Austrian Design Talks

Two days dedicated to the cooperation between design and business. On June 28th and 29th, 2022, the Austrian Design Talks will take place at Hollenegg Castle in western Styria. Ten successful partnerships between design and classic business will use best practice examples to show what contribution design makes to success, how the development process works, and how companies can benefit from design.

In the stylish ambience of Hollenegg Castle, in the heart of the Styrian Schilcherland, two days are dedicated to the exchange of design and business from all over Austria. The talks take a look at the people and companies behind the products and services, tell their story and provide insights into the creative process. The range of products and services in the two-day program spans from the development of furniture, vehicles, and medical equipment to control systems and the design of interiors. As diverse as the design process is, it is the decisive factor for success. The Austrian Design Talks at Schloss Hollenegg are a cooperation of Creative Industries Styria with Schloss Hollenegg for Design, designaustria, Holzcluster Steiermark, WEI SRAUM Designforum Tirol, and CampusVäre.

Preventing falls with an intelligent 3D smart sensor, tracking one’s own menstrual cycle with the help of a breathing air analyzer and an app, or fighting cigarette consumption with Quismo. These and other exciting projects will be discussed during the two days at Schloss Hollenegg for Design. Because the demands on new products and services are constantly increasing. Not only innovative functionality and uncompromising aesthetics are required: Current topics such as sustainability, social responsibility, and future viability must also be the development of new products and services.

Österreichische Designgespräche

When?
Tuesday, June 28 and Wednesday, June 29, 2022 (registration until June 24, 2022)

Where?
Hollenegg Castle for Design
Hollenegg 1
8530 Schwanberg
Austria

Tickets
Registrate here 
Price: € 90.– (day ticket) or € 150.– (2-day ticket)
Limited number of participants
The event will be held in German

For further information click here

Die 25 Schönsten Deutschen Bücher 2022

The Stiftung Buchkunst selected Die 25 Schönsten Deutschen Bücher 2022 (The 25 Most Beautiful German Books) of the year. 645 entries competed for the coveted awards.

In Die 25 Schönsten Deutschen Bücher competition, two juries of experts selected the 25 most beautiful books of the year in an elaborate process. For seven days, 14 jurors discussed the submitted novelties. The 25 selected books are exemplary in design, conception, and processing and show a wide range of design and manufacturing possibilities.

Stephanie Ising, creative director at HERBURG WEILAND in Munich and juror for the 2022 competition on this year’s jury work: “I really enjoyed being part of the jury. I was convinced by the production quality of individual titles. You simply notice that you don’t get very far in the book trade with standard solutions anymore.”

The Preis der Stiftung Buchkunst, worth 10,000 euros, will be announced at an awards ceremony in Frankfurt am Main on September 2nd, 2022. This will be selected by a third jury from the 25th Most Beautiful German Books. In which framework the award ceremony can take place under the given circumstances will be announced in the course of the summer.

The winners of the second Förderpreis für junge Buchgestaltung competition have also been announced. This year, 180 entries competed for the three prizes of 2,000 euros each. This competition, organized by the Stiftung Buchkunst, honors particularly innovative and forward-looking projects that conceptually advance the medium of the book.

See all awarded books of 2022 here

WDCD × Posters Can Help

WDCD × Posters Can Help worked together on an exhibition for the 10th What Design Can Do Live in Amsterdam. The exhibition was on display in the main lobby area where participants got their coffee and tea during the breaks. The team of WDCD picked some of the posters that have been submitted so far to Posters Can Help to exhibit great works and raise awareness for this project.

Hope, resilience, and people power take center stage at What Design Can Do’s tenth edition in Amsterdam. What Design Can Do Live marks a major milestone with a sold-out festival at the Internationaal Theater Amsterdam.

On June 3rd 2022, What Design Can Do (WDCD) made a triumphant return to Amsterdam with the long-awaited tenth edition of its annual festival. A sold-out crowd of nearly a thousand creative activists and innovators gathered at the International Theater Amsterdam to explore how design can help us reshape our lives in the face of a planetary crisis. Leading the conversation with a potent mix of urgency and optimism were a dozen of the world’s finest change makers, including graphic designer Eddie Opara, architect Marwa al-Sabouni and filmmaker Josh Fox. Though their perspectives were diverse, one message rang clear: in turbulent times, creativity can offer us a powerful and hopeful way forward.

Design that Moves the Needle
The festival was opened with a warm welcome by moderators Ikenna Azuike and Saskia van Stein. Rousing performances by the Marmoucha Orchestra and DJ Mark the Machine set the tone for a festive but challenging day of talks and workshops. Award-winning photojournalist Kadir van Lohuizen was first to take the yellow stage, demonstrating how visual storytelling can help people understand the human costs of climate change, from rising sea levels in Kiribati to mounting landfills in New York City. The morning also saw a thought-provoking talk by emerging designer Amber Jae Slooten, who shared her vision of an alternative fashion industry built on digital garments and powered by a generation of “new creators.” Crowd-favourites Maria Conejo and Zoe Mendelson wrapped up the first half of the day with a joyful presentation about the mission behind Pussypedia, a beautifully-illustrated guide to women’s health that shows how information design can move the needle on critical issues like gender equality. Adding a different point of view to the mix was climate advisor Yvo de Boer, who used his time on stage to discuss how creative strategies can generate political action. As he sees it, it is not always a lack of will that stands in the way of societal change, but also a lack of imagination.

Calling for Community
Besides showing examples of what design can do for society’s problems, speakers also laid out a blueprint for how: looking at the kinds of processes that we must adopt if we want to deepen our impact as creatives. “Part of my belief as a designer is that community is everything,” said Adebayo Oke-Lawal, the creative rebel making Nigerian fashion more inclusive. His was one of many talks that stressed the social responsibility of design, reminding us that the best solutions are those which are deeply embedded in their local contexts. One of Mexico’s most prolific architects, Enrique Norten, built on this idea by exploring how good urban design is about building connective tissue between people and the places they live in. “Every day our cities are becoming more and more populated,” he noted. “So my question is: How can we weave together a new social fabric of the city that is more just and equitable?”

