UN/SEEN

If we want to rewrite the history of design, we must take its beginnings into account. The period before the Bauhaus, the importance of “arts and crafts,” and, above all, the achievements of women in graphic design have long been neglected in the presentation of German design history.

UN/SEEN brings together previously unknown material and sheds light on the lives and work of female designers in the fields of book design, poster design, typography, illustration, and packaging. In ten chapters, UN/SEEN documents the latest research findings and uses numerous examples to show how successful and self-confident the first generation of female graphic designers was and which discourses from that time still shape the discipline today.

UN/SEEN questions traditional narratives and contributes to the discussion about design and gender with new role models. The book is accompanied by the project platform ↗ www.unseen-women.design.

The publication is available in both an English and a German edition.

UN/SEEN

Publisher: Slanted Publishers
Editors: Petra Eisele, Isabel Naegele
Foreword: Ellen Lupton
Authors: Brigitte Baumstark, Friederike Berger, Julia Blume, Gerda Breuer, Petra Eisele, Aliena Guggenberger, Jana Haase, Antje Kalcher, Julia Meer, Julia Mummenhoff, Isabel Naegele, Julia Neller, Antje Neumann, Bettina Richter, Julia Rinck, Kerstin Stöver, Ute Thomas, Christina Thomson, Sabine Wieber
Design: Julia Neller
Release: June 2026
Format: 18.4 × 26 cm
Volume: 422 pages
Language: English, German
Printing: full color offset printing
Paper: Arena Rough 120 g/sm, Fedrigoni
Bookbinding: Hardcover with lenticular foil, thread stitching
ISBN: 978-3-69202-002-0 (EN), 978-3-69202-001-3 (DE)
Price: €48.– (DE)

BUY HERE

Join us for the launch of the UN/SEEN publications as part of the WDC Campus Dialogue Workshop and the lecture series Falling in Love with all Genders.
The UN/SEEN team — Petra Eisele, Isabel Naegele, Aliena Guggenberger, and Julia Neller — will present the research project and the new publications.

When? 10 June 2026, 1:00 PM
Where?  WDC-HUB, iGDN × WDC 2026, MAK Museum of Applied Arts, Frankfurt
Free admission (registration required via WDC)

Boxal

Boxal, the latest typeface from The Northern Block, is a pixel font inspired by the enduring charm of classic arcade gaming. Rooted in 1980s gaming culture, with influences like Cops ‘n’ Robbers and Shinobi, it blends nostalgic charm with contemporary precision and versatility. For its designer, Jonathan Hill, Boxal represents both a personal and creative homecoming, reflecting decades of influence from early gaming experiences and pixel art traditions.

Available in three weights across five unique styles—Normal, Diamond, Dot, Square, and Line—it offers a wide range of visual options from a single pixel-driven concept. Unlike traditional pixel fonts, Boxal utilises proportional spacing, making it more readable and versatile. Its grid-based structure keeps the pixel aesthetic while modern tools unlock new creative possibilities.

Boxal is a playscape for designers, creatives, and engineers. It’s a typeface that invites expression and experimentation. Each pixel can be reworked to shift the shape of letterforms, creating anything from minimalist to bold typographic statements. On screen or in print, it adds retro flair, transporting users to an era defined by pixelated wonder.

Boxal

Foundry: The Northern Block
Type Designer: Jonathan Hill
Creative Lead: Donna Wearmouth
Release Date: March 2026
Weights: Light, Regular, Bold
Styles: Normal, Diamond, Dot, Square, Line
Formats: OTF, TTF, WOFF, WOFF2

WHERE TO BUY

Récit’Cité

Mortard is a neighborhood in Lure, Franche-Comté—a place with a rich and complex history, where immigration, intercultural relations, and collective memory are central threads. Over three years, author and storyteller Julien Staudt conducted a residency in Mortard, gathering residents’ stories and transforming them into a collection of tales. The book was supported by the City of Lure and the French Ministry of Culture.

The design sought to stay close to reality—carrying emotional weight, a rootedness in memory and lived experience, something the residents themselves could recognize as their own.
Each chapter opens with a full-page composition—photographs from the residents themselves, personal and vernacular images of everyday life layered with more descriptive views of the neighborhood, unified by a color field that shifts the material into something more poetic. A bold typographic title anchors the whole. The graphic intervention echoes the literary one: just as Staudt transformed gathered testimony into fiction, the images are lifted into imagination without ever losing their rootedness in the real.

A matte, slightly textured paper stock creates a common patina, softening contrasts and reinforcing the memorial dimension. The modest format fits in the hand, refusing ostentation while affirming its legitimacy.

Récit’Cité

Author: Julien Staudt
Book design & art direction: Pascal Liénard
Supported by: City of Lure & French Ministry of Culture
Release Date: 2024
Volume: 68 Pages
Format: 15 × 24 cm
Paper: Munken Lynx Rough
Binding: Perfect bound
Fonts: PP Acma, PP Rader, PP Writer (PangramPangram)
Language: French

More informations can be found here.

Anta Pro

Anta Pro is a modern typeface by Sergej Lebedev, combining futuristic precision with a clear, professional tone. Originally developed from Anta—first released on Google Fonts as a single Regular style—it has evolved into a complete type system for contemporary visual communication and branding.

Designed for scalability and consistency, Anta Pro works seamlessly across print, web, and digital interfaces. Its clean geometric structure ensures strong readability, while its refined details give it a distinctive and confident visual voice in both display and text settings.

A key strength of Anta Pro is its extended typographic system. With six weights and matching italics, plus variable font options, it offers precise control over hierarchy and tone. The carefully designed ligatures and extended character set further enhance its expressive range, supporting a wide variety of languages and typographic use cases.

With its balance of clarity and futuristic character, Anta Pro is built for modern design systems that demand flexibility, consistency, and personality.

