Rundgang 2025: KIOSK

From July 24 to 27, 2025, the Karlsruhe University of Arts and Design (HfG) invites the public to its annual Rundgang—the open-house exhibition showcasing student work across all departments. This year’s edition, under the theme KIOSK, transforms the university into a vibrant space of exchange, experimentation, and artistic reflection.

Over four days, the university’s workshops, studios, and iconic Lichthöfe become exhibition spaces. Visitors are invited to explore more than 100 projects by students from Communication Design, Product Design, Media Art, Exhibition Design & Scenography, and Art Research & Media Philosophy. The works range from installations, performances, films, and texts to speculative and sustainable design concepts.

Highlights include the life-sized pavilion “The Nest”, made from regional, bio-based materials, and a mobile stage imagining a possible future shaped by climate crises and global justice—a collaboration with Theater Neumarkt and Collegium Helveticum Zürich.

The Rundgang opens on Thursday, July 24, at 7 pm, with the Award Ceremony of the Fördergesellschaft ZKM/HfG, recognizing outstanding student works. Daily public tours, film screenings, talks, and performances round out the program, organized in part by the university’s student body.

With KIOSK, HfG Karlsruhe presents itself as a lively site of artistic dialogue and interdisciplinary collaboration.

📅 Rundgang 2025—KIOSK
🗓️ July 24–27, 2025
📍 HfG Karlsruhe, Lorenzstraße 15
🎟️ Free admission

Program details: https://hfg-karlsruhe.de/aktuelles/rundgang-2025/

www.hfg-karlsruhe.de

Works (from top to bottom)

트로피 3 trophy 3, Hoin Ji

Ministry for the Future, Episode 3, Collegium Helveticum Zürich

Ministry for the Future, Episode 1, Projection on the Floor, Ewa Wasilewska

Manchmal ist Schmerz ganz leise, Sophie Reißfelder

Known Unknown, Chelsea Kim & Josephine Leicht

Final result picture Wavebreaker, Cornelia Herzog

By Users for Users, Table of Contents and Abstract, Moritz Konrad

Ausstellungsansicht 1 Aqua Logistik, Finn de Bruyn

Aqua Logistik Part II, Finn de Bruyn

Tender Darkness, Livia Emma Lazzarini

Forward Festival 2025

Mark your calendars for August 28–29, 2025! Forward Festival returns to Berlin for another inspiring edition, taking place at the iconic Haus der Kulturen der Welt. With the theme “Turn Ideas into Action,” this two-day event invites creatives from around the globe to explore what’s next in design, digital art, photography, and more.

Expect a dynamic program of talks, workshops, and curated side events—all designed to ignite creativity, foster meaningful connections, and empower forward-thinking minds.

This year’s speaker lineup features over 40 international voices from across the creative industries. Highlights include graphic artist Anthony Burrill, known for his impactful typographic work and reflections on simplicity in design, and Roel Wouters from Random Studio, who will dive into the world of immersive storytelling. Also taking the stage are Porto Rocha, sharing strategies for building authentic brand narratives, Zeynep Orbay of Wieden+Kennedy Amsterdam, and collage artist Alice Isaac, each bringing bold perspectives on creative direction and experimentation.

But Forward Festival is more than just a stage—it’s a full experience. Look out for standout side events like a boat tour on the Spree with Erik Kessels, and SNASK’s famously unfiltered “Pretentious Alcoholic Discussions,” offering an unconventional space for raw, honest dialogue. Don’t miss your chance to be part of this one-of-a-kind gathering of creatives!

When?
Thursday, August 28, 2025 – Friday, August 29, 2025

Where?
Haus der Kulturen der Welt,
John-Foster-Dulles-Allee 10,
10557 Berlin,
Germany

Further information here.

Hamburgerfonts

Hamburgerfonts takes its name from a well-loved typographic test word—one that packs a range of letterforms into a single, oddly satisfying phrase. Contrast Foundry (CoFo) has turned this inside joke into a playful, mix-and-match type specimen celebrating its full library of retail fonts.

Structured like a children’s flip book, the 18-page specimen invites readers to combine typefaces like burger ingredients. Display types are labeled as Protein, body text styles as Veggies, and supportive fonts as Condiments. It’s a fun, hands-on way to explore the flavors of CoFo’s collection—layering bold, functional, and quirky styles to create your own visual recipe. Each flip of the page offers a new combination, encouraging designers to experiment and discover unexpected pairings.

It’s a deliciously fun approach to a type specimen—both a tool and a toy!

Hamburgerfonts Type Specimen

Publisher: Contrast Foundry (CoFo)
Design & Concept: Jonny Black, Giorgia Sage, Camille Gwise (The Office of Ordinary Things)
Illustrations: Jonny Black, Giorgia Sage, Camille Gwise (The Office of Ordinary Things), Egor Golovyrin, Nikita Sapozhkov (Contrast Foundry)
Release date: April 2025
Volume: 18 pages
Format: 12,5 × 15 cm
Language: English
Printing : MCRL Overseas Group
Retail price: $25

BUY HERE!

Recap: European Design Festival 2025

Spending the weekend in Ljubljana for the European Design Festival was nothing short of inspiring. From the great talks and exhibitions to the great conversations between the sessions or at lunch, the city became a playground for creative minds from across Europe. The air was filled curiosity and a shared love for design.