In the second half of the day, speakers dove deeper into why social justice is not an add-on but a prerequisite to climate action. Cultural landscapes expert Julia Watson delivered one of the day’s most eye-opening talks, exploring what we can learn (and unlearn) about resilience from Indigenous communities around the world. Syrian author and architect Marwa al-Sabouni followed this up with a powerful reflection on how the design of our streets and buildings can affect our sense of shared prosperity, safety and belonging. “All cities today struggle with crises, whether it’s a housing crisis, the environmental crisis, or a crisis of violence,” she explained. Moving forward, she invites architects to “break the cycle” by daring to question the belief systems that got us here in the first place.

This interest in the way we practice design rather than its outcome was also clear during the afternoon’s series of breakout sessions. Many focused especially on how we can better take care of ourselves and each other in the effort to build a more active, diverse, and inclusive industry. In the workshops Gender, Design, and Power and Decolonising Design, festival-goers joined activists from the Netherlands and beyond for an open conversation about how to recognize and dismantle systems of oppression in our daily lives. During the Circular Design Jam and Pitch Podium, young innovators and creatives came together to explore how to make a regenerative future not just accessible—but attractive—to people from all walks of life.

I Live in Hope
The festival reached its conclusion with a spirited talk by graphic designer Eddie Opara and a searing performance by Oscar-nominated filmmaker Josh Fox. Both underlined the galvanizing role that creativity plays in a time of what seems like insurmountable challenges. For Opara, a Black designer who grew up in 1970s London and now leads one of the most influential agencies in New York City, it provided a tool for addressing injustices and for “living in hope.” For Fox, who is known for his unflinching documentaries on social and environmental justice, it is a way to alchemize despair into energy for the climate movement. Without it, we would be standing still in the face of our most urgent problems. Fox made quick proof of it that day, bringing the crowd to their feet with a spellbinding piece about healing, humanity, and our relationship with nature.

On this note, the curtains closed on an extraordinary tenth edition of WDCD Live in Amsterdam. All visitors, volunteers, and crew then joined the speakers on stage to raise a glass together during the afterparty co-hosted by Dutch design organizations BNO and ADCN. There was a sense of camaraderie in the room as the crowd talked over the day’s takeaways. As one visitor put it, it’s clear we’re facing an uphill battle. “Still,” he said, “I keep being surprised by the power, resilience, and creativity of people who are working to find solutions to break the status quo.”

Photos by Enrique Meesters and Laura Ponchel. Courtesy of What Design Can Do.

Slanted in Stockholm: teenage engineering

When visiting Stockholm in the summer of 2021, we took a close look at the contemporary design scene. We were happy to meet great designers from the local creative scene, among them teenage engineering!

teenage engineering develops highly acclaimed products for people who love sound, music, and design. teenage engineering are known for products such as OP–1, the portable wonder synthesizer, the OD–11 ortho directional wireless loudspeaker, pocket operator series, OP–Z, the pocket operator modular & OB–4 the magic radio. teenage engineering is based in Stockholm, Sweden. The company was founded 2007.

teenage engineering’s work can be found in the Slanted Magazine #39—Stockholm. Additionally we shot a video interview with one of the founders, David Eriksson to talk about his attitude and view of things. Take a look at our new issue and the video platform to encounter new ways of design thinking!

Portrait and studio photography: © Thomas Mandl

nomad 12

nomad is a magazine that promotes issues concerning quality of life, sustainability, and society by curating the ideas of a growing global creative community. nomad 12 is out now and available at Slanted Shop!

How are living spaces defined and shaped by society, design, and architecture? The nomad team travelled from Munich to Berlin, crossed the Italian Alps, and jumped from the UK to the US—interviewing visionaries, pioneers, and designers around the globe by asking: how do they define and shape living spaces? How does architecture interact with nature, with leisure design, with working environments? Which is the most sustainable way in all of this? And what needs will people have?

Their tour started in Munich’s city centre, interviewing Axel Meise on how he went about shaping “a new culture of light.” Heading west of the city to Neuhausen, Professor Markus Allmann spoke to Oliver Herwig about the quality of a dialectical approach. Up near the River Rhine, Frank Wagner talked to Dr. Marc Brunner and Steffen Kehrle about the nate collection. Sigurd Larsen and Georg von Hausen outlined their inspiring philosophy of sustainable products, as designers of the first piece of furniture that comes to mind when talking about living spaces: sofas. Sophie Dries delves into the challenges of designing those private spaces.

Former startup founder Frederik Fischer aims to reinterpret rural living with a new community mindset and has developed the KoDorf (co-village) concept. The nomad team spoke to Markus Bader, architect, professor at Berlin University of the Arts and co-founder of raumlabor in Berlin, and read about his excitement of the unexpected—be it in the form of people, events, or experiences. From Berlin to the Italian Alps, they met up with Tobias Luthe at MonViso Institute—a real-world lab for trialling sustainable living spaces.

The changes wrought in our living environment by the advance of digital technologies are a long-standing preoccupation of London-based architect and UX designer Keiichi Matsuda, who examines what they mean for our daily routines and how fiction can enhance our understanding of our possible futures. Karianne Fogelberg held a transatlantic Zoom interview with Rania Ghosn and El Hadi, and Kimberly Bradley portrayed Lisbon-dwelling curator and architect Mariana Pestana.