Learn more about Anta Pro here.

Anta Pro

Type Foundry: Sergej Lebedev
Type Designer: Sergej Lebedev
Release: Apri 2026
Weights: Thin, ExtraLight, Light, Regular, Medium, Bold
Styles: Roman and Italic
Total Fonts: 12 static fonts + 2 variable fonts
File Formats: OTF, TTF, WOFF2
Test Version available upon request

WHERE TO BUY

New Design from Düsseldorf 2026

New Design from Düsseldorf, organized by the Faculty of Design of the Peter Behrens School of Arts at Hochschule Düsseldorf–University of Applied Sciences in collaboration with design (from) düsseldorf, presents around 50 nominated projects by graduates of the programs in New Craft Object Design, Communication Design, Retail Design, and Exhibition Design. The exhibition takes place at NRW-Forum Düsseldorf, and the accompanying catalog documents and reflects on the presented works, highlighting the innovative design thinking emerging from Düsseldorf.

The projects engage with contemporary social issues—such as identity, gender, feminism, sustainability, education, and science—through experimental and artistic approaches. In doing so, the role of design and the impact of its methods are continuously examined, critically reassessed, and reinterpreted within a rapidly evolving society, with the aim of addressing societal questions and creating new spaces for reflection.

The catalog includes forewords and an essay on the exhibition design process, in which students developed and realized sustainable exhibition furniture specifically conceived for the presentation. In addition, it features project descriptions by the exhibiting graduates, offering insight into their individual concepts, methods, and positions, while celebrating the breadth and quality of design being developed in Düsseldorf today.

New Design from Düsseldorf 2026

Publisher: Slanted Publishers
Editors: Faculty of Design of Peter Behrens School of Arts at Hochschule Düsseldorf–University of Applied Sciences; design (from) düsseldorf – Förderverein des Fachbereichs Design der Hochschule Düsseldorf e.V
Co-editors: Eric Fritsch, Anne-Cathrine Mosbach
Design: Felix Bullik, Noah Kortenbruck, Clarissa Nguyen, Niklas Schönemann, Elina Seidler
Release: June 2026
Format: 17 × 24 cm
Volume: 360 pages
Language: German, English
Printing: full color offset printing with spot color
Bookbinding: Swiss brochure with flaps, open thread-stitching, blind embossing
ISBN: 978-3-69202-008-2
Price: €28.– (DE)

Buy here

The exhibition New Design from Düsseldorf 2026 will be on view at NRW-Forum Düsseldorf from June 6–13, 2026, offering visitors the opportunity to experience the nominated projects and their diverse perspectives firsthand. The opening will take place on Friday, June 5, 2026, from 6:00–10:00 pm.

ICH WAR HIER: Typographies in Public Toilets (Latrinalia)

The master’s thesis ICH WAR HIER: Typographies from Public Toilets by Zeynep Yesilmaden is framed through the lens of typography and graphic design, questioning not only what art is, but how visual language operates beyond institutional control. While early art education often references canonical works such as the Mona Lisa to define artistic value, the focus here shifts toward vernacular and informal typographic practices—specifically, the handwritten marks found in public toilets.

Within the University of the Arts Bremen, latrinalia is examined as an unregulated typographic system. These writings, layered across walls, doors, and tiles, function as spontaneous acts of design. Letterforms vary in pressure, scale, rhythm, and style—ranging from quick, gestural scripts to bold, assertive markings. Without formal intention, individuals generate distinct typographic identities, where handwriting operates simultaneously as voice and visual signature.

These surfaces can be understood as evolving compositions. Similar to experimental graphic layouts, the walls accumulate layers over time, forming dense visual hierarchies. Text overlaps text, annotations respond to earlier messages, and new interventions disrupt existing structures. This continuous process transforms the toilet wall into a collaborative, ever-changing typographic field—an organic system shaped by multiple anonymous contributors.

Parallels emerge between latrinalia and established graphic design practices. The repetition of names and marks reflects mechanisms found in branding and logo design, where recognition is built through consistency and visibility. Tagging culture further reinforces this connection, emphasizing stylization and individuality as central to typographic identity. Unlike commercial design, however, these typographies are not produced to persuade or sell; they exist as direct assertions of presence.

The thesis extends into practice through processes of documentation and reinterpretation. Scanning techniques capture not only textual content but also material qualities such as line weight, texture, and surface irregularities. These elements are then reassembled into large-scale compositions using modular formats, echoing grid systems in graphic design while preserving the fragmented, layered logic of the original walls. Each fragment functions as a typographic unit within a broader visual system.

By relocating these compositions into public space, the work recontextualizes informal typography within a designed framework. What was once overlooked becomes a deliberate visual statement. This shift challenges established hierarchies within typography and design, raising questions about legitimacy, authorship, and visibility.

Ultimately, the thesis positions latrinalia as a form of collective, anonymous typography that exists beyond rules and institutions. It presents design not solely as a professional practice, but as an instinctive human behavior—one that emerges wherever individuals feel compelled to write, respond, and leave a mark.

More informations can be found here.

Beyond Tellerrand Düsseldorf 2026

Two days, one stage, and a room full of people willing to listen. Fifteen years after its first edition, beyond tellerrand once again transformed Düsseldorf’s Capitol Theater into something that felt less like a conference and more like a temporary creative ecosystem: open, restless, and deeply human.

What began in 2010 without a clear roadmap has quietly grown into one of Europe’s most enduring gatherings for design, technology, and culture. Yet the strength of beyond tellerrand has never been about scale or spectacle. It lives in the spaces between the talks, in conversations continuing in the lobby, chance encounters on the stairs, and the collective feeling of curiosity shared among strangers.

