Long before logos and brandmarks shaped the modern visual world, monograms offered a subtle yet powerful form of identity. Emerging from medieval guilds and flourishing through the Renaissance, these crafted letterforms carried not just initials, but reputation, artistry, and a sense of belonging. Engraved on jewelry, embroidered into garments, or carved into architecture, a well-designed monogram was both personal signature and decorative art.

One of the most elegant visual archives dedicated to this tradition is Das Gewerbe Monogramm, published in 1881 by Austrian artist and publisher Martin Gerlach. The book is a refined collection of monograms, carefully catalogued for artisans, designers, and craftsmen seeking inspiration rooted in historical elegance.

What sets Gerlach’s collection apart is its balance of technical precision and ornamental richness. Each composition shows deep respect for symmetry, rhythm, and creative lettering — offering endless possibilities for reinterpretation, whether for engraving, embroidery, or architectural decoration.

At the time, such publications served as practical tools for goldsmiths, engravers, printers, and textile makers, but today Das Gewerbe Monogramm stands as both a design reference and a piece of visual heritage. The monograms reveal a design language where form and meaning coexist beautifully, far beyond mere function.

In an era where digital shortcuts dominate, Gerlach’s collection remains a reminder of the quiet sophistication embedded in hand-crafted design — and the enduring charm of letters treated as art.

Read (and download) the full book HERE

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The Mastermind Behind the 1896 One-Dollar Educational Note

As American currency evolved into more than mere tools of commerce, a new artistic era was born — one where banknotes became canvases for intricate visual storytelling. This was the golden age of engraved currency, when the finest artists and engravers worked together to create money that was meant to be admired, studied, and preserved.

Banknote engraving is one of the most demanding and refined artistic crafts. Before digital design or mechanical printing, every line, curve, and shadow on a banknote had to be engraved by hand onto a steel plate. This meant days, sometimes weeks, of intensely focused work, executed under magnification with an eye for microscopic detail. Unlike traditional illustrators, engravers had to think not only in terms of beauty, but of functionality. Their work had to withstand mass reproduction, resist counterfeiting, and remain legible and clear even under heavy wear. Among these craftsmen, in the world of such precision, was Charles Schlecht, who stood as a quiet force of mastery, precision, and timeless elegance. He was not just a skilled hand — he was an artist.

Born in Stuttgart, Germany in 1843, Charles Schlecht immigrated to the United States at a young age. By sixteen, he was apprenticed at the American Bank Note Company, and later worked for the Bureau of Engraving and Printing (BEP), where his legacy would truly take shape. For over four decades, Schlecht contributed to the visual identity of U.S. currency, producing master-level engravings that still captivate collectors and historians. What set Schlecht apart was not only his extraordinary technical ability, but his capacity to capture allegory, symbolism, and emotional nuance in cold steel. He had an uncanny ability to translate fine art into engravings with depth, dignity, and poetic subtlety — a rare trait, even among master engravers. His magnum opus is arguably the 1896 $1 Silver Certificate, part of the legendary Educational Series. Here, Schlecht engraved the front-facing design, “History Instructing Youth,” based on an original drawing by Will H. Low. The result is widely considered one of the most beautiful banknotes ever produced in American history.

The front of the 1896 $1 Educational Note is more than a vignette — it’s a neoclassical tableau, alive with movement and meaning. Engraved by Schlecht with painstaking care, the central scene features a robed female figure — History — guiding a young boy along a marble balustrade, offering him knowledge and direction. Behind them, the Washington Monument and U.S. Capitol fade into the horizon, tying the allegory to the real geography of the American republic. Schlecht’s engraving gives weight and flow to the drapery, a soft realism to the skin tones, and radiant clarity to the scene. It’s not merely representational — it feels sculptural. The folds of History’s gown seem to breathe, while the gaze of the boy reflects openness and curiosity. There is both tenderness and power in this exchange, rendered through micro-engravings that hold up under magnification. Encircling the scene are wreaths bearing the names of 23 iconic American figures — from inventors and authors to presidents and philosophers — engraved with precision in typography so delicate it borders on sacred calligraphy. These wreaths aren’t decorative; they form a pantheon of American ideals — innovation, leadership, knowledge, independence.

