly my love for typography the essential spark which inspired me to continue my education in Germany.

Why do you think it is important for fonts to be designed by artists? What makes a virtuoso of digital technologies incapable of creating a typographic font?

In the process, some projects are of particular importance for their creators. Which of yours do you consider in particular as individual achievements?

With this question you throw salt at the wound. Today we live in a “market” economy and anyone can produce whatever they want as long as they can sell it. In our country there has always been a hunger for variety, for beautiful fonts and the change of 1989 unleashed the initiative in this area. Great computer specialists "bit" into the Latin models and rushed to “Cyrilise” them. And because appetite comes with eating, they also dipped into copyrighted products. Not only them but also some "colleagues" from the guild reached for this “simple” activity as well.

How not to feel satisfied with the fact that every Bulgarian carries in his pocket an ID card or passport, and every driver – a license - documents whose artistic graphic design I have suffered for.

Concepts and issues such as aesthetics and anatomy of letters, the architectonics and ergonomics of type were foreign to them. Typography is both magic and pain - the art of all time! Is it enough for a font just to be read?! And where is the aesthetic message, the beauty of the individual character of the entire typographic assembly? Today in the conditions of our full membership in the EU, we must design not only the Cyrillic, but also the Latin and Greek alphabets. Such a creative effort requires not only talent, but also skills – both specialized theoretical and practical training. What is the most valuable, for you personally, professionally recognition you’ve received so far? It's hard to answer because I work in different areas and any acknowledgment of my efforts is warming. Whether it was the kind words of my teacher Prof. Dr. Vasil Yonchev for my drawings of the font "Serdika", or the commemorative plastic composition “Faith, Hope and Love” in the gardens of the Vatican – it’s all the same. I would not say this is vanity. It’s true that I work for myself, but it is not without any meaning to be noticed by others. Reassurance has always pushed me forward.

Some time ago I returned from abroad with the airline "Bulgaria Air". I remembered the options I went through for the final logo of the company. On "Tsarigradsko Shosse" a bus drives pass the taxi I’m in and it carries an advert of an environmental campaign with the symbol of the Ministry of Environment, followed by another with a sign of the travel agency "Karat-C", we drive pass the local lottery kiosk and I smile. The driver asks why; "I'm glad to be home" I say. I get home, I open my mailbox and in my hands falls an envelope tagged "Bulgaria - a member of NATO." And again - I smile. Where do you think the divide is between craft and creativity in graphic design? Complete freedom reigns over our market and everyone spews production of any kind. Be it logo, book or poster, it does matter - "the sea is knee-deep." With such a magic wand - the computer - anything can be achieved. And unfortunately 'the product' catches the eye of the one placing the order. Until next time. To not be misunderstood – I bow indeed to the great invention of the computer. Without it today the creative production of design would be unthinkable. The craft in our work is mandatory. Without it, there are no more heights. But the real work, it all begins from there - and on. The thing to reach the user is not in the box (PC) in front of the artist, but in his head. And vice versa - very witty ideas are ruined because of weak craft. So I try to instill in my students not only to think with their heads, but to also master their hands.

Ministry of Environment and Waters - Trademark Design

Nationa Academy of Art - Trademark Design

Bulgaria Air - Trademark Design

Two beautiful eyes... - Peyo Yavorov, Poster

Classicism - Typeface

Pautalia - Typeface

How do you perceive the importance of the graphical representation of text in modern Bulgarian literature? Please share your opinion on the typographic problems of our Cyrillic.

During many years you worked for the construction of typographic culture in the students of NAA. Do you think that artistic training has utmost importance for the work of a graphic designer?

Regardless of how poor the palette of Bulgarian fonts is on our market, today they are indeed sufficient to deal with given creative tasks. I dare say, there is a so-called problem of a sort with the Russian and Bulgarian Cyrillics. This is a topic for another conversation, but after Bulgaria's accession to the EU this issue is especially current. Our goal is to convince the European institutions to adopt the Bulgarian Cyrillic alphabet with its distinctive differences in the form of the main and small, regular letters.

Yes, for many students have passed through my studio in NAA. I’ve observed both our educational process and the practice beyond our borders. My dream has always been for our students to work on specific projects from outside. This is the truth. And fortunately we have such cases. Now we are starting work with a graphic design magazine for the Jewish community "Chalon" . The students are very enthusiastic.

What has happened never the less? We, even here in our own house, cannot unite around this problem. Take any book and you will find that priority is given to the Russian version and few of the publications actually use the Bulgarian original. But once selected a certain typeset before the designer arises the problem of applying it to the final printed product.

As for the typography of our young colleagues, it is being built and the Academy is a serious basis for it. Many of our graduates have shown their true academic training in creative practices outside. However, I also wish to say a few words about ability, talent, fire, energy and passion. Sedulity, diligence and discipline are mandatory for any self-respecting artist as the great Italian master Bodoni has said.

Undoubtedly, the market meets well-made editions, the work of good teams of professionals. And I'm talking about domestic production, because foreign traditionally holds true quality in every aspect. Now, we also have access to modern polygraphy and realization of a particular project is not an issue.

It’s complicated to talk about the leading importance of artistic preparation for the work of the designer. In any case, it is an important prerequisite for any decision on a particular graphic task. The training in the academy is up to standards - practice proves it.