This year’s program reflected that spirit through an intentionally broad constellation of voices. Annie Atkins spoke about the invisible craft behind cinematic worlds, while Marjan van Aubel questioned the visual language of renewable energy. André Michelle celebrated experimentation over permission, and Lauren Celenza reflected on remaining human in an increasingly AI shaped landscape. Across disciplines and formats, the focus remained less on polished expertise and more on process, curiosity, and making.

As designer Sasha Maximova observed afterwards: “Not speakers, makers. Not to teach how, but to show what they are making.” That sentence perhaps captures the essence of beyond tellerrand more clearly than any official description could.

In a moment where many creative conferences risk becoming overly optimized, branded, or predictable, beyond tellerrand continues to embrace warmth, imperfection, and atmosphere. One attendee described it as “a mix of design lab, class reunion and very well curated creative loss of control.”

Fifteen years in, the event still feels remarkably resistant to flattening itself into a formula. Perhaps that is precisely why it continues to matter.

Photos were taken by Florian Ziegler.

Reiner Neue

Reiner Neue is a contemporary type system informed by the work of Hungarian-born modernist Imre Reiner. Rather than reconstructing historical models, the project translates Reiner’s ideas on rhythm, proportion, and typographic structure into a framework designed for present-day use.

The family takes Meridian (1930) as a conceptual point of departure while incorporating selected ornamental references from Reiner’s Primula ornament series, originally developed for a Dutch printing house in 1949. These graphic elements appear as optional accents within the character set—functioning less as decoration and more as extensions of the typographic system itself.

Developed and published by Fontanatype, Reiner Neue reflects an ongoing interest in type design as a balance between historical continuity and contemporary application. The project approaches letterforms as adaptive structures shaped by memory, production methods, and current visual culture. Designed for editorial systems, visual identities, and expressive typography, the family moves between precision and character without relying on nostalgia.

A more detailed overview of the project, including historical references and specimen material, can be found on the Fontanatype Blog.

Reiner Neue

Foundry: Monovo / Fontanatype
Designer: Amondó Szegi
Release Date: January 2026
Weights: Light, Regular, Medium, Bold + companion styles/extensions
Styles: Sans Serif, Meridian companion cut, Initials set
Total Fonts: 14 fonts
File Formats: OTF, Webfont formats available via distributors (likely WOFF/WOFF2)

WHERE TO BUY

KTF Prima

KTF Prima began over a decade ago during Yevgeniy Anfalov’s studies at ECAL, sparked by an interest in Forma, a modernist sans serif often perceived as warmer than its contemporaries due to its proportions and restrained contrast. Forma’s history, shaped by the shift from metal type to phototypesetting at Italy’s Nebiolo foundry in the late 1960s and 1970s, raised questions about authorship, production, and longevity that later informed Prima.

Anfalov’s response was to design a typeface focused on versatility rather than expression. Prima follows a “one style fits all” principle: instead of prioritising a single hero weight, it was developed as a coherent system ranging from ultra-thin to ultra-bold cuts, all governed by a consistent internal logic. It is intended for designers who value reliability and continuity across styles, and who prefer a compact family that performs equally well in text and display use.

Its flexibility comes from proportion rather than stylistic variation. Subtle width relationships support clarity, while a tall x-height enhances legibility. This allows Prima to remain calm and readable in interfaces and long-form text, while becoming more assertive at larger sizes. Fully redrawn from the ground up, the typeface avoids constraints inherited from obsolete production technologies, resulting in a clean and contemporary structure.

The family includes a deliberately limited set of alternates, designed to add nuance without excess. These include a rounded Forma-style “a”, a tailed “j”, a humanist “R”, a rounded “G”, softened punctuation, alternate Л and л forms, and numerals and arrows set in circular and square frames. Latin and Cyrillic scripts were developed in parallel, with the Cyrillic conceived as an extension of the Latin system rather than a separate design exercise.

Already adopted internationally, Prima positions itself as a contemporary interpretation of a classic workhorse typeface, designed to perform reliably across editorial, branding, and UI contexts.

Learn more about Kyviv Type Foundry here.

KTF Prima

Foundry: KTF (Kyviv Type Foundry)
Designer: Yevgeniy Anfalov
File Formats: OTF, TTF
Styles / widths / weights: Systematic family ranging from ultra-thin to ultra-bold,
Includes multiple weights and a structured range of optical widths, designed as a cohesive system rather than isolated display styles
Trial Version is available

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Inside Aardman: Wallace & Gromit and Friends

To mark Aardman’s 50th anniversary, the V&A commissioned Galicheva–Gahlen to create a graphic identity and interpretive design system that translates the studio’s distinctive universe into an immersive exhibition experience.

At the core of the visual concept lies a deceptively simple idea: every character, story and cinematic world begins with a single piece of clay. By reducing plasticine to its most elemental state, Galicheva–Gahlen introduces the “blob” as both a visual motif and conceptual starting point—a tabula rasa for imagination and storytelling. Especially for younger visitors, the identity communicates the transformative potential of making: that entire worlds can emerge from the simplest materials.

The exhibition typography further supports this balance between playfulness and precision. Set in GT Standard by Grilli Type, the system draws on the functionality of workshop signage and industrial typographic traditions. Chosen for its extensive range of weights and optical sizes, the typeface provides clarity and accessibility for family audiences while maintaining a distinctly contemporary graphic character. Rather than echoing Aardman’s iconic visual language directly, the typography establishes a subtle counterpoint that allows the exhibition content itself to take centre stage.

“The exhibition looks fantastic. The thoughtful design, which is so full of wit, whimsy, and character, is a vital part of the exhibition’s success. It is a complex balancing act that could have come crashing down in less deft and skilful hands.”
— Alex Newson, Chief Curator at Young V&A

More information and tickets are available here.

