Andy Altmann, co-founder of the renowned graphic design studio Why Not Associates, brings to life a fascinating collection of graphic ephemera in his new book, Tat. Over the course of three decades, Andy has gathered various pieces of graphic design that he finds inspiring, celebrating the ordinary and finding wonder in the mundane. This book marks the moment when he shares his unique collection with the world, offering a chance for readers and design enthusiasts to discover the joy of overlooked graphic fragments.
The journey began during his student days at Central Saint Martins, where Andy made an unconventional choice for his interview portfolio. Rather than presenting a traditional sketchbook, he compiled a scrapbook filled with “tat” (everyday, seemingly insignificant graphic materials). He reminisces, “I dug through drawers at home and found old football cards from the 1960s and '70s (lots of Georgie Best), an instruction leaflet for a Hoover, Christmas cracker jokes… From there, I moved on to magazines, cutting out things that caught my eye, and eventually photocopying things before diving into scissors and glue.” This early experience would set the foundation for a lifelong passion for collecting and assembling visual fragments from the world around him.
What Makes a Piece of "Tat" Special?
What is it that transforms an ordinary piece of graphic design into something special, something capable of inspiring and sparking creativity? Is it the nostalgia of old design trends, the appreciation for bygone eras, or perhaps a fascination with vintage printing techniques and raw, experimental design? In the case of Andy Altmann’s collection, the concept of “tat” represents something that transcends mere nostalgia—it’s about finding magic in the overlooked, the forgotten, and the discarded elements of design.
Altmann’s relationship with “tat” began long before his successful career in design. During his student years, he started collecting bits and pieces of graphic design that caught his eye—old football cards, instruction leaflets, and other seemingly insignificant items. For him, these objects were not merely scraps but windows into a different era of design, an era that held a certain unpolished charm. “Tat,” as Andy defines it, holds an ineffable quality. It's not just about the age of an item or its historical context, it’s about the spark it creates when one sees it. There’s a unique pull that these forgotten items have, one that draws in the viewer and evokes feelings of inspiration.
The Magic Behind the "Tat"
What makes “tat” truly unique is its ability to invoke a sense of wonder and creativity. As Altmann explains, it’s difficult to define what makes a piece of “tat” magical, but there’s something about it that draws him in. Whether it’s an image, a piece of typography, or a quirky use of color, these elements possess an intangible quality that resonates deeply with the viewer. It’s the ability to recognize something powerful in what seems like a small, forgotten fragment that sets “tat” apart.
Altmann himself acknowledges that it’s not just the content of these items that makes them special; it’s the personal connection they foster with the designer. "Tat" can feel deeply personal, as it often evokes memories of a time and place that can’t be replicated. There’s something particularly profound in finding inspiration in the mundane and the discarded. The very imperfection and ephemerality of these pieces are what make them so enduringly valuable to graphic designers.
Ephemeral Nature of Graphic Design
For Altmann, the transient nature of graphic design holds great appeal. Unlike architecture or other forms of design that are meant to last, graphic design often has an ephemeral quality—it’s temporary and fleeting. This impermanence gives it a sense of freedom and playfulness that attracts him. In a world where most things are designed to be permanent, graphic design offers a refreshing change. It’s a form of design that is often created with little regard for long-term durability, yet these discarded elements can carry deep significance when revisited years later.
“Much of it ends up discarded,” Altmann notes. “Unlike architecture, which always seemed so serious and permanent, graphic design felt more playful, less rigid.” In this fleeting nature, Altmann found his passion. Early on in his education, he learned the rules of design—Swiss typography, grid systems, and meticulous execution. However, his true passion remained in the more chaotic, expressive aspects of design. His collection of “tat” reflects this interest in raw, unrefined design elements.
Rediscovering the Charm in the Discarded
Altmann’s love for collecting these “tat” pieces lies in their ability to capture something authentic. Misprints, errors, and flawed typography hold a special place in his heart. In a world where perfection is often the goal, these imperfections are seen as beautiful and worthy of appreciation. To Altmann, a misprinted flyer or a badly designed soap powder box is not a failure; it's an opportunity to learn something new about color, form, and typography.
The rawness of these objects provides a different kind of insight into design. It’s the kind of insight that leads to creative solutions, a spark of inspiration for new projects, and an alternative approach to design thinking. This freedom from the conventional rules of graphic design allows for endless exploration and experimentation. These “tat” pieces are a source of unlimited inspiration, especially for a designer who wants to push boundaries and embrace imperfection.
