Gal Shneor
Gal Shneor is an Israeli graphic designer who specialises in the fields of book and type design, as well a Photographer.
In 2018, he graduated from the Neri Bloomfield School of Design and Education (Haifa, Israel) with a ‘First-Class’ honours. Following that, in 2020 he completed his Master’s degree in Book Design [at the Typorgraphy and Graphic Communication department] — University of Reading (Great Britain).
In his creation, he wishes to address the open and wide field of cultural, conceptual and artistic content which combines with the book and graphic design areas. Another interesting field of his creation, is the visualisation via art-direction and photography, in areas of avant-garde (and couture) fashion and textile design.
In the year of 2017, he began to work professionally in cooperate with his co-partner — Enav Sharon-Nitzan — in aim of developing a working conceptual-artistic-cultural art-direction and graphic design bureau. During Autumn 2020, they’ve officially founded together the ‘NINETYTWO’ studio. Furthermore, they participates together in other design and artistic collaborations with others, such as [with] Michal Luria, Tzachi Kendel, Maria Feigin, Dorit Shabbat etc.
Moreover, he presented part of his creation at the Milano Design Week [in the first-ever, Israeli pavilion] — ASIA DESIGN MILANO (2019); And as well, at the JDW — Jerusalem Design Week (2018).
In 2018, he graduated from the Neri Bloomfield School of Design and Education (Haifa, Israel) with a ‘First-Class’ honours. Following that, in 2020 he completed his Master’s degree in Book Design [at the Typorgraphy and Graphic Communication department] — University of Reading (Great Britain).
In his creation, he wishes to address the open and wide field of cultural, conceptual and artistic content which combines with the book and graphic design areas. Another interesting field of his creation, is the visualisation via art-direction and photography, in areas of avant-garde (and couture) fashion and textile design.
In the year of 2017, he began to work professionally in cooperate with his co-partner — Enav Sharon-Nitzan — in aim of developing a working conceptual-artistic-cultural art-direction and graphic design bureau. During Autumn 2020, they’ve officially founded together the ‘NINETYTWO’ studio. Furthermore, they participates together in other design and artistic collaborations with others, such as [with] Michal Luria, Tzachi Kendel, Maria Feigin, Dorit Shabbat etc.
Moreover, he presented part of his creation at the Milano Design Week [in the first-ever, Israeli pavilion] — ASIA DESIGN MILANO (2019); And as well, at the JDW — Jerusalem Design Week (2018).
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The current composition, presented in book form, runs like a thread of scarlet through the works of Michael Gordon, a contemporary Israeli book designer and typographer, who has been working in his studio in Tel-Aviv since the 1980s. Gordon’s extensive body of work comprises hundreds of books he designed, envisioned and produced. Through his books he tests, and even challenges, the boundaries of book-making, while drawing on and conducting a dialogue with its traditions. Gordon’s books are studied in Israel’s academies of art and design, studies and articles have been written about them, and they have been displayed in exhibitions throughout the world (the most comprehensive exhibition was Gordon’s solo-exhibition at the Tel-Aviv Museum of Art in 2003).
This thesis deals with six of Gordon’s books, which number in the hundreds, and addresses the unique characteristics of his work, his sources of inspiration, and his connection to the history of the Hebrew book, art history, and artists with whom Gordon has collaborated and for whom he has created books. Gordon, who commenced his professional education in the fields of architecture and fine art, treats the page as a three dimensional space, and attributes great importance to the connection between the content of the books he designs and the physical experience of the book as an object, as well as the sensory aspect of the reading experience. The impact of Gordon’s formulas and ideas can already be felt in the work of a new generation of book designers in Israel.
The current composition, presented in book form, runs like a thread of scarlet through the works of Michael Gordon, a contemporary Israeli book designer and typographer, who has been working in his studio in Tel-Aviv since the 1980s. Gordon’s extensive body of work comprises hundreds of books he designed, envisioned and produced. Through his books he tests, and even challenges, the boundaries of book-making, while drawing on and conducting a dialogue with its traditions. Gordon’s books are studied in Israel’s academies of art and design, studies and articles have been written about them, and they have been displayed in exhibitions throughout the world (the most comprehensive exhibition was Gordon’s solo-exhibition at the Tel-Aviv Museum of Art in 2003).
This thesis deals with six of Gordon’s books, which number in the hundreds, and addresses the unique characteristics of his work, his sources of inspiration, and his connection to the history of the Hebrew book, art history, and artists with whom Gordon has collaborated and for whom he has created books. Gordon, who commenced his professional education in the fields of architecture and fine art, treats the page as a three dimensional space, and attributes great importance to the connection between the content of the books he designs and the physical experience of the book as an object, as well as the sensory aspect of the reading experience. The impact of Gordon’s formulas and ideas can already be felt in the work of a new generation of book designers in Israel.