Haettenschweiler from A to Z

Posted on by museum-gestaltung

Walter F. Haettenschweiler (1933–2014) is best-known as a designer of title fonts that are refreshingly different to the mainstream. While still training as a graphic designer during the 1950s he designed the legendary Schmalfette Grotesk, which was later to achieve cult status and was used as the Microsoft system type. The Lettera volumes, published jointly with Armin Haab and featuring their own as well as re-edited typeface designs by others, also achieved worldwide recognition. A passionate artist and collector, he earned his living with everyday graphics created in his Studio for Advertising and Design for companies in the Zug region as well as for national institutions. The exhibition Haettenschweiler from A to Z is the first ever presentation of the complete work of this charismatic Swiss designer.

Haettenschweiler from A to Z

When?
14.10.2022 – 19.2.2023

Where?
Museum für Gestaltung
Toni-Areal
Pfingstweidstrasse 96
Zurich
Switzerland

More information on the exhibition here!

Komma Magazine Issue 26

Posted on by kommamag1

The students of the Faculty of Design at University Mannheim released the new issue of their student magazine—Komma Magazine Issue 26.

They write: “It grows and proliferates. The seed that germinates in you and gives rise to the idea. Propagere, planted, spread. We encounter propaganda everywhere, the first glance falls on totalitarian states, politics, brainwashing. Manipulation in business, advertising promises, superlatives. Social media influence. A filter was used here. “Buy the product because I’29m honestly super excited about it.” When was the last time you encountered propaganda? When was the last time you propagated? Designers help shape society because almost everything we see has been designed. We decide how we convey information, we decide for what purpose. Which longings do we arouse in which target group in order to then satisfy them with the products we design? What fears do we exploit? Do we help people to emancipate themselves or do we incapacitate them? Do we design because it improves life and values ​​the individual—or do we design so that a stupid mass of people will keep buying? There is no doubt that we want consumers to only do ‘the right thing.’”

The Komma combines critical examination of design and high content standards with a platform that offers students of the Instagram the opportunity to present their own projects on the big stage. In addition to texts, interviews, posters, and photographs, you will also find selected graduation, semester, and free projects. The magazine is managed entirely by students; the editors organize every step exclusively. The composition of the editorial team changes every six months with each new issue, so each issue has its own theme and identity.

Komma Magazine Issue 26

Release: October 13th, 2022
Volume: 192 pages
Language: German
Typography: Keroine Pro (Charlotte Rohde), Residenz Grotesk (LaBoldeVita)
Colors: CMYK, Pantone 4705 U
Paper: Holmen TRND 2.0 & Arto Satin
Printer: ZVD Druckerei Heidelberg
The limited edition is sold out!

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Über Exoten—Slanted on the Docks

Posted on by mareneyra

As part of a 3-day workshop by Julia Kahl, 18 students from the Design Department of the Darmstadt University of Applied Sciences were on location at the new rooms of Slanted Publishers in Karlsruhe’s Rheinhafen and dealt intensively with the area and people behind. The result is a small, fine publication that offers a glimpse behind the scenes: Über Exoten—Slanted on the Docks.

The editorial by Manuel Gensheimer describes the publication vividly as follows: “At the foot of the energy mountain, hidden amongst scrap metal collectors, glaziers, painters, cargo ships, a canoe club, a steel factory, and a dog boarding kennel. A small, red container. Where men meet to make love on the street corner, art students organize pop-up parties, and pensioners book harbor tours with cod. The Rhine port of Karlsruhe. At any rate, it is one of the largest inland ports in Germany. When viewed from above, the harbor basins resemble a pitchfork. Or is it the Devil’s Trident? A cactus? Whatever. The Nördliche Uferstraße runs along the end of the upper harbor basin. The new home of Slanted Publishers.

The container proudly fills half the room and greets you as you enter in an alarm red robe. It is open on two sides, a small sofa invites you to procrastinate, the Slanted neon sign dangles from the top and illuminates the room with sweet charm.

Warm colors, flashy book spines, adjustable tables with freshly calibrated screens, a cowhide rug, a waist-high wooden lipstick, absurd amounts of peppermint tea, huge letters, towering books, tiny books, magazines, more magazines, still more magazines, out-of-print special editions, prototypes hot off the press, a sunny yellow beanbag, and loads of plants. One of them tries—unsuccessfully—to conceal the fridge-sized server box with its enormous leaves. It defends itself bravely with non-stop flashing lights. Enough Internet.

So what is it that they do here, anyway? Graphic design? Books? Magazines? Writing? Art? “We love books,” says Julia Kahl, one of the founders of Slanted Publishers. One thing is certain: this is no ordinary publishing house, no classic graphic design studio, it’s somewhere in between and something entirely its own. Someone once said “Porn for Typelovers.” Fitting.

This is where magic happens, shrill color tones and chunky letters, halftone photos, and italic type, on 120-gramme glossy paper, with embossing and special colors. One issue about New York, the next Tokyo, or Stockholm. Whether Bavaria or Rwanda, Slanted Magazine is a must-have among designers. In addition to the inhouse magazine, books are published about art, typography, posters, cultural identities, principles of design, film festivals, and skate parks. A blog became a magazine, a magazine became a publishing house. Julia and her team strikingly demonstrate that print is indeed alive and thriving.