After the first talks during the day, things kicked off in style on Friday night with the official ED-Festival opening and the simultaneous opening of the exhibition Eccentricity—Design from the Off-Centre, setting the tone for a weekend that would celebrate the unconventional and embrace the unexpected. The exhibition was a bold mix of works that invited us to question what “good design” really means. It was a reminder that creativity often flourishes when we step away from the centre and lean into the strange, the playful, and the daring. And it was also a reminder of the bold ideas and daring experiments only we humans are capable of amidst all the fear of being replaced by AI. 

The talks and lectures over the weekend were equally enriching—a diverse lineup of speakers covering everything from type design, graphic design and future-facing design ethics to cultural storytelling.

One of the highlights, of course, was the European Design Awards reception Saturday night. It’s always a blast to sit in a room full of design enthusiasts and people who are similarly eager to learn new things and gain new perspectives. There’s a special kind of energy in those moments—when you’re surrounded by others who not only understand your passion but push it further with their own.

The awards ceremony itself was both elegant and celebratory, with truly amazing projects recognized. Seeing the diversity of work—from powerful branding and editorial pieces to clever packaging, interactive design, and smart as well as socially relevant type design reminded everyone in the room just how much design shapes the world around us.

Beyond the awards and talks, workshops offered plenty of moments to reflect, debate, and get creatively recharged. And Ljubljana! The city proved to be the perfect host. Compact yet full of charm, its mix of historical beauty and modern flair echoed the spirit of the festival perfectly. 

We’re already looking ahead with excitement, as next year’s European Design Festival heads to Bulgaria! A new city, a new setting, and no doubt a whole new wave of inspiration. Until then, here’s to keeping that creative spark alive.

komma 30 – Aus Dem Verborgenen

With its 30th issue, komma—the design magazine of the University of Applied Sciences, Mannheim—didn’t just mark a milestone. It unearthed one.

Entirely curated, designed, and produced by students, komma has long served as a platform for showcasing the breadth of creative work emerging from the university’s Design Faculty. Each edition is led by a new editorial team, giving every issue its own distinct identity and theme. But for this anniversary edition, the team set their sights on something deeper: the unseen.

Under the title aus dem Verborgenen (from the hidden), komma 30 turns its focus inward—to the archives, to forgotten corners, and to the stories behind the stories. Across 320 pages printed in stark black and HKS 13 N, the issue functions not only as a survey of current student work—bachelor’s, master’s, semester, and independent projects—but also as a living document of the magazine’s own history. A flipbook element cleverly guides the reader through the chapters, threading together moments both past and present.

The editorial process itself became an act of excavation. Over 100 former editors—referred to as kalumni—were interviewed or surveyed, offering insight into the evolution of the magazine over time. Alongside these conversations, the team carried out extensive archival research, bringing to light editions once buried in basement storage. What emerged is more than a printed object. As part of the project, a dedicated digital archive was created, offering open access to the full run of komma issues via a new website. This move not only preserves the publication’s legacy, but ensures its relevance far beyond the university walls. komma 30 is a celebration—but one that looks into the shadows, asks new questions, and refuses to leave the past untouched!

komma 30 – Aus Dem Verborgenen

Publisher: University of Applied Sciences Mannheim, Faculty of Design
Editors: Vivian Gölz, Maris Baust, Mo Braun, Linda Armbrust, Carla Hollstein
Co-development: Lena Brzoska
Release: April 2025
Format: 61 × 71 cm
Volume: 320 pages
Language: German
Printing: ABT Print und Medien GmbH

Further information here.

Playing with Order

Have you ever looked at designs from foreign cultures and wondered, what exactly it is that makes them different from what you’re used to? It may often feel hard to explain—the vibe and visual language can feel familiar yet foreign.

Playing with Order is a bachelor’s project by German design student Katrin Eder from Mediadesign Hochschule München, exploring the contrast between Japanese and German poster design. Inspired by a personal fascination with the visual language of foreign cultures—particularly Japan—she investigates how cultural philosophies shape graphic aesthetics.

After reviewing the history of poster design and examining the cultural philosophies shaping each country’s art and design, a fascinating contrast emerged: Japanese poster design often relies on a sense of ordered chaos and intuition. German posters, by contrast, tend to be minimalist, systematic, and purpose-driven. The tension between these design practices became the conceptual foundation for the practical part of the project. Playing with Order refers to the idea of mixing the German and the Japanese approaches to modern poster design. Setting up rules to guarantee perfect visual order—only to deliberately play with and digress from them—felt like cautiously balancing a scale. It opened endless opportunities and thereby gave a special charm to the creation process.

Both the research and the full concept for the poster series were documented, offering deeper insight into the project. Chaos and Order benefit from each other, just as two distinct design approaches can enrich one another when brought into dialogue!

Werkschau Design 25 at Peter Behrens School of Arts

At the end of the summer term 2025, the graduates of the Design departments of the Peter Behrens School of Arts at the Hochschule Düsseldorf–University of Applied Sciences will present their projects during the Werkschau Design 25. Around 150 young designers specializing in Communication Design, Exhibition Design, New Craft Object Design and Retail Design are looking forward to your visit.

