Jazz fest in tibet
Nelli Kamaeva Anastasia Nechiporenko Polina Malyshkina
Poster
A festival identity built on one collision — improvised Western jazz dressed in the visual language of the Himalayas, treating a guitar neck and a Tibetan letterform as the same shape.
A festival poster built on a collision — improvised Western jazz dressed in the visual language of Tibet — that treats a guitar neck and a Tibetan letterform as the same shape.
The whole sheet is the silhouette of a guitar's headstock, mirrored and stretched in solid black against a dense hand-drawn web of fine white lines, with oversized lettering curling down the center in the manner of Tibetan script, ornamental and almost a mantra. Black-and-white photographs of guitarists and a lone saxophone float in circular cutouts — the documentary grain of real musicians against the abstract pattern — while date and time sit crisply in the corners (12.03, 20:00) and small captioned blocks anchor it like liner notes.
East and West, sharing one instrument and one alphabet of marks.
A festival poster built on a collision — improvised Western jazz dressed in the visual language of Tibet — that treats a guitar neck and a Tibetan letterform as the same shape.
The whole sheet is the silhouette of a guitar's headstock, mirrored and stretched in solid black against a dense hand-drawn web of fine white lines, with oversized lettering curling down the center in the manner of Tibetan script, ornamental and almost a mantra. Black-and-white photographs of guitarists and a lone saxophone float in circular cutouts — the documentary grain of real musicians against the abstract pattern — while date and time sit crisply in the corners (12.03, 20:00) and small captioned blocks anchor it like liner notes.
East and West, sharing one instrument and one alphabet of marks.
Jazz fest in tibet
Nelli Kamaeva