In this publication, the authors omit nothing and take a close look. You get the full package. The premium box, so to speak. Including audio experiences and book spine skylines. The toxic green slough in the harbor basin is featured as well as the co-workers. You’ll learn all about the team’s favorite fonts and eating habits, the number of archived emails, and newsletter subscribers. A typeface is made from found letters, an illustration from refrigerator leftovers, a Where’s Wally picture from office inventory. It’s about contrasts and similarities, about inside and outside, about aesthetics and functionality. Come with us on a discovery tour, let us show you the world of Slanted.”

Über Exoten—Slanted on the Docks
3-day-workshop with students from the Department Design of University of Applied Sciences Darmstadt

Publisher: Slanted Publishers
Supervision: Julia Kahl
Participating students: Alicia Viktoria Kaiser, Anna Celina Fischer, Carla Trapp, Celina Otto, Denisa Theresa Holzapfel, Elvis Loos, Hannah Apollonia Stroiczek, Joana Scharnagl, Lemmi Karnop, Lisa Breu, Luca Haertel, Manuel Gensheimer, Max Bartunek, Max Mäder, Maximilian Walter, Milos Hesse, Robert Hohn, Teresa Van

Initiated by Prof. Dr. Sandra Hoffmann-Robbiani & Prof. Frank Philippin
Editorial: Manuel Gensheimer
Design: Anna Celina Fischer, Celina Otto, Denisa Theresa Holzapfel, Joana Scharnagl, Luca Haertel, Manuel Gensheimer, Max Mäder
Final Artwork: Julia Kahl, Clara Weinreich
Translation: Prof. Dr. Sandra Hoffmann-Robbiani
Edition: 250 copies
Small quantity for sale

STUCK magazine

Posted on by Tessa Breuer

The first English-language print edition of STUCK Magazine—Born Out Of Odd Circumstances, influenced by the dislocation and uncertainty of the global pandemic, provides a trustable platform and brings together the personal stories and works of selected artists from various walks of life. They explore art and stories born from multiple different subcultures and individual practices, from the visual to the audio and the written.

“Across the world, we find ourselves in a common landscape that only a few scientists and science-fiction enthusiasts could have imagined. Our reality is the stuff of post-apocalyptic fantasy, except there has been no apocalypse, and there is no ‘post.’ We are living through precedented unprecedented times—the stuff we had relegated to fiercely- repressed history, only for it to emerge chaotic amid a new strain of technology, travel and international transportation.”

Berlin-based STUCK Magazine was envisioned before this radical shift of our realities, yet came to birth in the midst of it. The aim—to create a physical, print publication that serves as a trustable platform for underrepresented, under-recognized, and underground artists—is a valuable one regardless, but one which serves a more profound purpose in this new era.

STUCK Magazine is a community for modern culture, a catalyst for the exploration of unheard realities. They believe in an aesthetic of truth, without boundaries, geographies or cultural limitations. STUCK proposes a new way into the varied artistic dialects of the imagination, one that is simultaneously expansive and tangible …

In Issue 000, they talk about diversity in media production and the disruption of digitalization on the contemporary art market, about the fluctuating boundaries of subcultures and the inescapable nature of crime, about self-perception, gender norms, and oppressive external influences. Each chapter is dedicated to one artist. STUCK provides a platform for their works and stories to shed light on personal challenges that modern society and the pandemic brings. Through this they unfold and give understanding of hidden subcultures that shape contemporary life.

The second issue of STUCK was funded via crowdfounding and will be realized in December 2022. Take a look at the project here.

STUCK magazine

Contributors: Jacopo Borrini, Marius Thielmann, Rebecca Took, Miriam Partington, Nadine Toussaint, Arne Grugeln
Featured Artits: Stefan Hunt, James J Robinson, Laura Gerte, Li Ya Wen, Lunga Ntila, Gabber Eleganza, Robuche, Camilla Louisa, Shayan Sajadian, Person918x, Marjan Moghaddam, Bakunista Sect
Volume: 136 pages
Format: 270 × 210 mm
Workmanship: Glossy sewn softcover brochure
Printing: KOPA Printing House
Price: € 12.–
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Practica Program—Two: Expansion

Posted on by Practica Type

Immerse yourself in the world of type design while surrounded by the support of industry professionals and a community of like-minded typophiles. Practica Program—Two: Expansion—the live, online program is for designers who already have the beginnings of a typeface, but want to build it out into a multi-weight family. By the end, you’ll be ready to tackle more complex projects with more confidence, and will have a better understanding of contemporary type design practice.

– 18-week type design course
– Lectures, feedback sessions, and font file reviews
– All sessions are live and online
– Tuition is set on a sliding scale
– Sessions are held in English
– Free trial Glyphs license

What you will learn:
• Designing according to the intended use of your font
• Building a strong visual system
• Structuring font families and their design spaces
• Creating new weights or styles through interpolation
• Developing a more efficient and reflective type design process
• Expanding character sets and designing diacritics
• Keeping yourself motivated throughout development
• The importance of writing systems outside Latin
• Insight into the professional world of typeface design

Practica Program—Two: Expansion

Lead Instructors: Nicole Dotin (Process Type Foundry) and Sol Matas
Visiting Instructors: Rutherford Craze (Mass-Driver), Kalapi Gajjar-Bordawekar (Universal Thirst), Cyrus Highsmith (Occupant Fonts), Aleksandra Samuļenkova, Alice Savoie, Nina Stössinger (Frere-Jones Type)
Applications: start September 14th, 2022 (space is limited)

When?
January 19th to May 30th, 2023,
Tuesdays and Thursdays 12 p.m. CST (Chicago)

The program is now two complementary courses, “Practica One and Two,” that can be taken back-to-back or separately, totaling 24 weeks in all (with a nice break in between).