When? 
Closes on Sunday, November 15, 2026

Where?
Young V&A
Cambridge Heath Road
Bethnal Green, London, E2 9PA

Slanted Magazine #47—Digital Tools

Slanted Magazine #47—Digital Tools examines the instruments that shape contemporary creative practice. This issue offers a diverse insight into the global creative scene and uses numerous examples to show how digital tools are used to create, question, and rethink design itself. The spectrum ranges from experimental open-source projects and custom scripts to indispensable utilities that shape creative digital and analog workflows, continuously expanding and redefining creative boundaries.

Slanted Magazine #47—Digital Tools covers disciplines such as graphic and type design, illustration, 3D, web, generative design, and creative coding. Designers, artists, and developers share their insights in interviews and articles, explaining how digital tools shape their aesthetics, imagination, and authorship. By introducing new workflows and technologies, Slanted Magazine #47—Digital Tools inspires both experienced designers and beginners to explore the creative potential of digital design.

Alongside the magazine, a dedicated online platform has been launched, featuring an extended directory of digital tools. In addition to all tools included in the print issue, the website gathers further projects, discoveries, and resources identified during extensive research. Structured by category and continuously evolving, the platform invites exploration, experimentation, and a rethinking of the role of digital tools in creative practice.

Slanted Magazine #47—Digital Tools

Publisher: Slanted Publishers
Editors: Jacob Tessmann, Lars Harmsen (editor-in-chief), Julia Kahl (managing editor)
Design: Jacob Tessmann, Julia Kahl, Slanted Publishers
Release: May 2026
Volume: 224 pages
Format: 16 × 24 cm
Language: English
Printing Inside: full color offset printing with spot colors by Stober Medien
Cover production: offset printing with spot colours, hot-foil embossing by Gallery Print
Paper: EFALIN 108 high white fine linen 280g/sm (cover), ZETA diamond extra smooth 120g/sm & IBO TWO 80g/sm (inside) manufactured by Reflex
Bookbinding: Swiss brochure with flaps, open thread stitching by Buchbinderei Spinner
ISBN: 978-3-948440-96-1
ISSN: 1867-6510
Price: €24.– (DE)

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SUBSCRIBE

Letterspace 50

Since 2018, letterspace.amsterdam has served as a platform for Amsterdam’s local letterform culture, dedicated to expanding the ways we think about communication, typography, and the playful possibilities of letterforms. Initiated by three type designers, the project emerged from a desire to move beyond individual practice and create connections between people who approach type as both a tool and a medium. Through a continuous lecture programme rooted in Amsterdam, letterspace has become a place for new voices, unexpected perspectives, and interdisciplinary exchange.

Published on the occasion of the initiative’s first fifty events, Letterspace 50 brings together contributions by former speakers, who were invited to reflect on the time passed since their lectures through essays, newly developed work, visual experiments, or excerpts from analogue and digital sketchbooks. Mirroring the openness of the lecture series itself, the publication unfolds as a heterogeneous collection of ideas, processes, and positions, demonstrating typography not as a fixed discipline, but as a constantly shifting cultural landscape. The book was designed by two former members of the 530 Type Club Arnhem and extends the publication’s communal spirit into its visual form.

Located in the historic centre of Amsterdam, De Buitenkant is a small yet widely respected independent publishing house known for its carefully crafted editions spanning books on books, poetry, essays, and socially engaged nonfiction. Central to its practice is a close attention to design, translation, and production. Whenever possible, publications are realised in house using the publisher’s one colour workshop press, including Letterspace 50, whose material presence reflects the intimate and hands on approach of De Buitenkant’s publishing philosophy.

Letterspace 50

Publisher: Uitgeverij De Buitenkant
Editors: Edgar Walthert
Design: Kuan-Ting Chen & Kasper Quaink
Release: March 2026 
Format: 12 × 16.5 cm
Volume: 448 pages
Language: English
Printing: produced in-house at De Buitenkant’s workshop press
Workmanship: sewn binding, hardcover
ISBN: 978-90-83420-55-4
Price: €28.– (DE)

BUY HERE!

Design Reviewed—The Book

The Design Reviewed archive documents over 10,000 artefacts spanning 150 years of graphic design history. Design Reviewed is an independent graphic design archive dedicated to documenting and sharing the history of graphic design. In collaboration with Unit Editions, a campaign has been launched to publish the best of the Design Reviewed archive in a 400-page book, covering a century of graphic design history.

Built from over a decade of collecting, the Design Reviewed archive contains more than 10,000 artefacts including posters, magazines, books and ephemera, all focused on providing an inclusive and expansive account of graphic design history. Highlights from the collection include a complete run of Idea magazine, the full New Series of Typographica, a complete run of Neue Grafik, an almost complete run of Gebrauchsgraphik (from 1924-1990), and 250 posters by British designer Ken Briggs.

The Design Reviewed Book draws directly from this collection, bringing together a carefully considered selection of artefacts in a format that is both tactile and accessible. The 400-page volume spans rare graphic and architecturally focused periodicals, including Typographia, Architectural Design and Typographische Monatsblätter, alongside posters, stamps and ephemera from across the world. Together they reflect a broad history of styles and practice, with connections across architecture, culture and industry.
Organized into sections that move from Art Nouveau and Early Modernism through to Pop and Postmodernism, the selection is wide. Drawn from across the full archive, artefacts were chosen not for personal preference but for their ability to illustrate wider historical developments, ideas and approaches within graphic design.

Matt Lamont, founder of Design Reviewed, said: “Through the website, content and social media, Design Reviewed aims to make design history more accessible, usable and relevant. Encouraging designers, researchers and students to be inspired by the past to shape new work. The book is part of that mission. Whether it sits on a studio bookshelf, in a library or in someone’s hands on a train, it extends the reach of the archive and puts design history where it belongs, in everyday use!”

