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

Swiss Graphic Design Histories

Posted on by Nina Steimel

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

Posted on by Nina Steimel

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

Posted on by Nina Steimel

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

Posted on by Nina Steimel

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)
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Postea: An Inspiring Venture

Posted on by Nina Steimel

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

Posted on by Nina Steimel

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
Publisher: Verlag Hermann Schmidt
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

Posted on by Nina Steimel

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.

Data Centers

Posted on by Nina Steimel

Today, we would like to introduce you to the publication Data Centers — Edges of a Wired Nation, which is now available at Slanted Shop! It was awarded at the competitions Die schönsten Deutschen Bücher, Die schönsten Schweizer Bücher, and Best Book Design from all over the World 2020/2021.

It deals with a topic we all face on a daily basis. Data centers are the spines of our Internet; they operate silently and secretly in thousands of locations around the world. They process the information we produce and access in invisible ways. Data cures through placeless, inconspicuous, anonymous structures, such as buildings, cable ducts, junction boxes, and landing pads, etc. They are everywhere and nowhere. The publication collects research on the individuals and institutions involved in setting up, nurturing, and governing digital infrastructures and analyzes current and future developments, using Switzerland as an example.

Bringing together photographic works, essays, and case studies Data Centers explores the mutual, typically fraught entanglements of place, past and digital infrastructure. Underneath the official storyline—Switzerland’s favorable alpine climate, the relatively low energy-costs, the political stability of the area, and its strategic positioning in central Europe—Data Centers uncovers a more varied, inconclusive set of trajectories: narratives of techno-nationalist aspirations; of Swiss-Chinese interdependencies; of deregulation and once-mighty telecommunications enterprises; of cold-war legacies, and the multi-billion-dollar business of data security.

Data Centers — Edges of a Wired Nation

Publisher: Lars Müller Publishers
Editors: Monika Dommann, Hannes Rickli, and Max Stadler
Design: Hubertus Design
Release: 2020
Volume: 344 pages
Format: 259 mm × 189 mm × 25 mm
Language: English
ISBN: 978-3-03778-645-1
Price: € 35.–
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New (Little) Gestalten Books

Posted on by Nina Steimel

There are four new beautiful books of (Little) Gestalten for big and small friends of visual design, which may make your summer vacations more colorful. They are now available in the Slanted Shop: Brand New Brand, We Love Pizza, Schwein gehabt! and Who invented this?.

Brand New Brand
The current situation may feel uncertain and unsettling, but while the pandemic has posed new challenges for brands in nearly every industry, social distancing also means that our need to connect is stronger than ever. It is vital for businesses to create communities centered around their brands, and the pandemic may well act as an accelerator to put values into practice that have become increasingly important to customers, such as a call for greater diversity, more social responsibility, better ethics, and a stronger focus on sustainability. More than ever, brands need to think holistically. It is true, branding can help businesses break through the noise, build trust and recognition, but it is so much more than just a look or a logo. Branding is creating the emotional reaction a company can elicit from its customers by sharing meaningful moments with people to create empathy, respect, satisfaction and delight–this is when the relationship with the brand really begins.

Brand New Brand is a compendium of the best visual identities recently created for businesses from all over the world. It shows how well-considered, holistic branding can take a bakery, a solar panel installer, a gym that serves as an inclusive workout space for all body types, a Black-owned social and wellness clubhouse, a physiotherapist or even a waste management business that is using circular solutions, from one of a crowd to one in a million. It shows how, in an era of pandemics and political and economic instability, creative, innovative thinking is the greatest asset.

In-depth case studies explore the ideas currently shaping the field of branding, such as the use of traditional techniques or the reinterpretation of local visual languages. This expertly curated collection with a foreword by Astrid Stavro, an internationally-renowned graphic designer and partner at Pentagram’s London office, explains the context, the thinking, and the inspiration behind the design. As many of the projects in this book show, if you have a good idea that has been well crafted, so much can be achieved with even the most modest of budgets. Whatever the scope of the project, there is always space for surprise and innovation, a way to do things differently, and push things further.

Publisher: Gestalten
Release: May 2021
Volume: 256 pages
Format in cm (w × h): 24 × 28 cm
Language: English
Workmanship: Stitch bound, Hardcover
ISBN: 978-3-96704-005-0
Price: € 19.90
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We love Pizza
Let’s be honest, who doesn’t like pizza? The book We love Pizza delivers the full box including all the different styles from Italy to America. From classic toppings to surprisingly strange combinations, We Love Pizza explores the diverse ways of eating a pizza, and introduces the pizzeria people who help bring our favorite food to the table.

First created in Naples, Italy, hundreds of years ago, pizza has grown to become a dish adored all over the world. Conquering the bellies of millions, We love Pizza provides fun facts about this enduringly popular—and oh so tasty—classic. Did you know that in the United States alone every second, 350 slices are sold? Or that the Hawaiian pizza was actually created in Canada? Many cultures and countries have developed their own interpretations, and this colorful book looks at pizza from every angle. We love Pizza explains little pizza lovers how to make dough from scratch and uncover inspiration for toppings, all while tickling taste buds and inducing an appetite. Grab a slice of the action!

