ISType Mono

Posted on by Franzi Haeussner

We would like to invite you to the 8th ISType Mono talk, streamed live on YouTube on September 28th, 2021. Founder of Typofonderie and type director of ZeCraft Jean François Porchez will be the speaker of the talk. After hosting two local events which focused on Turkish type designers, this upcoming ISType Mono event will be taking place online and the registration is free.

Type design to serve a purpose
What are the differences between bespoke typefaces and retail typefaces? When a designer creates a new typeface, she or he will define a style and an area of use. A return to the sources, sometimes via the brand’s archives, sometimes via historical references, not necessary strictly typographics can help. It is a question of creative research that will allow the expression of a unique and identifiable typographic whole. We will try to establish principles, with the help of concrete examples, a process that leads to building one’s personal ethics.

Jean François Porchez
Jean François Porchez is one of the pioneers of digital typography. Transmitter of knowledge and discoverer of talents, teamwork is at the heart of his concerns. It is also for these reasons that he launched TypeParis in 2015. After training as a graphic designer, during which he focused on type design, Jean François Porchez (1964) worked as a type director at Dragon Rouge, then at Le Monde newspaper in early 90s. He was President of the Association Typographique Internationale in 2004–2007. Founder and head of ECV Master design & Typography between 2011–2019. He is board member of the Club des Directeurs Artistiques in Paris and member of the Type Directors Club in New York. He was awarded the Prix Charles Peignot in 1998 and numerous prizes for his typefaces. Introduced to French Who’s Who in 2009. In 2014, Perrousseaux publishes his monograph. Knight in the order of Arts and Letters in 2015. The President of France, Emmanuel Macron use his typefaces for his communication since 2017.

ISType Mono

When?
September 28th, 2021
8 p.m.

Where?
Live on YouTube

The registration for the talk is free.
Find more information about the talk on their website. 

Blumen zum Selbstschneiden

Posted on by Franzi Haeussner

Blumen zum Selbstschneiden (engl.: Flowers—Picking Selfservice) is an exhibition full of serigraphic flowers by SITO DEBIUT and Vlad Boyko taking place from September 28th to November 30th, 2021, in Warsaw, Poland.

Across the western border there is a custom, where by fields full of flowers you can find tins, in which you leave money for the flowers you have picked. Just like that, no receipt, no cameras. You take something, you give something. The custom of social trust and exchange known also from central Germany inspired Vladyslav Boyko for the exhibition at Kwiaciarnia Grafiki.

This “German experience” was used as a pretext for the exhibition Blumen zum Selbstschneiden, which will bloom with screen-printed artifacts inspired by the concept of stand-alone flower kiosks in Germany. The Graphic Florist will bloom on the walls as well, a flower symbolic of exchange and trust. All this put through the graphic language of Vladek Boyko, in which he successfully flirts vector synthesis with romantic soul. “Flowers are for me the absolute of beauty and life,” Boyko says.

Vladek Boyko’s exhibition is the result of an internship at the Graphic Florist. Vladek uses screen printing for the exhibition: “At this moment for me it is a medium that combines virtuality and reality. I feel more weight and truth in it,” he says.

About the artist:
Vlad Boyko—born in 2001 in Chernihiv, Ukraine. Visual artist and graphic designer, his work is based on photography, typography, and collage. He creates posters and visual identities for cultural and social institutions. He also works with set design and animation in the performative sphere. He studies New Media Art at the Polish-Japanese Institute of Information Technology in Warsaw. He is inspired by urban planning, monumental art and eclectic aesthetics of the post-soviet space. In his work he often explores the relationship between emotion and graphics, form and context, space and man.

About the studio:
Kwiaciarnia Grafiki is a serigraphy studio, design studio and the only gallery in Poland focusing on hand screen printed works. Artefacts of the art of screen printing are distributed by the online store. The presented prints are characterized by uniqueness: hand screen printed serigraphs allow for short editions, ranging from several to several dozen copies. This repeatability of the technique has an impact on its democratic price, which they try to set at a level accessible to a fan or collector. Authenticity, each print is signed by the author.

Blumen zum Selbstschneiden

When?
September 28th to November 30th, 2021
The exhibition is open by appointment

Where?
Kwiaciarnia Grafiki
6/8 Smulikowskiego Street
Warsaw (second courtyard, basement)
Poland

BLICKFANG—Deutschlands beste Fotografen*innen 2021

Posted on by UMBRELLA PINE

Special times, special issue: 150 photographers on 464 pages, articles, and interviews. The covid-19 limited edition No, 11.5 of the German photographers annual BLICKFANG—Deutschlands beste Fotografen*innen 2021 has been released.

Made with a lot of love and positive vibes by UMBRELLA PINE Publishers & Creative Studio, the new book assembles the works of established artists and newcomers and presents a best-of of the German photography scene 2021. The special edition creates a platform for photographers and provides a guide for those who are looking for professional photography. The book is climate-neutral and printed on FSC-certified paper.

Featuring interviews with the photographers:
Thomas Strogalski, Stefanie Aumiller, Leif Schmodde, Dagmar Schwelle, Lisa Linke, Cyril Schirmbeck, Marie-Therese Cramer, Holger Altgeld.

Featured articles:
Herspective, we are there, we are good and we are many! By Herspective Photographers (a collective of female photographers)

Does the photography of the future still need a camera? By Bernd Opitz (photographer & film designer)

Everything stays different! Is the photo business ill with or from the crisis? By Silke Güldner (photographers consultant)

BLICKFANG—Deutschlands beste Fotografen*innen 2021 / No. 11.5

Initiated & realized by: UMBRELLA PINE Publishers & Creative Studio
Editors: Norman Beckmann, Meike Gerlach
Volume: 464 pages
Format: 21 × 26.9 cm
Printing: 4-color offset and 2 Pantone Colors (partially)
Processing: Hardcover, linen binding, thread stitching
Specials: two bookmarks, two different papers for the content, foil embossings on the cover

The special edition, limited to a total of 1,500 copies, is not available in stores this time and will only be sent to selected agencies, publishers and companies in Germany.