The Role of Misprints and Raw Design in the Creative Process
For Altmann, misprints and the raw, chaotic designs of “tat” pieces serve as a crucial part of the creative process. In fact, many of the designs in his collection are so-called “bad” designs by traditional standards. However, it’s precisely these flaws that make them invaluable sources of inspiration. Rather than adhering strictly to the polished, perfected standards of mainstream design, these items embrace flaws as opportunities for innovation.
This freedom from conventional constraints encourages designers to think outside the box. The spontaneity and unpredictability of "tat" can lead to fresh design solutions, encouraging creative risk-taking. It’s not about creating something perfect—it’s about experimenting with ideas, colors, typography, and forms without worrying too much about the final result. This is a mindset that encourages designers to find beauty in the unexpected and to view mistakes as valuable learning experiences rather than failures.
From Fragments to Ideas: The Journey of "Tat"
What makes “tat” even more exciting is the way it inspires new ideas and design solutions. Altmann’s approach to these discarded pieces is not just about collecting them—it’s about using them as a springboard for further creativity. In his studio, Altmann regularly flips through his scrapbooks of “tat,” drawing inspiration from the typography, color combinations, and visual elements that catch his eye. What was once an insignificant piece of trash can become a starting point for a fresh design project.
The process of collecting “tat” is about actively engaging with the material. It's not just about looking at an object and appreciating it for its beauty; it’s about understanding its context, its potential, and how it can influence your design process. This dynamic interaction with everyday graphic elements allows designers to discover new ways of thinking and expand their creative horizons.
The Enduring Influence of "Tat" in Modern Design
In the ever-changing world of design, the influence of “tat” continues to be felt. Altmann’s collection serves as a testament to the enduring value of ephemeral, raw, and unconventional graphic design. While modern design trends often focus on minimalism, clean lines, and perfect execution, “tat” reminds us of the power of the imperfect, the experimental, and the discarded. These elements encourage designers to reconnect with the essence of creativity and find inspiration in places that are often overlooked.
Moreover, “tat” has become an essential part of the conversation surrounding design culture. It encourages designers to engage with history, explore nostalgia, and find relevance in even the most fleeting designs. As Altmann's work demonstrates, even the most mundane objects can carry deep cultural and visual significance. By embracing the beauty of the everyday and the imperfect, designers can foster a deeper connection with the world around them and create more meaningful, authentic work.
In the end, the allure of “tat” lies in its ability to spark creativity, challenge design norms, and inspire a fresh perspective on what constitutes great design. It’s about looking beyond the polished, curated world of mainstream design and finding inspiration in the forgotten, the overlooked, and the discarded. Through this process, designers can rediscover the true magic of design and explore new ways of expressing their creativity.
A New Way to Appreciate "Bad" Design
Design is often seen as a pursuit of perfection, a quest to create something flawless that adheres to well-established principles and conventions. This idea of what constitutes "good" design has been ingrained in the industry for decades, with a focus on clean lines, symmetry, and polished execution. However, for Andy Altmann, co-founder of the design studio Why Not Associates, this perception of design is far too narrow. His book Tat challenges conventional ideas of design by celebrating what others might consider "bad" design. For Andy, these items represent an alternative world of creativity—one that embraces imperfection, rawness, and authenticity.
Many people dismiss the graphic ephemera featured in Tat as examples of “bad” design, labeling them as unrefined, unprofessional, or misaligned with traditional design principles. Yet, Altmann sees them through a different lens. Instead of seeing flaws and mistakes, he recognizes opportunities for exploration and learning. The value of “bad” design lies not in its technical perfection, but in its ability to provoke thought and inspire creativity. These objects, whether found on the street, in a second-hand shop, or online, each hold something valuable. They embody an energy that is often absent in more polished, commercialized design work.
The Beauty in the Raw and Chaotic
What makes "bad" design so captivating is the rawness that comes with it. In contrast to the highly refined, digitalized design world, these graphic fragments reflect a sense of freedom—an unpolished, unpretentious spirit that resonates deeply with designers. There’s a kind of beauty in the chaos, a beauty that is often overlooked by mainstream design. These imperfect objects evoke a sense of nostalgia for a time when design was not bound by rigid guidelines or expectations, when it was more about expressing an idea or feeling than adhering to a set of standards.