All details are available here!

Internship at Slanted Publishers—apply now!

Posted on by Clara Weinreich

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 Praktikum im Bereich Redaktion/Grafik ab März 2023 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 #42 (Shapes)
  • 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:

  • 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 01.03.–31.08.2023 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 04.12.2022 an Julia Kahl, [email protected]. Die Bewerbungsgespräche finden nach Sichtung aller Bewerbungen statt.

Wir freuen uns sehr auf Eure Bewerbung!

Otl Aicher 100

Posted on by Tessa Breuer

To commemorate the great thinker and designer Otl Aicher—who would have celebrated his 100th birthday this year—the Design Department of the University of Applied Sciences Niederrhein has published a limited edition of his typographie und bürgerliche freiheit text (typography and civil freedom) in its designkrefeld edition series.

“Not only was Otl Aicher one of the outstanding designers of the post-war era, he also wrote numerous texts and prepared several books. With our publication, we want to provide anyone interested in design and history an entertaining introduction to Aicher’s writing, as it still has a great degree of social relevance today.”

As Prof. Gummert-Hauser explains, “it was not easy to select just one text from this multifaceted person. We chose ‘typographie und bürgerliche freiheit,’ which first appeared in his 1988 book typografie. It not only identifies Otl Aicher as a designer or author of specialist texts but also shows his holistic thinking and fundamental attitude towards society and politics. The text does justice to the quarrelsome and contradictory personality of the Swabian, for whom even the use of upper and lowercase letters was a political matter.”

Shaped by his youth under National Socialism and his close ties to the Scholl family, Aicher was imprisoned for the first time in 1937 after he refused to join the Bundische Jugend. Throughout his life, Aicher was suspicious of the state as a powerful institution. Because he did not join the Hitler Youth, he was not admitted to the school-leaving exam in 1941. In 1942, he was drafted into the Wehrmacht, which took him to the Soviet Union and France. He deserted in 1945. “We came home from the war and were supposed to work on aesthetics at the academy, for the sake of aesthetics,” Aicher wrote. “That was no longer possible.” After the war, he dedicated himself to building democracy. When Inge Scholl—Hans and Sophie Scholl’s sister—founded an adult education center in Ulm, he supported her. They were married in 1952. The plan to establish a “college of design” began to unfold in 1947. The legendary hfg building complex on the Kuhberg in Ulm—designed by Max Bill—saw its first West German and international students in 1955.

Otl Aicher 100—typographie und bürgerliche freiheit is a small bibliophile publication. It begins with a biography of Aicher and is designed and hand-set by Nora Gummert-Hauser. Together with the print workshop team at Frankenring, it was lovingly letterpress, silkscreen, and digitally printed before being hand-bound in a limited edition of 100. Luckily, designkrefeld was supported by another luminary from the field of design. From the inexhaustible fund of his Berlin printing gallery, Erik Spiekermann lent them the umlaut characters that were missing from their Akzidenz-Grotesk foundry-type font. And if you look closely, you’ll notice which pages were printed first, when those were missing!

For Aicher, the professional was inextricably linked with the social. His demands on himself, his environment, his team, and his customers were high. We recommend everyone interested in design, architecture, and history read the far-reaching thinker, pioneer, and mediator Aicher. Not only on the anniversary of his birth.

Otl Aicher 100

Design: Prof. Nora Gummert-Hauser
Format: 140 × 240 mm
Volume: 48 pages
Printing: Letterpress (Aicher’s text), digital printing (biography), and silkscreen (cover)
Workmanship: Thread-stiched, with a limp binding, cover: stiff brochure with attached covers
Quantity: 100 copies
Price: € 24.– plus shipping
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Watch a small tidbit from the publication here.

Felder Books Berlin

Posted on by mareneyra

Felder KölnBerlin is a Berlin-based design studio known for commissioned work in the field of book and exhibition design, but provides us now with its first own book series released by their own publishing house Felder Books Berlin, combining themes such as art, design, children’s books, comics, and zines. Be sure to get your hands on one or all of the three just released editions which are now available at the Slanted Shop.

Doodle
Doodled is almost everything, always and everywhere. Even horses! Who knows what a great line is? A straight, clean one or a crooked, smeared one? In the picture book DOODLE, Doodle himself is talking. And we listen, look closely, and ask ourselves questions like, “When is a line an arm?” In this book, the arm is the beginning of a story. DOODLE shows kids that you can do quite a lot with just a few quick strokes. And that you should never underestimate Doodle.

Publisher: Felder Books Berlin
Author: Britt Müller, Winnes Rademächers
Art Direction: Britt Müller, Winnes Rademächers
Format in cm: 16.5 × 23
Volume: 32 pages
Bookbinding: hardcover, stitch bound
Paper: 170 g Munken polar rough
Language: English
ISBN: 978-3-946896-61-6
Price: € 18.–
Buy

COPY SHOP
In the graphic novel COPY SHOP, Julie works full time in a Berlin copy store, and she likes doing it. Her boss is unusually nice, and the pay is surprisingly okay. Ro also works here. He is a student and needs the part-time job. He can’t believe that Julie likes the store: in addition to boredom, there are fine particles in every corner. But Ro realizes that it’s not easy for him to talk to Julie.

