Welt­for­mat-Plakat für das Palace, St. Gallen. Druck: Uldry​.ch

Hello. We are a design stu­dio based in Zurich & Bre­men with a focus on edi­to­r­ial design, typog­ra­phy and visual iden­tity. Tania Prill was trained as a Com­mu­ni­ca­tion Designer and researcher at the HfK Bre­men, the for­mer HFG Zurich (ZHdK) and the HGK Basel. 2018 she started her own stu­dio to col­lab­o­rate with dif­fer­ent artists, design­ers and net­works. Before that she was part­ner in the stu­dio Prill Vieceli Cre­mers for­mer Prill & Vieceli since 2001

From 2004 to 2010 she was Pro­fes­sor of Com­mu­ni­ca­tion Design at the HfG Karl­sruhe. Since 2010 she is Pro­fes­sor of Typog­ra­phy at the Uni­ver­sity of the Arts Bre­men (HfK) where she runs the Archive of Inde­pen­dent Pub­lish­ing (AIP), a col­lec­tion of Ger­man and inter­na­tional under­ground and self-pub­li­ca­tions. Her main fields of research are edi­to­r­ial projects, self-pub­lish­ing, typog­ra­phy and design edu­ca­tion. She is in charge of the estate of the typog­ra­pher, teacher, pub­lisher and author Hans-Rudolf Lutz.



Über doppelte Musik

A new pub­li­ca­tion with Spec­tor Books and a record with Noi Record­ings, com­ing very soon. Release: spring 2021! Edi­tors: Tania Prill & Peter Tillessen, pho­tos © Peter Tillessen

Ingo Vetter

Populäre Plastik

What an impact does an art­work designed for pub­lic space have on its loca­tion and use of this space? Can it pro­vide an expe­ri­ence or a new point of view? can it cre­ate con­texts? – from the pref­ace by Ingo Vet­ter
Design: Chris­t­ian Hofer, Lea Michel together with Tania Prill
Ver­lag für mod­erne Kunst Nürn­berg, 2020

Wir publizieren

Redaktion, Gestaltung, Produktion und Distribution unabhängiger Magazinformate in der Schweiz seit 1960

Wir pub­lizieren focuses on inde­pen­dent, col­lec­tive prac­tices in pub­lish­ing, repro­duc­tion and dis­tri­b­u­tion. It is a joint project of the Bern Uni­ver­sity of the Arts HKB in Switzer­land and the Uni­ver­sity of the Arts Bre­men in Ger­many. We are con­cerned with the ques­tion of how to iden­tify increased inter­est in printed mat­ter in small edi­tions or obscure net­works, and with how themes, approaches, aes­thet­ics, and atti­tudes have changed in inde­pen­dent pub­lish­ing since the 1960s (and why).
The exhi­bi­tion, the con­fer­ence and the instal­la­tion Wir pub­lizieren at the Kun­sthalle Bern and at the Off-Space Anticham­bre (Decem­ber 2019–January 2020) was the first project to acti­vate the Archive of Swiss Inde­pen­dent Peri­od­i­cal Pub­lish­ing which is based at the HKB.
We are link­ing up with the exhi­bi­tion (Museum Weser­burg Bre­men 2015/2016) and bookpro­ject Under the Radar. Under­ground- and Self­pub­li­ca­tions 19651975’ coor­di­nated by Jan-Fred­erik Ban­del, Annette Gilbert and myself together with the stu­dents of the HfK Mas­ter­pro­gramm School of Visual Com­bi­na­tions’. wir​-pub​lizieren​.ch