In Tat, Altmann reveals how this chaotic beauty offers a fresh perspective on design. By collecting these “bad” designs, he’s created an unconventional archive of visual culture—one that highlights the imperfections and oddities often overlooked in the pursuit of flawless aesthetics. Whether it's a misprinted flyer, a poorly executed label, or a color combination that breaks all the rules, Altmann appreciates these items for their inherent imperfections. They may not conform to traditional design ideals, but they offer an authenticity and rawness that resonates with designers and creatives seeking something outside the polished, commercialized mainstream.
A Dazzling Collection of "Tat" Pieces
Inside the pages of Tat, readers are greeted with a dazzling assortment of objects that reflect the variety and diversity of everyday graphic design. From candy wrappers to soap powder boxes, from speedway flyers to bus tickets, Altmann’s collection presents a rich tapestry of graphic design fragments from all walks of life. These seemingly insignificant items, often dismissed as disposable, hold within them a treasure trove of visual elements waiting to be explored.
Each of these objects offers a glimpse into a moment in time. They represent consumer culture and design trends from various decades, capturing the essence of their respective eras. The candy wrappers might evoke the vibrant, playful design of the 1970s, while the bus tickets could remind us of the simplicity and functional design of the past. Even the humble soap powder boxes, which many people would overlook as mundane, showcase the bold typographic choices and daring color combinations that were once all the rage. Altmann’s collection serves as a visual time capsule, preserving the fleeting moments of design that would otherwise be forgotten.
The beauty of these objects is that they allow us to appreciate design in its rawest form. They were not created for the purpose of lasting artistic merit or museum displays; they were created to serve a practical purpose. Yet, when viewed through a designer’s eye, they become something more. Each piece carries with it a story, a context, and a history, which is what makes them so valuable to Altmann and others who see the potential for creativity in the discarded fragments of design culture.
A Time Capsule of Consumer Culture
One of the most compelling aspects of Tat is its role as a time capsule of consumer culture. As we flip through the pages of the book, we are transported back to different periods in history—moments where graphic design was shaped by the values and aesthetics of its time. These items offer a snapshot of an era gone by, helping us understand how design has evolved and how consumer culture has shifted over the decades.
Each object in Altmann’s collection offers a glimpse into a particular moment in design history. For example, a wrestling programme from the 1980s might showcase the bold, garish typographic styles that were popular in that era, while a soap powder box from the 1960s might feature a more restrained design language that reflects the sensibilities of mid-century modernism. These items capture the essence of their time in ways that digital design and modern branding often cannot. They were born out of the culture of their time, reflecting the tastes, humor, and societal trends that influenced their creation.
Through his collection, Altmann illustrates how design is not a static practice but a dynamic, ever-evolving conversation between culture, technology, and creativity. What may have seemed like mundane, functional packaging or promotional material in the past now holds a deeper cultural significance. By examining these “bad” designs, we can gain insight into how the world of graphic design has changed and how design continues to evolve.
Design as a Fluid, Ever-Evolving Medium
What makes Tat so intriguing is the way it presents design as a fluid, ever-evolving medium. These graphic fragments, often discarded and forgotten, become part of a larger conversation about the shifting nature of design over time. The book doesn’t simply focus on the aesthetic qualities of these objects; it also explores how design evolves and adapts in response to cultural, technological, and societal changes.
The objects in Altmann’s collection reveal the shifting values and priorities of different eras. They offer a window into the evolving tastes of consumers and the changing methods of design production. By highlighting the contrast between highbrow and lowly design, Tat encourages readers to look beyond the surface and consider the stories behind these objects. Design is not just about aesthetics; it’s about communicating a message, evoking a feeling, or solving a problem. Altmann’s collection exemplifies how design has always been influenced by context, whether it’s the cultural climate of the time, technological innovations, or shifts in consumer behavior.
In this way, Tat challenges the traditional understanding of design as a rigid set of rules and principles. Instead, it shows that design is fluid, constantly evolving, and open to reinterpretation. What may have been considered “bad” design in one era can be appreciated in another for its historical context, its experimental nature, and its ability to capture the zeitgeist of its time.
A Celebration of Imperfection
At its core, Tat is a celebration of imperfection in design. While mainstream design culture often seeks perfection and flawless execution, Altmann’s collection embraces the beauty of the imperfect and the raw. These graphic ephemera may not conform to the polished standards of modern design, but they possess an energy and authenticity that is often missing from contemporary work.
In a world where design is often homogenized and refined through digital tools, Tat offers a refreshing reminder that design can be messy, chaotic, and full of character. There’s a sense of freedom in these imperfect pieces—freedom from the constraints of commercial expectations, freedom from the pressure to conform to current trends. These objects serve as a reminder that design doesn’t always have to be perfect to be valuable. Sometimes, it’s the imperfections that make design truly stand out.