Publisher: Felder Books Berlin
Author: Britt Müller, Winnes Rademächers
Art Direction: Britt Müller, Winnes Rademächers
Format in cm: 16.5 × 23
Volume: 64 pages
Language: German
Bookbinding: Broschur
Paper: 170 g Munken polar rough
ISBN: 978-3-946896-63-0
Price: € 18.–
Buy

HEB MAL EIN BEIN!
The picture book HEB MAL EIN BEIN! asks many questions: Who speaks in a book? When do pictures come to life? What is a story? What is a book anyway? What does the author have to do with it? The answers don’t seem easy, but in this story they end up being just that.

Publisher: Felder Books Berlin
Author: Britt Müller, Winnes Rademächers
Art Direction: Britt Müller, Winnes Rademächers
Format in cm: 16.5 × 23
Volume: 32 pages
Language: German
Bookbinding: hardcover, stitch bound
Paper: 170 g Munken polar rough
ISBN: 978-3-946896-62-3
Price: € 18.–
Buy

A Beautiful Mistake

Posted on by Tessa Breuer

A Beautiful Mistake is a project that celebrates the importance of mistakes, exploring the role of artificial intelligence in the creative industry, by the Italian type foundry Zetafonts. It was presented this week during the International Festival Offf Tel Aviv. A beautiful mistake. Half event catalog, half experimental artistic publication, it is a project entirely dedicated to the power of errors in the creative fields, exploring the growing potential of artificial intelligence at the service of the creative professions.

In May 2022, the Italian independent type foundry Zetafonts was contacted by Nitsan Rozenberg and Liri Argov, co-directors of OFFF TLV, the Tel Aviv branch of the worldwide famous OFFF Festival, to design an event catalog for the 2022 edition of this festival, dedicated to the post-digital creation culture.

The idea behind the festival theme, described in their “OFFF*UCK manifesto” and created by Awesome studio, is that mistakes are an essential part of the creative process and that—as a creative community—we should embrace them instead of trying to avoid their manifestation.

This resonated deeply with the Zetafonts team, since making mistakes is an integral part of creative’s work. Designing typefaces is all about trying to create variations on shapes that are already perfect and making little wrong experiments in the hope that they turn out as happy solutions. Without embracing them, we would never learn or grow, never push boundaries, or explore new territory.

The result is 256 pages curated by Isabella Ahmazadeh from the Zetafonts team, that share the excitement of a festival chock-full of inspiring ideas and insights, and that embody the spirit of OFFF: celebrating humanity, imperfections, and willingness to experiment and take risks. And precisely as a provocative contrast to the celebration of human error, this publication was also an opportunity to explore recent developments in artificial intelligence: a particularly hot topic in this 2022, so rapidly evolving that it is destined to soon generate that strange nostalgia that we can have when thinking about VHS or 8-bit computer graphics.

“The editorial Our Mistaken Futures”—says Cosimo Lorenzo Pancini, Creative Director of the foundry—represents a diary inside the book in the search for new letterforms and possible fonts in the latent spaces of typography as dreamt by machines using Midjourney AI and Dall-E; a glimpse into the weird future made up by neural network generated typography and ai-assisted graphic design.

For this central content, the award-winning foundry based in Florence has developed Deep Dream: a collection of two generated typefaces created with the help of a Deep Neural Network from 50.000+ vector shapes. “The results are amazing, each font has a different story, some are more organic, some have a tech feel, some have a retro feel, but all of them are beautiful in their own way and can be used for any kind of project. Deep dream typefaces are here to stay and we will keep creating more and more, stay tuned!” (This description is not written by humans)

A beautiful Mistake is a collection of all the possible mistakes done by visual designers—from low-resolution images and missing fonts to misaligned text, bad overprints, lorem ipsum leftovers, and even an upside cover. Enriched by a showcase of the amazing artworks by speakers and guests of OFFF TLV 2022, it is a celebration of the creative juices, of the things done wrong that end up looking beautiful anyway.

The occasion required the use of typefaces with a strong personality, suitable for editorial use, but which could provide an uneven, unexpected rhythm—says Francesco Canovaro, CEO and Type Director foundry—and thus, in pairing with one of Zetafont’s top-seller fonts (Milligram) was born a new, custom, typeface thought for use in editorial situations, where readability must be married to a strong personality.

Blacker Mono, designed by Cosimo Lorenzo Pancini and Francesco Canovaro is the monospaced version of the Blacker type-family, bringing its “evil serif” aesthetics into the realm of typewriter and coding typefaces.

A Beautiful Mistake

Fonts: Blaker Mono / Milligram / Deep Dreams
Book concept and art direction: Zetafonts Foundry
co-founders: Francesco Canovaro, Debora Manetti, Cosimo Lorenzo Pancini
Type and Creative Team: Isabella Ahmadzadeh, Sofia Bandini, Andrea Tartarelli, Mario De Libero, Veronica Iodice, Shrishti Vajpai
Artist Showcase: Adoratorio, Alef Alef Alef, Anagrama, Awesome – A Deloitte Business, Baugasm, Buck, Burton Rast, DixonBaxi, Esra Gülmen, Illo, Kiel M, Musketon, Ouchhh, Saffron, State Design, Studio Roses, Territory Studio, Tina Touli, Vasava, Vincent Schwenk
Offf TLV Directors: Nitsan Rozenberg and Liri Argov
Offf TLV Manifesto: Awesome Agency
Offf Festivals are a project by Pep Salazar and Héctor Ayuso
Printed by: 4Graph, Italy 

Some Magazine—Together

Posted on by mareneyra

What unites us? Since humans first formed communities, they have been thinking about what can be achieved better, faster, and easier together instead of alone. So the idea of collaboration is nothing new, we are herd creatures. In art, design, and culture, the collaborative is also a tried and tested approach. Last but not least, shared suffering is also half suffering. However, it is not only work and profit that are being shared, authorship is also transferred from the individual to the community. 