Coding Resistance

Posted on by Franzi Haeussner

Coding Resistance is a new study program exposing coded inequalities and reimagining technologies for better, brighter, and more just futures. You can be part of Coding Resistance starting from September 24th, 2021. So take your chance and apply now!

Under the guise of machine neutrality, technology captivates, fascinates, and entails a promise of imagined objectivity. At the same time, oppressive social structures are coded into technological tools that further reproduce social, spatial, and environmental inequality, subduing and subjugating racialized, gendered and non-abled bodies. The very design of artificial intelligence embeds human biases, which in turn creates harmful, destructive material and digital infrastructure.

Against the backdrop of algorithmic discrimination, reinforced by state and corporate surveillance, many activists and civil society movements have been striving to reimagine the relation between society and technology. Futuress wants to help connect and amplify the voices of designers, researchers, and activists who critically examine the politics of digital tools and seek to build more equitable and just practices.

The new study program, Coding Resistance aims to expose design’s role in sustaining inequalities, while at the same time imagining how technologies can be used to envision new futures.

Starting on September 24th, 2021 and for the following nine weeks, different inspiring speakers will be taking on a journey through complex multifaceted topics including discriminating algorithms, digital colonialism, emancipatory potential of virtual reality, interdependence as a political technology, speculative queer and trans futurities, and more.

Bringing insights from their activism, lived experiences, and research, the speakers will reflect upon the social implications of technology hardwired with racism, sexism, classism, and other systems of oppression and the harmful, destructive digital and material reality it creates. They reveal multiple interconnected social justice struggles that reimagine digital tools and engage in “coding resistance” toward more just futures.

Each lecture is followed by a discussion, where question can be asked to the lecturer as well as to the other participants from all over the world. All lectures will be available synchronously and asynchronously. In addition, by registering for the lectures, you not only enter a transnational community centered around design-politics, but also help to sponsor 59 participants to join the fellowship and craft their own unique counter-narratives. Their research will be honed into stories for a broad audience, which you can soon read on Futuress.

Coding Resistance

Where?
Online

When?
September 24th to November 19th, 2021
Always held on Fridays or Saturdays

Apply here!

Crrritical.space

Posted on by Franzi Haeussner

Design plays a vital role in this colorful and interactive contribution to Germany’s 2021 parliamentary election. Two playful, yet highly informative quizzes welcome users to challenge their personal political knowledge and “truths.” With less than one week to go until the big election day there is still enough time to quiz along at Crrritical.space!

Crrritical.space is a project that has been developed by froh!, a collective of designers and journalists based in Cologne, Germany. Reflecting on the increasing shift of political and public discourse into digital space, they created a platform that combines background information on current political questions with a fun-to-use interface that animates users to interact with the questions at hand.

The visual approach of the modular design system is simple: three colors, a single font, bitmap images, and text elements create the interactive user experience. Two quizzes invite participants to test their political knowledge of the status quo, reflect on their own assumptions and possible “blind spots” regarding political “truths,” and express their own beliefs and aspirations for future politics.

“Which campaign slogan belongs to what party?” “Who should get 45 minutes of speaking time at the Bundestag?” “State pension or unconditional basic income, what is most appealing?”

Are you curious? Head over to the quizzes, put your opinion out there, and question your own views. You will be rewarded with a small summary on your political stance.

Crrritical.space

Find the quiz here and find “Crrritical.space” or “froh!” on Instagram.

 

Icarus XB1

Posted on by NahuelGerth

Today we present you the magazine Icarus XB1 by Nahuel Gerth and Kristýna Hodanová. The student project was created at the UPRUM (Academy of Arts, Architecture & Design) in Prague and is a proposal for a redesign of the Czech science fiction magazine Ikaria.

Science fiction has a long tradition reaching back to the late 19th century. It is still relevant today in movies, series and contemporary culture. There is a new active generation of Sci Fi geeks who live in the world of social media and digital communication.

The goal of this redesign project was to make the rich Sci Fi culture of the Czech Republic accessible and attractive to younger readers again. The magazine was changed to a smaller bookazine layout highlighting its exclusivity and value. In order to survive the contemporary book market printed publications have to become objects of desire—objects worth collecting.

With focus on contemporary illustrations as a direct way of communicating to new generations of readers the magazine changed its appearance drastically. Also a high-contrast inktrap typeface was selected to create playful Dada-inspired spreads.

Icarus XB1

Design: Nahuel Gerth & Kristýna Hodanová
Authors: Sam J. Miller, Mercurio D. Rivera, Miles J. Breuer, Peter Vozník, Marie Domská, Pavel Fritz, Vendula Výstrkov
Editor: Vlada Ríši
Release: January 2021
Volume: 178 pages
Format: 140 × 210 mm
Language: Czech, English
Finishing: Digital Print, White print, adhesive binding
The bookazine was created as a student’s project and is not available for sale

Novo Typo Offgrid

Posted on by Franzi Haeussner

We are pleased to present you the latest publication Novo Typo Offgrid by Novo Typo’s designer Mark van Wageningen, which is now available at our Slanted Shop! The book asks the following questions: Can graphic designers be self-sufficient? Can graphic designers recycle their own work?

When a designer is able to make his own letters, he also should be able to design and produce his own paper and ink. In order to understand and experiment with the concept of letters, color and paper, it is necessary to learn about these things. A designer should have a complete understanding of these elements because they are the cornerstones of  good design.

This self-initiated DIY project by Mark van Wageningen aka Novo Typo, that is described in this book Novo Typo Offgrid, is intended as a blueprint for all designers and design studios that wish to be self-sufficient or wish to recycle their own designs. By proposing a new standard for polychromatic typography using plant-based ink and recycled paper, this publication aims to inspire the pursuit of different approaches in graphic design.

The publication Novo Typo Offgrid is designed and produced within close proximity to Novo Typo’s Amsterdam studio. The cover is letterpress printed with plant-based ink on Amsterdam Pulp Paper.