When the final project is handed in, the studio cleared out, and the certificate is in hand—what’s next? For many, a new chapter begins: less defined, less familiar. A leap out of clear routines into a vast, unexplored space full of opportunities and possibilities.

Our showcase begins right here—with language as a creative tool. Typography takes center stage: words, sentences like “select all life,” “copy paste love,” “new layouts, new beginnings,” “more ideas than stars”—merging, flowing into one another, forming new connections. The lettering on the posters blends like a melody in music. The type becomes an expression of movement, change, and energy. But language is not only visible—it becomes audible. In the end, a musical staging brings these typographic messages to life. The sung words give language a new dimension—a celebratory, vibrant voice.

The combination of visual design and musical performance creates an atmosphere of departure and joy. It’s not just an exhibition, but a celebration—an invitation to embrace creativity and welcome what’s to come with open arms.

When?
July 11th, 12 a.m.–8 p.m.
July 12th, 11 a.m.–6 p.m.

Where?
Hochschule Düsseldorf
Peter Behrens School of Arts
Building 6
Münsterstraße 156
40476 Düsseldorf

Instagram

Design: Michelle Litke, Charlotte Poos, Clarie Scherf, Nina Stürner / Code: Stefan Völker / Supervision: Prof’in i. Vtr. Rejane Dal Bello, Prof. Holger Jacobs / Public Relations: Eric Fritsch und Stephanie Muscat-Bruhn

Sampling Type

Sampling Type is a website and a series of risograph-printed posters by Franzi Häußner that explores how contemporary type design is created through the revival, reinterpretation, or recombination of historical references. The project aims to show different perspectives, create space for debate, and give type design visibility and appreciation.

For many designers, typefaces are mostly a tool. But behind a lot of them lies a story; of craftsmanship, expertise, and historical context. Even today, countless new typefaces are rooted in the past—drawing from old specimens, forgotten ideas, or long-lost designs. As creating typefaces becomes more accessible, it’s important to question sources and use them in a critical way. It’s also about avoiding hero worship and critically examining the design canon. Because type can be a carrier of zeitgeist, feelings, and attitudes.

To showcase diverse perspectives, Franzi Häußner talked with type designers, a typographer and researcher from Oslo, Berlin, Leipzig, Zurich, Lausanne, and Offenbach. The conversations can be read both online and in the form of a poster series, printed in part with risograph. The interviews are set in the designers’ own typefaces and, along with portraits, studio insights, and documentation of their source material, the project offers an inspiring glimpse into their creative process.

Throughout the interviews, type design was often compared to other creative fields—especially music. The idea of sampling fits well, as it describes a playful and experimental way of working with existing material. Historical typefaces are brought into a new context, combined with other elements, and given new meaning. Just like in music sampling, where old or forgotten recordings are reused in a modern way, this approach brings historical type into the present. It’s not only about preserving cultural heritage, but also about developing it further. The name also plays on the word tape, referring to the physical packaging of the posters, which are stored in cassette-like boxes. This links the project to older photo typesetting methods, like the diatronic machine from the 1960s, which used master plates for each typeface—stored in cassettes.

The contributors include:
Samara Keller, Leonie Martin and Laura Brunner (turbo type), Lucas Liccini and Elias Hanzer (Studio HanLi), Ferdinand Ulrich, Katharina Köhler (Camelot Typefaces), Rebekka Hausmann, Inga Plönnigs, Sascha Bente and Robin Mientjes (Tiny Type).

Sampling Type is part of Franzi Häußner’s master’s thesis, completed during the winter semester 2024/25 at HTWG Konstanz in Germany, under the supervision of Prof. Valentin Wormbs and Dagmar Korintenberg, and was exhibited at the Werkschau in Konstanz in February 2025.

Sampling Type—Type Design With Historical References

Concept, Design and Photography: Franzi Häußner
Supervised by: Prof. Valentin Wormbs, Dagmar Korintenberg (HTWG Hochschule Konstanz)
Fonts: Neue Kramer Grotesk (turbo type), Ronald and Tempos Mono (Samara Keller), Dunbar (CJ Dunn), Rank (Rebekka Hausmann), HAL Repost (Studio HanLi), Rosart (Katharina Köhler), Messer (Inga Plönnigs), Rhetorik (Sascha Bente), Dover Serif (Robin Mientjes)
Riso-Printing: Drucken3000

Further information here

Recap: CXI Conference 2025

On June 6th, 2025, the CXI Conference once again opened its doors to the design and branding community in the beautiful Rudolf Oetker Hall in Bielefeld. With an impressive speaker lineup, this year’s event was a celebration of ideas, exchange, and collaboration.

Now in its sixteenth year, CXI continues to be Europe’s leading platform for corporate and brand identity, organized in close partnership with student teams from the Faculty of Design—originally in Mainz (2009–2014) and, since 2015, in Bielefeld. As always, the conference brought together agencies and companies to present their joint branding projects. The format not only offered deep insights into identity design but also created a space for meaningful conversations and shared learning.

The day began with a presentation by Wise and Ragged Edge, offering a dynamic look into international brand work. This was followed by SHEconomy Media and HFA Studio, who explored perspectives rooted in media and cultural identity. After the morning break, IPAI and LIT discussed innovation in artificial intelligence and its impact on design collaboration. The first focus talk of the day featured FIELD.IO, providing a concentrated look at experimental identity systems.