Quite often we can enjoy the wonderful examples of creative attitude shown by Bulgarian artists in regards to the matters of the book. Fortunately, there are young designers with very high graphic culture.

But I know good colleagues who are without academic training and still deal quite successfully with the problems of design. I even portray them as an example to my students - if one has interest and enthusiasm all results can be achieved. Even in the Renaissance we had such examples. A brilliant mathematician and cartographer – Mercator, remains in history with marvellous calligraphic works, influenced by Italian models.

Of course there is no shortage of printed production, where text and images are simply “poured” in a general whole without any graphic concept and the main aim of the founders was the publication to come out. Even worse is the case when we can observe such a practice in textbooks and teaching material. Let’s hope that such cases will be met in time less frequently.

What would you like to say or wish to our younger colleagues who are now taking their first steps into the industry? If anything has held me at the Academy for more than 30 years, it is precisely our young colleagues. I had the good fortune of study under great teachers - here at the Academy prof. Dr Vasil Yonchev, in Leipzig - with Prof. Dr. Albert Capri, prof. Walter Schiller and prof. Hildegard Korger - outstanding professionals in the aesthetics of font and typography. Even more so – they “let me in” both as a professional and person. It’s possible that this is my “fault”. I have been seeking that same magic for so many years, with all my students. I do not know what I say or teach them, but I'm glad that today we meet as both colleagues of equal worth and true friends. I feel proud, as I turn the pages of their new book and hear about their prizes - enjoying every aspect of their welldeserved success. I am pleased, that the seed hasn’t been thrown in vain!

Kapka Kuneva ProGrafica Magazine, 2011

Do you think modern designers are obligated to comply with the “popular taste”? A strong, confident creative artist is not required to comply with “mass taste.” He is well acquainted with the contemporary vision of printed press and is sure that his train will have passengers too. Perhaps here a saying can be applied “I’m not rich enough to buy cheap things.” Beautiful editions increasingly find their admirers. It falls more and more in the hands of lovers of good books, even if not to buy.

POSTERS

Филм

1. Dangerous Charm, Rumen Tsanov, 1984 2. Yan Bibiyan, Dimitar Tasev, 1985 3. Time of Parting, Asen Stareyshinski, 1988 4. Khan Asparuh, S. Borisov, 1981 5. My Father the Painter, Valkanov, 1974 6. The 13th Fiancé of the Prince, 1986 7. Manoeuvres on Floor Five, Dimitar Tasev, 1985 8. Ladies Invite, L. Mihailov, 1980 9. Darling No 13, Dimitar Serezliev, 1958 10. Hedgehogs are born without spines, h1971

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11. A Sir for a Day, Petar Petrov, 1983 12. With Kids to the Sea, N. Kovachev, 1972 13. Indian Summer, Bozhidar Yonov, 1973 14. Orchestra with No Name, Asen Stareyshinski, 1982 15. War of the Hedgehogs, S. Hristov, 1979 16. Everything is Love, Simeon Krastev, 1979 17. Rootless Tree, Dimitar Tasev, 1974 18. Thereâ&#x20AC;&#x2122;s nothing better than Bad Weather, Racho Burov, 1971 19. Donâ&#x20AC;&#x2122;t go, Rumen Tsanov, 1975 20. Bonne chance, Inspector!, Dimitar Tasev, 1983

Политика

1. 10th Congress of the Bulgarian Communist Party, G. Chimshirov, 1971 2. October revolution, Commemoration, 1917 - 1970 3. 9th of September, Petar Petrov, 1969 4. 50 Years USSR, 1972 5. 15th Congress of CPSU, Dimitar Serezliev, 1975 6. October revolution, Commemoration, 1917 - 1970 7. October revolution, Commemoration, 1917 - 1970 8. Day of Victory, Racho Burov, 1980 9. 60 Years USSR, Ognyan Funev, 1982 10. 12th Congress of the Bulgarian Communist Party, 1986

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1. Former State Economic Association Balkancar 2. Former State Economic Association Rodopa 3. United Projects Organization Varna 4. Energoproekt 5. Institute of Research and Construction 6. Kosta Stoev, Gabrovo 7. Promkombinat Shipka, Plovdiv 8. Former Regional Economic Association Burgas 9. Former Regional Economic Association Pleven 10. Former Regional Economic Association Plovdiv

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11. Former Regional Economic Association Stara Zagora 12. Combine Rodopa, Blagoevgrad 13. National Insurance Institute 14. Trakia Cigarette Factory 15. Rila Fashion House 16. Former State Economic Association Resprom 17. Former State Economic Association Bulgarplod 18. Former State Economic Association Bulgarplod 19. Zagorka Beers 20. Kapriz Perfume, Pharmachim

Театър

1. Emigrants 2. The Protocol of a Meeting 3. Trap, Asen Stareyshinski 4. Fishermen Fights, Asen Stareyshinski 5. Meeting point, Asen Stareyshinski 6. Troubled Hearts, Vasil Dokev 7. Letters, G. Angelov 8. King Lear, Ognyan Funev 9. In the name of the Epaulette, Ognyan Funev 10. Retro, Ognyan Funev

