Designing Digital Spaces for Democratic Dialogue

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Swiss Graphic Design Histories

Swiss Graphic Design Histories offers an entirely new redefinition of Switzerland’s graphic design landscape. Based on extensive research by scholars of design history and with a multiple and inclusive approach, it reaches beyond the usual canon and the well-known epicenters Basel and Zurich with the Germanophone fathers of what has become famous as the Swiss Style in the 1950s, 1960s, and 1970s.

In three volumes it features visual artifacts and archival documents, the majority published here for the first time, alongside likewise previously unpublished conversations with designers who have forged developments of the past decades, as well as new essays discussing key terms that refer to various design practices. The complexity of the undertaking is embraced through a system of keywords, thus enabling readers to connect contents within the individual volumes. A fourth volume comprising a glossary, bibliography, and an index of the keywords rounds out this long-awaited new survey of graphic design in multi-lingual Switzerland that sheds new light at networks, practices and media largely ignored so far.

With contributions by Chiara Barbieri, Rudolf Barmettler, Jonas Berthod, Sandra Bischler, Constance Delamadeleine, Davide Fornari, Roland Früh, Ueli Kaufmann, Sarah Klein, Robert Lzicar, Jonas Niedermann, Sarah Owens, Michael Renner, Peter J. Schneemann, Arne Scheuermann, and Sara Zeller.

Swiss Graphic Design Histories 

Editing: Davide Fornari, Robert Lzicar, Sarah Owens, Michael Renner, Arne Scheuermann, and Peter J. Schneemann
Publisher: Scheidegger & Spieß
Format: 17 × 24 cm
Language:
English

Volume: Three volumes and additional booklet, 688 pages
Printing: Paperback in slipcase
ISBN: 978-3-85881-868-3
Price: 97.– Euro
Buy

Available also in Open Acces Format:

Volume 1: Visual Arguments (ISBN 978-3-03942-019-3)
Edited by Sandra Bischler, Sarah Klein, Jonas Niedermann, Michael Renner

Volume 2: Multiple Voices (ISBN 978-3-03942-020-9)
Edited by Chiara Barbieri, Jonas Berthod, Constance Delamadeleine, Davide Fornari, Sarah Owens

Volume 3: Tempting Terms (ISBN 978-3-03942-021-6)
Edited by Ueli Kaufmann, Peter J. Schneemann, Sara Zeller

Reference Booklet

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Davide Fornari is associate professor at ECAL Lausanne, where he directs Research and Development, Robert Lzicar is professor of design history at Bern University of the Arts HKB, Sarah Owens is professor of design theory at Zurich University of the Arts ZHdK, where she also directs the graduate program in Visual Communication, Michael Renner is professor of visual communication and Director ad interim at FHNW’s Academy of Art and Design in Basel, Arne Scheuermann is professor of design theory at Bern University of the Arts HKB, Peter J. Schneemann is professor of modern and contemporary art history at University of Bern.

Forward Festival Berlin 2021

We are excited to announce that the Forward Festival is coming to Berlin for the first time: Forward Festival Berlin 2021 — 13 Hours Non-Stop Creativity With Day & Night Program. Get your ticket now!

Berlin is defined by the creativity being spread by its community—and so is Forward Festival. In a way, these two were always meant to be—both are based on a community thriving on creativity and always moving ahead. Capturing the city’s energy, the premiere of Forward Festival Berlin 2021 awaits with an on-site program full of highlights: more than 15 speakers live on stage from local to international heavyweights of the creative industries, exclusive side-events, happenings, audio-visual performances, and much more will bring encounters full of creativity.

Day & Night program
For this special occasion, Forward goes DAY and NIGHT: 13 hours of non-stop creativity from afternoon until the morning after are aiming to unite industry-leading and aspiring creatives. As speakers, graphic design legend Eike König, visualist Nicole McLaughlin, street photography icon Martha Cooper, galerist Johann König, artist Esra Gülmen and many more are taking the stage at Babylon Kino during the day, while all-around artist Max Siedentopf, photographer and Berlin legend Sven Marquardt and the brand-new creative agency NEWFORMAT are lined up for their talks at night alongside live music and audio-visual performances.