Following the lunch break, Bayerischer Rundfunk and Stan Hema shared insights from their collaboration on public broadcasting identity for their format BR24. In the afternoon, Urbane Künste Ruhr and Studio Yukiko offered a unique artistic angle on cultural branding. The final focus talk came from Studio Herrström and it closed the day with a fresh and engaging take on design practice.

CXI 2025 was marked by inspiring cases, passionate discussions, and an incredible community. We’re already looking forward to CXI 2026—and everything it will bring!

© Photos: Slanted Publishers

100 Beste Plakate 24

In the yearbook, the winning posters of the competition 100 Beste Plakate 24 are presented in large-format images with detailed credits, including brief descriptions of content aspects and the context of their creation. This is supplemented with a contact register of all designers and listings of clients and printing companies. The introduction of the jury, featuring their own works and statements about the selection process, along with forewords from the association president and the jury chair, completes the publication.

Additionally, an essay or interview contribution addresses related topics in current poster design, development trends, and analyzes. The current book concept takes the actual highlight at the end for the designers involved in the winning posters as its basis: the certificates awarded by the organizer as an honorary tribute give rise to ironic questioning on the borderline between seriousness and benevolent mockery.

Tristesse from Basel, a trio of two graphic designers and a filmmaker / photographer, came up with the idea so that the ensemble of layout, typography and photography could be produced entirely in-house. The 100 best posters as the leading actors on a stage—rich in elements that are true to the style of the Swiss studio: fresh and cheeky.

The poster book 100 Beste Plakate 24—an inspiring showcase of the cutting edge of contemporary graphic design from the German-speaking world!

100 beste Plakate 24—Germany, Austria, Switzerland

Publisher: Slanted Publishers
Editor: 100 beste Plakate e.V., Fons Hickmann
Design: Tristesse
Publishing Direction: Lars Harmsen, Julia Kahl
Release: June 2025
Format: 17 × 24 cm
Volume: 256 pages
Language: German, English
Printer: Stober Medien
Bookbinding: Softcover with flaps, thread-stitching, Buchbinderei Spinner
Workmanship: full color offset printing, hot-foil embossing
ISBN: 978-3-948440-84-8
Price: € 35.–

BUY HERE!

Stadt. Land. Schluss. 2025

Mark your calendars for October 2025, when Marktoberdorf in the scenic Allgäu region will once again host the 5th edition of the transdisciplinary symposium Stadt. Land. Schluss. initiated by Andreas Koop. The event returns—not just by tradition but because the central question remains urgent and profound: More or less? And more importantly, how do we design a “less”?

This two-day pause invites a diverse group of thinkers and creators—from design, architecture, science, and art—to come together and explore what living and working with less really means. This year, the symposium broadens its scope to include the latest fascinating insights from bee research, reminding us of our interconnectedness and shared responsibility.

The program features a series of lectures, including the dynamic “Pecha-Kucha” format—20 slides, each shown for 20 seconds—which offers a fast-paced platform for fresh ideas. The best presentation will be awarded with €500. Interested participants can submit their applications directly via email at [email protected]. Accommodations are available at the Musikakademie, making it easy for attendees to fully immerse themselves in the event. The symposium will be conducted in German.

Whether you are a professional, researcher, or simply curious about the question of “less,” this symposium offers a unique chance to engage with innovative perspectives and meaningful discussions in a beautiful setting!

Stadt. Land. Schluss—A Transdisciplinary Symposium Exploring How to Design “Less”

When?
Thursday, October 16th, 2025— Friday, October 17th, 2025

Where?
Bayerische Musikakademie Marktoberdorf
Kurfürstenstraße 19,
87616 Marktoberdorf
Germany

Further information here.

Recap: TypeParis Now25

On Saturday, May 31st, 2025, Paris welcomed a vibrant community of art directors, graphic designers, type designers, and typography enthusiasts for the annual TypeParis Now25 conference.

Held at the Novotel Paris Vaugirard Montparnasse, Now25 brought together an inspiring lineup of international speakers and workshop leaders, including names like Ariane Spanier, Lucas Sharp, Anni Seligmann, Mathilde Vallée, Tina Touli, Rachel Joy Price, Joachim Roncin, Veronika Burian, Francis Chouquet, Charles Nix, and Mathieu Réguer. Their talks covered a broad spectrum—from graphic and web design to motion design, publishing, visual identity, communication, and, of course, type design itself.

Throughout the day, each speaker presented their own unique projects, offering a fascinating glimpse into their creative processes and individual approaches. It was truly inspiring to witness the diversity of working methods and ideas. These personal insights gave attendees a richer understanding of how typography can be shaped and used in countless innovative ways across different media.

A standout highlight besides the conference itself was the Type Directors Club (TDC) exhibition, showcasing the best of the world’s typography from 2024. Founded in 1946 in New York City, the TDC is renowned for selecting the TDC71 winners each year—recognizing outstanding work across communication design, type design and lettering. Thanks to a collaboration between the Type Directors Club, TypeParis, Club des directeurs artistiques, Au Roi gallery, and ECV, this prestigious exhibition was brought to Paris for Now25. It was a unique opportunity for visitors to experience award-winning typographic excellence up close, right in the heart of the city.