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11. A Ball in Savoy 12. Worries for the Girls, Vasil Dokev, 1977 13. The Golden Turnip 14. Andalusia, Ralitsa Stanoeva, 1985 15. The Daughter of the Czardas, Ralitsa Stanoeva, 1986 16. Carrie, Ralitsa Stanoeva, 1985 17. The Wizard of Oz, Ralitsa Stanoeva 18. The Bat, Ralitsa Stanoeva, 1984 19. The Forger, Ralitsa Stanoeva , 1986 20. Operetta Mafiosa, Ralitsa Stanoeva, 1982

“ It’s important for a person to simply be an artist.” 29

Димитър Трендафилов

Born in 1937 in the town of Burgas, Dimitar Trendafilov graduated from the National Art Academy in Sofia from the illustration studio of prof. Veselin Staikov. In 1965, he specialized in typography in Tallinn and Prague. Working in the field of editorial and graphic design, he is the author of tens of private typefaces. He put out many calligraphic viewings through several joint and solo exhibitions in Bulgaria and Europe. He also won many awards for print and was awarded the “Alexander Zhendov” prize by the Union of Bulgarian Artists. Along with his creative performances, being a renowned artist he was also a professor of calligraphy and typography at the Academy. Students discovered the uniqueness of his teaching ability by his way of provoking everyone to manifest their individuality through letters. It is because of him that they were always encouraged to unlock their true artistic capabilities, using type in any graphic product. Prof. Dimitar Trendafilov passed away on the 17th of March of 2016.

Prof. Vardjiev how did it happen, how did you recognize the silhouette of a letter as a sign of your own game’s field?

Has your approach to professional tasks over the years changed? How does experience influence creative work?

Oh, this is a very complicated question you are asking - I like the simpler things.

Yes of-course! I find myself continuously changing it. I appreciate the work of the Dadaists and especially Francis Picabia, who said: “Our head is round, so that we can switch directions.” I try to switch them a hard as I can, I have a great desire to try new things.

How did I recognize it ... maybe, even in my early childhood I’d say? In Burgas, where I was born and grew up, there was a small printing house, which was held by a Czech named Frantisek – a very nice and interesting person all through. The studio was small but all lined and filled with posters which fueled my imagination and curiosity. I could stand there all day. Once, Uncle Frantisek gave me a paper and pen and told me to write “Exotic Perfume” by Baudelaire. He showed me some technical subtleties, though he himself was not the greatest calligrapher. Once I had written the text he told me to keep repeating it. I did it over and over several times and I saw for myself how the outcome was becoming better after each time. The real beginning of it all was when I started to cooperate with Boris Angelushev for the newspaper “Literary Front”. That was for me the greatest “school”. What is the most valuable, for you personally, professionally recognition you’ve received so far? Most valuable for me was when I used to go on Saturdays to show a new heading to Boris and he’d like it. He always greeted me first, then he used to take the brush and the writing would become unrecognisable, however, the praise itself for me was the greatest satisfaction. Which of your projects would you rate as your greatest personal success? I always consider as the greatest achievement the last piece of work I have done.

In the past few months I worked by means of ebru. The outcomes were shown in a joint exhibition with Krum Damyanov. Three of the works were also shown in my last solo exhibition in Turkey. Now I think we need to continue with siligraphy. Where do you think is the divide between craft and creativity in graphic and print-design? I do not know exactly where the water sheds. I’ll tell you, however, that skill is not particularly important for me, though I generally pass for a handy man. I will remind you that Dufy started working with his left hand because he became too handy with his right. For me it’s important for the person to simply be an artist. Today, the role of the computer cannot be questioned as a tool in the design process and setting of fonts and graphics. You, however, also call for it and defend its use in calligraphy. Yes, because it is a kind of tool. In my calligraphic work I now use mainly a tablet, this is a very interesting and useful tool with many possibilities. How not to use it, if it facilitates my work? It has long ago been embraced that everything you can do on a single sheet, even mixed media, is permissible as long as you do it yourself instead of chewing on “semi-finished food.”

Please Share your opinion on the problems of our Cyrillic script. I think this is a very difficult thing to portray because the Latin alphabet is perfect. The incident in the history of type design, not only to me, is that the Phoenicians invented the phonetic alphabet, handed it to the Greeks, then to the Etruscan, and then - the Romans and the Romans, knowing harmonious relationships and proportions managed to reach this great height in aesthetic terms. In our script, the characters which were implemented into the Greek font root are not quite so perfect. I have personally made repeated efforts over the years to seek and re-create their form in calligraphy and I still cannot reach this same perfection because the task itself is very difficult. In any case I’m not about to accept the Latin alphabet. I write in Cyrillic and Latin, but I am convinced that the Cyrillic alphabet is our identity. The Typography in our country during the “regime” was not developed. More specifically, there was no typography in truth, although individuals such as Boris Angelushev, Stefan Georgiev, Alexander Poplilov, Stefan Kovachev, Vasil Jonchev, Vladislav Paskalev and others devoted many hours of artistic energy to the development of this Bulgarian cultural transfer. Now typography is born anew and by using digital means. I congratulate everyone who has chosen to work in this direction, because such work is needed.