Contents
Ania Molenda: Weaving Care into the Web of Life—Mariana Pestana: Harnessing Imagination—Tanja Pabelick: Aqua Incognita—Tobias Luthe: Mind Follows Nature—Frederik Fischer: The Digital World is Nothing but a Very Poor Simulation of Community—Markus Allmann: Why do you build things, anyway?—Keiichi Matsuda: Blending Realities—Rania Ghosn & El Hadi Jazairy: Narrating Fables for Tomorrow—Markus Bader: Floating University—Marc Brunner & Steffen Kehrle: Bringing something new into the world—Axel Meise: My main job is basically to keep saying no till everything’s perfect—Sigurd Larsen & Georg von Hausen: New Era. New Mindset.—Sophie Dries: A Question of Scal

nomad 12

Publisher: hw.design gmbh
Design: Veronika Kinczli, Frank Wagner, and hw.design gmbh 
Release: May 2022
Volume: 216 p.
Language: English
Printing: offset-printed
Paper:  full color on uncoated and coated paper

Format: 23 × 26 × 1.7 cm
ISSN: 2513-0714-12
Price: 14.– Euro
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Captcha Design Festival 2022

Each year a new team of students from the Design Faculty of the University of Applied Sciences in Mannheim plans, organizes, and finally realizes the Captcha Design Festival 2022. This tradition came to life in 2014 and has been going on ever since, inspiring young design-lovers with exciting workshops every year a new.

This year’s festival follows the topic of symbiosis, concentrating on the harmony of analog and digital design. Captcha Design Festival takes places on August 29th until September 1st, 2022, followed by the exhibition in the Mannheimer Kunstverein. There will be three workshops lead on by excellent designers and artists, where the participants can widen their horizons in disciplines such as typography or illustration.

Captcha Design Festival 2022

When?

Symposium:
August 29th, 2022 (Jugendkulturzentrum Forum)

Workshops:
August 30th–September 1st, 2022 (Jugendkulturzentrum Forum)

Vernissage:
September 2nd, 2022, 6 p.m. (Kunstverein Mannheim)

Exhibition:
September 2nd–9th, 2022

Where?

Jugendkulturzentrum Forum
Neckarpromenade 46
68167 Mannheim

Kunstverein Mannheim
Augustaanlage 58
68165 Mannheim

For more information click here

Peridot PE

Peridot PE is a multifaceted sans serif type system designed by Pria Ravichandran and Kostas Bartsokas, it is available at Foundry5.

“We burnt the midnight oil and sweated over minute details to present a high quality ten weight family with slanted italics in six widths and the coveted variable format!”

Peridot PE is loaded with personality; try the different stylistic variants to change the typographic tone depending on your mood. The combination of widths and styles makes this type system an exciting typographic palette for the discerning designer.

Peridot PE currently supports three scripts—Latin, Greek, and Cyrillic—covering over 370 languages. It includes all required localized variants, tabular numerals, and currencies, fractions, clever discretionary ligatures, and many more features. This type system performs in varied environments—from branding, display, corporate use, editorial, advertising, poster, web, screen usage, etc. Think of any other use case as well and Peridot PE will perform.

This type system comprises 120 static fonts, family packages, and variable support. It is the gem you ought to have in your collection.

“Mesmerized by a sparking greenish-yellow mineral called Olivine hidden within black basalt in the lava fields of Lanzarote, we decided to name the gem of our library after this beauty.”

Peridot PE

Latin designed by: Pria Ravichandran and Kostas Bartsokas
Cyrillic and Greek designed by: Kostas Bartsokas
Script support: Cyrillic, Greek, Latin
379 languages
Styles: 120 Styles (six widths, ten weights + italics)
Release: 2022

Available formats: otf, ttf, and woff2
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CXI Conference 2022

After a two-year break enforced by Covid, on June 3rd the CXI Conference 2022, Europe’s biggest Brand-Identity and Corporate-Design Conference, finally opened its doors again!

800 guests—designers, agencies, creatives, and design-enthusiastsmainly from all over Germany came together in the Lokschuppen in Bielefeld to listen to five talks related to branding and design processes, to get inspired, and to learn something. Speciality of the CXI: You don’t only hear about a design process from the perspective of the designers and agencies—the client is also represented and shares their point of view during the (re-)making of their brand.

This year, too, there was a colorful mix of presentations, of big and smaller agencies and companies from many different businesses.

The day started with a presentation by Telekom × MetaDesign about the big transition of the Telekom brand. Clearly there are a lot of obstacles when you touch such an established and world famous brand which once had many different branches. Under the Motto “The future is liquid” they opened up the Corporate Identity to new elements and color nuances (besides the well known magenta) in order to modernize the brand.

Next up was Berliner Philharmoniker × Studio Oliver Helfrich, who successfully capture the energy, power, and autonomy of Berliner Philharmoniker in a new dynamic and modern branding. The new appearance is supported by lots of motion design representing the liveliness and movement of music.

In the last talk before the break, three parties reported about their journey of building a (new) brand after they merged two companies: Atruvia × KMS TEAM × VIM GROUP. An important opinion to take away from this talk: “Every brand must be understood and wanted.” With lots of sensibility they created a new brand independent of the two old company names that managed to capture the new synergy without any inherited issues. 

Networking and exchanging ideas with colleagues or fellow students during the break over a good vegan curry is just as good as listening to the lectures in the dark lecture hall, listening to the speakers.

After the break, GRIPS Theater × Formdusche inspired the visitors with a passionate presentation where you could feel the love for the brand and the design. Following the motto “Reduce to the Max,” Formudusche created a brand identity that was composed of existing nostalgic and fresh new elements to attract attention in Berlin, especially of kids—totally in line with GRIPS Theater’s Motto: “Don’t grow up-it’s a trap!”

Last presenters were mousesports × EIGA—a peculiarity, as Esports is neither particularly widespread nor well-known in the majority society. They told full of verve about the nerve wracking design process of the new logo and design, and about how hard it is to say goodbye to a well-known and also loved (by some) logo after 20 years. But here, too, the transition succeeded and now the new, loud, and strong brand presence inspires.

It’s not just the presentations themselves at CXI Conference 2022 that are inspiring, it’s also the atmosphere, which is full of excitement and passion for the subject matter that has brought everyone together in Bielefeld. People (especially designers) love these details, they love to hear about the struggle that happens in the design process—in small and big agencies, with small and big clients—that they experience themselves in the work life.