Another key highlight was the letterpress workshop at Salt & Cedar, led by Megan O’Connell. Participants embraced the hands-on craft of letterpress printing in a cozy atelier in Paris’s Marais district. Following the philosophy that “composition is explanation,” attendees hand-set postcard-sized messages, choosing their own typefaces and experimenting with fragmentation, re-spacing, repositioning, and remixing. 

Overall, TypeParis Now25 was a deeply inspiring event—packed with insights, creativity, and a genuine celebration of typography’s role in design. It underscored how essential it is for designers across disciplines to share their passion and to push the boundaries of how type can be used and understood. We’re already looking forward to the next edition of TypeParis and can’t wait to see what new ideas and collaborations emerge from this incredible community!

© Photos: Slanted Publishers

Recap: Design Month Graz 2025

From May 9th to June 1st, the city of Graz once again positioned itself at the center of global design conversations with the return of Design Month Graz 2025. Under this year’s guiding theme, The New Real, the festival tackled one of the most pressing questions of our time: How is design evolving in an age where artificial intelligence and digital technologies are fundamentally reshaping how we live, work, and create?

Over the course of three weeks, The New Real invited visitors to explore what it means to be human in a world where machines now participate in—if not lead—creative processes. As technology continues to accelerate, the festival examined the shifting role of designers and the ethical, social, and cultural implications of immersive digital environments, algorithmic creativity, and AI-driven systems.

The program featured a rich mix of exhibitions, installations, talks, and workshops, offering insight into how designers are responding to these changes across industries and disciplines. From speculative futures to tangible innovations, the events were not only thought-provoking but also deeply relevant to the challenges and opportunities design faces today. What truly stood out, however, was the atmosphere. The entire city of Graz buzzed with creative energy, curiosity, and international exchange. Discussions spilled out of venues and into cafés, studios, and public spaces. Whether attending a high-level panel or a hands-on workshop, participants were united by a shared sense of urgency and possibility.

We left Graz feeling not only intellectually stimulated but also genuinely inspired. The conversations sparked during Design Month will stay with us—reminding us that design is not just about aesthetics or function, but about shaping the world we want to live in.

Design Month Graz 2025 made it clear: the future of design is bold, critical, and collaborative. And we’re already looking forward to the next edition.

© Slanted Publishers, Eike König

Berlin Print Festival 2025

On June 26th, 2025, Metapaper, together with co-organizers Melville Design and us, Slanted Publishers, invites designers, printers, and paper lovers to gather in Berlin for the Berlin Print Festival 2025—a full afternoon and evening dedicated to the evolving world of print.

From 3 to 9 p.m., the Baergarten becomes a vibrant hub for all things paper and print. Expect hands-on experiences with a wide array of print techniques, live-printing demonstrations, cutting-edge binding and finishing technologies, and a curated showcase of the latest paper innovations. The festival also offers plenty of room for creative exchange—set against the relaxed atmosphere of an outdoor space with chilled drinks and tasty snacks.

As the creative capital of Germany, Berlin is home to some of the most progressive and passionate print studios around—many of whom will be exhibiting at the festival: Ausdruck Schaare, Colorama, Drucken 3000, Gallery Print, Heenemann Druck, Mediadesign Hochschule, Mr. Bacon, Oktoberdruck, Pinguin Druck, Spiegelsaal / Zum Heimathafen, Spreedruck and Metapaper.

Participation is free with prior registration—including a welcome drink on arrival. Bring your friends and explore what’s possible in print today! We look forward to seeing you at the Berlin Print Festival 2025!

Berlin Print Festival 2025

When?
Thursday, June 26th, 2025

Where?
Baergarten,
Schnellerstraße 137,
12439 Berlin
Germany

Further information here.

Barrierefrei Sans

Barrierefrei Sans is a variable typeface designed by Manuel Viergutz between 2020 and 2024 for Typo Graphic Design, built with a focus on accessibility and clean visual impact. Spanning nine styles—Thin, Extra Light, Light, Regular, Medium, SemiBold, Bold, Heavy, Ultra—it offers 601 glyphs (Adobe Latin 2) and includes a range of extras like icons, arrows, catch words, dingbats, emojis, symbols, geometric shapes and stylistic alternates(2 stylistic sets).

Characteristics of the font Barrierefrei Sans are optimized legibility in the form of a large x-Height (easier to read at small sizes), an large apertures (lowercase letter “a” or “e”), a large counter (direct effect on a optimise legibility) and the distinctiveness of individual letter shapes facilitates quick recognition (l ≠ I or O ≠ 0).

Whether you’re designing logos, packaging, posters, magazines, or web content, this font delivers both functionality and personality. Try the free demo version with a reduced glyph set and explore how accessibility can elevate design.

Further information here.

Internship at Slanted Publishers—apply now!

Du liebst Typografie und Editorial Design und möchtest in einem internationalen Verlag arbeiten? Dann bist du bei uns genau richtig! Wir vergeben ein 6-monatiges Pflichtpraktikum im Bereich Redaktion/Grafik ab Ende August 2025 und suchen eine(n) engagierte(n) Studierende(n), der/die Lust hat zu erfahren, wie wir arbeiten und für 6 Monate Teil des Slanted-Teams wird.