Novo Typo Offgrid

Author: Mark van Wageningen
Designer: Mark van Wageningen / Novo Typo
Publisher: The Green Box
Volume: 64 pages
Format in cm (w × h): 17 × 24 cm
Language: English
Workmanship: Hardcover
ISBN: 978-3-96216-011-1
Buy

Designing Digital Spaces for Democratic Dialogue

Posted on by design-digital-democratic-spaces

Talking to each other is a prerequisite for a functioning democracy. This premise is the starting point of the master’s thesis Designing Digital Spaces for Democratic Dialogue. Communication is ubiquitous today: tweets, snaps, and voice messages are part of everyday life and social media or comment columns of online newspapers are important places of political exchange. But how does public space function in the digital realm? How can we talk to each other at eye level online? How does hardware influence our dialogs?

Tebeya Leicht, Lisa Kern, and Andrea Kufferath-Sieberin from the HfG in Schwäbisch Gmünd are convinced that due to the high impact of those who design digital spaces, their awareness of democracy and society is very important. Therefore, in a detailed theoretical part, they elaborated tools to stimulate reflection on the topic from a designer’s point of view.

The design approach is based on methods of critical and speculative design. In cooperation with the School of Critical Design in London, the master’s thesis not only provides initial insights into the design of digital spaces, but also creates three discursive artefacts that give viewers a glimpse of alternative futures and a new perspective on the status quo. Around questions such as “What if we could see the social dynamics in digital spaces?” or  “What if comment columns were round?,” the artefacts are directed at viewers and are an impulse to question, reflect, and discuss.

Designing Digital Spaces for Democratic Dialogue

Designing and authors: Tebeya Leicht, Lisa Kern, and Andrea Kufferath-Sieberin
Release: July 2021
Volume: 200 pages
Format: 18 × 30 cm
Language: German
Find further information here

Buchgestaltung in Deutschland

Posted on by Franzi Haeussner

The publication Buchgestaltung in Deutschland by Silvia Werfel offers a new overview into the scene of book designers in Germany.

Proper book design has been argued and debated ever since William Morris and Thomas James Cobden-Sanderson launched a movement in Germany which set itself the goal of a beautifully designed and exquisitely decorated books. Much time has passed since then, and discussions are still going on. Most recently, Hans Peter Willberg provided an overview of the current situation with his book 40 Jahre Buchkunst (40 Years of Book Art) within the competition Die Schönsten Deutschen Bücher (The Most Beautiful German books). Exactly 30 years later, Silvia Werfel now offers a new (small) overview of the scene of book designers in Germany.

15 book designers are introduced, with short biographies and book examples. In her introductory essay, the editor outlines developments of the past fifty years, taking into account influential protagonists such as Albert Kapr, Jürgen Seuss, and Hans Peter Willberg.

She also takes a look at the educational institutions, related to the future of book design. Featured are: Günter Karl Bose, Klaus Detjen, Markus Dreßen, Iris Farnschläder, Friedrich Forssman, Rudolf Paulus Gorbach, Rainer Groothuis, Matthias Gubig, Gaston Isoz, Ralf de Jong, Bernd Kuchenbeiser, Rainer Leippold, Lisa Neuhalfen, Judith Schalansky, and Hagen Verleger.

Buchgestaltung in Deutschland

Editing: Silvia Werfel
Series: Ästhetik des Buches (ed. by Klaus Detjen); vol. 14
Publisher: Wallstein Verlag GmbH
Format: 13 × 20.5 cm
Language: German
Volume: 88 pages
Workmanship: English Paperback
Publishing Date: July 2021
ISBN: 978-3-8353-3928-6
Price: € 14.90
Buy

About the author:
Silvia Werfel, born in Leipzig in 1958, is a freelance journalist and specialist author who lives in Wiesbaden. After graduating from high school and completing an apprenticeship as a typesetter, she studied book design, German language and literature, and history at Johannes Gutenberg University in Mainz. She writes articles on typography, printing history, book design, and production for trade journals and reference books, and is an active member, for example, of the International Working Group Typografie in der Wissensvermittlung (Typography in the Transmission of Knowledge) and the International Working Group on Print and Media History as well as a board member of Gesellschaft der Bibliophien (Society of Bibliophiles).

17th Pictoplasma Conference

Posted on by ldenicke

After the success of the first online edition of the legendary Pictoplasma Conference in 2020, which totaled 100,000 views around the globe, the program for the 17th Pictoplasma Conference returns with a stellar line-up, streamed on two parallel channels.

The main program features 35 artists’ talks, studio visits, and personal insights, showing the manifold variety of character design and allowing a glimpse into the ideation and working process of some of the most forward-looking artists. In an open and personal address to the audience, they share how the characters they create came to be, what concepts drive them, who inspires them and what projects they are currently working on.

A second channel features more artists with panel discussions and live workshops, plus 70 animated shorts in four programs.

As a special focus, this edition will take a deeper look at how artists and designers use characters and figurative aesthetics to fight for representation. How can visibility and diversity inform the everyday practice of illustrators and designers? In 2021, can any work be immune to political questions? As many artists use their voice to speak for equality, support minorities, propagate an inclusive attitude or encourage political activism, the program will lead the discussion on the special role characters can play in visual discourse, largely thanks to their pronounced visibility and hyper-empathic quality. The Conference will take place on September 17th and 18th, 2021.

17th Pictoplasma Conference

When?
September 17th and 18th, 2021

Where?
Online

Registration is open for € 39.– / € 69.–
Find the full speaker line-up, program, and registration information here.

PHOTODARIUM Classic & Private 2022

Posted on by Franzi Haeussner

It’s that time again! The new PHOTODARIUM Classic & Private 2022 are out now! Be part of the new edition for 2023, the call for submissions is now open!