The surrounding of the conference is also lovingly prepared: CXI Conference 2022 bags and beautifully crafted and embossed cardboard boxes manufactured by Letterjazz. Inside you could find an information brochure about the talks and speakers, a notebook—both on appealing MetaPaper—and a pen, so you do not have to forget a single thought or inspiration. This year’s CXI-motto “be clear, be bold” was visible everywhere on shirts, posters, and the bags, bringing across this important message clearly. 

We are already very much looking forward to the CXI Conference next year, which will be on May 26th, 2023!

Slanted in Stockholm: Our Polite Society

When visiting Stockholm in the summer of 2021, we took a close look at the contemporary design scene. We were happy to meet great designers from the local creative scene, among them Our Polite Society!

In 2008, Our Polite Society was founded by Jens Schildt and Matthias Kreutzer. They worked with the Kunstverein Bielefeld, the Sandberg Institute, the Bauhaus Dessau, and also realized self initiated works like Our Form of Book (2016), The FACIT Model (2019), and Constant Change (2021). OPS teach at Rietveld (Amsterdam), Konstfack (Stockholm), and KABK (The Hague). Since 2017, they publish typefaces as OPS Type.

Our Polite Society’s work can be found in the Slanted Magazine #39—Stockholm. Additionally we shot a video interview to talk about their attitude and view of things. Take a look at our new issue and the video platform to encounter new ways of design thinking!

Portrait and studio photography: © Thomas Mandl

HfG GRADUATES 21/22 & Munitions Factory

Last Thursday, two exciting exhibitions opened at the HfG Karlsruhe University of Arts and Design: HfG GRADUATES 21/22 (02.06.–19.06.22) & Munitions Factory—exhibition on the history of a monstrous space (02.06.-12.09.22) on occasion of the 30th anniversary of the HfG.

Titled HfG GRADUATES 21/22 – All we as – the exhibition gathers diplomas, master theses and PHDs in the university’s atriums. 34 graduates were finally able to present their final projects from the years 2021 and 2022 to the public in a very beautifully designed exhibition. The exhibition catalog published for this purpose provides detailed information on the individual works on display.

The accompanying program has been developed in close collaboration with alumni and includes guided tours, workshops, screenings, performances, as well as panel discussions with our guests.

This year we’re together again.
(irl and beyond)
All we as leaves
clouds
moss
waves
light
All we as membranes
All we as futurists
All we, a mountain range
All we in hands
All we, crafting things
All we in a show

Opening Hours
Tue–Sun, 11–18

Address
Staatliche Hochschule
für Gestaltung Karlsruhe
Lorenzstr. 15
76135 Karlsruhe
Germany

The exhibition Munitions Factory, curated by Thomas Rustemeyer, examines the history of what was once the “largest weapons factory in the world.” It illuminates the transformations and ruptures of this “monstrous space” and questions the development of the area of the former weapons factory up to the present day.

It is a very nice idea to open the exhibition at the same time on the occasion of the 30th anniversary of the HfG, after all, the students form a unit with the building.

Hallenbau A—which today houses the Staatliche Hochschule für Gestaltung (HfG), the Zentrum für Kunst und Medien (ZKM), and the Städtische Galerie-was built during and for World War I by “Blitz architect” Philipp Jakob Manz as a production hall for the Deutsche Waffen- und Munitionsfabrik in Karlsruhe. With 30,000 factory workers, this factory was as large as a small town during World War II. During the Nazi era, female forced laborers from all over Europe had to work here under inhumane conditions. Because of the munitions and weapons that were produced here, the place is involved with various wars and conflicts in the world. After the decline of industrial production, the vacant premises served as working and presentation space for Karlsruhe artists from 1981 to 1989. The creative potential recognized there subsequently led to the institutions ZKM, HfG and the Städtische Galerie moving in.

Research materials from various archives, such as the Karlsruhe City Archive, the Karlsruhe General State Archive, and various picture archives, trace the history of this “tremendous space.” Artistic and documentary projects by students, alumni and (former) professors of the University of Arts and Design represent critical examinations of the site and its heterogeneous and controversial history. The exhibition is created in the context of the 30th anniversary of the HfG. The exhibition will be accompanied by a publication in the series Munitionsfabrik.

Both exhibitions are absolutely worth seeing!

Photos from the archives: © Evi Künstle

Bark—Skin of Trees

Bark—Skin of Trees is a multisensory exhibition about the changeability of an apparently dead material.

The characteristic Bark—Skin of Trees scales give evidence to the brisk cell production and show us a freeze frame of the constant change of a living being. This project combines the haptics of analogue bark exhibits with interactive real-time renderings via projection and in virtual space, as well as with ambient noise from the forest where the pieces were found.

Touching the bark, various actions are triggered, such as a punctual wavering at the hand position or fine particles streaming out of the surface and following the hand. In virtual reality, this digital bark is positioned on a digital table in the exact same place as a real table with the physical piece in real space. The confusion between visual and haptic experience plays with the viewer’s expectations, intensifies the material’s perception of the suggests a more careful dealing with nature.

Information is offered on three layers: the exhibition, folding posters with the most important data, and a website with detailed information. The work is Thiemo Frömberg’s result of an information design course by Daria Jelonek in his 5th semester at the Folkwang University of the Arts in Essen and was realized with the HTC Vive, several Leap Motion hand tracking sensors, and the Software TouchDesigner.

Words Form Language

Words Form Language is a book on concrete poetry, typography, and the work of Eugen Gomringer. This publication was realized with the support of ECAL/University of Art and Design Lausanne and HES-SO/University of Applied Sciences and Arts Western Switzerland. It has been published by Triest Verlag in both English and German language.

Bolivian-born Swiss poet, writer and publisher Eugen Gomringer (*1925) is often described as the father of concrete poetry. He was an active figure in Switzerland’s post-war design and art scene and was a voice of poetry at the intersection of literature, art, and design.