In celebrating these imperfect objects, Tat encourages designers to embrace the unpredictable and explore the unknown. By accepting that flaws and mistakes are part of the creative process, designers can break free from the constraints of conventional design and find new ways to express their ideas. Whether it’s a misprint on a flyer, an unconventional color palette, or a quirky typographic choice, these elements contribute to the richness and diversity of the design world.
Finding Inspiration in the Everyday
Ultimately, Tat serves as a reminder to find inspiration in the everyday. Many of the objects in Altmann’s collection were not designed with lasting artistic merit in mind; they were created for practical purposes, from packaging to promotional materials. Yet, when viewed through the lens of a designer, they become valuable sources of creative inspiration.
Altmann’s collection encourages designers to look beyond the polished, commercialized design world and find inspiration in the mundane, the discarded, and the overlooked. In doing so, it fosters a deeper connection with design culture and inspires a new way of thinking about the creative process. By appreciating the raw, imperfect, and chaotic nature of "bad" design, designers can tap into a wealth of untapped creative potential and discover new ways to express their ideas.
Through Tat, Altmann demonstrates that design is not just about creating something visually appealing or functional. It’s about engaging with the world around us, discovering new perspectives, and finding beauty in the most unexpected places. By embracing the imperfections of "bad" design, designers can open themselves up to a world of creativity and possibility.
Personal Favorites and Family Connections
Andy Altmann’s collection in Tat isn’t just a group of random graphic ephemera; it’s a deep, personal journey that traces his roots, his design evolution, and his connection to the world around him. Among the many pieces that populate the pages of Tat, one group of items stands out above the rest: his soap powder box collection. This specific collection, spanning several decades and countries, is not only visually fascinating but emotionally significant. It represents a personal history, filled with memories of his family’s history and their place in the design landscape.
What makes the soap powder boxes particularly special to Andy is the way they reflect his family’s influence and his personal experiences. Many of these boxes were sourced from all over the world by friends and family, who brought them back from their travels. Each one tells a different story of consumer culture from the time and place it was made. But there’s one piece that holds an especially cherished place in Andy’s heart—a Persil box from the 1960s. This isn’t just any box; it is a piece of his family’s history. “My family worked at the Persil factory in my hometown of Warrington for several generations,” Andy shares. “I even worked there during my summer holidays while studying in the early '80s. This connection is why I love the bold, graphic typography of these packages.”
The emotional attachment Andy has to this particular soap powder box is evident in the way he talks about it. For him, it’s not merely a piece of packaging—it’s a link to his family’s past, to a time when design had a more prominent place in everyday life. His connection to this packaging goes beyond nostalgia; it is a reminder of the influence that family and history have had on his creative journey. It represents both personal and professional milestones, combining the design aesthetics of a specific era with his own lived experience. The way the typography and visual style of these packages speak to him demonstrates a deep understanding of how design influences our lives and shapes our perceptions of the world.
More Than Just Packaging: The Emotional Significance of Soap Powder Boxes
For Andy, soap powder boxes are more than just items of consumer packaging; they represent a deep emotional connection to his past. Each box in his collection carries with it a memory, a piece of his personal history, and a connection to his family’s legacy. These boxes, often dismissed as trivial or unimportant by others, become precious objects imbued with meaning when seen through the lens of personal history.
The Persil box, in particular, is a powerful symbol of Andy’s early experiences and his family’s contributions to the manufacturing world. When he looks at the design, he sees more than just the bold typography and color schemes typical of 1960s packaging. He sees a link to his childhood, to the summer holidays spent working at the factory in his hometown. It was during these formative years that Andy began to understand the power of graphic design and its ability to communicate to the masses. These early experiences shaped his creative instincts and ultimately led him down the path of becoming a graphic designer himself.
As much as the design of the soap powder boxes is aesthetically appealing, it is the emotional significance that makes them stand out to Andy. The boxes represent a connection to his family’s history and to a particular moment in time. They serve as a reminder of the long-lasting influence that design can have on our personal and collective histories. Each design, with its bold typography and graphic elements, is a product of its time—a moment in design history that reflects the tastes, trends, and consumer attitudes of the era.
A Journey Through Design History
The soap powder boxes in Andy’s collection offer a visual journey through design history. The aesthetic shifts that took place over the decades are captured in these seemingly simple, everyday items. The graphic design on these boxes reflects changing design philosophies, consumer tastes, and the evolution of printing techniques. What’s fascinating is how these objects have been preserved not for their artistic merit but because they served a purpose—packaging everyday products. Yet, when seen in retrospect, these designs tell a rich story about how graphic design has evolved over the years.