This year again, the most beautiful and exciting 365 instant photos were selected from over 2,000 submissions to create the PHOTODARIUM Classic & the PHOTODARIUM Private 2022. On the front of each calendar page there is an analog instant-photo in original size, finished with high-quality lacquer finish creating a true polaroid feeling. On the back is a little text to the emergence of a picture and information about the photographer and the film used.

The photo-tear-off-calendar PHOTODARIUM is already set to appear for the 10th time and shows the almost personal snapshots of well-known photographers and newcomers, professionals and individuals from around the world.

For everyone who wants more: For the sixth time PHOTODARIUM Private is published parallel to the classic one. This tear-off calendar reveals uncensored instant images with an artistic approach to nudity. Day after day a new erotic, nude or cheeky instant-picture is uncovered. A modern and young view on eroticism beyond pornographic clichés—from photographers and individuals all around the world. Emancipated and honest. The private edition has a sticker sheet for personal censorship, is limited and a very special piece of art!

PHOTODARIUM Classic & Private 2022

Editor: Raban Ruddigkeit, Lars Harmsen, Oliver Seltmann
Art Direction: Boris Kahl
Publisher: seltmann+söhne
Size: 380 pages, 365 instant photos
Processing: With high-quality lacquer finish, incl. stand and sturdy collector’s box
Format: 8.8 × 10.7 cm / 3.5 × 4.2 inches
Language English
Publishing Date: July 2021
ISBN Classic: 978-3-949070-01-3
ISBN Private: 978-3-949070-02-0
Buy PHOTODARIUM Classic
Buy PHOTODARIUM Private

Kristal

Posted on by Studio Eyal & Myrthe

We would like to draw attention to this headstrong and expressive typeface, which is nevertheless rooted in calligraphy and can be combined well with other fonts and manuscripts: Kristal

Years ago, Kristal started as a sketch for a logotype, giving way to ideas and energy that didn’t have a place in a just-finished, long-term project with limited design freedom. Since then, Eyal Holtzman grew the design into a unique family of eight: three weights with striking, spirited Italics and an all-caps inline titling style. An Ornaments font rounds out the extended character-set and language support of the text styles.

As a versatile book face, Kristal provides a pleasant reading experience while giving the text a very special character and sparkle. The acute stroke endings in uppercase and lowercase letters—almost blade-like—enliven every paragraph.

The Open Caps display style evokes a timeless, festive look and applications such as monumental lettering, elegant card or cover designs. They add nuance and combine harmoniously with the rest of the family, or they can be used in their own right. In the ornaments font, each rosette is composed of repeating capital letters from the roman font.

Kristal 

Type foundry: Bold Monday
Designer: Eyal Holtzman
Release: June 2021
Weights: Regular, Medium, and Bold
Styles: Roman, Italic, Open Caps, and Ornaments
File formats: TTF, OTF, and web
Price Single Style: € 49.–, Ornaments € 39.–
Price Family: € 305.60

Find a test version here and buy the typeface here

Oktoberfest 1984–2019

Posted on by Franzi Haeussner

Today, we celebrate the release of Oktoberfest 1984–2019 by Munich photographer Volker Derlath! For 35 years, he has hardly missed a Wiesn day. With his camera, right in the middle of the action, he is capturing intimate moments, touching scenes, moments full of violence and comedy.

The “folk festival of all folk festivals” reminds him, with its incomparable coarseness of folk amusements, of the Middle Ages, he says. The Wiesn is a kind of utopia where visitors can live out what has long since been domesticated in their everyday lives and swept under the rug of civilization.

The Munich Oktoberfest, also known as the Wiesn, is considered the largest folk festival in the world: two exhilarating weeks with beer, chicken, rides and partying people from all over the world. But like last year, this year’s festival has been canceled due to a pandemic. Sad news for the worldwide fan community. With the book Oktoberfest 1984–2019 we would like to remember a time when people could still unconditionally drink, flirt and celebrate together.

With the book Oktoberfest we remember a time when people could still unconditionally drink, flirt, and celebrate together!

About Volker Derlath: The multiple award-winning photographer Volker Derlath has lived in Munich since 1982 and works primarily there according to the motto: “Think globally—photograph in a village of millions.” On the series about the Oktoberfest he works continuously since 1984 in the evening analog with black and white film and frontal flash. As an equally enthusiastic beer drinker and photographer, he sees himself as part of the action.

Oktoberfest 1984–2019

Publisher: Slanted Publishers
Photographer: Volker Derlath
Editor: Melville Brand Design
Design: Florian Brugger, Lars Harmsen
Language: German, English
Release: September 2021
Volume: 208 pages
Format: 21 × 28 cm
Workmanship: stitch bound, refined book cover
ISBN: 978-3-948440-28-2
Price: € 38.–
BUY

Stiftung Buchkunst’s Awards of the Year 2021

Posted on by Franzi Haeussner

Book lovers take note: the 25 Schönsten Deutschen Bücher (The Most Beautiful German Books) were once again chosen by the Stiftung Buchkunst (Book Art Foundation). The Stiftung Buchkunst has decided to honor the book Man kann keine Steine essen (Prima Publikationen, Stuttgart/Basel) with the Preis der Stiftung Buchkunst (Book Art Foundation Award.) The work, based on recipes and photographs by Japanese sculptor Shinroku Shimokawa, was created in collaboration with graphic designers Clara Neumann and Christina Schmid.

The jury (Julia Kahl / Slanted Publishers, Sylvia Lerch, Dieter Dausien / Buchhandlung am Freiheitsplatz, Dr. Joachim Unseld / FVA) selected the award-winning book from the 25 Schönsten Deutschen Bücher (The Most Beautiful German Books) announced by the Stiftung Buchkunst in June. The book designers, manufacturers and publishers of these 25 Schönsten Deutschen Büchern were also celebrated at the award ceremony. In addition, the Stiftung Buchkunst honored the winners of the Förderpreis für junge Buchgestaltung (Promotional Awards for Young Book Design). The prizes, each endowed with 2,000 euro, went to three titles that rethink the medium book: Virginie Calvet and Felix Hunger (Zwischen Euphrat und Tigris), Alissa Verj and Suki Su (Culture Switch), and Kristina Hilse (Eine Sammlung zu Margaret Atwoods The Handmaid‘s Tale).