From 1953 onwards, together with Dieter Roth and Marcel Wyss, Gomringer co-published the artist’s magazine spirale, that formed the starting point for his form of poetry. From an early stage, Gomringer wanted to blur the boundaries of poetry and the language of advertising. Throughout his entire career he remained an advocate of interdisciplinary, collaborating actively with artists and graphic designers such as Max Bill, Karl Gerstner, Anton Stankowski, and above all the Zurich-based design studio E + U Hiestand.

This publication was created following extensive research in archives in Switzerland and Germany. The book combines original images and selected works from Gomringer’s longstanding collaborations as art director and copy-writer for various companies. It also contains the theoretical essay “vom vers zur konstellation” (from verse to constellation), Gomringer’s original manifesto published in 1954.

About the editor
Simon Mager is a German graphic designer, based in Lausanne, Switzerland. He graduated with a Master in Art Direction from ECAL/University of Art and Design Lausanne, where he continued to work as a teaching assistant and visiting lecturer. Since 2016 he runs the collaborative design practice Omnigroup together with Leonardo Azzolini. The studio works in the field of type and graphic design for international clients and is active in research and education. In 2017 the studio won the Swiss Design Award. In 2019 Simon Mager was awarded the Josef Müller-Brockmann Prize.

Words Form Language

Publisher: Triest Verlag
Author: Simon Mager
Book design: Omnigroup Lausanne
Volume: 220 p. with ca. 120 images
Format: 16 × 24 cm
Binding: Softcover
ISBN: 978-3-03863-069-2 (English edition)

ISBN: 978-3-03863-068-5 (German edition)
Price: € (D) 25.– / € (A) 25.70 / CHF 29.–
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Photos: © ECAL / Santiago Martinez

Slanted in Stockholm: Kölqvist

When visiting Stockholm in the summer of 2021, we took a close look at the contemporary design scene. We were happy to meet great designers from the local creative scene, among them Maja Kölqvist!

Maja Kölqvist is a creative director, graphic designer, and editor. She has been working for brands at the crossroad of design, culture, and fashion for over 20 years. Maja worked for French Vogue from 2002–2005 before being made a senior designer at M / M (Paris). In 2011, she founded her own studio, Kölqvist. Her clients include Eytys, Gauchere, Totême, Lula Magazine, amongst others. 2016 she founded HONORE magazine with Sheila Single.

Maja Kölqvist’s work can be found in the Slanted Magazine #39—Stockholm. Additionally we shot a video interview to talk about their attitude and view of things. Take a look at our new issue and the video platform to encounter new ways of design thinking!

Portrait and studio photography: © Thomas Mandl

Typeface of the Month: Laca Pro

This month’s Typeface of the Month: Laca Pro is a sans serif typeface by Nova Type Foundry.

Laca Pro is a sans serif typeface inspired by retro Portuguese packaging of soaps. “Laca” is the Portuguese word for hairspray. The starting point was to design a typeface that would bring a familiar feeling of closeness and warmth but give it a modern look, ensuring it works well on modern platforms. It’s a lively typeface that brings texture and personality to the text. Perfect for branding and all communications.

An upright italic version is available through the stylistic set that brings even more friendliness to the font. The result is a versatile typeface with many OpenType features that bring stylistic alternates to the designer. Laca Pro now covers Latin, Greek, and Cyrillic scripts. You can use it for branding or mobile apps, and it will work smoothly. The special ligatures with clusters of uppercase letters make Laca Pro unique.

Typeface of the Month: Laca Pro

Foundry: Nova Type Foundry
Designer: Joana Correia
Release: 2020
File Formats: OTF, WOFF, WOFF2, TTF
Styles / widths / weights: 16 styles One width
Price per style / family: € 50.– (for up to 3 users) / family € 349.–
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High Noon #65 Special with Na Kim

High Noon #65 Special with Na Kim will take place on June 15th, 2022, at the Faculty of Design in Darmstadt. At 7 p.m. you are invited to meet up in the auditorium.

Na Kim is a graphic designer based in Seoul and Berlin. After studying product design and graphic design in Korea, Kim participated in Werkplaats Typografie in the Netherlands. Kim is currently running the project space, LOOM in Berlin. Na Kim’s design practice as a system engages without putting limits on the field of graphic design. Kim is taking a methodology to collect objects and events found in everyday life and rearrange them into new order and rules, and ultimately expand design literacy. Besides many other projects, she was responsible for the concept and design of GRAPHIC magazine from 2009 till 2011 and has initiated series of projects based on her monograph, SET since 2015. She has held solo exhibitions, such as Bottomless Bag (2020), Black and White (2019), Red, Yellow, Blue (2017), SET (2015), Choice Specimen (2014), and Found Abstracts (2011), Fragile (2006). Besides, Kim has been a curator for Brno Biennial, Chaumont Festival, Seoul International Typography Biennale, and Fikra Graphic Design Biennial. Kim also worked on projects with COS, Hermès, ÅLAND, and many other clients, and Kim’s works been invited to international exhibitions at MMCA, SeMA, V&A, MoMA, Milan Triennale Museum, Die Neue Sammlung, etc. Na Kim has been a member of AGI since 2016.

High Noon are regular twelve o’clock lunchtime talks and special evening events that take place at irregular intervals in the Design Department at Darmstadt University of Applied Sciences.

Poster and visuals HN#65: Larissa Freibert & Max Mäder

High Noon #65 Special with Na Kim

When?
Wednesday, June, 15th 2022
7 p.m.

Where?
Faculty of Design Darmstadt
Olbrichweg 10
Darmstadt

Find more information here!

Cercle Magazine #10

The Cercle Magazine #10 is an independent and thematic magazine published once a year. Every year, a new issue. Each issue, a new topic. Cercle tries to gather information around one main topic and to propose a support that values ​​contemporary artistic creation, culture, and science.

After ten years of topics dealt with as interviews and pictures, Cercle Magazine celebrates its tenth anniversary this year with a special edition dedicated to the subject of Parades.

