{"id":128075,"date":"2025-09-08T05:14:16","date_gmt":"2025-09-08T05:14:16","guid":{"rendered":"https:\/\/www.newsbeep.com\/ca\/128075\/"},"modified":"2025-09-08T05:14:16","modified_gmt":"2025-09-08T05:14:16","slug":"german-illustration-is-alive-and-well-says-a-new-magazin-print-magazine","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/ca\/128075\/","title":{"rendered":"German Illustration is Alive and Well, Says a New Magazin \u2013 PRINT Magazine"},"content":{"rendered":"

Spitzer<\/a> magazine offers a fresh look at the venerable craft of illustration\u2014and just may be a savior for the practice and study of the art in Germany and beyond. I was introduced to it by the Essen-based Dirk Uhlenbrock, who I asked for a tour of its printed pages. Long live illustration in the digital\/AI-driven world.<\/p>\n

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What is your editorial goal?
The magazine was created to cover all aspects of illustration.\u00a0In the second issue, for example, we will feature an icon designer, an initiative in Brussels that is something between a shop and a workshop, and there will be an article on info design and medical illustration.<\/p>\n

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Is Spitzer affiliated with a group or organization?
No, the magazine was founded by Patrick Wirbeleit (a children\u2019s book illustrator and author) and me (a graphic designer), because there is nothing like it in Germany.\u00a0For the same reason, we also created a conference for children\u2019s book illustration, which has now been held for three years in a row.<\/p>\n

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Do you have any aesthetic preferences regarding the type of illustration you present?
My partner and I have a great love for illustrations from the 1950s and \u201960s, and we want to feature lesser-known artists in subsequent issues.\u00a0In general, however, we are not at all stylistically committed to topics and the type of illustration.<\/p>\n

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Does Spitzer claim to represent the \u201cnew\u201d illustration in Europe?
No, we don\u2019t want to promote the future or avant garde.\u00a0Our primary concern is to reflect the importance of illustration in general in communication.\u00a0But if a fresh style or new approach comes our way, we\u2019ll certainly want to showcase it.<\/p>\n

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How do you intend to financially support the magazine in an uncertain future?
The first issue was published at the beginning of August, and we managed to finance production after a short time solely through our social media contacts and word-of-mouth advertising. We have now sold more than half of the issue.\u00a0Most of these were individual copies via direct mail order, but we are working on getting the magazine into specialized stores as well.\u00a0The magazine is currently available in Hamburg, Berlin, Munich and Karlsruhe.\u00a0The medium-term goal is to be able to publish two to three issues per year, increase circulation, and ideally generate profits, which can then be used to pay for things like external authors, proofreaders and translators.<\/p>\n

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What is your background as an editor and illustrator?
I\u2019ve always drawn a lot and studied communication design, but during my studies I decided I wanted to make a living from graphic design rather than illustration.\u00a0So I\u2019m in the fortunate position of being able to illustrate wherever it fits and I feel comfortable, but I don\u2019t have to sell myself completely.<\/p>\n

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