As part of the campaign, supporters will have the opportunity to secure exclusive and rare rewards including:

  • A discounted version of the book for early pledgers
  • A limited collector’s edition of the book presented in an elegant ‘shoulder neck’ box
  • A set of postcards featuring lettering and type found in the Design Reviewed archive
  • A specially designed A2 folded poster
  • A half-day in-person workshop with access to 100 artefacts for study during the session
  • An in-person bespoke lecture and presentation on a graphic design topic of your choice

Further informations can be found here.

Design Reviewed—The Book

Publisher: Unit Editions
Editor/Designer/Author: Matt Lamont
Release: Summer 2027
Format: 279 × 234 mm
Volume: 
400 pages
Language: English
Printing: Printing in 4 colors
Workmanship: Hardback, Foil typography details, Multiple paper stocks
Price: Early Bird €70.–, The Book €75.–, The Collectors Edition €145.– (DE)

Traktor

Road to Venice Type released Traktor, a mixed serif humanist typeface with roman and gothic influences. It is suitable display sizes in packaging, in an editorial or book setting or to set short passages of text. Moreover, Traktor comes with a basic Cyrillic set of letters, extending its support for Central and South Eastern European languages, and it offers variable fonts.

Traktor has its origins in wood cutting, a technique where tool and material only allow relatively short, sharp and interrupted movements and that ideally pairs with the writing of gothic type, think of the first bibles printed with movable type. Furthermore, it carries the influences of tapered Roman capitals in its stems and a slight tilt in all horizontals, both adding warmth and movement. It is folkloristic, but sober, breaking the pattern of gothic type by intertwining it with features derived from the Carolingian Minuscule—the written script that served as a blueprint for Renaissance humanist type—and reintroducing the sharp angles of the former into the round forms of the latter.

Learn more about Traktor here.

Traktor

Foundry: Road to Venice Type
Release: March 2026
Styles and Weights: 5 weights from Extra Light to Bold with their respective Italics
File Formats: otf, woff2 + Trial fonts
Price Single Style: € 60.00
Price Combination Roman + Italic: € 90.00
Price Family: € 240.00

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Breakout #2—100 Posters

Breakout #2 takes Tamti’s early explorations into real-world projects from 2022 to 2025, building on the success of Homebound, New Wave, and Breakout—100 Posters. Cihan Tamti originally started Breakout as a personal experiment—treating Instagram like a graphic design gym and creating a poster every day. Without briefs or constraints, he explored typography, lettering, illustration, layouts, and bold visual ideas. Some of these early works won awards and attracted clients, eventually leading to the publication of Breakout—100 Posters, a book compiling 100 formative pieces.

In Breakout #2—100 Posters, these early experiments evolve into a wider range of projects: commissioned work for clients, community initiatives like the “Local Support Posters” launched during the covid pandemic, and collaborative projects with other designers. The book presents all posters equally, showcasing a broad spectrum of graphic design techniques and approaches. Breakout #2—100 Posters gathers 100 selected works that demonstrate how thoughtful, original design can communicate powerfully across contexts and inspire creative freedom.

Alongside the standard edition of Breakout #2—100 Posters, a small number of exclusive limited bundles are available. Each bundle includes the book paired with additional pieces that extend the project beyond print—such as a screen-printed tote bag and the custom Yolcu typeface.

Breakout #2—100 Posters

Publisher: Slanted Publishers
Author: Cihan Tamti
Design: Cihan Tamti
Foreword: Götz Gramlich
Release: May 2026
Format: 16 × 24 cm
Volume: 128 pages
Language: English
Printing: full color offset printing by Stober Medien
Paper: ICON Glam sand copper 350 g/sm (Cover), ICON Classic extrasmooth white 150 g/sm, created by IGEPA
Bookbinding: softcover with flaps, thread stitching, hot-foil embossing by Buchbinderei Spinner
ISBN: 978-3-69202-000-6
Price: €26.– (DE)

Buy book

Buy book + exclusive bundles

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 September 2026 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 #49—Sports
  • Redaktionelle Mitarbeit am Slanted Blog und den Social Media Channels
  • Einblicke in unsere Verlagstätigkeit (Konzeption, Redaktion, Organisation, Vertrieb, PR etc.)
  • Studiofotografie, Bildbearbeitung
  • Verantwortungsvolle, selbstständige Arbeit und unter Anleitung
  • Mögliche Teilnahme an Designkonferenzen im Rahmen unserer Medienpartnerschaften

Das sollte der/die BewerberIn mitbringen:

  • 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 erfolgt im Rahmen eines studienbegleitenden Pflichtpraktikums

Das Praktikum bei Slanted Pub­lishers findet vom 01.09.26–05.03.2027 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 07.06.2026 an Julia Kahl, [email protected]. Die Bewerbungsgespräche finden nach Sichtung aller Bewerbungen statt.

Wir freuen uns sehr auf Eure Bewerbung!

J Type 101

Japanese typography is everywhere right now, from streetwear and album covers to editorial layouts and branding. Designers around the world are drawn to it. At the same time, many are working without a clear sense of how it actually functions.

J Type 101 is a 44-page guide by Mio Kosaka, Mizuki Hanada, and Monet Fukawa of Koyubi Studio in Brooklyn. It does not treat Japanese typography as a style to borrow, but as a system to understand.

The Features chapter looks at how Japanese characters are built, how they are grouped, and why they behave differently from Latin type. From there, the Rules chapter moves into use. It outlines ten practical guidelines, covering vertical and horizontal typesetting, line breaks, spacing, and the relationship between Japanese and Latin type.

The visual language draws from textbooks, with references to highlighters, annotations, and marked pages, translated into a palette of yellow and pink against grayscale. Each spread pairs short explanations with illustrations, allowing readers to grasp unfamiliar concepts without feeling overwhelmed.

Learn more about J Type 101 here.