The tenth edition evolves in its layout and content, with always its curious and demanding outlook: committed, festive, and exuberant, the Parade theme will be tackled in many ways.

Interviews, a selection of artists in the portfolio pages, and also various sections will give the floor to numerous contributors from the world over.

Cercle Magazine #10

Publisher: Cercle Association
Art Direction:
Cercle Studio, Maxime Pintadu
Release: April 2022
Volume: 276 p.
Language: French & English

Cover: Uncoated matte paper 350 g/sm plus 2 Pantone colors
Format: 200 × 265 mm
ISBN: 978-2-9544175-9-2
Price: 22.– Euro
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Slanted in Stockholm: Paul & friends

When visiting Stockholm in the summer of 2021, we took a close look at the contemporary design scene. We were happy to meet great designers from the local creative scene, among them Magnus Gustafsson!

Paul & friends was founded in 1991 and is a multi brand retail and online store located in Stockholm. It has since then become a destination for a curated selection of their own ready-to-wear collection, well known Swedish and international brands. With recognizable shop-setting people feel very comfortable and notice the sense of personal touch within the brand selection, interior, and also the customer service.

Magnus Gustafsson’s work can be found in the Slanted Magazine #39—Stockholm. Additionally we shot a video interview to talk about their attitude and view of things. Take a look at our new issue and the video platform to encounter new ways of design thinking!

Portrait and studio photography: © Thomas Mandl

GRANSHAN Signs of the times 2022

On May 20th and 21st the GRANSHAN Signs of the times 2022 conference and ceremony took place in Munich. We were able to attend this very interesting event in person and listen to great speakers from all over the world.

On Friday So-Hyun Bae talked about how she grew up trilingual: speaking Korean, English, and French. She presented her research on multilingual design based on her own trilingualism. Doug Wilson showed the documentary Linotype: The Film about the Linotype type casting machine during the breaks.

Since GRANSHAN is a non-Latin typography and type project, some of the speakers were invited on stage to talk about the term non-Latin. Abeera Kamran, Gerry Leonidas, Liana Shushanyan, Eleni Beveratou, and Aadarsh Rajan gave insights into their thoughts on why the term non-Latin is problematic. Why don’t we use the term non-Cyrillic or non-Arabic? Why must the script be divided based on the Latin alphabet? The audience took active part in this discussion. We covered topics such as colonialism, white supremacy, history, and cultural correctness. The discussion round came to the conclusion that a binary division into Latin and non-Latin is naive and dangerously attempts to simplify the world. Seeing the script world in such a binary view only reflects the view of the powerful.

On Saturday, Boris Kochan honored the winners of the GRANSHAN competition with the Give voice to type awards. Some posters of the winners were exhibited in the premises of the event. Sonja Knecht talked about the war of the gender stars in Germany, she showed many examples how the Germans refuse to gender but also what typographic possibilities there are to address all genders in the German language. Shani Avni then told us how activists are trying to address this issue in the Hebrew language. Rainer Erich Scheichelbauer answered questions about the latest features of Glyphs.

Over prosecco and snacks, the conference ended and we all had the opportunity to discuss the presentations with the speakers and the audience.  

Reload.Earth

LETS CHANGE THE NARRATIVE. Reload.Earth believes the solutions to our climate crisis are out there. Relod.Earth also believes our global creative community is a goldmine for contributing to the cultural shift needed to make space for a new reality and make it second nature.

This is an invitation to all creatives, artists, designers, poets, and authors to submit work focused on our climate transition. This project wants to hold two truths, celebrating new narratives of hope and inspiring the future we still have on this planet—all while acknowledging the reality of what we have lost.

Reload.Earth embraces these two colliding narratives around climate action, that of logic and feeling. Fear and hope. Beauty and destruction. Failure and possibility.

Reload.Earth is looking for works that speak to either, or both in a thoughtful and creative way. Graphic designers, illustrators, artists—you are welcome to submit your work with a statement explaining your work.

Reload.Earth—where art and design take action for the climate. The journey starts with a publication, where the editors will be featuring changes in narrative through the lens of artists, designers, poets, entrepreneurs, innovators, and dreamers. The call for entries is officially open until July 1st, 2022.

The project is founded by Laura François, Natalie Seisser, Viola Dessin, and Lars Harmsen.

Visit the website Reload.Earth for more details on submissions.

American Bauhaus

American Bauhaus creates a unique space for the history of Black Mountain College, which provided a new creative home for many World War II refugees in Europe from 1933 to 1957 and allowed the Bauhaus to live on in the United States. A unique place of freedom and creativity that became home to some of the most important artists of the 20th century!

In 1992, the Partner and Creative Director at studio1500 Erik Schmitt attended the reunion of Black Mountain College in San Francisco. The school is credited with shaping some of the greatest artists in American history: Willem de Kooning, John Cage, Merce Cunningham, Buckminster Fuller, Franz Kline, and Robert Rauschenberg among them. Schmitt was invited because his two aunts and their family friend Ruth Asawa attended BMC. He took extensive notes that day and took photographs at the cocktail party after the event at Ruth Asawa’s home. Those quotes and photographs are the foundation of the book American Bauhaus.

Each quote has a page devoted to it. The quote is presented in its entirety along with the time it was uttered. A fragment of the quote is also reproduced at a large scale bleeding off the edge of the page and traveling onto the following spread. In essence, it is an evocation of the interplay of the conversation that took place on that day. The name of the book, American Bauhaus was inspired by a quote Erik Schmitt recorded on the day of the reunion by Peter Oberlander who remembered Joseph Albers saying “Black Mountain is a minimal version of the Bauhaus … Go there.”