The reverse of the note, engraved by other artists but fully consistent with the aesthetic of the front, features portraits of George and Martha Washington — the only U.S. banknote to include a married couple. Martha’s portrait was based on an 1878 engraving by Charles Burt, while George’s came from Alfred Sealey‘s earlier work. These formal busts are flanked by rich neoclassical frames, with decorative flourishes that mirror the design language of the front. Between them, a bold “1” is engraved — understated, yet commanding — and scrollwork with Latin-style symmetry and foliage elements envelops the entire layout. The design balance of this side reflects America’s rootedness in order, heritage, and domestic virtue.

Schlecht’s contribution to this note was not limited to execution — it was an interpretation. To translate a pencil sketch like Will Low’s into steel with such depth is akin to rewriting a symphony in a new instrument. Schlecht’s sensitivity to shading, line weight, and texture made the allegory not only legible but powerful. More importantly, he infused every curve and contour with the gravitas that banknote engraving demands. His work reflects an understanding that currency is not just a contract, but a cultural artifact — one that speaks to national identity, civic values, and artistic lineage. Though later U.S. currency designs would favor practicality over ornamentation, Schlecht’s work remains a benchmark for engraved excellence. Collectors and scholars continue to study his plates for both technical insight and artistic inspiration.

The art of banknote design stands at the crossroads of aesthetics, security, symbolism, and public trust. These small canvases — often overlooked in daily life — are in fact some of the most widely circulated works of art in history. They shape how we see ourselves as nations, and what we choose to commemorate or forget. In the hands of an engraver like Charles Schlecht, the banknote becomes more than currency — it becomes a message. A narrative in metal and ink. A legacy carried in every wallet, passed hand to hand, moment to moment.

Tip: click on the pictures below to see them in large format

In the more recent time, dispite a few local drawbacks, romanian arts have manage to flowrish outside our traditional borders and make our name heard and voice listend. FromCristian Mungiu’s movies and Maia Morgenstern’s acting to some less local mainstream media covered artists, like matte painter Alexandru Popescu or The Matrix series and Man of Steel art director, Vlad Bina we have some great stuff emerge.

“Conceived in Spring 2010 by Eric Firestone and organized with curator Carlo McCormick, The Bone Yard Project revives disused airplanes from America’s military history through the creative intervention of contemporary artists, taking entire airplanes and their elements out of aeronautic resting spots in the desert, known as boneyards, and putting them into the hands of artists.

“Despite being completely unpronounceable, this watch is just plain outright cool. The brainchild of Max Busser (MB&F) and Felix Baumgartner (URWERK), it is the first watch to use…

an eccentric planetary transmission system for the timekeeping mechanism – i.e. the same geometry as the Wankel engine. (Curiously, there’s only one ratio of inner to outer satellite that actually permits the three distinct chambers to be formed; any other ratio doesn’t seal at all).”See FULL STORY / photo credits by MingThein.com

The new permanent design for its cans features an enlarged, cropped version of the logo, to make its ‘D’ and ‘k’ prominent-while its color scheme of red, black, and silver background remains the same.

Jean Paul Gaultier has been busy with the fizzy designing limited edition bottles for Diet Coke. This year, the brand revealed Gaultier as its new creative director so it was only natural for him to be next in line to create Coca Cola couture. His two main designs take inspiration from his famous fragrances ‘Day’ and ‘Night’.

Constructed between 1472 and 1483, according to Baccio Pontelli’s masterplans, the Sistine Chapel is the official place where the elections of every new pope are held by the conclave of the College of Cardinals.

We hope that these following fonts will eventually come in handy for some of you, and in case you need some more than stay in touch, because we will be back with new ones soon!
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More than 60 years had passed since John Chamberlain had first catched the eye and intellect of people from all around the world and since then he has been one of the most important modern artist we know.

Have you ever asked yourselfs what is the best way for being undenyable good in what you do? Well some of us seem to have found the answer, one of them anyway.

Evian believes that consistency Is the answer. That’s just the reason why each year, engages the most accomplished designer at the time to redesign the water bottle.Last year was the Paul Smith Collection and before that Baccarat and Jean Paul Gaultier, preceded by Christian Lacroix. This years’ bottle has been decorated by Issey Miyake, with a flower inspired by his Innovative Pleated Clothes. Evian and MIYAKE DESIGN STUDIO signed a pure bottle, glowing with both optimism and freshness.It’s good marketing, but it’s also more than that. It’s a good way to stay in touch with the world and let the world stay in touch with you. It’s a fine way to promote the best of the best and to make others believe in the’re chance of being better…Who knowes, maybe one day you could be up there, be the best!