The editorial team of Some Magazine talked to very different artists and designers about their strategies and attitudes towards sharing. They found surprising new paths and unusual perspectives. But above all, the research for this issue left the editorial team with the deep conviction that the big questions, problems, and crises of our time can certainly only be overcome together—not alone. In this issue: Albrecht / Wilke, Na Kim, Studio Pandan, Josh Kern, Solitype, Maxim Brandt, Zongbo Jiang, and Clara Vastano.

Some Magazine is a bi-annual art and design publication from the Experimental Design course of Prof. Sven Völker at the University of Applied Sciences Potsdam. Since 2010, changing editorial teams of young art and design students research, write, layout, and produce it.

Some Magazine—Together
Issue #15

Publisher: FH Potsdam
Editor in Chief: Prof. Sven Völker
Editors: Greta Landmann, Merrit Schomakers, Eric Wätke, Angelika Miller
Design: Merrit Schomakers, Greta Landmann
Texts: Prof. Sven Völker, Greta Landmann, Merrit Schomakers, Eric Wätke, Sarah Beudt, Angelika Miller
Release: November 2022
Volume: 82 pages
Format: 17 × 24 cm
Language: English / German
Workmanship: Staple binding
Price: € 7.–
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TYPEONE Magazine Issue 05

Posted on by Tessa Breuer

As guest Editor Elliot Moody, Director and Founder of The Brand Identity states in the opening Editors Letter: There would be no branding without typography. And without typography, there would be no branding. This is what the new TYPEONE Magazine Issue 05 is all about.

Typography is crucial to a brand’s presence and identity, the two cannot live without one another. The two are completely interconnected. This issue, through The Brand Identity’s x TYPE01’s incredible team of writers, delves into the connections between branding and typography that haven’t been explored in great detail before, or perhaps doesn’t get the attention they should, or simply aren’y fully understood—to us at least.

TYPEONE has ventured into the future, investigating branding for cryptocurrency, cannabis, psilocybin, and NFTs whilst also venturing into culture, exploring the use of languages and scripts unfamiliar to the western world. They had asked type designers about what it actually takes to launch a typeface commercially, and asked design studios of various shapes and sizes about the prices of branding yourself. And in more ways than one, they tried to discover how custom typefaces actually work.

TYPEONE Magazine Issue 05

Director: Amber Weaver
Creative Direction: Alice Sherwin, Harry Bennet (Studio GroundFloor)
Lead Editor: Elliot Moody (The Brand Identity)
Assistant Editor: Zoë Loring Murphy
Front Cover Design: Daan Rietbergen
‘Letters’ Author: Ryan McGill of TwoºCreative
Graphic Designers: Alice Sherwin, Harry Bennet (Studio Ground Floor)
Editorial Contributors: Craig Berry, Emilios Theofanous, Ritupriya Basu, Harry Bennett, AliceSherwin, Ryan McGill, Poppy Thaxter, Zoë Loring Murphy
Publisher: TYPE01 Ltd
Volume: 136 pages
Format: 29.7 × 22 cm
Color: Litho printed CYMK + Pantone + Colourplan pape
Printing: Pressision Creative Print & Finishers
Price: £ 14.99
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Division

Posted on by Tessa Breuer

Division is a script typeface that has its roots in the Berthold Script designed by Günter Gerhard Lange. The design of Division goes against the grain of script typefaces that are very influenced by handwriting where the glyphs are joined and the stroke is continuous. The typeface pushes the thinking around the ligatures to bypass possible unwanted expressions of legibility caused by the joined rhythm in order to achieve optical optimization. The ligatures for the most part non-standardized allow to join the letters in very precise cases. The uppercase letters have been worked with an expressive voluptuousness, serifs in a “chip” spirit and reveals the approach of a contemporary calligraphic posture. The Inline style offers a simplified, more primary layout, revealing a more volatile apparent structure where the loops fade and thus complements the more contrasting Regular style. The typeface is recommended for use in medium and large size and in All Caps/Initial Caps to bring out the maximum expressiveness, visual impact, and sensuality.

Division

Foundry: Skrr Type
Type Designer: Alff Rosine
Release: 2022
Styles and Weights: Regular and Inline
File Formats: OpenType, TrueType, woff, woff2
Price Single Style: € 40.–
Price Family: € 60.–
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Michele Lombardelli—Untitled

Posted on by feder23

Michele Lombardelli—Untitled solo exhibition at MAGA (February 26th–May 8th, 2022), starting from the pictorial works of recent years, the exhibition intertwines the different languages experimented by the artist, highlighting how Lombardelli’s interest, research, and lateral thinking they move at the same time towards painting as a sign, the photographic image as text, the book as an object of investigation, and sound as a material for exploration and dimension without measures and boundaries.

On display a series of recent paintings by the artist based on rigorous chromatic and geometric variations that do not exclude the unexpected and at the same time reformulate the idea of abstraction, dissolving any referential connection with the representability of reality. In the artist’s poetics the pictorial works, as well as the photographs, and the sound and musical projects, present in the exhibition, move away from the idea of synthesis or referentiality of the sign and image to give space to the mute, and at the same time sonorous presence of the signifying.