Challenging times call for creative ways of thinking
After successful online and hybrid events in Vienna, Munich, and Hamburg, it now is time for Forward to return to the real world. True to the Festival’s motto of 2021 ME, WE Forward unites the creative scene for the very first time in Berlin. With a program packed with high-class talks, creative workshops, and lots of exchange and networking, the event promises nothing less than a firework of creativity.

“Within six years, we became one of the most important platforms for the entire creative industry and its networks—now we are finally coming to Berlin! We came up with a day and night concept, which captures the city’s energy and lets all that creativity and inspiration that we had to hold in for the last year and a half run freely. With this Festival we will focus on re-connecting like-minded people in an exciting atmosphere again.”—Othmar Handl, Festival Founder

Forward Festival Berlin 2021

When?
September 17th, 4 p.m. to 18th, 5 a.m., 2021

Where?
BABYLON Kino
Rosa-Luxemburg-Straße 30
10178 Berlin
Germany

Tickets: On-site tickets from € 75.– and Livestream tickets from € 55.–

Tickets for the on-site event on September 17th at BABYLON Kino are limited and in high-demand, Livestream tickets are also available on the Forward Festival website.

Find their full program and get an overview here

unsichtbar: Frauen gestalten Schrift

Although the design is a bit of yesterday, the publication unsichtbar: Frauen gestalten Schrift (engl.: invisible: women designing typefaces) is highly relevant today when it comes to gender equality issues and visibility of women in the typography scene:

If you are dealing with type design, you will be asking yourself: Where are the women? Barbara Lüth has posed herself this question and writes in her book stories about the life and work of 20 female type designers. In the first part of the book the author illustrates easy to grasp how those women—since the beginning of the 20th century—are exerting influence on the field of type design due to their work. They have made substantial contributions—however without getting the deserved attention in this male-dominated field. In the second part the type designers themselves speak out and answer the author’s five questions about their works, including questions about the process of formation and their favorite letter. This book aspires to achieve first and foremost: to make visible the life and work of these outstanding women.

Barbara Lüth was born in Innsbruck, Austria, in 1973. Due to her being a formed gold smith, she has always been attracted to designing. She spent a few years in Norway where she devoted more time to this passion. For a few years now she has been dealing with typography and lettering. From 2018 to 2020 she attended the workshop Typografie Intensiv in Munich. In June 2021 her book unsichtbar – Frauen gestalten Schrift was published.

unsichtbar: Frauen gestalten Schrift

Publisher: August Dreesbach Verlag
Design: Barbara Lüth
Release: June 2021
Volume: 128 pages
Format (w × h): 17 × 24 cm
Workmanship: hardcover
ISBN: 978-3-96395-023-0
Pice: € 24.–
Buy

Plastikcomb & Dutch Type

Only today on August 20th, 2021, from 0:00 to 23:59 (CEST) we have the pleasure to offer you two publications that inspire us at a special price. Take a peek at the two books Plastikcomb & Dutch Type in our Slanted Shop:

Starting with “PLASTIKCOMB MAGAZINE 1.0 – A Beautiful Mess,” PCM is a biannual, analog art publication that pays homage to the great magazines of the past, containing editorial content in a chaotic, abstract style.

PLASTIKCOMB MAGAZINE 1.0

Publisher: Plastikcomb Publishers
Design: Aaron Beebe, Thomas Schostok
Cover: Aaron Beebe
Volume: 132 pages
Format: 21 × 27 cm
Language: English
ISSN: 1034-0941
Price: € 15.– (special price only on August 20th, 2021)
Buy

Published in March, 2004, Dutch Type was sold out about four years later. Only in the end of 2018 the reprint was published thanks to the help of many backers via a kickstarter campaign: In Dutch Type, Jan Middendorp presents a comprehensive overview of type design and lettering in the Netherlands, tracing its origins through type designers and lettering artists from the 15th to the 20th centuries.