23 jurors worked over nine days to find the most beautiful, innovative and forward-looking book publications of the year. The 25 Schönsten Deutschen Büchern and the Preis der Stiftung Buchkunst were selected from a total of 633 titles, and the three winning titles for the Förderpreise für junge Buchgestaltung was selected from 170 entries.

This year’s award ceremony also saw the presentation of the annual catalog of Die Schönsten Deutsche Bücher 2021 (Most Beautiful German Books) designed and implemented by the team of Daniel Wiesmann—Büro für Gestaltung from Berlin.

The award-winning books will now go on a large traveling exhibition and can be seen at numerous locations in Germany and abroad. The cooperation with the Literaturhaus Frankfurt will also be continued: The 25 award-winning books will be on display in the foyer of the house throughout the year.

Catalog: “Die Schönsten Deutschen Bücher 2021”

Concept and Design: Büro für Gestaltung (Daniel Wiesmann, Robert Radziejewski, Jule Erner)
Photography and Video/Reproduction and Lithography: farbanalyse
Editors: Katharina Hesse, Carolin Blöink, Jana Mayer-Stoltz, Josefine Kleespies
Texts of the Jury: Elmar Lixenfeld
Translation: Iain Reynolds
Typeface: Oracle, Oracle Triple
ISBN: 978-3-9822108-0-3
Paper: IGEPA Salzer EOS, Lessebo Design Smooth Bright, Pergraphica Infinite Black
Printing: Gallery Print
Binding: Josef Spinner Großbuchbinderei GmbH
Pice: € 20.–

Pre-order in Bookstores

Shinroku Shimokawa: Man kann keine Steine essen

Publisher: Prima.Publikationen
Photography: Shinroku Shimokawa
Design: Clara Neumann, Christina Schmid
Editing: Sabine Fessler, Christina Schmid
Format (w × h): 150 × 210 mm
Volume: 240 pages
ISBN: 978-3-9821198-4-7
Workmanship: thread stitching
Typeface: LL Brown
Paper: Munken Polar
Printing: Offizin Scheufele
Binding: Buchbinderei Spinner
Pice: € 32.–

Award Winner “Die Schönsten Deutschen Bücher” 2021

Michael Disqué, Roman Ehrlich, “Überfahrt”
Holm-Uwe Burgemann, Konstantin Schönfelder, “Gesellschaft Eine Insel”
Deborah Levy, “The Cost of Living”
Franz Dobler, “Ich will doch immer nur kriegen was ich haben will”
Charlie Kaufman, “Ameisig”
Anna Bokov, “Avant-Garde as Method”
Sven Tillack mit Beiträgen von Daniel Martin Feige,  Jo Frenken, “Exploriso. Low-tech Fine Art”
Marc Angélil, Charlotte Malterre-Barthes, Julian Schubet, Elena Schütz, Leonard Streich, “Migrant Marseille”
Tobias Roth, “Welt der Renaissance”
Monika Dommann, Hannes Rickli, Max Stadler, “Data Centers”
Shinroku Shimokawa, “Man kann keine Steine essen—Kochbuch eines japanischen Bildhauers”
Alexander Klose, Benjamin Steininger, “Erdöl—Ein Atlas der Petromoderne”
Joachim Schwarz, “Heimkommen”
Maja Adler, Sophie Bürgi, Eleonora Heim, “Auf Abwegen”
Detlef Dietrichen, Anselm Franke, Katrin Klingen, Daniel Neugebauer, Bernd Scherer, “Das Neue Alphabet”
Beiträge von Elise Lammer, Lars Bang Larsen, Julia Voss u.a., “Kosmos Emma Kunz”
Raphaeël Bouvier, “Rodin / Arp”
David Chipperfield Architects, “Inagawa Cemetery Chapel and Visitor Centre”
Steffen Knöll, “NASA Apollo 11—Man on the Moon”
Barbara Staubli und Barbara Hatebur, “Umgeben von Kunst”
Tom Eigenhufe, “Sonnige Grüße aus Ziffernhausen”
Julia Dürr, “Wo kommt unser Essen her?”
Finn-Ole Heinrich, Dita Zipfel, “Schlafen wie die Rüben”
Lucia Zamolo, “Elefant auf der Brust—Warum sich Liebeskummer lohnt”
Volker Mehnert, “Die großen Flüsse der Welt”

 

Ars Electronica Festival 2021

Posted on by Clara Weinreich

We are delighted to announce that Ars Electronica Festival 2021, the festival for art, technology, and society, will take place from September 8th to 12th, 2021. For the second time since 1979, it will be a hybrid event that includes exhibitions, concerts, talks, conferences, workshops, and guided tours in Linz, Austria, and more than 80 other locations around the globe.

Together with artists, scientists, and activists from all over the world, the Ars Electronica Festival 2021 is calling for a fundamentally new approach to the challenges of the 21st century. Two main things are needed for us to tackle those challenges: the freedom to act and the ability to act. In the face of ever greater ecological and social disruption, it’s clear that the time for beating around the bush is over. It’s time to put our money where our mouth is; it’s time for a New Digital Deal.

Ars Electronica—a field test for the 21st century
This year’s festival aims not only to promote new things, but to let them play out as prototypes: The question of what we want to use new technologies for, and how, will be answered by a dual event that takes place both on-site and online. The question of what learning should look like in the 21st century will be the focus of a Festival University that will bring 100 young people from more than 40 countries to Linz. The question of how we can link economic value creation with ecological and social sustainability and anchor it locally is at the center of a new Regional STARTS Center in Linz and Upper Austria. The festival for art, technology and society is not only a forum, but also a field test for the New Digital Deal.