American Bauhaus

Publisher: Slanted Publishers
Content and Design: Erik Schmitt
Release: May 2022
Format: 17.78 × 25.4 cm
Volume: 112 p.
Language: English
Cardboard: Metapaper EcoFibres Jute, 300 g/sm
Paper: Metapaper Extrarough Warm White, 105 g/sm
Printing: Silkscreen printing (cover), offset printing with spot color
Bookbinding: Open stitch binding, black thread
Printer: Stober Medien
ISBN: 978-3-948440-38-1
Price: € 29.– / $ 35.–
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6-months Internships at Slanted Publishers

Wir vergeben zwei 6-monatige Praktika ab Herbst 2022 in den Bereichen
– A) Redaktion/Grafik und
– B) Redaktion/Verlagswesen
und suchen je eine/n engagierte Studierende/n, der/die Lust hat zu erfahren, wie wir arbeiten und für 6 Monate Teil des Slanted-Teams wird.

A) Redaktion/Grafik
(05.09.22–03.03.23)

Du liebst Typografie und Editorial Design und möchtest in einem internationalen Verlag arbeiten? Dann bist Du bei uns genau richtig!

Wir bieten:

  • Redaktionelle und grafische Mitarbeit am Slanted Magazin, insbesondere Ausgabe #41 (Amsterdam)
  • 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
  • Ein angenehmes Arbeitsklima mit freundlichen Kolleginnen in einem geräumigen Büro

Das solltet ihr 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

B) Redaktion/Verlagswesen
(29.08.22–24.02.23)

Du liebst Bücher und interessierst Dich für zeitgenössische Gestaltung? Du möchtest erfahren, wie ein international agierender Verlag funktioniert? Dann bist Du bei uns genau richtig!

Wir bieten:

  • Redaktionelle Mitarbeit am Slanted Blog und den sozialen Kanälen sowie an verschiedenen Publikationen
  • Spartenübergreifende Einblicke in unsere Verlagstätigkeit, insbesondere Konzeption, Finanzierung, Redaktion, Lektorat, Herstellung (u.a. mit Besuch einer Druckerei), Vertrieb, Presse etc.)
  • Verantwortungsvolle, selbstständige Arbeit und unter Anleitung
  • Mögliche Teilnahme an Designkonferenzen im Rahmen unserer Medienpartnerschaften
  • Ein angenehmes Arbeitsklima mit freundlichen Kolleginnen in einem geräumigen Büro

Das solltet ihr mitbringen:

  • Abgeschlossenes Grundstudium im Bereich Buchwissenschaften, Verlagswesen (oder ähnlich)
  • Sehr gute Deutsch- und Englischkenntnisse (Muttersprachler sind willkommen)
  • Solide Anwendungskenntnisse von Office-Programmen, Grundkenntnisse in Photoshop, CMS-Systemen sind von Vorteil
  • Interesse an neuen Trends in den Bereichen Design, Kunst und Kultur
  • Redaktionelles Interesse
  • Selbstständigkeit, Weitblick, Flexibilität, Kreativität und Ideenreichtum
  • Organisationstalent und gute Kommunikationsfähigkeiten
  • Gewissenhaftes und präzises Arbeiten
  • Das Praktikum erfolgt im Rahmen eines studienbegleitenden Pflichtpraktikums

Die Praktika bei Slanted Publishers finden in Karlsruhe statt und werden vergütet. Bitte sendet Eure vollständige Bewerbung als aussagefähiges PDF-Portfolio (Anschreiben, Lebenslauf, Arbeitsproben + Motivationsschreiben – warum möchtet Ihr ein Praktikum bei Slanted machen?) bis spätestens 08.06.2022 an Julia Kahl, [email protected]. Die Bewerbungsgespräche finden nach Sichtung aller Bewerbungen anschließend statt.

Wir freuen uns sehr auf Eure Bewerbung!

Opening Weekend of the Design Month Graz

On the weekend of May 6th to 9th 2022, we had the honor to be present at the opening of Design Month Graz, an annual cultural event that takes over the entire UNESCO City of Design Graz in Austria with countless events, exhibitions, and performances. 

The Design Month Graz is initiated by Creative Industries Styria (CIS), a network company of the Province of Styria. Founded in 2007, it aims to be the bridge-builder and networking body between the creative industries and the classical economy, and strives to improve and expand performance on the market for both sides.

Design Month Graz bundles and condenses the energy of the local creative industries within one month, makes them visible to the outside world and thus makes a central contribution to anchoring the creative industries in people’s minds. Besides the goal of sharpening the perception for the importance of design, it is not only about the purely decorative prettification of things, but also about the economic relevance as well as the transformational power of design in the economy and society—which is why, fittingly, this year’s motto of Design Month is Green Transition

Under the term Design Month, numerous local partners are involved with activities and designers, local design schools and many more individuals of the creative industry are enabled to build synergies. Within this month, the entire cityscape is shaped by the impressions of Design Month, its colorful flags can be found everywhere in the city, marking an eventful time. In attendance at the opening weekend were inspiring guests from all over the world, including visitors from other UNESCO cities.

On Friday evening at the grand opening ceremony in Minoriten Center Graz, we were welcomed by Eberhard Schrempf, Managing Director of CIS, as well as Günter Riegler, City Counciler for Tourism and Culture, and Kurt Egger, General Secretary of Austrian Economic League. With the opening of the Design Month Graz, accompanying exhibitions—like Design Everyday and ZweckZwei—Shift Circular Design which were also located in the Minoriten Center—also were declared open. All these exhibitions are united by the aspect of sustainability, which referred to the Design Month’s motto Green Transition. With a nice branded beer in one hand and delicious ice-cream in the other, one could walk around in the beautiful building through the exhibitions, also witnessing the reopening of the impressive historical Minoritensaal, which had prior been renovated for years.

Saturday started with a Designer’s Breakfast, getting to with other guests accompanied by excellent coffee and traditional Austrian breakfast. This was followed by the Design in the City tour: 37 stores all over Graz gave designers a platform to display their work, which you could discover and also buy. We visited four of those designers, who gave us insight to their crafts, showing the impressive backgrounds of their products and ideas, mostly paired with a sustainable aspect to them. 