The Birth of “R” - Calligraphy and Lettering, Poster

The Root of Typography and it’s Colours - Lithography, Poster

Unfathomed Feeling - Serigraphy, Print

For many years you have worked in means of building the typographic skills of your students in the Academy. Do you think that artistic training is leading in the work of a graphic designer? Indeed, ever since I entered the Academy, I have not gone out, perhaps to my own shame. I started in 58th or 59th, and this is the last lecture Iâ&#x20AC;&#x2122;m giving in my studio. Maybe thereâ&#x20AC;&#x2122;s some symbolic meaning to it... Or I simply love the Academy. Of course that artistic training matters. Artistic education is a long process of accumulation. Graphic design is not like painting, you cannot afford to paint a picture for three months. We need quick responses, and they have to be very informed. Graphic design is a job for intelligent people, not intuitionists. It requires graphic intelligence. I think many young people follow only what their teachers do, instead of listening to what they are actually saying. What would you like to say or wish to our younger colleagues who are now stepping into the industry? Well, to be alive and healthy and mostly have a chance. I had a great teacher Boris Angelushev - this was a great chance. Graphic design is very nice profession. This is something that can make sense of your life, make you happy. To enter everywhere - in the most interesting and beautiful places that one can dream of. To illustrate a book, to enter the world of the author - when you absorb all actions related to such a task, work becomes a game, it becomes great fun. To get there, however, one has to do a lot of work indeed.

Kapka Kuneva ProGrafica Magazine, 2011

VISIBLE SIGNS

Запазени Марки

1. Sofia Zoo, Kiril Gogov 2. International Children’s Assembly A Flag for Peace, Asen Stareyshinski 3. Balkan-tourist 4. Sofia Art Gallery, Bogdan Mavrodinov 5. Cooperative Union, Georgi Kafedjiyski 6. Victory, Kostadin Otonov, 1983 7. Poultry Combine Purvomay, Ludmil Dimitrov 8. Balkan Airline, Stefan Kanchev 9. Balkancar, Stefan Kanchev 10. Theatre Libraries, Asen Stareyshinski 11. Hotel Vitosha, Biserka and Todor Ognyanovi 12. Bulgarplod 13. Factory Child’s Joy, Veselin Damyanov 14. SEA Non-alcoholic beverages and mineral waters, Luben Petrov 15. Construction Materials Corporation, Mihail Mechkuev 16. Dairy Industry Sofia, Sasho Kamenov 17. Central Heating Company, Sotir Sotirov 18. Bulgarian National Television, Stefan Kanchev, 1959 19. Swan Sofia, Stefan Kanchev 20. International Folklore Festival, Stefan Kanchev 21. National Palace of Culture, Stefan Kanchev 22. Metropoliten, Sasho Kamenov 23. Neftochim Burgas, Sotir Sotirov 24. Bioinvest Sofia, Stefan Kanchev 25. Bulgarian Mail, Stefan Kanchev 26. International Fair Plovdiv, Stefan Kanchev 27. Meat Combine Rodopa, Stefan Kanchev 28. New Drama Theatre Tears & Laughter, Stefan Kanchev

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29. Petrol, Stefan Kanchev 30. Central Universal Market Sofia, Stefan Kanchev 31. Central Puppet Theatre Sofia, Stefan Kanchev 32. Experimental Photography group Stilb, Tashko and Mihail Popovi 33. Biennial of Applied Graphics Varna, Hristo Aleksiev, 1981 34. Economic Development Organization Ruen Sofia, Hristo Hristov 35. Institute of Essential Oils and Proteins, William Kitanov 36. Sofia Press, National Press Club, Stefan Kanchev 37. Sofia Theatre, Stefan Kanchev 38. Union of the Bulgarian Artists, Stefan Kanchev 39. National Satiric Theatre, Jose Sancha 40. Chocolate and Confectionery Factory Pobeda Burgas, Hristo Hristov 41. Balkantourist Sofia, Tsvetan Iliev 42. Sportswear Sportporm, Georgi Antonov 43. Do It Yourself, Dimitar Chaushov 44. Days of Bulgarian Music Plovdiv, Kostadin Otonov, 1983 45. Telephone Factory Belogradchik, Mariya Goranova 46. Centre of Bulgaristics with BAS, Nikolay Pekarev 47. 90 Years Party Press, Petar Kraklakov 48. Muzika Publishing House, Svetlozar Pisarov 49. Aerial Mail, Hristo Hristov 50. Institute of Ventilation and Filtration Technologies 51. Ceramics Factory Vidin, Krasimir Krastev 52. Design Studio, Nikola Nikolov 53. Sports Club Sokol, Penyo Penev 54. Electric Boards Factory, Sasho Kamenov 55. Pisciculture Company Vratsa, Todor Mitov 56. Creative Fund of the UBA, Georgi Kafedjiyski