Lombardelli’s work, extremely free in the choice of expressive means (painting, photography, drawing, screen printing, sound) and supports (canvas / board, paper, carpet, ceramic, vinyl) is characterized by an environmental vocation and an expansive quality in which a constant and subtle tension flows between balance and precariousness, disorder and control: elements of an even tighter dialectic when the artist performs the sound.

Michele Lombardelli—Untitled

Publisher: Postmedia Books
Works by: Michele Lombardelli
Design: Federico Barbon
Languages: Italian, English
Volume: 488 pages
Format: 16.5 × 12 cm
Workmanship: paperback
Release: 2022
ISBN: 97888749033501
Price: € 26.–
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Photodarium 2023 & Photodarium Private 2023

Posted on by Tessa Breuer

It’s that time again: the year 2022 is drawing to a close and the last sheets of the old calendar are being torn off. The new editions of the Photodarium are now available again in our shop. This year also unfortunately for the last time in the Private version. So safe your copy now.

The classic edition Photodarium 2023 photo-tear-off-calendar will bring delight again every day in 2023 with an instant photo and its own little story. The front side of the calendar page always presents an instant picture in original size, on the back side is a short text about the origin of the photo as well as information on the photographer and the used photo film.

For the seventh time (but last time, officially), in addition to the classic edition, Seltmann Publishers release the special nude edition Photodarium Private 2023. A modern and young view on eroticism beyond pornographic clichés—from photographers and individuals all around the world. The edition is limited and a very special piece of art!

Photodarium 2023 / Photodarium Private 2023

Publisher: Seltmann Publishers
Author: Lars Harmsen, Raban Ruddigkeit
Design: Boris Kahl
Bookbinding: Desk calendar with high-quality lacquer finish in a sturdy collector’s box. Paper stand included.
Format in cm (w × h × d): 10.5 × 11.8 × 8.8

Classic Edition
ISBN: 9783949070204
Price: € 32.50
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Private Edition
ISBN: 9783949070211
Price: € 35.–
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266 weltverbessernde Projekte – ein Prozess

Posted on by Tessa Breuer

How the DDC created WAS IST GUT, a design competition for world-improving projects, and what it produced, is documented in 266 weltverbessernde Projekte – ein Prozess edited by Bettina Knoth.

This competition was different. And so is this publication! With WAS IST GUT, the DDC did not look for the familiar glossy solutions, but asked for projects that people have always wanted to do, because they open up new perspectives and spaces of possibility. The winners were selected through a democratic process of facilitated workshops and a symposium.

The 218 pages center around these following questions: How do we design meaningful things? How do we design sustainable living environments? How do we enable social relationships? All 60 nominated and awarded submissions in the categories product, space, and communication are shown in texts and images. In addition to inspiring essays and contributions by Prof. Mikala Holme Samsøe, Bettina Knoth, Prof. Dr. Felix Kosok, Nicolas Markwald, Rolf Mehnert, Ana Relvão, Michael Schieben, and Nina Sieverding, the entire process of the WAS IST GUT competition, from its genesis to the symposium and award ceremony, is documented in numerous illustrations, reflections, and commentaries. The publication was designed by oppa franz in close collaboration with DDC board spokeswoman Bettina Knoth. The great portraits are by Robertino Nicolic.

266 weltverbessernde Projekte – ein Prozess

Idea, Concept: Bettina Knoth
Design: oppa franz
Price: € 21.40 (incl. shipping and 7% VAT)
Order here via mail

Sponsored by the Hessian Ministry of Economics, Energy, Transport and Housing

Fuerte Type

Posted on by Tessa Breuer

Fuerte Type is an independent type design studio based in Dubai (UAE) and Colonia (UY), committed to developing rigorously crafted typefaces with a strong graphic appeal to help designers create memorable visual experiences.

Over the last six years, Fermín Guerrero (Fuerte’s Director) has been publishing typefaces with two of the most prestigious type foundries—Colophon (UK) and Typotheque (NL), which received a variety of awards such as the European Design Award and Latin American Design Award. After this highly enriching experience he felt it was time for him to try his own thing.

Fuerte offers a single license model that includes both, desktop and webfont files, and covers the most common design scenarios such as branding, publishing, websites, apps, social media, moving image, merchandising, and so on, as well as free trial fonts that allow you to properly test the fonts in your own designs before buying. Fuerte’s type shop was just launched with its first three type families, go check it out on the Fuerte Type website and Instagram to learn more.

Fuerte Type

Designer/Director: Fermín Guerrero
Take a look at Fuerte Type and its typefaces here!

CORRELATIONS

Posted on by Tessa Breuer

CORRELATIONS is an interdisciplinary event gathering creatives, experts, as well as curious non-experts for an exchange on Artificial Intelligence. Over 2.5 days, KITeGG will provide a forum for critical reflection, knowledge and skill sharing, and discussions on the use of AI as a creative tool. With a series of lectures, workshops, performances, and an exhibition, they invite visitors to explore different “intelligent” systems in creative contexts and learn about their relevance and impact on our world.

The forum is held by KITeGG, a 4-year research project on AI in Art and Design, and is the second in a series of eight summer and winter schools between 2022 and 2025. The next event takes place in Schwäbisch Gmünd in spring 2023.

Program
With contributions by Jenifer Becker, Joscha Berg, Entangled Others (Sofia Crespo & Feileacan McCormick), Moíses Horta Valenzuela (Hexorcismos), So Kanno, Jannis Maroscheck, Björn Ommer, alla popp & Janne Kummer aka Alaska, Aeneas Stankowski & Rahel Flechtner, and more.