Wir bieten:

  • Redaktionelle und grafische Mitarbeit am Slanted Magazin, insbesondere Ausgabe #47—Digital Tools 
  • Redaktionelle Mitarbeit am Slanted Blog und den Social Media Channels
  • Einblicke in unsere Verlagstätigkeit (Konzeption, Redaktion, Organisation, Vertrieb, PR etc.)
  • Grafische Mitarbeit an unseren Publikationen
  • Studiofotografie, Bildbearbeitung
  • Verantwortungsvolle, selbstständige Arbeit und unter Anleitung
  • Mögliche Teilnahme an Designkonferenzen im Rahmen unserer Medienpartnerschaften

Das sollte der/die BewerberIn mitbringen:

  • Das Praktikum erfolgt im Rahmen eines studienbegleitenden Pflichtpraktikums an einer deutschen Hochschule (keine Ausnahmen möglich)
  • Abgeschlossenes Grundstudium im Bereich Grafikdesign (o. Ä.)
  • Sichere Anwendungskenntnisse in InDesign und Photoshop
  • Großes Interesse an neuen Strömungen in den Bereichen Typografie, Type Design, Design und Kultur
  • Redaktionelles Interesse
  • Selbstständigkeit, Weitblick, Flexibilität, Kreativität und Ideenreichtum
  • Sehr gute Deutsch- und Englischkenntnisse
  • Organisationstalent und Kommunikationsstärke
  • Gewissenhaftes und genaues Arbeiten

Das Praktikum bei Slanted Publishers findet vom 25.08.25–27.02.2026 in Karlsruhe statt und wird vergütet. Bewerber*innen sollten erklären, warum sie ihr Praktikum bei uns machen möchten. Bitte richtet Eure vollständige Bewerbung als aussagefähiges PDF-Portfolio (Anschreiben, Lebenslauf, Arbeitsproben) ab sofort bis spätestens 22.06.2025 an Julia Kahl, [email protected]. Die Bewerbungsgespräche finden nach Sichtung aller Bewerbungen statt.

Wir freuen uns sehr auf Eure Bewerbung!

Recap: DIVE’25

From May 8th to 10th, the FAT CAT in Munich transformed into a vibrant hub for interdisciplinary exchange under the title DIVE’25Design trifft Politik, Wirtschaft und Gesellschaft Erster Bundeskongress Design. For three days, keynotes, panels, workshops, and roundtables explored how design not only shapes but also assumes responsibility.

With over 80 speakers, DIVE’25 offered an exceptionally broad platform for perspectives, visions, and concrete courses of action. At its core was the question: What role can and should design play in shaping our future? The following impressions show only a small excerpt of a program whose scope and diversity reached far beyond. DIVE’25 began with an open arrival—over coffee, tea, and conversation. Fittingly, the theme of the opening speech was: “Before you dive, you must jump.”

On the second day, Boris Kochan, President of the German Design Council and co-organizer of DIVE’25, encouraged attendees to shape the day themselves rather than just being swept along by the program. An interaction wall collected thoughts, wishes, and criticism—with direct implementation: real-time improvement instead of rigid structures.

The talk Shaping Memory—What Does Remembrance Culture Have to Do with Design? by Prof. Dr. Mirjam Zadoff was originally scheduled to open the second day. However, due to the reopening of the NS Documentation Center Munich the day before, she swapped slots with Thilo von Debschitz The day began instead with a powerful reading: Robert Dölle from the Munich Residenztheater recited selected poems by Curt Bloch—an emotional prelude to the following lecture Creativity as a Survival StrategyCurt Bloch and His Underwater Cabaret.

The day continued with presenter and designer Julia Peglow, who guided the audience through the transitions between topics and brought seemingly disparate perspectives into dialogue. Her introduction paved the way for a sharp thematic shift—from memory culture and political narratives to the world of design and fashion. This deliberate contrast underscored how design operates across cultural boundaries and aesthetic domains. 

Further into the program, the session The Revolution of Inclusion—Design Between Diversity and Exclusion in the Carl-Orff-Saal explored the role of design in the tension between participation and exclusion—a central question for presenter Universal Design.

Things got especially interesting in the Best Cases KI session in the Black Box, which showcased practical applications of artificial intelligence. Vincent Powell and Florian Rabl from Ice Space Studios emphasized that creative AI solutions depend primarily on asking the right questions. Lukas Cottrell from Peter Schmidt Group presented projects in which AI creates personalized and connected brand experiences—going beyond mere efficiency gains. Ivana Radovanovic from Mutabor shared insights from her work and advocated for cultivating an environment where mistakes are dealt with transparently and constructively as well as a conscious use of AI, removed from pressure to cut costs or optimize efficiency. A concluding panel discussion brought together perspectives from design, law, and strategy.

On Saturday, Marina Bräm spoke about infographics and disinformation. She offered a deep exploration of design as a precise tool in decision-making processes. Another highlight of the program: the keynote by climate activist Luisa Neubauer, who joined live to talk about civil engagement and the courage to create change: “Courage is a muscle. The first step is the hardest.”

