Mapping my Table
An Alternative Collection
Against the Grain
Ski Data (typeface)
My Collection
Postures
[A=0] The Archive of Epistemic Collapse
Baroness Elsa von Freytag–Loringhoven
Rotate Rietveld
Archive
Euridice (typeface)
Chalk
Marble
Tariq Heyboer (1991) and Mikel H. Orfanos (1991) are both graphic designers that are situated in the Netherlands (Amsterdam) and France (Paris). They have recently graduated from the Gerrit Rietveld Academie. Their interest lies deeply in printed matter (book design, poster design or any other physical form) and typography. They have an eye for precision and harmony throughout all their works.
Do not hesitate to mail/call for cv’s and/or designs, questions etc.

Mapping my Table

The wooden table (located in the attic of my apartment) is the starting point of this essay. Together with
what is placed on it. The table is mapping my view on the world and above all, it defines my personal logic.
I compared my table with other people their table and worldview. Eventually I collected images of tables
from different social environments.

198 × 290 mm, laser/stencil printed at AGA (Knust/Extrapool), Amsterdam, 2015.

[A=0] The Archive of Epistemic Collapse

“[A=0]” is an events program and dynamic archive that takes place within the MACAO basement: a naturally subversive space and auro–negation of the upper regions. Basement trash is utilized to form a shifting architecture that is punctuated with film, workshops, lectures and readings.”

“[A=0] The archive of epistemic collapse”, Pètros P. Orfanos & Rachel Rose O’Leary “The Wandering School” (Macao, Milano, Italy), 148 × 210 mm, offset, Drukkerij Raddraaier, Amsterdam, 2016.

An Alternative Collection

This book contains a personal collection of edited and fragmented images of iconic art/design works. Representations of art/design works can be seen on the internet in various sizes, color pallets and qualities. All the images in this book are edited (by rendering, deranging, lifting, smudging, stretching) with Adobe Photoshop. I tested the images by using Google Image Recognition software. Are they still readable
for Google or do they become new works of art? The answer has been revealed throughout my research.

315 × 465 mm, digital offset (Indigo), Verhaag, Amsterdam, 2015.

Baroness Elsa von Freytag–Loringhoven

Biography about Baroness Elsa von Freytag–Loringhoven. With paraphrases by Hector Obalk a.k.a. Éric Walter, Walter Conrad Arensberg, William Camfield, Irene Gammel and Kirk Varnedoe.

“Baroness Elsa von Freytag–Loringhoven”, Pètros P. Orfanos, 148 × 210 mm, offset, Drukkerij Raddraaier, Amsterdam, 2016.

Against the Grain

A publication about the research of Waèl el Allouche. Through a process of curating, editing and printing
I transformed his notes and sketches into a book. Waèl made a permanent installation for ‘Het Huis van Hilde’ (Centre for Archeology, Castricum) concerning the subject: Archeology in the Dutch landscape. The installation is a 3 × 2.5 meter 3D translation of a minuscule sand grain.

204 × 291 mm, author: Michiel van Iersel, Euridice (typeface) by M. H. Orfanos, stencil printed at AGA (Knust/Extrapool), Amsterdam, 2014.

Rotate Rietveld

Both a performance and a book, was conceived, produced and published on the occasion of the retirement of visual artist David Groot (1949) from his position as a teacher at the Gerrit Rietveld Academie. David Graduated from the Rietveld in 1970 and rejoined the academy in 1990 as a faculty member to teach in the basic year and the fine arts department. By activating a careful selection of his paintings through flash appearances in variety of spaces in the iconic modernist school building designed by ground–breaking architect Gerrit Rietveld, he aimed to imbue them with the academy’s self–proclaimed spirit of innovation.

198 × 290 mm, edited by David Groot, stencil printed at Knust, Nijmegen, 2015.

Ski Data (typeface)

Having to work with the words, ‘ski’ and ‘data’ gave me the idea of representing counter–balance. There are two different weights (horizontal and vertically stretched). The typeface has been used by Sam de Groot for designing ‘The Shape of Evidence’ (a text by Sophie Berrebi as part of Vis-à-vis series, published by Valiz, Amsterdam).

841 × 1189 mm, Ski Data (typeface), inkjet print, photocopier, Amsterdam, 2014.

Archive

A self-initiated project that connects my interest in psychogeography to my research of visual documenting the events of May 1968. and the movement of the IS (Internationale Situationiste). The publication consists of photographic reproductions of archival material; through careful framing and precise editing of the eventual compiled book. Focussing on the reader’s attention on photographic/graphic and typographic details that seem notable. The archival material has been documented into one book, including the hands of the observer. Letting us observe the pages as if the archival material has been seen through the other observer’s eyes.

297 × 420 mm, laser printed with Xerox, archive via Internationale Instituut voor Nationale Geschiedenis, Amsterdam, 2015

My Collection

Representation of the 20th century history of art in 3:05 minutes. The paintings in the video are based on my personal memory. It has been my attempt to represent the history of art in a nutshell. By using my own memory and no other source of knowledge, like: Wikipedia, Lexicon etc. I wonder whether history can be objective at all?

1080p Digital Video, Amsterdam, 2014.

Euridice (typeface)

The thesis of Waèl el Allouche. Also known as: 'A Novel in the Computer and Sand as the Protagonist.'
A thesis about the struggle of the differentiation between western and eastern civilisation. The western understanding of Christianity versus the Islamic way of thinking. Both, his ethnical and cultural ideologies have been translated into his interest in technology—within the field of architectural and industrial design. Concluding that Waèl’s struggle and eventual research will help him to find his own identity.

148 × 210 mm, author: Waèl el Allouche, Euridice (typeface) by M. H. Orfanos, stencil printed at AGA (Knust/Extrapool), Amsterdam, 2015.

Postures

‘The Doctrine of Fascism’ (by Mussolini) is visually challenged by ‘Human Postures and Their Relation to Power (Crowds and Power)’ by Elias Canetti. A text on how the human body enforces a powerful position, and how it influences the public speech. This text is set in bold on the bottom of the page. It intervenes with Mussolini’s fascist ideology towards the end of the book. The book has been made during a workshop of designing radical texts.

105 × 148 mm, stencil printed, De Stencilzolder, Amsterdam, 2012.

Chalk

A booklet about different lines of chalk that have been marked to emphasize a certain territory. The booklet has been screen printed with white ink on black 90 gsm paper. ‘Chalk’ is a collection of city paths that have been documented and edited into a unbound publication.

210 × 297 mm, screen print (white ink), Amsterdam, 2013.

Marble

Paper Marbling, presented as a compilation. An introduction that teaches you how to marble paper. Not only the methods of producing the marbled patterns, also an inside into the history of marbling. The conversation between Jean le Rond d’Alembert and Denis Diderot in the known manuscript, ‘Marbreur de Papier.’ Infor-mation about the Tang Dynasty, Oxbile instructions, the retrospective of marbled patterns, the metamorphic rock etc. Research and compilation is done by M. H. Orfanos. Mainly a variation of different sources, mostly literature and papers on the subject marble.

210 x 297 mm, stencil printed, De Stencilzolder, Amsterdam, 2014.

TARIQ
tariq[at]heyboer-orfanos.com
+31 [0]6 1454 7434
HEYBOER—ORFANOS
MIKEL
mikel[at]heyboer-orfanos.com
+49 [0]1 521 399 1717