J Type 101

Designers: Mio Kosaka, Mizuki Hanada, Monet Fukawa
Authors: Mio Kosaka, Mizuki Hanada, Monet Fukawa
Editor: Mio Kosaka
Publishers: Koyubi Studio
Publishing house: Koyubi Studio
Release date: April 2025
Volume: 44 pages
Format: 15.2 × 20.3 cm
Language: English
Production/Finishing: Printed by Conveyor Studio (USA)
Retail price: €21.50
Where to buy: Secret Riso Club, NYC

Coin

Coin is a contemporary font superfamily comprising 36 fonts and 4 variable fonts. The type system includes weights ranging from Thin to Black as well as Expanded styles, making it suitable for a wide range of applications including branding, graphic design and web design. The international character set contains more than 650 characters and numerous currency symbols, including the Bitcoin symbol, enabling convenient use in global communication and financial contexts.

Coin also includes several OpenType features and alternate letterforms, allowing designers to use the family professionally in microtypography as well as across diverse communication contexts. The design follows a clean and modern approach that works effectively in both print and digital media. Its balanced proportions and clear shapes ensure excellent legibility, even at small point sizes.

Learn more about Coin here.

Coin

Foundry: Sergej Lebedev
Designer: Sergej Lebedev
Release: December 2024
File Formats: OTF, TTF, WOFF2
Weights: Thin, ExtraLight, Light, Regular, Medium, SemiBold, Bold, ExtraBold, Black

Styles: Roman and Italic, plus Expanded and Expanded Italic versions
Test Version available upon request

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Eregalle

Eregalle is a contemporary typeface that explores how regional visual culture can inform typographic form without resorting to historical imitation. Developed through research into

and early printed matter, the project asks how cultural specificity can be embedded at the structural level of a typeface rather than expressed through ornament or explicit reference.

The project takes its name from Eregalle, an early historical name associated with the town of Ariogala. While the reference establishes a geographical anchor, the design itself avoids literal quotation. Instead, Eregalle draws from broader characteristics found in Lithuanian material culture—carved signage, folk patterns, and utilitarian lettering—where clarity, restraint, and durability are central values.

Formally, the typeface is built on a disciplined underlying structure. Proportions are controlled and economical, supporting consistent rhythm in text, while subtle irregularities in curves, stroke terminals, and internal shapes introduce a degree of softness. This balance between precision and human presence defines the typeface’s tone: neither neutral nor overtly expressive.

Throughout the design process, multiple directions were tested, ranging from more historically inflected sketches to increasingly abstracted forms. These iterations gradually removed direct references, allowing influence to operate indirectly through weight distribution, spacing, and texture. The final design emphasises cohesion over stylistic gesture, resulting in a typeface that remains calm under extended reading.

Eregalle is intended for contemporary editorial, cultural, and institutional use. Particular attention was paid to diacritics and typographic features required for the Lithuanian language, while maintaining compatibility with English. The typeface performs equally in continuous text and at larger sizes, making it adaptable across print and digital applications.

Rather than positioning heritage as a visual archive, Eregalle treats it as a system of values—restraint, continuity, and purpose—that can be reinterpreted through modern design tools. The project contributes to ongoing discussions about regional identity in type design, proposing a model where cultural influence is embedded quietly, through structure and use, rather than surface aesthetics.

Eregalle

Design: Paula Minelgaite
Release: 2025
File Formats: OpenType CFF

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Serrucho

In a landscape defined by softened edges and calibrated restraint, Serrucho cuts through with intention. Not smooth, not polite, but sharpened.

This new variable typeface from In-House International foundry spans eight weights that move from solid, blocky authority to spiky, kinetic chaos. Named for the handsaw it references, Serrucho quite literally shows its teeth—starting controlled and ending feral.

The journey from Serrucho -100 to Serrucho -800 is one of escalating intensity. At its flattest, the type is brutal but precise: angular forms, confident geometry, the kind of weight that commands without shouting. But as the variable axis progresses, something transforms. Edges multiply. Forms fragment and spike. By the extreme end, letters look electrified—vibrating, buzzing, like machinery pushed past its limits.
“There’s a rawness to it that felt important,” explains Alexander Wright, who designed the typeface. “It references this whole lineage of underground graphics—punk flyers, hardcore logos, protest posters—where the urgency of the message mattered more than polish. But we wanted it to be just as effective when you need control as when you want chaos.”

The typeface carries the DNA of DIY rebellion: hand-cut aesthetics, industrial textures, the visual language of counterculture. Its repeating vertical forms create rhythm and motion, while circular counters read as drill holes or punch marks. It’s typography that feels made rather than drawn—assembled, abraded, sharpened.

Serrucho works where polite design doesn’t: brands with something to prove, events that demand attention, packaging that refuses to blend in, any project where the appropriate response is volume and edges. It’s perfect for music graphics, bold identities, street-culture branding, and anywhere rebellion is the brief.

Learn more about In-House International here.

Serrucho

Foundry: In-House International
Designer: Alexander Wright
Engineer: Rodrigo Fuenzalida at FragType
File Formats: available as a variable font for maximum versatility and as individual OTF weights
Styles / widths / weights: The type includes uppercase and lowercase alphabets, numbers, punctuation, and extended Latin diacritics

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Fujifilm Milan

From April 21 to 22, we had the pleasure of being invited by Fujifilm to Milan during the citys Design Week. Milan represents the ideal place to showcase a design approach that puts people at the center, focusing on their real needs and the ongoing dialogue between innovation, culture, and responsibility.

With this event, Fujifilm aimed to convey the essence of its Faithful Design” philosophy: an approach that places authenticity, innovation, and genuine attention to peoples needs at the center. For the first time, Fujifilm, the Japanese multinational company, presented its innovative approach to design, giving us exclusive insights into its Faithful Design” strategy.