Exhibition
How are personal or mass-media image archives transformed via machine learning models into a new, surprising—or perhaps all too familiar—artistic-creative language? How much statistics is there in aesthetics? And to what extent can AI-based algorithms be used as tools for creative research that continues a self-reflected experimental tradition of media art without immediately squinting at the product?

The exhibition presents works by students of the University of Art and Design Offenbach and the KITEGG partner universities, which have been created in an examination of these socially relevant topics. Next to the results of searching for new visual form languages based on generative modeling, experiments in the fields of sound synthesis, and the conceptual processing of mass media content will be shown.

The exhibition features works by Malik Arbab, Elisa Deutloff, Lea Endres, Johannes Growe, Younes Jaafari, Jenny Kasper, Max Kreis, Bastian Kämmer, Nassim L’Ghoul, Anastasia Ruchkina, Lisa Marleen & Laura Juliane, Yalu Moreta.

CORRELATIONS

When? 
November 9th until November 11th

Where?
HfG Campus,
Schlossstraße 31,
63065 Offenbach am Main
Germany

See the full program here

Banner design: Laura Hilbert
Motion design website: Tobias Rauch

Visualizing Complexity

Posted on by Tessa Breuer

Visualizing data is complex, it depends on a variety of factors to present statistics in an understandable way. The handbook Visualizing Complexity by Nicole Lachenmeier and Darjan Hil can help: At the intersection of design, journalism, communication, and data science, the book opens up new ways of working with abstract data and invites readers to try their hands at information design.

  • New standard work for information design
  • Attractively designed and illustrated manual
  • Innovative presentation solutions for analog and digital media

Nicole Lachenmeier and Darjan Hil condense their extensive professional experience into an illustrated guide that offers a modular design system comprised of 80 elements. Their systematic design methodology makes it possible for anyone to visualize complex data attractively and using different perspectives.

Visualizing Complexity

Publisher: Birkhäuser
Release: May 2022
Languages: English / German
Volume: 224 Pages
Format: 158 × 228 mm
Price: EUR 42.– / CHF 45.–
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Sirenia

Posted on by Tessa Breuer

Sirenia is a friendly display face with rounded corners and flowing transitions. The letters have a very organic look and feel, as if naturally grown. There are clear calligraphic influences in the typeface, since the letterforms are based on a written construction, all drawn with a single stroke. This authentic natural look is ideally suited for lifestyle products, the food and beverage sector and for sustainable design.

With nine weights and corresponding italics, the typeface offers a wide range of expressions: If the light weights appear elegant and filigree, the typeface changes its character to a dynamic brush typeface in the medium weights, and in the heavy weights it takes on a funny, almost psychedelic bubblegum aesthetic. Sirenia’s 1,270 characters contain many decorative letters and swash variations for initial, medial and final letters. This makes Sirenia a great choice for logotypes, packaging and advertising. Despite its display qualities, Sirenia is also well legible in small font sizes and also looks good on the screen.

The design process of Sirenia started twenty years ago with a student project at the University of Applied Sciences Trier with Prof. Andreas Hogan. Using the Blend Fonts feature of the type design software Fontographer, Felix Braden tried to interpolate different type styles and take inspiration for new letterforms from the fragmentary results. When he actually, stumbled upon his old designs he was surprised by the good legibility and relevance of the design. The organic shapes and ornamental curves made the font look like a contemporary antithesis to the minimalism of Geometric Sans. So he decided to expand the font as a family and completely rework it. He drew more rounded consistent shapes and added numerous alternative letters to the alphabet, at least one alternative for each letter and three or four variants for the majority of them, giving the user lots of options for combining letters in a lively and expressive way.

Sirenia

Release: October 17th, 2022
Foundry: Floodfonts
Designer: Felix Braden
Format: OTF, WOFF
Styles: 18, Thin to Black (incl. Italics)
Price: per style: $ 49.– / family: $ 495.– / Free for all users of the Adobe Creative Cloud
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Picture 01: © Taryn Elliott
Picture 03: © Rayul, illustrations: © iwat1929 (freepik.com)
Picture 05: © F Leonard, Odunsi Oladimeji, Michael Fallon, illustration designed by Freepik
Picture 08: Illustration designed by Freepik

 

BookBau Festival 2022

Posted on by mareneyra

Slanted loves BookBau! We had the pleasure to be part of the BookBau Festival 2022. From Friday, October 28th til Sunday,October 30th, visitors were able to explore the different booths of international and national publishers of the artist book scene, different universities, and students. In addition, the visitors were offered a varied program with workshops, lectures and round table discussions.

Many thanks to the HfG Karlsruhe students, teachers, and faculty who created a new space full of books and prints to explore. We hope for many more BookBauFestivals in the future.

Zukünfte gestalten

Posted on by Tessa Breuer

“By designing and communicating future scenarios, you shape the futures of those around you, and can indirectly influence the future course of events.” – Zukünfte gestalten.

To do this, we have to say goodbye to the future in the singular. Because this singular suggests that there is only one, seemingly inevitable future. If we consistently put the term in the plural, we recognize that the world can be shaped.

Zukünfte gestalten opens up a new role for its readers as mediators between research, politics, and society. It offers tools for a systematic and strategic examination of the future, or better: of possible futures.

With the help of the methods and tools presented in the book, creatives can make different, shapable futures tangible and enable decision-makers to set a wiser course in the present. In this way, they design more than surfaces and interfaces. Ideally, they become designers of a better world.