Highlight of Saturday afternoon was the opening of the Design Clinic—a novel and humorous concept for promoting the correcting of design mistakes. Under the motto “Bad Design can be healed,” people who suffer from chronic design problems or bad consultation can come to the clinic and will be referred to a fitting designer for a free consultation. The clinic includes designers along all categories, like Interior, Product Design, Furniture, Graphic Design, Identity and Brand, Website, Public Space and much more, which will gladly help you with your design problem.

On Saturday we ended the evening on the Murinsel, where we heard a short talk by the Design Capital of the World Valencia and otherwise had plenty of food and drinks, and good community. While walking around the city the whole day to the different locations and exhibitions, one could just notice the buzzing creativity provided by the Design Month.

Sunday was then: Off into the bus and off to the countryside!

First stop was the breathtaking Hollenegg Castle in Western Styria. We were welcomed by Alice Stori Liechtenstein, lady of the castle and also blogger, designer, and curator in the international design scene. Apart from living in the castle, she initiates design related talks and events as well as a reoccurring design residency. Every room in the castle we visited was overwhelmingly beautiful, showing old historical features, often with Asian influences, mixed with exhibits created by the design residents. The contrast of modern and sometimes almost futuristic objects with the historical background was astonishing.

Our tour continued to Casa Tondolo, inhabited and shaped by the designer duo Itshe & Io in the mountain village of Trahütten. Inherited by one of the artists grandmother, they took on the renovation to create a space overflowing with creativity, welcoming guests to stay with a beautiful view as well as creating a space to host workshops. For Design Month, we were welcomed with extravagant and humorous performances, surprising us in every room.

In the context of the designfrische series of exhibitions, we continued our journey to Kunstraum Sagmeister where artist Moya Hoke presented her artistic works. She created beautiful and sustainable lampshades made of self grown kombucha skin and self made porcelain. Kindly she explained to us in detail the process of this making, emphasizing how she finds it important—especially among designers—to share more insights into our “design-secrets.”

The countryside-trip was rounded off by an evening of wine tasting on a wine yard and traditional Austrian Buschenschank KRENN 49 in Edelsbach bei Feldbach. Another highlight and at the same time absolute nightmare for many: after the wine tasting, Eberhard Schrempf invited each represented country to sing a song from their home, which surely brought people closer together.

CIS doesn’t mess around: with so much care, knowledge, and motivation they manage to initiate such a powerful and inspiring event, aiming for Green Transition and to bring a positive impact not only to designers and design in general, but also for the city, Styria, and the whole of society. If you have the opportunity, don’t hesitate to visit Design Month Graz in the remaining time this year or start making plans to join next year! 

Images: © Creative Industries Styra GmbH, Miriam Raneburger, GEOPHO and Slanted Publishers

Slanted in Stockholm: ACNE

When visiting Stockholm in the summer of 2021, we took a close look at the contemporary design scene. We were happy to meet great designers from the local creative scene, among them ACNE!

ACNE is a creative consultancy building brands by combining art and industry through advertising, brand, and content. Founded in 1996, they are an entrepreneurial collective of thinkers and makers, designers, writers, strategists, producers, photographers, art directors, and film directors.

ACNE’s work can be found in the Slanted Magazine #39—Stockholm. Additionally we shot a video interview to talk about their attitude and view of things. Take a look at our new issue and the video platform to encounter new ways of design thinking!

Portrait and studio photography: © Thomas Mandl

27. Leipziger Typotage 2022

We had the honor to take part in the 27. Leipziger Typotage 2022 on Saturday, May 14th. It was a day full of inspiring lectures that were very diverse and full of new topics from the world of typography. The eight speakers of the day were partly live and Covid-related also online in Leipzig.

At the beginning, moderator Saskia Kraft introduced type designer Fabian Dornhecker. He talked about his work on his experimental and dynamic typefaces, which he uses to test traditional formal languages.

In the second presentation of the day, Anja Lehmann and Ronald Krause introduced the work of the dzb (Deutsches Zentrum für barrierefreies Lesen, engl.: German Center for Accessible Reading) to the very interested audience. The dzb produces, lends, and sells media for blind, visually impaired, and reading-impaired people and offers services related to accessible communication. Anja Lehmann discussed the typographic possibilities offered by Braille and the design requirements. To the delight of the audience, many haptic examples from the center’s archives were also shown, demonstrating what challenges there are, for example, in implementing Braille in books.

The German designer Michael Kreß does research in the field of “Creative Coding.” In his work he deals with infinite layout variations, which he can change with different parameters and thus always show new and unexpected approaches in design.

Niteesh Yadav is a Type designer doing independent research on better typography and standards of future interfaces for AR headsets. He showed the amazing results of his work and research.

Cécile Chavepayre has been the Creative Director at ARTE GEIE since 2012. She talked about her experiences with typography on TV in general and especially on its important role in ARTE’s appearence. In the course of the french-german TV stations redesign in 2017 typography and especially typography in motion was given a priority.

Irmgard Hesse is a designer, thinker, and founder of the strategic design agency Zeichen & Wunder from Munich. She showed cases from her agency, all of which also find expression through typography.

Nikolaus Weichselbaumer is a junior professor at the Gutenberg-Institut für Weltliteratur und schriftorientierte Medien der JGU Mainz, Abteilung Buchwissenschaft. He presented his research findings on the path of the type caster Johann Wentzel Hablitzl, from Bohemia via Halle, Königsberg and Riga to Moscow, showing both the importance that was attached to type foundries in the 18th century as a location factor and the hurdles that were associated with setting up a type foundry away from the major printing centers.

At the end, all the speakers came together again on stage for an exciting final round of discussions that shed light on the future of typography in the various disciplines.

The whole day was excellently planned and wonderfully executed by all speakers and organizers. The location of the event at the Museum for the Printing Arts in Leipzig was also a great enrichment, where one could take a look at old and new printing presses between the lectures. Many thanks and see you next time!