Andy’s collection allows him—and now his readers—to trace the arc of design history through a very personal lens. By collecting these soap powder boxes, Andy is not only preserving a piece of his own history but also capturing the essence of a broader cultural movement in design. Each box represents an era of design, from the bold and colorful designs of the 1960s to the more minimalistic approaches of later decades. The shifts in typography, color schemes, and overall aesthetics reflect the broader cultural and social changes of each time period.
For anyone interested in design history, this collection serves as a fascinating glimpse into how packaging design has adapted to the changing tastes and demands of consumers. The boxes speak to the rise of mass consumerism and the growing importance of branding, all while maintaining a sense of simplicity that was central to mid-century modern design. In this way, Andy’s collection isn’t just a visual record of his personal history; it’s a window into a broader history of graphic design and consumer culture.
A Family Legacy Through Design
One of the most beautiful aspects of Andy’s Tat collection is how it reflects his family’s legacy and its direct influence on his work as a designer. As a young man, Andy was surrounded by the visual culture of the Persil factory. The bold designs of the packaging and the stories of his family’s involvement with the brand shaped his perception of design from an early age. His personal connection to the factory, combined with his academic training in design, has allowed him to develop a unique perspective on the value of graphic ephemera.
The soap powder boxes represent a symbolic bridge between the personal and professional aspects of Andy’s life. The simple, functional designs of these boxes encapsulate an era when graphic design was still tied to utility and practicality. The connection between family, history, and design runs deep in Andy’s work, and it is this connection that makes Tat so much more than just a collection of discarded objects. Each piece tells a story, and each story is part of a larger narrative about design’s role in our lives.
Through these personal connections, Andy has created a work that resonates with others who may have similar familial ties to the design industry or to particular cultural moments. His collection is not just about collecting “bad” design; it’s about preserving and celebrating the things that have shaped his life and career. In this way, Tat becomes a personal archive, a visual memoir that captures the importance of family, history, and design.
The Intersection of Design and Memory
What makes the soap powder box collection in Tat so compelling is the way it intertwines design with memory. These items, once used in everyday life, now serve as tangible links to the past. For Andy, each box is a symbol of a personal memory—a time spent working at the Persil factory, a connection to his family’s roots, and a piece of the larger cultural history of design. The connection between design and memory is a powerful theme throughout Tat, and it is something that resonates with anyone who has ever been moved by a design that evokes a sense of nostalgia or personal history.
The act of collecting these boxes is not merely about preserving old packaging. It is about preserving the memories and the stories behind them. Design is not just about aesthetics—it’s about the emotions and experiences that it evokes. By holding onto these boxes, Andy is holding onto pieces of his past, each one representing a moment of personal growth and a deeper understanding of the power of graphic design. These soap powder boxes have become more than just packaging—they have become markers of time, reminding Andy of the journey he has taken as a designer.
A Testament to the Impact of Design on Our Lives
Andy’s connection to the soap powder boxes in Tat highlights the deep impact that design has on our lives. These objects, which were originally created for commercial purposes, have become much more than their original intent. They are now cherished artifacts, preserved for their cultural significance, their historical context, and the memories they evoke. Through his collection, Andy demonstrates that design is not just about creating visually pleasing objects—it’s about creating objects that connect us to our past, our families, and our identities.
Each soap powder box in Andy’s collection serves as a testament to the power of design to shape our experiences and memories. Design isn’t just about creating something that looks good; it’s about creating something that resonates with us on a deeper level. It’s about finding beauty in the everyday, the ordinary, and the functional. Through Tat, Andy Altmann has created a celebration of design’s lasting impact on our lives, showing us that even the most mundane objects can carry profound meaning.
Visual Overload and the Allure of Imperfection
Tat is not just a book; it’s a visual experience. The sheer volume of material on its 400 pages creates a sensory overload, but that’s part of its charm. It offers an overwhelming yet rewarding look at a lifetime of collecting, allowing readers to immerse themselves in the world of everyday graphic design. Each page is filled with a plethora of objects that evoke nostalgia and inspire creativity. It’s a journey through the graphic design of a bygone era, a celebration of the beauty that exists in imperfection.