Dutch Type

Author: Jan Middendorp
Publisher: Druk Editions
Design: Bart de Haas and Peter Verheul.
Editorial assistance and index: Catherine Dal
Reprint: Files revived by Ramiro Espinoza & Paula Mastrangelo
Volume: 320 pages
Binding: Hardcover
Format: 23 x 28 cm
Language: English
Print: Die Keure in Bruges, Belgium
ISBN: 9783982003702
Price: € 20.– (special price only on August 20th, 2021)
Buy

Postea: An Inspiring Venture

Today, we would like to share with you the story of Postea: An Inspiring Venture, which starts with Veronika Burian, Munich-based type designer, sometime in Spring 2020 during Covid lockdown. In Germany, outdoor sports and activities were still allowed and going for a walk was a highlight of her day. One venture led Veronika to discover an unfamiliar part of the city. Here in the middle of a large and usually busy public square stands a 1920s post office building in the architectural style of “Neue Sachlichkeit,” commonly known as Bauhaus.

It is no surprise that Germany might inspire a new geometric sans serif design; this is, after all, where everything began in the early twentieth century. During a period marked by a reaction against the industrial context that shaped society, the revolutionary Bauhaus instead prioritized the unity of function and form in art and design, ergonomics, and architecture.

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

The intermediate weights of the Postea type family are intended for applications that demand high readability, and the extreme styles are geared to produce impact and recognition. The game Postea continuously plays is to find a balance between the two extremes of readability and charisma, so a small amount of stylistic alternates were included to give designers the ability to easily tilt the scale one way or another.

Postea’s 14 static styles, or two variable fonts, feature a Latin character set with support for over 140 languages and plenty of typographic goodies: small capitals, symbols, currency, and numerals, superior, and inferior characters, plus the usual ligature and fraction support. As a bonus, in the most widely used office apps, users can quickly access the icons by simply typing the icon name and applying Stylistic Set 05. Inspiration for the icons comes from geometry, art deco, and the use of specific icons related to museums and art.

Postea: An Inspiring Venture

Designer: Veronika Burian
Foundry: Type Together 

Release: May 2021
File Formats: OTF, WOFF, WOFF2
Styles, widths, weights: 14 Styles, 7 weights and matching italics
Price single style: € 44.10 Euro
Price bundle: € 397.– Euro
Buy

You can read more about the creation of Postea here and try it on TypeTogether’s type tester now!

Freistil 7

Today, we would love to present you the publication Freistil 7 — Das Buch der Illustration (Engl.: The Book of Illustration), which is now available at Slanted shop.

Illustration is more than just depicting the world as we see it. Illustration is interpreting and focusing. Illustrators are creating images you have never seen before. Images that have the power to change the thinking, acting, and feeling of those who are watching them. That’s because people in media business and creative agencies are always searching new talents, styles, trends, and techniques.

Illustration confronts the enormous number of replaceable photos taken by advanced smartphone cameras with strong images. For the seventh time and with enough temporal distance to the previous editions, Freistil 7 is presenting the incredible works of 157 illustrators from all over the world. It’s showing images that speak a thousand words.

In times like this it is so important to stand out for freedom of speech and picture. Therefore, the editorial focus of Freistil 7 lays on illustration that shows more than others see—or want so see. The book surveys the political power of strong images and introduces to you illustrators who teach important men to fear. For example, the editorial is dedicated to Art Spiegelman who, in his underground comic Maus—A Survivor’s Tale, tells poignantly the story of his father, a survivor of Auschwitz. For his graphic novel Spiegelman has won the Pulitzer price.