FUJIFILM Holdings Corporation, headquartered in Tokyo, operates globally across four key business segments: healthcare, electronics, business innovation, and imaging. With over 70,000 employees, the company leverages its proprietary core technologies and long-standing expertise to develop products and services worldwide. Guided by its Group Purpose giving our world more smiles,” Fujifilm aims to address social challenges while creating value for a broad range of stakeholders. Its medium-term management plan VISION2030 sets the strategic direction toward FY2030, with the ambition to further evolve as a portfolio of global leading businesses.

The experience began in the spirit of Milan Design Week itself. After arrival, the first evening set the tone with a Welcome Dinner under the theme Milanese Heritage & Aesthetic Warmth” at Trattoria dei Cacciatori. The relaxed setting offered a first opportunity to meet the two designers, who had just arrived from Tokyo, creating an informal start and an initial sense of connection for the day ahead. An overnight stay at the hotel followed, including breakfast the next morning, before the program officially began.

The following morning marked the start of the official Fujifilms Faithful Design” day at the headquarters of FUJIFILM Italia S.p.A. The day opened with a welcome by Mr. Fabio Santambrogio, Corporate General Manager of FUJIFILM Italia S.p.A. This was followed by a corporate presentation from Luana Porfido, European Head of Corporate Communication and ESG Management at FUJIFILM Europe GmbH, providing deeper insights into Fujifilms transformation, purpose, and sustainability approach.

She highlighted that Fujifilms evolution from a photographic film manufacturer to a diversified global technology group is central to understanding its current identity. Established in 1934, the company has gradually expanded beyond imaging, with healthcare now representing its largest business segment, alongside electronics, business innovation, and imaging. This shift reflects a long-term transformation driven by Fujifilms proprietary core technologies and continuous adaptation to societal and technological change.

A key element of Fujifilms transformation is its Group Purpose giving our world more smiles,” which, as Luana explained, is not a slogan but a guiding principle for all business decisions. It reflects the companys long journey from photography to healthcare and diversified technologies, with the aim to serve the society for the better.”

She emphasized that this mindset requires constant reflection on impact: its not just simply, I did my task, but my task has a scope,” focusing on whether products create real value for society—through sustainability, usability, or responsible communication. Improvement is seen as continuous: its constantly trying to improve yourself, to impress a positive sign on society.”

Sustainability is embedded in strategy through the Sustainable Value Plan 2030, aligned with global frameworks such as the SDGs. Europe plays an active role in this shift, especially through a strong green mindset in countries like the Netherlands and Denmark.

Fujifilms global structure supports this approach by enabling knowledge sharing across regions, summarized as: we really have in our toolbox all what we need to realize our purpose.”

The focus then shifted to the designers who had travelled from Japan for the occasion, particularly Sumire Kuroda and Masahiko Yamamoto. Throughout the session, they presented Fujifilms design philosophy alongside concrete case studies, showing the full process from early sketches to final production. The program was complemented by direct Q&A sessions and interview exchanges.

Sumire Kuroda, User Interface Designer, joined Fujifilm in 2020 and works across medical systems and digital healthcare solutions. Her focus is on designing intuitive interfaces for complex environments such as endoscopes and medical IT systems. One of her key projects was an app for drug identification, aimed at reducing workload and improving accuracy in clinical practice.

Masahiko Yamamoto, Industrial Designer, has around 15 years of experience in industrial design and joined Fujifilm Business Innovation in 2019. He is responsible for the exterior design of office and industrial printers and currently serves as lead designer for flagship models of the Apeos series.

A central theme of their presentation was Faithful Design.” The designers emphasized that innovation begins with real-world observation rather than purely technical translation. As they explained, design is shaped by observing on-site” and capturing unspoken user needs, which are then translated into solutions that reflect real human behavior. Sumire Kuroda added: Whenever we as a team face the challenge of designing a new product, we start with what people highlight as areas for improvement in their everyday lives.”

A key example of his design approach was the development of a multifunction printer in 2021. The project began with a fundamental question: what will the workplace of the future look like, and how will the relationship between people, their environment, and their tools evolve? Yamamoto emphasized that offices are no longer purely functional spaces, but are becoming more human-centered environments that foster comfort, interaction, and belonging. In this context, the device itself was redefined—not just as a machine for printing, scanning, and copying, but as an active assistant supporting users in their daily work.

The design process is supported by the Fujifilm Design Center, which has operated as an independent studio since 2017. To further strengthen collaboration and creativity, CLAY STUDIO was opened in May 2023 as the current design hub. The space was entirely designed by Fujifilms own teams—from architecture and interiors to lighting, furniture, and green areas—reflecting a collective design approach that fosters exchange and shared creativity.

Cross-disciplinary collaboration is a core principle of this environment. Designers from healthcare, imaging, and business innovation work closely together in a highly integrated setup. Weekly sessions with around 100 designers enable continuous exchange of ongoing projects, insights, and learnings, ensuring that ideas from one field can inspire others across the organization.

This collaborative way of working is also reflected in Fujifilms growing number of design awards. Products across categories—from cameras to medical systems—have received numerous recognitions both in Japan and internationally. In April 2025, Fujifilm was honored with 23 Red Dot Design Awards, one of the worlds most prestigious competitions, recognizing excellence in functionality, ergonomics, and user-centered design.

Among the winners, the Apeos Digital Color Multifunction Printer will be showcased until June 2026 at the Red Dot Design Museum in Essen. The product reflects a deep understanding of how design can shape user experience—from its clean, seamless silhouette to its intuitive interface designed for real working environments. More than a tool, it acts as a thoughtful companion for everyday tasks, combining cloud connectivity, AI, and human-friendly usability in a sleek form.

Also recognized were Fujifilms FDR ES II digital radiography detectors and the FDR Xair portable X-ray unit.  Both stand out for their lightweight, user-friendly design, enabling advanced medical care even in challenging environments.