Ars Electronica in Linz, online, and at 86 Ars Electronica Gardens around the world
In Linz, this artistic-scientific exploration of our future comes together on the Festival Mile in the city center, which stretches from the OK in the Upper Austrian Cultural Quarter to the University of Art and Design Linz on the main square and the nearby Salzamt, to the Ars Electronica Center and the STADTWERKSTATT on the north bank of the Danube. The festival in Linz has an additional venue in Kepler’s Gardens on the campus of Johannes Kepler University.

Moreover, another 86 Ars Electronica Gardens around the world will join the call for a New Digital Deal in 2021. The proposals made there will be offered partly on site for the local public and partly online for the international community.

Part of the Ars Electronic Festival is also the Ars Electronica Garden Berlin. Here, outstanding student works from the HTW Berlin’s Communication Design program will be exhibited as part of the 2021 Ars Electronica Festival at the Reinbeckhallen.

Online is where it’s at: after nearly a year and a half of Home Delivery and a first hybrid festival in 2020, Ars Electronica is taking the next step and committing to the dual-event format. The Swapcard event platform provides access to a wealth of streamed lectures, workshops, concerts, and tours from Linz and the Ars Electronica Gardens around the world. Users can also put together their own festival calendars and visit many different chats to exchange information and network with other visitors from all over the world.

Ars Electronica Festival 2021

When?
September 8th to 12th, 2021

Where?
Online, in Linz, Austria, and more than 80 other locations around the globe

Find further information about the program in Linz and the online program or book a ticket for one of many events taking place from September 8th to 12th.

Corporate Design for the Karlsruhe University of Applied Sciences

Posted on by danielperraudin

In close cooperation with the Karlsruhe University of Applied Sciences, Studio Capitale Wien/Berlin has worked on a new corporate design that we would like to present to you today: Corporate Design Karlsruhe University of Applied Sciences.

A modular logotype is the core of the new design for HKA. Reflecting the functional positioning of the university, the new logo is based on mathematical operators. Together with the more emotional positioning in the visual language it is the basis of the rebranding.

The logotype furthermore defines a grid, in which the whole organizational structure of the university is comprised: faculties, institutions, and facilities. The design system is on the one hand logically composed as well as almost infinitely flexible, as the logotype and the vertical grid are adaptable to almost every format.

To increase public visibility of its faculties the new design of the HKA provides individual colors for each, making it clearly visible as a part of the overall brand but also giving it individuality. The color scheme also puts forward the notion of a “lively” and “colorful” university. GT Pressura by Grilli Type is the new corporate typeface.

The German-Austrian design studio Capitale Wien/Berlin is responsible for the new design. For the past two years Capitale worked closely with the university on their new corporate identity as well as on the corporate design. Dozens of workshops and visits, an online survey, an offsite event helped to form a collective vision of what the new brand should look and feel like: an up-to-date technical university that really cares about it’s students, teachers, and staff.

Karlsruhe University of Applied Sciences

Design: Capitale Wien/Berlin
Client: Karlsruhe University of Applied Sciences
Release: 2021
Typeface: GT Pressura by Grilli Type 

Take a look on the corporate identity on the university’s website.

MD Primer

Posted on by Mass-Driver

Today, we would like you to take a look at MD Primer — A Celebration of the Unrefined, the latest typeface from Mass-Driver:

MD Primer is based on a number of both European and American designs from the 19th Century—many of which have never been digitized. While these fonts were produced by skilled craftspeople working for established foundries, at the time of their production the sans-serif style had yet to settle into the traditions we are familiar with today.

The Typeface explores the naïvety with which these early sans-serifs were designed, and its relationship with their expert manufacture. The result is as carefully crafted as it is stylistically unrefined. The difference in weight and size between upper and lowercase is pronounced, for instance, and its rhythm is unconventional by modern standards.

Rather than copying these “imperfections” directly from the references, MD Primer considers them in the context of modern usage, reducing the appearance of some and accentuating others to better fit contemporary practice. The result is a practical set of fonts suited to display and short texts, which via stylistic alternates (“a,” “g,” “j,” and the number “1”) can be dialed up or toned down in character to fit a wide range of applications.

MD Primer — A Celebration of the Unrefined

Foundry: Mass-Driver
Designer: Rutherford Craze
Release: May 2021
Styles: 6 weights, from Light to Black
Formats: OTF, WOFF, and WOFF2 (other formats on request)
Trials: Free trials and non-commercial licensing available
Price Single Style: from € 60.–
Price full Family: € 240.–
Buy 

Fruit Exhibition Bologna 2021

Posted on by Franzi Haeussner

We are announcing that Fruit Exhibition 2021 opens its gates for the ninth time. Fruit Exhibition is the annual independent art book fair of Bologna, taking place from September 4th to 5th, 2021. Open to the public, Fruit Exhibition includes artists’ books, catalogs, graphic design projects, periodicals, stationary, and zines.

Fruit Exhibition will be taking place at Parco della Montagnola in Bologna with a selection of the best international works dedicated to contemporary art: catalogs, magazines, and art books. Amongst the available titles, new but also out- of- catalog and collectors’ editions.

Conceived to bring people closer to creative publishing and graphic design, Fruit program of talks is varied and comprehensive: interviews, conferences, and presentations of new and affirmed projects. It is a 360° journey into creative publishing, from old and traditional techniques to digital publishing and new technologies.

Workshops will be taking place on Saturday, September 4th, while the exhibition will begin on September 5th, 2021.

Fruit Exhibition Bologna 2021

Where?
Parco della Montagnola, Bologna
Italy

When?
September 4th to 5th, 2021

Find further information about the fair here.

Kris Sowersby: The Art of Letters

Posted on by Nina Steimel

Printed one per page in black on cream paper, the publication Kris Sowersby: The Art of Letters features over 750 large character illustrations selected from Klim typefaces including Calibre, Domaine, Founders Grotesk, Heldane, National, Signifier, Söhne, and Untitled. The volume features a fascinating essay titled What We See When We Read by graphic designer, writer, and educator Paul McNeil and a foreword by Formist publisher and designer Mark Gowing. A real experience for all detail lovers of type design. Beautifully crafted and in a nice format to look at a few swoony curves in the evening in bed. 