Authoritarian systems are afraid of the power of images. The more autocrats are there in the world the more important becomes the political meaning of images. Unfortunately, also the risks are increasing for those who have the courage to hold up the mirror to the world. Based on that, this edition of Freistil 7 is more than a simple invitation to explore new talents. It’s encouraging us to reflect about our times and is confronting it by illustration.

Freistil 7 — Das Buch der Illustration

Editor: Raban Ruddigkeit
Volume: 376 pages
Format in cm (w × h): 17 × 24 cm
Language: German, English
Workmanship: Hardcover with two bookmarks and a coating made of stone paper in eight special colors
ISBN: 978-3-87439-952-4

Indiecon 2021: Independent Publishing Festival

We are delighted to announce that the Indiecon 2021: Independent Publishing Festival opens its gates beginning of September for the eighth time, since its founding in 2014 for visitors. More than 70 independent publishing houses and solo publishers present and sell their magazines, books, zines, and printed goods at Indiecon 2021. Once more with distance, mask, and preregistration. However, a visit is still worth it: As of now, visitors can immediately book a free ticket. Those who don’t want to miss the event should be quick: The number of guests is limited due to the corona pandemic.

The event’s theme Reflections calls for everyone to look in the mirror: What do you see? Indiecon 2021 is about shifting identities and notions of self, reflections of social change that are rooted in independent publishing, and the right time to do some thinking. And for this, in these times—there is ample opportunity. “This year again, the Indiecon will again be a kaleidoscope reflecting the themes of the pandemic,” Festival organizers Die Brueder Publishing explain.

Afropean Experience, Queer Erotica, Climate Change, and Anti-fascism
“Hardly any medium can react faster or more accurately to society’s disposition—reflecting it—than an independent magazine,” Brenneisen says. On the tables of this year’s exhibitors, audiences will find publications centering on Afropean experiences and anti-fascism, climate change and gentrification, queer erotica, and neurodiversity. The titles give a view into phenomenological claims onto everyday objects that function as mirrors of larger social relationships—from the gene mutation of red hair to a tea ceremony. The publishers survived the pandemic—how did this effect the magazines, zines, or books?

At the end of day, it is about giving space to independent publishing in times of pandemic. “We believe that literature, journalism, and art can hold a society together. Every publication opens a window into the thoughts of another human—and ideas develop in exchange. This is now more important than ever,” Indiecon’s organizers write.

Of Chances and Constraints
For Indiecon COVID-19 also means a lot of changes: Instead of a bustling large event—open to everyone—Indiecon 2021 guests must register in advance.

This way, a safe number of people can browse in the indoor area. Inside masks on for safety. “It is the same principle like shopping at the supermarket: disinfect hands, masks on, maintain your distance,” Indiecon’s organizers write. Last year and this year too, the organizers successfully implemented a safety and hygiene concept.

Number one priority, exhibitors and audiences should feel safe. To participate for free in Indiecon you will need a negative Corona test, a vaccination certificate and an FPP2 mask. Detailed information about the Corona measures is available on the Indiecon website and we recommend revisiting the website shortly before the event.

“We hope that the guests profit at the end of the day from the change-up of the set up,”the organizers write. A smaller crowd at the event allows for a more intimate exchange with publishers. Guests are encouraged to browse their interests in advance. For this, a comprehensive online catalog will be made available on the Indiecon website.

Indiecon 2021: Independent Publishing Festival — Reflections

Where?
Stockmeyerstraße 43
Oberhafen, Hamburg
Germany

When?
September 3rd to 5th, 2021
Friday, September 3rd, 2021, 3 p.m.–6 p.m.
Saturday, September 4th, 2021, 3 p.m.–6 p.m.
Sunday, September 5th, 2021, 10 a.m.–6 p.m.

Find further information here, visit their conference’s website or book a free ticket for events on the 3rd, 4th, and 5th, of September at Hamburg’s Oberhafen.

One insecurity remains, should Covid-19 infections rise and lead to necessary constraints, Indiecon might face cancelation.