Пощенски Марки

1. Second National Philatelic Exhibition Sofia, Stefan Kanchev, 1968 2. Aerial Transport, D. Rusinov and B. Dimitrov, 1965 3. New Year, Stefan Kanchev, 1987 4. Environmental Protection 5. 60 Years USSR, Kiril Gogov 6. Bulgarian Traditional Tales, Vladimir Korenev and Stefan Kanchev, 1964 7. 13th Congress of the Bulgarian Communist Party, Petar Petrov, 1986 8. 7th Summer Athletic Games of the Friendly Armies, Dimitar Tasev, 1989 9. 11th World Festival of Youth and Students, Cuba, Bojidar Yonov, 1978 10. 1 000 000 Ton of Ships, Built in the People’s Republic of Bulgaria, Milka Peykova 11. 25 Years Bulgarian National Television Broadcasting, N. Kovachev, 1979 12. International Day to Fight Hypertension, Hristo Hristov, 1978 13. 9th World Festival of Youth and Students, Sofia, D. Rusinov 14. 100 Years Bulgarian Messaging, Stefan Nenov 15. Rail Transport 16. 60 Years Newspaper Rabotnichesko Delo, Petar Petrov 17. 7th International Biennial of Humour and Satire, Gabrovo, Stoyan Dukov, 1985 18. 15 Years Since the 9th of Sep. 1944, Boris Angelushev 19. International Philatelic Exhibition Kapeks, Toronto, Stefan Kanchev, 1987 20. Bulgarian Folk Tales, Vladimir Korenev, Luben Zidarov and Stefan Kanchev, 1961 21. Spring, Stefan Kanchev, 1971 22. New Year, Stefan Kanchev, 1976 23. Week of Children’s Books and Arts for Kids, Luben Zidarov, 1969 24. Children Series, Borislav Stoev and Stoyan Anastasov, 1966

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1. European Volleyball Championship, William Kitanov, 1981 2. International Year of the Fight Against Apartheids, William Kitanov, 1978 3. International Year of the Woman, Stefan Kanchev, 1975 4. 3rd World Championship of Athletic Acrobatics, Sofia, Kiril Gogov, 1978 5. 100 Years of Bulgarian Professional Theatre, Ludmil Chehlarov 6. 40 Years UN & 30 Years of PRB in the UN, Stefan Kanchev, 1985 7. 12th Congress of the BCP, Stefan Kanchev, 1981 8. Black Sea Tourism, V. Vasileva, 1972 9. Decorations from Bulgarian Renaissance Houses, Stefan Kanchev, 1982 10. 17th International Book Fair, Sofia, Hristo Hristov, 1986 11. World Canoe Championship, Plovdiv, Dimitar Tashev, 1989 12. International Fair-Exhibition THTM, Plovdiv, Y. Konstantinov, 1989 13. Inter-hotels, Hristo Hristov, 1982 14. 18th World Gymnastics Championship, Varna, Ludmil Chehlarov, 1974 15. 45 Years since 09/09/1944, Dimitar Nikolov, 1989 16. 9th of September of 1944, Petar Rashkov, 1974 17. 10th Congress of BCP, Alexander Denkov, 1971 18. Spring, Neva and Nikola Tuzsuzovi, 1966 19. Festival of Humour and Satire, Gabrovo, Stefan Kanchev, 1975 20. Air Post, Stefan Kanchev, 1969 21. 13th Congress of BCP, Petar Petrov, 1986 22. Conference for Security and Cooperation in Europe, Stefan Kanchev, 1974 23. 4th Regional Festival of Artistic Performances, Asen Stareyshinski, 1974 24. 4th Regional Festival of Artistic Performances, Asen Stareyshinski, 1974

Първодневни Пликове

1. October 1917, 1977 2. 8th World Philatelic Exhibition, 1984 3. Petko Rachov Slaveikov 4. 9th Congress of the Bulgarian Hunting and Fishing Union 5. Happy New Year, 1977 6. 30 Years Bulgarian Civil Aviation 7. Philatelic Exhibition, Pazardjik, 1977 8. Transstroy 1927-1977 9. Cosmic Era 1957-1977 10. 4th Philatelic Exhibition, Stara Zagora, 1978 11. 8th of March, 1978 12. Nikolay Riorih 13. Treaty for Friendship, Cooperation and Mutual Aid between PRB and USSR, 1978 14. National Party Conference, 1978 15. Sotsfileks, 1978 16. GDR 17. International Philatelic Exhibition, Silistra, 1978 18. 4th Philatelic Exhibition, Varna, 1978 19. 24th of May,1978 20. 1st of May,1978

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“ Preparation is the suffering with which we pay for our success.” 47

Стефан Груев

Stefan Gruev was born in Sofia on the 10th of September of 1944. In 1963 he graduated from the capital’s School of Arts, and in 1972 - “Applied Graphics” at the National Art Academy. He has worked as art editor in the publishing houses “Science and Art” (19731974) and “Bulgarian writer” (1974-1987), and was also head editor for the “Hristo Botev” publishing house (1989-1991). Since 1978 he has been teaching at the National Art Academy - first in the department of Typography and later in Editorial Design as well. He is currently an associate professor in the department of “Book and Printed Graphics”. He has participated in many exhibitions of applied graphics (Sofia, Moscow, Havana), national exhibitions of illustration, book art and typographic international competitions and biennials. Among the awards he has received are the bronze medal at the IBA - Leipzig, 1977 .; First Prize “Flag of Europe”, Mannheim, Germany, in 1983 .; first prize for a symbol of “Lago di Garda”, Italy, in 1984 and awards at national exhibitions and competitions for the most outstanding book and print. He is an honorary member of the Union of Bulgarian Artists.