“When is a letter not a letter? Or perhaps, when does an abstract form become part of a greater language system? Dave Foster and I conceived of this book while discussing the iconic, yet abstract, nature of letterforms. In particular, we were talking about Kris Sowersby, and began formulating the idea that viewing a large, disorganized group of Sowersby’s glyphs might exhibit both his vast output and the relative absurdity of these timeless and ubiquitous forms.

In order to turn this idea into a reality for Kris Sowersby: The Art of Letters, Foster and I considered Sowersby’s body of work as a collection of stand-alone drawings. This set of drawings is enormous and difficult to take in, but it is, of course, still made up of letterforms. Viewed here without their functional intention of scale, alignment, spacing, style or language, they transform into something else—something other, without their usual meaning, or perhaps just a different meaning.

Typography and meaning have been intrinsically entwined for hundreds of years, a relationship that constantly shifts and changes with the course of history. Sowersby understands this history better than most. As a master type designer, he is an astute practitioner with one eye on typography’s diverse history, even as the rest of him remains firmly fixed in the present. As a result, Sowersby’s typefaces pay homage to those that have come before, and yet they are beautifully inventive. This inventiveness creates new cultural contexts for our pre-existing forms, helping us to plot a forward path with the knowledge of our past.

Kris Sowersby: The Art of Letters is a small representation of the greater whole of Sowersby’s collected works. The diversity and artistry represented here is a snapshot of multiple expressions of predetermined alphabets through the application of nuance, instinct and theory. Sowersby spends much of his time immersed in the relationships of form and the minutiae involved in every drawing of every letter. There is a wonderful absurdity in this practice. As such, Sowersby creates elegant forms and details that are sometimes overlooked in favor of reading the words they carve out. But much like a chair or a teacup, we can find beauty in the infinite variability and artistry of these everyday items by simply abstracting their meaning, and hopefully offering a more intimate understanding of what is often right in front of us.” — Mark Gowing

Kris Sowersby: The Art of Letters

Publisher: Formist
Editors: Mark Gowing and Dave Foster
Essay: Paul McNeil
Design: Formist
Workmanship: Paperback, foiled cover with black page edges
Format (w × h): 150 × 210 mm
Volume: 800 pages 
ISBN: 978-0-6485963-4-9
Buy

neue Rasant

Posted on by neue

We are pleased to present you the typeface neue Rasant from the German type foundry neue, released in spring 2021:

neue Rasant is an interpretation of a typeface used by the Singapore Land Transit Authority for its directional signage. The typeface design is based on a rigid grid with little to no room for optical compensations or any kind of harmonization whatsoever. This approach can be seen as epitomic to an engineer’s way of designing which offers paradoxically unorthodox solutions in a seemingly orthodox system.

neue Rasant is a uniwidth design which means that the individual characters are occupying the same amount of space across all weights and styles. This way of designing a type family turns out handy if one wants to avoid unintentional line breaks or space consumption.

The typeface comes in five weights ranging from Thin to Bold. For the Italics the designer has the choice between a traditional slant to the right or an unconventional slant to the left. All weights and styles are equipped with arrows matching the individual weight’s stroke thickness.

neue Rasant

Foundry: neue
Designer: Alexander Roth
Release: May 2021
Styles and Weights: 5 weights from Thin to Bold with matching Obliques and Counter-Obliques
Price Single Style: $ 30.–
Price Full Family: $ 150.–
Buy at MyFonts 

NEBEL Magazine 01: Power Issue

Posted on by Vivian Dehning

We are presenting you today the editorial Bachelor Project NEBEL Magazine 01: Power Issue — Publication on Contemporary Culture by Vivian Dehning:

NEBEL is a magazine on contemporary society and culture that critically and artistically explores feminisms, sex, gender, and heteronormativity. It creates space for dialogues and monologues, questions, and answers as well as the interconnection of different perspectives. With texts, essays as well as artistic and photographic contributions and reportages it amplifies quieter and louder voices of different people. Existing conflicts are taken up, assumptions are called into doubt and old questions are rethought.

As a magazine, NEBEL aims to depict diverse and contemporary discourses, make experiences visible, and encourage sustained debates that may then lead to further interactions.
The first issue is about power in different contexts and is edited with 17 articles, printed on two different papers and thread-bound. As an extra a card with a quotation from Virginia Woolf is enclosed, who, with an anecdote from her essay “A Room Of One’s Own” is the name-giver of the magazine.

Vivian is a designer with a focus on storytelling, driven by editorial design, photography, and typography. She specialized in publication design, visual identities, and type design as well as portrait and documentary photography.

NEBEL Magazine 01: Power Issue

Design & Art Direction: Vivian Dehning
Authors: Alicja Boß, Vivian Dehning, Jasmin Mittag, Evelina Müller, Dr. phil. Christoph Müller, Vivian Rutsch, Luise Schlütsmeier, Ive Senkowski, Lisa Starke, Anna Stemmler, Jeremy Suyker, Roman Thomas, Elena Vonderau
Editor: Vivian Dehning
Volume: 192 pages
Format: 17 × 22.5 cm
Language: German
Release: 2021
Finishing: Dummy Edition / BA thesis / non published
Cover: Vivian Dehning & Patrycja Kopinska
Proofreading & Editing: Jehonä Kicaj

Find further information here

Walz Stipendium & Schwarze-Kunst-Preis

Posted on by Nina Steimel

Today we would like to inform you about two tenders by the German Verein für die Schwarze Kunst Dresden e.V. (engl.: Association for the Black Arts Dresden), the Walz Stipendium & Schwarze-Kunst-Preis, which are more than worth a look, if you are interested in the topics of hand setting, hot type, or letterpress printing:

Walz Stipendium
With the Walz, the Verein für die Schwarze Kunst Dresden e.V. (Association for the Black Arts Dresden) enables friends of artistic crafts to learn the basics of black art and implement their own projects in up to 17 different workshops.