The program concluded with an immersive showroom tour, offering a hands-on exploration of Fujifilms latest innovations—from X-Series cameras and endoscopy solutions to multifunctional printers. The experience provided a final, tangible overview of how design, technology, and purpose come together across the companys diverse portfolio.

With many new impressions and insights, and a goodie bag in hand as a small reminder of the experience, we eventually made our way back to the airport. A final thank you was shared for the open exchange, inspiring conversations, and the opportunity to gain such a close look into Fujifilms world of design and innovation, ending the visit in Milan with a smile.

New Design from Düsseldorf 2026

From June 6 to 13, 2026, the exhibition New Design from Düsseldorf 2026 will present over 50 projects from the programmes New Craft Object Design, Communication Design, Retail Design and Exhibition Design at the Faculty of Design of the Peter Behrens School of Arts at Hochschule Düsseldorf–University of Applied Sciences, at the NRW-Forum Düsseldorf.

The works on display have been selected from 300 degree projects. They present concepts, ideas and solutions to current social discourses in innovative ways and with a high level of craftsmanship. They go far beyond a compulsory academic task, instead exemplifying the independent attitudes and positions of emerging designers. More than ever, the focus is not on the superficial creation of messages, but on the role of design in a constantly changing society and the conscious use of artistic and creative methods to address social questions, initiate discourse and open up new spaces for thought. They are New Design from Düsseldorf.

The exhibition will open on Friday, June 5, at 6 pm with an opening ceremony. On Friday evening, June 12, an external jury will present the HSD PBSA Design Award to selected graduates. Workshops for children and families will complement the programme. The exhibition will be part of the Art:walk Festival 2026 on Saturday, June 13, 2026.

New Design from Düsseldorf 2026 is a project of the Faculty of Design 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, Avema, Cofermin Chemicals, KomKuK–Kompetenzzentrum Kultur- & Kreativwirtschaft der Landeshauptstadt Düsseldorf und SIGMA System Audio-Visuell.

Further information here.

Slanted Publishers will publish the catalogue on the occasion of the exhibition, preorder your copy here.

New Design from Düsseldorf 2026

When?
Opening event: Friday, June 5, 2026, 6–10 pm
HSD PBSA Design Award ceremony: Friday, June 12, 2026, 6–10 pm
Opening hours: June 6, 7, 11, 12 and 13, 11 am–6 pm
Art:walk Festival Düsseldorf: June 13, 4–12 pm

Where?
NRW-Forum Düsseldorf
Ehrenhof 2
40479 Düsseldorf
Germany

Contemporary Spanish Poster Project

The Contemporary Spanish Poster project brings together a selection of contemporary designers whose work repositions the poster within a culturally relevant context. What connects these positions is a shared attitude. The poster is not merely a carrier of information, but the expression of an independent and distinctive visual truth, often rooted in culture and always aware of context and the public sphere.

A project by Artediez and the Panama Poster Group, curated by Sonia Díaz, Gabriel Martínez, and Ivo Baldovinos Carleo, Contemporary Spanish Poster establishes a framework for this exploration as a platform that brings together diverse design positions and translates them into a shared discourse.

Óscar Mariné works with a vividly colored, illustrative visual language that moves between expressive directness and ironic inflection. Isidro Ferrer advances the idea of the poster as object, a condensed moment in public space, a form of visual theater. David Torrents develops a hybrid typography, a layered field of textures that searches for new graphic vocabularies. Ibán Ramón reduces, organizes, and refines, creating geometric compositions that unfold a quiet spatial complexity. Javier Jaén constructs images that are at once obvious and enigmatic, and precisely in that tension they evoke a sense of visual poetry. Quim Marin choreographs typography, image, and color into rhythmic compositions that are both functional and expressive. Koln Studio relies on radical reduction, using minimal forms with high conceptual density. Brave New World represents a collective practice, design as a shared process and as a political and social act.

Within an increasingly pragmatic understanding of design, the poster takes on a particular role. It remains one of the few media capable of resisting pure functionality, a space for attitude, friction, and critical thought. This raises a question. What kind of truth can design articulate today? What form can expression take?

Ibán Ramón offers one possible answer. Designing posters today can be a political and cultural act, a way of returning to the city some of its capacity to communicate something beyond commercial messages.

The publication Poster Thinking documents and reflects on the curatorial work of more than 14 exhibitions within madridgráfica and supergráfico from 2008 to 2025, as well as the Contemporary Spanish Poster project, published by FANSBOOK (Artediez).

CLOCK IN

In February 2024, a daily commute to work by bicycle became the starting point for an ongoing photographic and design-based exploration. What initially began as a practical shift in routine gradually evolved into a structured way of observing and documenting everyday movement.

Through photography, every reason for being late was recorded. Beyond the obvious delays, the work captures the subtle interruptions and detours that shape a morning ride: changing landscapes, incidental encounters, small accidents, and fleeting moments that would otherwise go unnoticed. Over time, these fragments formed a growing visual archive, compressed into a series of everyday records oscillating between documentation and diary.

From a design perspective, this collection was translated into a series of objects. The images gathered along the route were reinterpreted and materialized into three distinct outcomes, each engaging with notions of time, repetition, and delay.

☻ 12 × CLOCK IN Time Clocks → functional clocks
☻ 01 × 🅒Ⓗ🅘Ⓛ🅛Ⓞ🅤Ⓣ Punch Card → photo book
☻ 01 × late (at) life Warning Light → luminous charm

Together, these works form a system of reminders that sits between function and narrative. They reflect on lateness not only as disruption, but also as a condition that opens up space for attention, observation, and reflection within the everyday.

At its core, the project proposes a simple thought: even if work life balance remains out of reach, there is still a way to find moments of return to life along the road of being late.

As the familiar saying suggests, “Life is like riding a bicycle. Once you start pedaling forward, you find your balance.”

Find more informations about the project here.