The book also serves as a documentation of consumer design culture over the past 30 years. It captures the spirit of different periods, from the boldness of 1960s packaging to the crude typography of 1980s street flyers. But Tat is more than just a nostalgic trip down memory lane. It’s an exploration of how these designs have influenced contemporary graphic design. Even though many of the items in the collection may be considered “low culture” or “bad design” by today’s standards, they carry with them a sense of authenticity and a reminder that good design doesn’t always have to be polished or perfect.
The beauty of Tat lies in its ability to capture the spirit of design as a constantly evolving practice. While mainstream design often seeks perfection and refinement, the pieces in Andy’s collection embrace imperfection. The rawness of these designs, their mistakes, and their charm are what make them so special. Andy’s work demonstrates that there’s beauty in the unrefined and the unexpected, and that inspiration can be found in the most unlikely places.
The Role of "Tat" in Modern Design
What does Tat offer to modern graphic designers? In a world dominated by sleek, minimal designs and digital perfection, Tat reminds designers of the importance of spontaneity, playfulness, and the value of experimentation. It challenges the conventional notion of what is considered "good" design and invites designers to look at the world around them with fresh eyes.
Andy’s collection is a reminder that design is not just about creating something beautiful or functional; it’s also about embracing the world’s imperfections and finding inspiration in the everyday. The objects in Tat may not adhere to traditional design principles, but they speak to a deeper understanding of what design is at its core—an exploration of culture, creativity, and the human experience.
For designers and design enthusiasts, Tat offers a new way to appreciate the everyday objects and materials that often go unnoticed. It encourages them to step outside the boundaries of traditional design and embrace the chaos and unpredictability that can lead to groundbreaking work. By celebrating the humble and the overlooked, Andy Altmann’s Tat serves as both a tribute to the beauty of imperfection and a call to rethink the value of everyday design.
The Legacy of Tat
As the book Tat illustrates, the legacy of graphic ephemera is far more significant than simply being discarded materials or forgotten objects. They are the visual remnants of a culture, serving as time capsules that tell the story of an era. Each piece of tat holds a glimpse into the social, cultural, and design trends of its time. The scrap of paper, the torn flyer, the misprinted label—each one is a fragment of history, a piece of the larger story of graphic design.
In the end, Tat is more than just a collection of graphic design odds and ends; it’s a celebration of the discarded and the overlooked. Andy Altmann’s work invites readers to find beauty in the mundane, to discover inspiration in the most unexpected places, and to embrace the imperfections that make design so wonderfully human. By collecting and sharing these pieces, Andy reminds us that every fragment of design—no matter how small or seemingly insignificant—has a story to tell and a lesson to offer.
Final Thoughts:
Andy Altmann's Tat is more than just a collection of graphic design ephemera; it’s an exploration of the unnoticed, the discarded, and the fleeting nature of design. As Altmann carefully assembles his carefully curated pieces, he invites us to look at the world around us through a different lens. In a time where perfection and digital refinement dominate the design landscape, Tat offers a refreshing departure, reminding us that there is beauty in imperfection, rawness, and spontaneity.
The book is a celebration of the ordinary—a snapshot of the cultural and social trends of different eras, preserved through the humble objects we tend to overlook. From soap powder boxes and candy wrappers to torn flyers and bus tickets, these seemingly insignificant items reflect the essence of their time, offering insights into the values, aesthetics, and everyday experiences of the past. By bringing these fragments together, Altmann has created not just a visual archive, but also a personal narrative, each piece reflecting a moment in his own life, as well as a deeper connection to the world around him.
One of the most profound takeaways from Tat is the notion that design, in its purest form, doesn’t always need to adhere to high standards or rules. It can thrive in chaos, misprints, and imperfection. Through his collection, Altmann challenges the traditional perception of what constitutes good design, showing that even the most unsophisticated or crude pieces of graphic design can spark creativity and innovation. In fact, these everyday items—often discarded without a second thought—can offer the very inspiration needed to create something new and meaningful.
Furthermore, Tat serves as a reminder that design is not just about making things look aesthetically pleasing but also about telling stories. The objects in Altmann’s collection are fragments of personal and collective histories, each one carrying with it a piece of memory, nostalgia, and culture. They are small glimpses into the world as it once was, reminding us that design is not only about what is new but also about honoring the past and learning from it.
Ultimately, Tat is a call to embrace the beauty of imperfection and find inspiration in the most unexpected places. It challenges us to step away from the polished, highly curated world of modern design and look to the discarded, the overlooked, and the everyday for creative inspiration. In doing so, Altmann invites us to rediscover the magic in the mundane and find inspiration in even the most humble corners of the design world.