Drei Episoden zum NSU

This book is about the NSU trial that took place from 2013 to 2018. The draw­ings by Paula Bulling, based on three scenes devised by Anne König, inter­weave fact and imag­i­na­tion. The comic is accom­pa­nied by a series of inter­views with Bar­bara John, ombudswoman for the fam­i­lies of the vic­tims, jour­nal­ists Toralf Staud and Chris­t­ian Fuchs, Ayşe Güleç, co-founder of the Coali­tion for Action on the mur­der of Halit Yoz­gat in Kas­sel, and Can­dan Özer-Yıl­maz, widow of Atilla Özer.
»Dessen ungeachtet ist Bruch­lin­ien“ ein Meilen­stein für den deutschen Comic: method­isch, ästhetisch, vor allem aber poli­tisch. Die Lek­türe ist schmerzhaft, aber das muss sie sein, wenn über­haupt so etwas wie ein Umdenken in den Dien­st­stellen, die bei der Aufk­lärung der NSU-Morde ver­sagt haben, erfol­gen soll.« Andreas Platthaus, Frank­furter All­ge­meine Zeitung
Spec­tor Books, 2019

Archive of Independent Publishing


Since 2018 I am run­ning the Archive of Inde­pen­dent Pub­lish­ing (AIP), a col­lec­tion of Ger­man and inter­na­tional under­ground and self-pub­li­ca­tions, now based at the Uni­ver­sity of the Arts Bre­men (HfK). The assort­ment of hun­dreds of note­books, brochures, largely com­ing from the 196575 period, is open to use for researchers, stu­dents, and other inter­ested indi­vid­u­als. The value of these publications—often equally wild in regards to pol­i­tics, con­tent and design—for the his­tory of social move­ments, polit­i­cal protest forms and alter­na­tive life mod­els around and since 1968 is appar­ent. How­ever, the AIP is most urgently inter­ested in ques­tions that are dif­fer­ent (or rather lead in dif­fer­ent direc­tions): what sig­nif­i­cance is gained by media, com­mu­ni­ca­tion, and design in these life mod­els? What pre­ced­ing his­to­ries to the ana­log, dig­i­tal, post-dig­i­tal media use can be told through these pub­li­ca­tions? Which breaks with tra­di­tion and lines of con­ti­nu­ity within graphic design and media thought can be con­ceived of more pre­cisely than else­where? Whose shoul­ders is today’s inde­pen­dent pub­lish­ing stand­ing? What can it learn from the ama­teurs, fan­tasts, and rebels of the 1960s and 70s? How polit­i­cal is design? And which social ideas can be artic­u­lated within it?
The AIP has emerged out of the col­lec­tion belong­ing to Jan-Fred­erik Ban­del and the project Under the Radar. Under­ground Zines and Self-Pub­li­ca­tions 19651975 and addi­tional AIP works, such as Stil­re­volte Under­ground, designed by HfK Mas­ter stu­dents Jakob Grom­mas & Vik­to­ria Dietz are also slated to be pub­lished there.

Why Publish? We Publish!

Print Out: Archiv­ing and Cura­to­r­ial Prac­tices of Alter­na­tive Pub­lish­ing Ven­tures’, inter­na­tional Sym­po­sium on Cura­to­r­ial Prac­tices of Alter­na­tive Pub­lish­ing Enter­prises at the Saro­jini Naidu School of Arts and Com­mu­ni­ca­tion, Uni­ver­sity of Hyder­abad in col­lab­o­ra­tion with Pro Hel­ve­tia, Swiss Arts Coun­cil, Hyder­abad, 2018 / Lec­ture together with Andreas Vogel
READ­ERS OF ALL COUN­TRIES, PUB­LISH!’ Lec­ture and work­shop together with Andreas Vogel at the Fac­ulty of Fine Arts, MSU Bar­oda, 2018 / TAKE on Writ­ing Series and Pro Hel­ve­tia in col­lab­o­ra­tion with MSU Bar­oda and Pro Hel­ve­tia.

The Legend of Barbara Rubin

Film Culture 80

The film­maker Bar­bara Rubin entered the New York under­ground in the 1960, while still a teenager and she quickly became a leg­endary key fig­ures of the com­mu­nity.
This spe­cial eight­i­eth issue of the mag­a­zine Film Cul­ture fea­tures her pre­vi­ously unpub­lished let­ters to Jonas Mekas and includes inter­views and Rubin’s script, Christ­mas on Earth Con­tin­ued, a planned sequel to her noto­ri­ous film.