Eileen Mandir and Benedikt Groß present detailed Design Futuring-workshops from fast track to five-day sprint. With shopping list and schedule, with alternative program, and emergency kit. This book not only wants to be read, but implemented!

Zukünfte gestalten 

Authors: Benedikt Groß / Eileen Mandir
Publisher: Hermann Schmidt
Design: Gold und Wirtschaftswunder
Release: September 2022
Volume: 256 pages with over 500 diagrams and illustrations
Format: 17 × 24.4 cm
Workmanship: Thread-sewn hard cover with a color-printed Majestic Snow White cover and colored ribbon bookmark
ISBN: 978-3-87439-958-6
Price: € 40.—
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Typeface of the Month: Postea

Posted on by Tessa Breuer

This Typeface of the Month: Postea, is a geometric sans serif typeface by TypeTogether. The story of Postea starts with Veronika Burian, Munich-based type designer and co-founder of TypeTogether type foundry, and her first encounter with a 1920s post office building in the architectural style of Bauhaus.

“The clean, simple, and slightly quirky Deutsche Post signage lettering caught my eye, with its longish extenders and varied letter widths, especially the bottom-heavy ‘s’,” says Veronika Burian. “I had been thinking about the challenge of designing a geometric sans for a while, and when I saw that ‘s’ I knew this was the inspiration I was looking for.”

Postea is a rather small type family, but smaller, in this case, does not mean either simpler or less accomplished. The challenge is represented in the typographic goal of the new typeface: Postea is meant to have outstanding performance in a wide range of situations from branding, indoor signage, and posters, to magazines and books on photography and architecture. In practice, this creates a couple scenarios that demand different levels of volume and tone with which the fonts must speak to the reader.

Postea’s 14 static styles, or two variable fonts, feature a Latin character set with support for over 140 languages and plenty of typographic goodies. Inspiration for Postea’s icons comes from geometry, art deco, and the use of specific icons related to museums and art. One of the most complex goals was to create functional iconography that is both recognizable and consistent with the skeletal structure of the font family. As with the character designs, simplicity prevails, which ensures compatibility with all the glyphs that make up the family.

Typeface of the Month: Postea

Foundry: TypeTogether
Designers: Veronika Burian, José Scaglione
File Formats: OTF, EOT, WOFF, WOFF2
Weights: Regular & Italic, Semibold & Semibold Italic, Bold & Bold Italic, Extrabold & Extrabold Italic, Hairline & Hairline Italic, Thin & Thin Italic, Light & Light Italic + Variable & Variable Italic
Release: 2021
Price per style / family: € 44.10  / € 397.– (for up to 5 users)
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Walking Distance

Posted on by Tessa Breuer

Five continents, three decades: with Walking Distance, Olaf Unverzart presents his interpretation of a travel diary. Beyond tourist attractions, well-known places with supposedly typical folklore, his volume of photography opens our eyes to the things and creatures “in between”—this “in between” mainly takes place on the street.

The power of the images lies in the stillness and intimacy of the scenes. Unverzart’s photographs do not have a voyeuristic feel; they do not pretend to uncover essential insights and truths about places or their people, but appear as fleeting impressions. The individual photographs with their black-and-white composition and grainy texture have a strange quality that seems removed from time and place, lending them an almost universal character.

Unverzart explores the most diverse types of transition: we see cars, rails and streets as well as passers-by and pedestrians. Scenes of the old-fashioned and the obsolete point to the photographer’s search for a lost era and repeatedly allude to the extreme cultural, social and technological changes of the last three decades.

Walking Distance

Publisher: Verlag Kettler
Photographer: Olaf Unverzart
Design: Hannah Feldmeier
ISBN: 978-3-98741-006-2
Price: € 39.–
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kiosk magazine

Posted on by kiosk magazin

kiosk magazine is a monothematic magazine, curated by seven friends from Münster, Germany, and filled with diverse contributions. kiosk is not only a magazine, it is also a place where texts and illustrations, photographs, and fragments, puzzles and inspirations meet. The design works as a connecting element and helps the contents to fit together and form unexpected connections. For the seven designers, it is also about the people and perspectives behind them, who find a meeting place in the kiosk.

The second issue is dedicated to the theme of play and all its different contexts and perspectives. Where are the boundaries between play and reality? What rules do we play by? For humans, play is a place of refuge from everyday life, where we are suspended from the habits and regulations of life. kiosk is intended to open up such a place again on 150 pages, to bring readers back to the analog, to challenge reading habits, to stimulate shared reading, and dialog.

Elena Scherweit, Jana Vogt, Julia Rosenberg, Laura Flethe, Leon Beckmann, Lu Kohnen, and Paula Götz are still in the mood for print. Sometimes it just helps to see things in black and white, like with chess. With the issue on the topic of play, they wanted to create a joker among magazines that invites everyone from age 0–99 to read without a fixed target group.

kiosk magazine

Editorial, Design, Editing: Elena Scherweit, Jana Vogt, Julia Rosenberg, Laura Flethe, Leon Beckmann, Lu Kohnen, Paula Götz
Release: Autumn 2022
Printing: KROOG Printservice, Westerkappeln
Format: 19.5 × 25 cm
Volume: 165 pages
Paper: 90 g/m² Circle Offset Premium White
Language: German, English
Typefaces: Marguerite by Charlotte Rohde, DM Mono by Colophon Foundry, Redaction by MCKL Type, CirrusCumulus by Clara Sambot, ABC Maxi Round by Dinamo Typefaces, mv_ox by Moritz Voss
Cover Photography: Caro Lenhart
Price: € 22.–
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