How were you drawn to the profession of applied graphics? In art school I had the chance to be a true disciple of artists - erudite personalities, maestros, aesthetes. One of them, Ivan Ivanov - taught us about decorative arts, initials and lettering. Thanks to him I began to see and understand that the eye is associated with taste. And good taste for the applicator of graphics is equal to good manners in the career of a diplomat. My career went well - from Ivan’s student I became his colleague, and finally - his friend. What is the most valuable for you personally, professional recognition you have received so far? That would be the card I found in my mailbox after New Year’s Eve. It read: “To the artist and bohemian Prof. Gruev, with wishes for a Merry Christmas and a year full of happy moments in 2006! With gratitude for the serenity and trust, which you gifted me with through the year: N.” I was infinitely touched by the lines written by this talented girl, a former student of mine. The recognition lies within the arrangement of address: first - the artist, second – bohemian, and last - Professor. This is enough for me. How do you relate to the allegation that debt to functionality prevents creativity in design? Whoever said this is mildly said - a fool. Design is a crossing of function and aesthetics, and creativity is the combination and balance between the two. Ignoring one of the elements leads to everything else except design. It’s all about behaviour of thinking. It is one thing to share through art something of your own, intimate, and another to tell through art something else to others. One is personal, a free act of creative expression without the time and address of the message. The other is a driven creative act with a specific purpose, which includes both the time and the address of any message.

Education is the ability to express yourself in an appropriate form, to be understood. As for the emotional and rational - inside every author they are in different proportions and this creates a wealth of handwriting. Do you see in the emergence and development of electronic media a threat to the future of the printed book?

What are you working on now? I do nonsense. (Laughs.) My oldest dream is to make harmless unnecessary but pleasant nonsense. I’m trying to turn my profession into a hobby. I have developed a provocative game which I named Charlie Chaplin. This is a humorous parody of life. Life in which we all play roles defined by our director.

This issue is addressed to the future, which, as is known, depends on the past. Years ago I asked a prospective student how she imagined the present if the book had never existed. The answer came immediately - “I cannot imagine it.” The story of the letter and the book is the story of civilization and if there is any threat, it is not to the future of the printed book but the future of civilization itself, to its humanistic content.

The figures depicted on the cards are a kind of “cartoons” built as counterpoints of Charlie’s character. They are archetypes of the first half of the XX century, each with its own national, professional, social and psychological profile. Through them I solve for myself graphical problems associated with stereotypes presented in concise, two-dimensional shape in the form of pictograms, ideograms, indices, symbols and others.

Today self-involved humanity is shocked by the volume and all sorts of information that we produce and therefore must be consumed. Mass consciousness is overwhelmed by the visual abundance to the point of disgust and reading as intellectual effort comes in more. Congestion is a fact. As well as bluntness.

It is hard work, because I will need the help of a mathematician to figure out the rules too. (Laughs.) By any means, the game can be a useful narrative tool for story-authors of pink novels, yellow pulp fictions and soap TV series.

Theorists and technocrats search in panic for a solution. Some of them have formulated it so - technology runs ahead of the stereotypes of our thinking, so to catch up with technology one must blast the crops of previous cultures and to replace reading with other visually encrypted systems, to meet the twilight of the alphabet and accept mass amnesia as a new beginning. Frankly - Obtuse. If this happens, we will move on to a command perception of images without the intervention of the imagination, digestion will replace thinking and artificial insemination will become the highest form of inter-sexual contact. And here and there in some boutique we will find books - expensive luxury items, wanted solely for decoration.

25 years Association “Green Balkans” - Stamp

Lago di Garda - Logo

Charlie Chaplin - Card Game

You have a special attitude towards non-traditional spatial structure books for children. Why do you think game-books are so important for children? I wish I could describe this kind of publication as “fantasy which generates imagination.” Game is the key word. A part-time game between the mature artist and sweet little person. The artist plays while creating their whim, thinking about and for the kids, who will continue playing in their own way. What a feast for both is the game! Imagine conducting the following (inadmissible) psychological experiment to compare the intellectual development of two children of the same age and status. One entertains with children’s programs on the screen and the other with book-games in their hand. If the experiment continued until their maturity as programs and books are changed by age, we will finally meet with two very different individuals. Which of them will be more intelligent? For years you have been lecturing in the department of “Editorial and Graphic Design” at the Academy. Do you think art training has paramount importance for the work of a graphic designer? It depends on the preparation. In training there are two subjects - a student and teacher. Assume that as quality, these subjects are “Weak” and “Excellent.” Outlines emerge for four options, of which only one works - an excellent teacher and an excellent student. That’s how things stand both as a jokes and combinatorics. The truth is that the graphic designer must be literate, he has to learn the grammar of the craft, to handle the rich vocabulary of visual language. The right learning environment will help him to form taste, artistic capability, aesthetic criteria, and so on. Through the years I remember just one student who did not need a pastor nor a congregation. His first name is Philip.

Modern technology and materials have undoubtedly raised the quality of printed outcomes in our country. Regardless, in terms of aesthetics, things are not so straightforward. Artists, publishers or consumers are to be held responsible for this? Technologies, materials and aesthetics. Who serves whom? – A storyline for perverse fiction. To sew a dress for a woman or to sew a woman for the dress? When I hear the word “contemporary” in the context of “modern” and fashion, I feel sick. Before my eyes I see a cartoon (“Le Rire,” Paris), which illustrates the case: Some idiot with an axe, just cut a big tree, he is sitting on the trunk in the posture of “Thinker” by Rodin and is mesmerized by the sight of sprouting of weed. That’s is the situation. If this idiot is the artist, publisher or user it does not matter, since he absolutizes the means, and the not meaning. And because it is still not understood that culture is a millennial redwood and that fashion is simply a year lasting weed. What would you like to say or wish to our younger colleagues who are now stepping into industry? There are two forms of ambition - extroverted and introverted. One is directed outward and the other - inward. Choose the second!