Design: Tania Prill & Franziska Bauer, Spec­tor Books.
Awarded as one of the Most Beau­ti­ful Swiss Books 2018.

Book launch 1: A Con­ver­sa­tion about Bar­bara Rubin together with Anne König, Jonas Mekas, Marc Siegel and Chuck Smith. Sep­tem­ber 15, 57pm, Printed Mat­ter, New York.

Book launch 2: Fri­day, Sep­tem­ber 21, 2018, 3pm at the Class­room MoMa PS1, with Jonas Mekas, Chuck Smith, Franziska Bauer, Sarai Mey­ron and Anne König.

Typografie als künstlerisches Ereignis

Michael Glasmeier & Tania Prill (Hrsg.)

Mit Beiträ­gen von Jan-Fred­erik Ban­del, David Ben­newith, Susanne Bieri, Ruth Black­sell, Frieder Butz­mann, Sebas­t­ian Cre­mers, Annette Geiger, Annette Gilbert, Michael Glas­meier, Sabine Main­berger, Ben­jamin Meyer-Krah­mer, Tania Prill, Gabriele Wix

Gemalte Schrift, gedruckte Schrift, mon­tierte Schrift: Nicht erst seit dem 16. Jahrhun­dert begleiten dif­fer­ente For­men von Tex­tele­menten die bildende Kunst – bis hin zum Ersatz des Bildes durch Schriftlichkeit. Die Pub­lika­tion will daher mit ihren Beiträ­gen nicht in erster Linie Text-Bild-Phänomene unter­suchen, son­dern vielmehr die jew­eils spezielle Typografie solcher Worter­schei­n­un­gen an aus­gewählten Beispie­len disku­tieren. Ger­ade in den 1960er Jahren wird deut­lich, dass etwa mit Fluxus, Konzep­tkunst, Pop-Art oder exk­lu­siv mit Visueller/​Konkreter Poe­sie Tex­tele­mente eben nicht nur poet­is­che Beiga­ben darstellen, son­dern einen eige­nen, indi­vidu­ellen Bild­charak­ter besitzen, der in einer prak­tis­chen Gestal­tung etwa von Gemälden, Zeich­nun­gen, Kün­stler­büch­ern, Bildtafeln, Dia­gram­men, Konzepten, Instal­la­tio­nen oder Fil­men Aus­druck findet. Hier erprobt die bildende Kunst auf ver­schieden­sten medi­alen Ebe­nen einen erweit­erten Umgang mit Schrift bis hin zur Entwick­lung eigener Schrift­typen. Vor allem aber kommt es in diesen Jahren zur pro­duk­tiven Wech­sel­wirkung von freier und ange­wandter Typografie, etwa in den Kün­stler­pub­lika­tio­nen der Zeit. Meth­o­den der Konkreten Poe­sie oder der Konzep­tkunst wer­den in die Wer­bung über­tra­gen usw. Dieses bisher unter­be­lichtete Feld eines umfassenden typografis­chen Exper­i­ments kön­nte mit den vere­in­ten Kräften von The­o­rie und Praxis ein neues Forschungs­ge­biet gener­ieren.
Tex­tem, ISBN 9783864851254

Under the Radar – Underground Zines and Self-Publications 1965–1975

Exhibition and publication

The mid-1960s wit­nessed a boom in under­ground and self­pub­lished works. This exhi­bi­tion at the museum Weser­burg Bre­men and the pub­li­ca­tion is the first to present the under­ground and self-pub­lished works that came out of West Ger­many in such depth, while also show­ing the inter­na­tional con­text in which they emerged: not as an anec­do­tal his­tory but as an attempt to tap into the aes­thetic cos­mos of a Do-It-Your­self rebel­lion, one that also chal­lenges us to take a new look at the cur­rent boom in inde­pen­dent pub­lish­ing, the riso­graph aes­thetic, and so on.
Spec­tor Books, 2017, Edited by Jan-Fred­erik Ban­del, Annette Gilbert, Tania Prill; designed by Prill Vieceli Cre­mers
Award: Grand Prix, Tokyo Type Direc­tors Club
Exhi­bi­tion: Jan-Fred­erik Ban­del and Tania Prill, in coop­er­a­tion with the School of Visual Com­bi­na­tions.