The event concluded with a conversation featuring Karin Wolff, Prof. Lutz Engelke, and Prof. Dr. Sandra Groll—a multifaceted exchange about design as a political language and its role in a changing society. With DIVE’25, a significant start has been made—for new alliances, bold ideas, and a confident design mindset. We celebrate that it was made possible and look forward to more DIVES to come.

© Photos: Samira Niedermayer, Peer Koop, Norman Posselt, Michael Bundscherer

Slanted Pre Summer Sale

We’re making space for our exciting fall program full of new releases in typography and visual culture—and you’re invited to grab some of our treasures before they’re gone!

Don’t miss the Slanted Pre Summer Sale—with books, magazines, posters, prints, collector’s items, and many specials starting at just €5.–. Many items are in limited stock, so it’s first come, first served.

Check out the full list here and find your favorite piece:
→  slanted.de/sale

Happy browsing!

 

Recap: see-Conference #17

On April 26, 2025, the 17th edition of the see-Conference took place at the Schlachthof in Wiesbaden. After the opening remarks, the event began with a powerful keynote by award-winning political journalist and author Gilda Sahebi, who explored the state of democracy and its role in shaping our future.

The see-Conference brings together what naturally belongs together: design, art, and architecture—but also voices from business, journalism, sociology, philosophy, and technology. It’s a gathering of people who want to imagine and build a better world.

The talk by Barbara Buser fit seamlessly into this framework, highlighting how sustainable construction can be achieved by working with what already exists – building from leftovers, reusing materials, and rethinking how we inhabit our built environment.

The conference’s interdisciplinary curation offered fresh perspectives on how our actions today affect the generations of tomorrow—and why it’s time we start doing, not just thinking. In a striking example, director and activist Stefan Kaegi demonstrated what happens when the World Economic Forum in Davos is staged inside a theater, forcing audiences to reflect on global power structures in an entirely new way.

Of course, visual storytelling played a major role as well. Graphic designer Marta Cerdà Alimbau, creative director Liza Enebeis, photographer and AI-artist Boris Eldagsen, and animator Raman Djafari offered insights into their creative practices, and revealed the emotional and narrative layers behind their work.

Particularly impressive were the contributions of Swantje Güntzel, whose artistic practice has been addressing the radical transformation of our natural landscapes for over 20 years. Her work confronts the psychological consequences of climate change, plastic in the oceans, species extinction, and the human footprint on the environment.

The conference was rounded off by an interactive exhibition of student projects on data visualization, physical computing, and sustainability—and between talks, there was plenty of time for discussion and exchange, accompanied by delicious street food.

The 17th see-Conference was not only a thoughtfully curated and inspiring gathering, but a powerful reminder of the urgency and potential of creative action—in the Rhein-Main region and beyond!

Photos: © see conference, Julia Kahl

Graphic Languages

Graphic Languages is an impressive visual journey through the world’s most influential writing systems—edited by Oliver Häusle in collaboration with leading international type designers and type experts. The focus is on the unique DNA of each typeface: its distinctive forms, its cultural significance and its inexhaustible power as a cornerstone of human communication. With its focus on design, the publication is both an inspiring introduction to the diversity of global writing systems and a comprehensive handbook for designers, from students to experienced professionals.

Graphic Languages invites you to delve deeper into the fascinating history, meaning, and creative potential of type systems. And it makes it clear that type not only communicates—it connects. 

A visual guide to the following Writing Systems: Adlam, Arabic, Armenian, Bangla, Chinese (Hanzi), Cyrilic, Devanagari, Ge’ez, Georgian, Greek, Gujarati, Gurmukhi, Hangul, Hebrew, Japanese (Hiragana, Katakana, Kanji), Kannada, Khmer, Latin, Malayalam, N’Ko, Odia, Sinhala, Tamil, Telugu, Thai, Tifinagh

Graphic Languages—A Visual Guide to the World’s Writing Systems

Publisher: Slanted Publishers
Editor & Design: Oliver Häusle
Publishing Direction: Lars Harmsen, Julia Kahl
Release: May 2025

Format: 16.5 × 23 cm
Volume: 464 pages
Language: English
Printer: Printmedia Solutions, Germany
Workmanship: Softcover with thread-stitching, Offset printing
Paper: Enviro Natur (Cover), Holmen TRND 2.0 (Paper Inside)
ISBN: 978-3-948440-88-6
Price: € 30.–

BUY HERE!

New Design from Düsseldorf 2025

From June 7th—10th, 2025, the exhibition New Design from Düsseldorf 2025 will be showing over 70 projects from the New Craft Object Design, Communication Design, Retail Design and Exhibition Design programs at the Design Faculty of the Peter Behrens School of Arts at Hochschule Düsseldorf–University of Applied Sciences at the NRW-Forum Düsseldorf.

The works presented were selected from 420 degree projects that demonstrate concepts, ideas and solutions to current social discourses in an innovative way and with excellent craftsmanship. They are far more than a compulsory academic task, but exemplify the independent attitudes and positions of young up-and-coming designers. More than ever, it is not about the superficial creation of messages, but about the role of design in a constantly changing society and the conscious use of artistic and creative methods to find answers to social questions, initiate discourse or create new spaces for thought. They are “New Design from Düsseldorf.”