Kapka Kuneva ProGrafica Magazine, 2011

“The preparation is preparation,” used to say one of the elders – Petrakchiev, when I was a rookie. And prof. Jonchev liked to ask: “Can you suffer for this?” when I was a student. Preparation is the suffering with which we pay for our success. I take the liberty to paraphrase Beshkov, replacing “drawing” with “training”: The preparation is always sufficient, but never enough.

CULTURE

Детски Книги

1. Puk, Ivan Dimov, 1983 2. The Adventures of Chiponosko, Nikola Mirchev, 1972 3. The Patilanci’s Kingdom, Stoyan Anastasov, 1968 4. Klan Nedoklan, Stoyan Anastasov, 1986 5. Karandash, Grandfather Torbalan, Stoyan Anastasov, 1983 6. Like this, Nikolay Todorov,1987 7. The Good Giants, Rumen Skorchev, 1976 8. The Magician from the Underground Kingdom, Dimitar Tasev, 1979 9. Merry times in the Forrest, Nikola Mirchev, 1959 10. The Alphabet of the Small Electrotechnician, Ognyan Mirchev, 1981

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11. Travels with a Water Drop, Dimitar Tasev, 1975 12. A hard working Bear, Alexander Popilov, 1958 13. Chuk chuk chuk, Vadim Lazarkevich, 1957 14. Seller of Hope, Jose Sancha, 1984 15. Toshko from Africa, Ludmil Chehlarov, 1981 16. A Book of Surprises, Radoslav Marinov & Iliya Saraliev, 1982 17. The Virginâ&#x20AC;&#x2122;s Leap, Yoan Leviev, 1982 18. The Great Khan, Gencho Denchev, 1966

Списания

1. Flame, 1983 2. Science and Technology for the Youth, 1977 3. Radio, Television and Electronics, 1986 4. Balkan, 1986 5. Radio, Television and Electronics, 1981 6. Radio, Television and Electronics, 1977 7. Lantern, 1984 8. The Woman of Today, 1983 9. National Culture, 1983 10. Nature and Knowledge, 1987

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11. Contemporary, 1985 12. Cosmos, 1982 13. Fatherland, 1981 14. Private and Cooperative Agriculture, 1985 15. Fatherland, 1984 16. Computer for You, 1987 17. Our Homeland, 1955 18. The Woman of Today, 1982 19. Young Constructor, 1986 20. Sea World, 1987

ТВ Графика

1. Live Action Film, Initial Tittle Card, Nikola Nikolov, 1980 2. The Weather, Nikola Nikolov, 1979 3. A Studio for Youth, Nikola Nikolov, 1979 4. BTA News, Nikola Nikolov, 1979 5. 11th Congress of BCP, Tittle Card, Nikola Nikolov, 1976 6. Letters from the Audience, Nikola Nikolov, 1978 7. Around the World and Back to Us, Tittle Card, Nikola Nikolov, 1977 8. 60 Years since October, Tittle Card, Nikola Nikolov, 1977 9. Health, Society and Weather, Nikola Nikolov, 1976 10. One Opinion Too Many, Nikola Nikolov, 1973 11. News, Studio Background, Nikola Nikolov, 1972 12. News, Nikola Nikolov, 1973

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13. Film Editors, Nikola Nikolov, 1980 14. Film Editors, Tittle Card, Nikola Nikolov, 1980 15. Information Directive, Nikola Nikolov, 1982 16. Arts and Culture, Nikola Nikolov, 1982 17. Issues Directive, Nikola Nikolov, 1976 18. Echo, Nikola Nikolov, 1983 19. Television Guide, Nikola Nikolov, 1983 20. Overview, Nikola Nikolov, 1975

Плочи

1. World Estrada 2. Famous Tangoes 3. When the Children, Bojidar Ikonomov 4. Dance Music 33 5. Artistic Speeches 6. Let’s sing together, Alexander Radoslavov 7. The Best of Contemporary Dance Music, 1967 8. Mihail Belchev, 1975 9. Melody, 1977 10. Krassimir Kiurkchiyski 11. Cocktail, 1973 12. Ivan Hadjiyski, Trumpet 13. The Golden Orpheus, 1970 14. Estrade Orchestra, 1975 15. Second Festival of the Political Song 16. April Hearts 17. Me, You and the Roses 18. The best of the Beat groups of Sofia, 1972

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19. Mungo Jerry, Alexander Radoslavov 20. Songs about Russia and the New Village, Vili Velchev 21. Bulgarian Children’s Choirs, Vili Velchev 22. UFO, Show I, Donyo Donev 23. UFO, Show II, Donyo Donev, 24. The Crickets, Dyanko Dyankov, 1976 25. Songs about BCP, Emil Velchev 26. Diko Iliev, Emil Velchev 27. Melody 83, Emil Velchev 28. FSB – In Ten Years Time, Nikolay Pekarev 29. The Crickets – The Horseman, Nikolay Pekarev 30. Shoppian Chants, Simeon Patamanski 31. Patilanci, Tonya Goranova 32. Tram No 5, Hristo Aleksiev, 1983 33. The Unborn Maiden 34. The Golden Orpheus, 1975 35. FSB – I Love You Till Here, Nikolay Pekarev 36. Songs about Burgas, 1976

