It features work by Olaf Breuning, Jacob Ciocci, Trinie Dalton, Oslo Davis, Martin De Leon, David Horvitz, Brian Kerstetter, Andrew Leland, Eugene Mirman, Jaakko Pallasvuo, Rafaël Rozendaal, Nikola Tosic, Sam Wallman and James Yeh.

II is something I guest-edited to be part of next issue of Opium Magazine. After much hard work and deadline shifting Opium is due IIOIOOIO. Much gratitude for the amazing work and patience of everyone involved.

In 1947 he was asked to make posters advertising imported films. Helped by budget and printing restrictions – he was able to convince the govt and distributors to use his drawings  instead of  pictures of the actors. The images and themes often involved had little to do with the films. His tendency to ignore briefs and his low budget graphic energy created a style of poster driven by the beliefs and opinions of the poster maker instead of client messaging. Cheap hand made posters and speedily drawn pictograms became a popular language of non-censorable public dialogue on the empty buildings destroyed in WWII.

Later in his career he taught design at the WAFA, to students from all over Europe including the French designers who later created posters for the 68 protests and after that started the Grapus design group, where Thomas Hirschhorn once worked – another artist who appears to be influenced by HT’s ideas.

Henryk Tomaszewski is well recognised today but only in the client-based design community as a sort of witty hand craftsmen. It’s sad because his real talent was as a media person, commentator, satirist and great cartoonist.