The exhibition will kick off on Friday evening, June 6th, at 6 p.m. with the opening ceremony. On Saturday evening, June 7th, an external jury will present the HSD PBSA Design Award among the exhibiting graduates. Workshops for children and families will round off the show. In addition a catalog will be published by DISTANZ Verlag on the occasion of the exhibtion.

New Design from Düsseldorf 2025 is a project of the Design Faculty at the Peter Behrens School of Arts at Hochschule Düsseldorf–University of Applied Sciences and Design from Düsseldorf e.V. with the generous support of the exhibition’s partners: Areal Böhler, D’art Design Gruppe and KomKuK – Kompetenzzentrum Kultur- & Kreativwirtschaft der Landeshauptstadt Düsseldorf.

New Design from Düsseldorf 2025

When?
Opening Event: Friday, June 6th, 2025, 6 p.m.—11 p.m.
HSD PBSA Design Award ceremony: Saturday, June 7th, 2025, 6 p.m.—11 p.m.
Opening Hours: Saturday, June 7th, 2025, to Tuesday, June 10th, 2025, 11 a.m.—6 p.m.

Where?
NRW-Forum Düsseldorf
Ehrenhof 2
40479 Düsseldorf
Germany

Further information here and here.

Recap: SEEN—Around the World Symposium

From April 9 to 11, 2025, the LUX Pavilion in Mainz transformed into a vibrant hub for typographic discourse and discovery. The SEEN–Around the World symposium, part of the research project Innovative Women in Graphic Design 1865–1919 & Today, brought together more than 30 international female and non-binary type designers, sharing their unique practices, experiences, and visions for the future of design.

Organized by Prof. Dr. Petra Eisele, Prof. Dr. Isabel Naegele, Dr. Aliena Guggenberger, and Julia Neller, the three-day hybrid event featured live talks, panel discussions, and recorded interviews that offered a truly global perspective on contemporary typographic work.

Moderated by Flavia Nálon, Anja Lutz, and myself (Julia Kahl), the symposium created an open and inspiring space for dialogue across generations and continents.

As a special highlight, the symposium was accompanied by the exhibition “Flags with a Message,” presenting powerful typographic statements by students of the Communication Design department at University of Applied Sciences in Mainz.

A heartfelt thank you to everyone involved—it was an honor to be part of this important and inspiring initiative!

© Photos: Lotte Dier, Julia Kahl, Carmen Kunz, Jan Vornholt

TGM × Fillin Guas × Jiri Oplatek

On May 20th, 2025, the ongoing TGM lecture series continues with an evening shaped by cross-disciplinary exchange and creative synergy—this time featuring Fillin Guas and Jiri Oplatek. Hosted at the Faculty of Design, Munich University of Applied Sciences, the event promises to open new spaces for typography and design—literally and metaphorically.

As part of the 2025 series Wechsel Wirkung, the event brings together design veterans and digital natives in a format that thrives on dynamic interaction. Each lecture is a one-of-a-kind experience, shaped by the setting and the personalities involved. Whether through design, architecture, editorial work, technology—or even culinary arts—the series explores how typography connects disciplines, ideas, and people.

Jiri Oplatek brings decades of experience to the stage. A graduate of the Basel School of Design (1999), he co-founded the design studio Claudiabasel in 2003. His work—ranging from posters and books to full-scale identity systems—has left a mark on cultural institutions such as Theater Basel, Museum Tinguely, and Kieler Woche. Since 2012, Oplatek has also served as a lecturer at HGK Basel and, in 2018, became a member of the Alliance Graphique Internationale (AGI).

Doors open at 19:00 in the large lecture hall X2.022 on the 2nd floor at Lothstrasse 17. Easily reached by tram via Hochschule München/Dachauer Straße, the event begins at 19:30. Admission is free for students! Design for the event is by Paula Weege, Jakob Stengel, and Leo Schmidt.

TGM × X × X is more than a lecture series—it’s an evolving conversation where disciplines intersect, inspire, and amplify each other!

Further information and tickets here.

IH Locha

IH Locha was born from a quiet but radical question: what if the letters we use every day didn’t push us to move faster, consume quicker, or optimize every second? Created in collaboration with Alexander Wright and Michu Benaim Steiner at In-House Int’l and developed by Rodrigo Fuenzalida at FragType, Locha offers a different rhythm—one of intention, connection, and calm.

Locha invites us to slow down. Its softly geometric forms and rounded counters draw from the warm, welcoming aesthetic of 1970s signage and storefronts, bringing that visual comfort into contemporary use. Generous spacing and deliberate construction lend the typeface a steady rhythm that feels grounded, present, and human.

The family spans five styles—Regular, Diagonal 1, Diagonal 2, Slab, and Soft. Each one maintains Locha’s core character while offering its own tone. The Diagonal styles bring energy and motion to headlines, while Regular and Slab are made for trustworthy, warm branding. Soft delivers a gentler presence—like a hand on your shoulder, reassuring and kind.

This isn’t retro for retro’s sake. Its curves and character are rooted in a time when design served people and communities, not just click-through rates. It captures the feeling of a slow Sunday in a public plaza, light filtering through trees, the quiet joy of being where you are. The typeface works across branding, editorial, packaging, signage, and any campaign that values presence over pressure. 

Further information here.