OTHER RELICS

Цигари

1. Stewardess, For Export 2. Phoenix, For Export 3. BT, For Export 4. Vega, For Bulgaria 5. Sredets, For Bulgaria 6. Welcome, For Export 7. Bridge, For Export 8. Pobeda, For Bulgaria 9. Rodopi, For Bulgaria 10. Arda, For Bulgaria

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Кибритени Кутии

1. Ruby, Sunflower oil 2. Weight Lifting, National Lottery 3. Bread Factory Sofia 4. National Circus Sofia 5. SO Mineral Waters 6. 90 Years Bulgarian Red Cross 7. Gorna Banya 8. SO Mineral Waters 9. 10 000 000 hectares new woods, 25 Years with the Party 10. Altay, Beverages 11. National Lottery 12. Nonwoven Textiles 13. DSK Bank 14. Altay, Beverages 15. Vodenitsata Restaurant, Blagoevgrad 16. Tourism , National Lottery 17. Recycling Implementation 18. White Pioneer Apparel, Slatina 19. Ready Baby Meals 20. Vitosha House Apparel 21. Varshava Butar

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Капачки

1. Sour Cherry Beverage 2. Haskovo Beer 3. Sparkling Water Targovishte 4. Sparkling Water Nevestino 5. Zagorka Exclusive Ale 6. Non-alcoholic Beverages Kavarna 7. Zagorka Beer 8. SO Mineral Waters Lemonade 9. SO Mineral Waters Lemonade 10. Sparkling Water Shipkovo 11. Luxurious Ale 12. Exclusive Beers Pleven 13. Mineral Water Hisarya 14. Light Beer 15. Lozina Biser, Fruit Beverage 16. Veliko Tarnovo Beer 17. Sparkling Water Vurshets 18. Altay

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Етикети

1. Predela, Original Light Ale 2. Haskovo Beer 3. Shumensko Beer 4. Diet Beer 5. Burgas Beer 6. Ludogorsko Wine 7. Rose Liqueur 8. Galata Beer 9. Schweppes Grapefruit 10. Ideal, Chewing Gum 11. Sparkling Water 12. Schweppes Orange 13. Coca Cola 14. Iskra Champagne 15. Schweppes Tonic

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За Консумация

1. Caramel Moo, Caramel Soft Candy 2. Mermaid, Chocolate Buttons 3. Lemon Slices, Jelly 4. Regular Biscuits 5. Golden Autumn, Chocolate Dipped Biscuits 6. National Wafers 7. Lemon Creams, Lemon Filled Chocolates 8. Caramel Lacta, Caramel Hard Candy 9. Biscuit Sandwiches filled with Peanut butter 10. Lemonade 11. Coca Cola 12. Pleven Beer 13. Mint Liqueur 14. Schweppes Orange 15. Pepsi

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16. Alcoholic Beverages 17. Advert for Food Stores 18. Production of Bulgarplod, For Export 19. Lokum Advert, Sugar and Confectionary Factories Gorna OryaÂhovitsa 20. Dairy products, For Export 21. Candy products, Sugar and Desserts

Лична Грижа

1. Disco Club, Male Perfume 2. Marigold, Cosmetics Series 3. Elitza, Shampoos 4. Aroma, Cosmetics Advert 5. Centaur, Male Shaving cream and Cologne Advert 6. Range of Soaps

Табели

1. Citizens, destroy the flies - distributors of dysentery, typhoid fever, polio, epidemic hepatitis and many others. The fly is an enemy of mankind! 2. The inappropriate disposal of waste, the eating of seeds and spitting on the street are signs of Low Culture! 3. A second of neglect – a life full of pain! 4. Cleanliness is a standard for the upbringing and culture of all men! 5. Exemplary Home.

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6. Let us be unforgiving to the enemies of communism! 7. Mutual comrade control is the number one preventative measure for work related injuries. 8. ATTENTION! There are no spare parts for the human body – Beware of accidents! 9. Green areas are the lungs of mankind – take care of them. 10. Without labour – life is neither beautiful nor dignifying.

Надписи

1. Bread and Snacks, Bread Factory, Sofia 2. Furrier, Sofia 3. Knitwear, Sofia 4. Bulgartabac, Sofia 5. Perun, Pastry Shop, Sofia 6. Sofia Press

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7. Meat, Market, Sofia 8. Children’s Store, Sofia 9. Knitwear, Sofia 10. Glasses, Sofia

Liverpool John Moores University Published by LJMU 70 Mount Pleasant, Liverpool, Merseyside L3 5UA, United Kingdom Text copyright ProGrafica Magazine © 2011 - 2016 Design and layout © Kalina Zlatkova 2016 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of both the artist and the above publisher. All work hereby presented is solely owned by the artist himself who has been acredited in the description of any given element. Any other work shown, is not owned by the publisher nor are any rights exercised of the physical, intelectual or emotional property of any non-acredited at the given time artist. The right of the copyright holders to be identified as the authors of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. Design and Editorial: Kalina Zlatkova Visual developement: Kalina Zlatkova Type set in Akzidenz-Grotesk™, Roboto® & Avenir®. Printed and bound in England. The John Lennon Art and Design Academy 2 Duckinfield St, Liverpool L3 5RD, United Kingdom