One of the most renowned Ger­man or­a­to­rio choirs has a new in­ter­net pres­ence: the web­site, cre­ated af­ter the cor­po­rate de­sign de­vel­oped by Moni­teurs, gives vi­sual, his­tor­i­cal and acoustic in­sights into the work of the tra­di­tion-rich choir. Large-for­mat im­ages, in­tense colours and ty­pog­ra­phy as a cen­tral de­sign el­e­ment con­vey not only the con­tem­po­rary rel­e­vance of the work, but also the power, live­li­ness and va­ri­ety of the choir.

The site is run through a con­tent-man­age­ment sys­tem. A lot of ed­i­to­r­ial con­tent, such as news or fu­ture con­certs, en­sured that our mis­sion was not only to adapt the sys­tem to the vis­i­tors, but also to the needs of the choir mem­bers. An in­te­grated pro­tected area for or­gan­is­ing the choir – for ex­am­ple, the plan­ning of re­hearsals, the cre­ation of sur­veys or the shar­ing of in­ter­nal pic­ture gal­leries – meets these de­mands.

Dur­ing the Berli­nale 2014 at the Berghain Kan­tine, the Film­ga­lerie 451 cel­e­brated the pre­mieres of four films: “The Airstrip” by Heinz Emigholz, “Three Stones for Jean Genet”, by Frieder Schlaich, “Every­thing that rises must con­verge” and “La Ul­tima Pec­ula”, by Raya Mar­tin and Mark Per­an­son. Moni­teurs de­signed a 16-page book­let as a per­sonal in­vi­ta­tion with pho­tog­ra­phy and graph­ics from the films, which was printed in lim­ited edi­tion on a Riso­graph. The Riso­graph prints with a par­tic­u­larly gen­tle sten­cil print­ing process in the style of screen print­ing, which makes it pos­si­ble to print with bright, beau­ti­ful colours.

The Film­ga­lerie 451 pro­duces, pub­lishes and de­liv­ers – not only their own – films which, due to their in­no­v­a­tive and non­con­formist na­ture, are com­mer­cially too risky – for ex­am­ple, the films of Christoph Schlin­gen­sief or Heinz Emigholz. The cor­po­rate de­sign func­tions sim­ply: a mono­chrome colour con­cept, type­writer-ty­pog­ra­phy and a strong cen­tral im­age.