For 2022, the association is awarding seven walking tours for two months each in changing workshops. Four of these are reserved as Walz Stipendium (engl.: Walz Scholarships) for scholarship holders under the age of 30 years, which the association supports with 1,000 euros each.

The deadline for applications is October 1st, 2021. If a sufficient number of walkers cannot be selected, additional applications will be accepted with no time limit. 

The application is informal, but should contain at least the following items:

  • Name, age, profession/education
  • How did you hear about the announcement?
  • Motivation and previous experience
  • Own intention
  • Preferred period and time constraints
  • Letter of recommendation from a workshop/specialist

The Walz does not have to be completed continuously for two months, but should be completed in a maximum of six months. A total of 40 working days of at least five hours must be proven. A total of at least three workshops must be visited. The scholarship is paid out in several parts, in each case after confirmation of the respective workshop. The time of the Walz must be coordinated with the workshops involved.

A personal report within the framework of the general meeting. Travel expenses will be reimbursed separately. In addition, a written report on the experience gained during the Walz.

Find further information about the Walz Stipendium here and find where to apply here. Scroll trough the spots of the workshops here

Schwarze-Kunst-Preis
The Verein für die Schwarze Kunst e.V. awards for the first time in 2022 and then annually prizes for outstanding final theses (bachelor, master, and doctorate) that deal theoretically, application-oriented or artistically with the subject areas of typecasting, hot type, or letterpress printing. The field of study is open. Conceivable fields of study are, for example, more creative-artistic, technical, sociological, historical, business administration or didactic.

The call for entries and the awarding of prizes are intended to keep alive the significance of the revolutionary inventions of movable type, to generate new knowledge, or to present present-day areas of application.

The first prize is endowed with 500.– Euros, the second and third prizes with with a letter of recognition. A presentation of the work at the general meeting of the association is desired. Travel expenses will be covered by the association.

The deadline for submission, but not the cut-off date, is September 30th of each year. The thesis must not be more than two years old at the time of submission (examination date). The thesis can be submitted by the supervising scientist in consultation with the graduate as well as by the graduate himself/herself as well as by the graduate himself/herself for the award. The jury consists of members determined by the board.

Find further information here

100 Poster Battle 2020–2021

Posted on by Nina Steimel

We are pleased about todays release of 100 Poster Battle 2020–2021, which is now available at our Slanted Shop! Students at Dortmund University of Applied Sciences and Arts with Lars Harmsen have spent the past Corona semester daily exploring both analog and digital poster design possibilities, creating original compositions and graphics that have been bound together in the publication in eight chapters according to design guidelines.

Sober: A poster should invite, communicate, inform, convince, and also provoke. If a viewer feels addressed, a poster is able to influence his or her decisions through text and images.

Emotional: @100posterbattle—one poster a day, for a hundred days, the span of a semester. Inspired by daily events from politics and current affairs. With the aim to try out different techniques, beyond the limits of conventional tools. 

In the end, 100 days of poster design reads like a diary. 2020/21 was marked by the pandemic and its consequences for culture, society, and education, the scary tweets of Trump and the upcoming US-elections, BLM, LGBTQ, Söder and Laschet in the power struggle, pro-democracy demos in Thailand, climate goals 2030, and fun-facts like the height of Mt. Everest which has shrunk by 86 cm, the eruption of the Sakurajima volcano in Japan, Elon Musk has become the richest man in the world as well as the boom of sextoys …

100 Poster Battle 2020–2021 

Editor: Dortmund University of Applied Sciences
Publisher: Slanted Publishers
Release: September 2021
Supervision and Text: Prof. Lars Harmsen
Design: Chantal Dübel, Claudia Müller, Nina Kallerhoff, Janine Krause, Saeeda Shabbir, Sinan Akpinar
Volume: 244 pages
Format: 180 × 240 mm
ISBN: 978-3-948440-29-9
Price: € 30.–
Buy 

AndNowEast

Posted on by grsldc

We are delighted to announce that the first edition of AndNowEast Poster Festival will take place in Bucharest, Romania, from September 17th to 26th, 2021. Take the opportunity and submit your poster by August 30th, 2021 and be part of the event: AndNowEast Poster Festival.

AndNowEast is a poster festival dedicated to Eastern European designers with a showcase of some of the best submissions, 50+ poster designs from 18 countries, workshops, talks, special guests, and many more surprises.

“Not so long ago, we had two Europes separated by History into West and East. West was fresh, colorful, and smart, East was cold, grey, and Utopia. And we are all aware of the stereotypes, but something still lives as a legend. Now borders are off, the Internet is on, we have ponies and rainbows, and we are repeatedly asking ourselves if our grass is as green as on the other side. Or maybe greener? AndNowEast looks right of the imaginary fault line and asks: is there an Eastern European visual genius loci? From Intaglio to Indigo to Instagram, the poster has continuously adapted to answer our communication needs. The placard is a versatile vehicle, a mirror of our social and cultural environment, and a summary of our material, and immaterial appetites. In short: a colored radiograph of civilization. AndNowEast is a local initiative with a regional reach and a global mindset.”

The Open Call for poster submission is still available until August 30th, 2021. They invite all designers, students, freelancers, and all graphic designers from Eastern Europe to submit their posters. Eligible countries are Albania, Belarus, Bosnia and Herzegovina, Bulgaria, Croatia, The Czech Republic, Greece, Hungary, Kosovo, Moldova, Montenegro, North Macedonia, Poland, Romania, Serbia, Slovakia, Slovenia, and Ukraine.

AndNowEast is organized by Local Design Circle, an NGO aiming to become the voice of Romanian designers, facilitate access to education, and help shape a healthier visual environment.

AndNowEast Poster Festival

When?
September 17th to 26th, 2021

Where?
POINT
General Eremia Grigorescu 10
Bucharest
Romania

Read more about the festival and the Local Design Circle or submit here until August 30th