This is a book about the pic­tures on ban­knotes: pic­tures of polit­i­cal sub­ject-mat­ter, his­tor­i­cal mile­stones, dis­tin­guished per­son­ages, sta­tus sym­bols, and land­scapes. Ban­knotes are mini-posters pro­claim­ing an ide­al­ized world. Money is a mys­tery: mon­e­tary value seeks a visual cor­rel­a­tive.
The pic­tures on bills tell sto­ries and glo­rify power. Strong, happy peo­ple engaged in phys­i­cal labor, for instance. They have access to edu­ca­tion and live in a fan­tas­ti­cal land­scape with abun­dant fauna. Mon­e­tary iconog­ra­phy often takes up sim­i­lar motifs and reit­er­ates basic pat­terns. Human fig­ures are por­trayed accord­ing to pathos for­mu­lae, their ges­tures and facial expres­sions to be uni­formly con­strued the world over.

I started col­lect­ing ban­knotes and focus­ing on the pic­tures 11 years ago while I was trav­el­ing in Iran. We tried to con­jure the spirit that speaks from the orna­men­ta­tion of ban­knotes, as Wal­ter Ben­jamin put it, and show which pic­tures are used to imprint value on slips of paper that would oth­er­wise be worth­less.

Edited and designed by Prill Vieceli Cre­mers
Edi­tion Patrick Frey

Lutz Open House

When we had to leave our stu­dio in 2017, which was the for­mer stu­dio of Hans-Rudolf Lutz since 1972, we moved our stu­dio fur­ni­ture and exhib­ited some of his work for a cou­ple of days.
Scenog­ra­phy: Sebas­t­ian Cre­mers

Martin Parr


Design: Sebas­t­ian Cre­mers, Tania Prill, Alberto Vieceli

336 pages 336 books

For this book we sighted thou­sands of books of all dif­fer­ent peri­ods on dif­fer­ent top­ics and focuses, in search of 336 head­strong and humoris­tic page num­bers. The struc­ture refers to book by George Brecht, the title is inspired by the artist books by Ed Ruscha. The under­ly­ing idea to 336 pages 336 books orig­i­nated when read­ing page 243 of Bram Stoker’s Drac­ula, (1967). A folded leaflet with an index of the ref­er­ences is enclosed in the book.

151×105mm, Hard­cover, Everyedi­tion, Zurich 2013 (Out of print)
Edited and designed by Prill Vieceli Cre­mers

Zeitlos Schön


Design: Sebas­t­ian Cre­mers, Tania Prill, Alberto Vieceli

Hot Love

Hot Love – Swiss Punk & Wave 19761980 tells the story of the pio­neer­ing Swiss Punk scene from the begin­ning. The Swiss Punk scene emerged in Zurich and Geneva around the same time it started in Lon­don and New York, in 1976. Hot Love starts at the very begin­ning and recounts the com­plete story until 1980, when Punk went polit­i­cal and much of the energy of the first gen­er­a­tion was lost. 

Most beau­ti­ful Swiss books, 2006
Designed by Prill & Vieceli

Shamans of Cave Graffiti

Work­shop at OTIS Col­lege of Art and Design, L.A., MFA GD Design Week 2015
Kali Niki­tas invited me for a work­shop dur­ing the Design Week together with other vis­it­ing artists in 2015. Coor­di­na­tors: Kali Niki­tas together with Menno Crui­jsen.

Estate Hans-Rudolf Lutz

Since 1998 I am in charge of the estate of the typog­ra­pher, teacher, pub­lisher and author Hans-Rudolf Lutz. I am try­ing to acti­vate his work through lec­tures and other ini­tia­tives. In sum­mer 2021 a reprint of the Hiero­glyphs of today will come out as a col­lab­o­ra­tion with Urs Lehni / Rollo Press.