Elenia Beretta is an Italian illustrator living in Berlin. She studied Editorial Illustration in Milan and works for clients like Vogue, New York Times, Süddeutsche Zeitung, or Elle magazine. She illustrated food books and children’s books for Rizzoli Editore and is one of the illustrators for the three volumes of Good Night Stories for Rebel Girls. After Tasty Treats this is her second book with Little Gestalten.

Publisher: Little Gestalten
Release: June 2021
Author: Elenia Beretta
Volume: 40 pages
Format in cm (w × h): 21 × 26 cm
Language: English
Workmanship: Stitch bound, Hardcover
ISBN: 978-3-96704-705-9
Price: € 14.90
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Schwein gehabt!
Can pigs swim? Why do piglets have milk teeth? And how did the wild pig become a domestic pig? Schwein gehabt! answers many questions about our favorite bristling animal: from the Danish protest pig to the Vietnamese pot-bellied pig, from animal husbandry to pigs in mythology and astrology, from prominent pig owners to mating behavior: This engagingly illustrated book Schwein gehabt! introduces various breeds, reveals exciting and quirky facts about the species, and provides insight into the cultural history of the pig.

Daisy Bird grew up in the west of England on a farm surrounded by animals. After studying at Cambridge University, she moved to London, where she now lives and works. She is the author of non-fiction and children’s books about how people and animals live together. Her favorite breed of pig is the English Middle White.

Camilla Pintonato is a writer and illustrator from Venice. She studied illustration in Milan and was awarded a prize by the Goethe Institute, among others. In addition to her work on numerous children’s books, she spends a lot of time in her garden and with her cat Rosmarino.

Publisher: Little Gestalten
Release: March 2021
Illustrator: Camilla Pintonato
Author: Daisy Bird
Volume: 72 pages
Format in cm (w × h): 21 × 28.5 cm
Language: German
Workmanship: Stitch bound, Hardcover
ISBN978-3-96704-701-1
Price: € 19.90
Buy


Who invented this?
Many of the things surrounding us were once nothing more than an idea. Things that on first glance may seem small and common, like the jeans we’re wearing right now, Post-its, toothpaste or fizzy drinks, just as much as things such as the light bulb, tires, the microchip or plastic that have become an integral part of our everyday lives, as well as still others that appear to be invisible, but have undeniably changed the world we live in forever like frequency hopping that is the basis of modern technologies such as Bluetooth and WLAN, radioactivity, alternating current, which is the electricity that comes out of our plugs, or the ubiquitous world wide web.

These things that make up the fabric of our everyday lives, did not just appear out of nowhere, though, they were conceived by talented inventors, scientists, and engineers. Some are the result of teamwork, some of many years spent alone in a laboratory. Other inventions grew out of everyday situations and some were simply the result of chance. Who Invented This? is a fascinating trip back through history that shows how now famous scientists and inventors like Marie Curie, Nikola Tesla, or Ada Lovelace, as well as lesser known, but no less creative minds such as Adi Dassler, the inventor of football boots, George Beauchamp, who developed the first electrically amplifiable guitar, or Louis Braille, who as a 16-year old came up with the idea of using dots to create a form of writing that blind people could read with their fingers, have turned their ideas into great inventions.

How they seized opportunities, had faith in their ideas, and the courage to try something new. At a time when the lack of trust in science appears to be growing and controversies about facts are on the rise, “Who Invented This?” aims to inspire creativity and spark the interest in science and engineering by connecting groundbreaking minds from the past with modern technology, culture, and medicine.

Making her children’s literature debut in Who Invented This?, German author Anne Ameri-Siemens is using her experience as a journalist to tell engaging stories about human development and the world around us. She previously worked for Frankfurter Allgemeine Sonntagszeitung, Süddeutsche Zeitung-Magazin, and German television networks.

Becky Thorns is the illustrator behind Little Gestalten’s acclaimed title The World of Whales that has been shortlisted for the World Illustration Award 2020. She graduated from Falmouth University with a Fine Art degree in 2015 and now specializes in children’s illustration, literary themed works, and calligraphic lettering.

Publisher: Little Gestalten
Release: May 2021
Volume: 96 pages
Format in cm (w × h): 20.5 × 26 cm
Language: English
Workmanship: Stitch bound, Hardcover
ISBN: 978-3-89955-133-4
Price: € 19.90
Buy

 

Fernhout: The New Typeface for the Dutch Design Week

Posted on by Stuart de Rozario

Today we would like to present you Fernhout: The New Typeface for the Dutch Design Week and inform you that the DDW will take place in Eindhoven in mid-October. Save the date and order your ticket from mid-September, because DDW will not be online only this year!

Fernhout is the new typeface designed by London type designers The Foundry Types for the Dutch Design Week (DDW), in collaboration with Amsterdam design agency Thonik. The new display face is based on the simple primitive forms, rectangles, and quarter-circles by the late Wim Crouwel’s Edgar Fernhout exhibition poster and catalog for the Van Abbemuseum in 1963. The typeface and brand identity is currently being rolled out across the Netherlands.

Hosted by the city of Eindhoven, DDW is the biggest design event in Northern Europe. With over 2,500 designers, scattered over 110 locations, showcasing their work to more than 350,000 visitors from across the globe. DDW coordinates exhibitions, lectures, prize ceremonies, networking events, debates, and other festivities.

Thonik approached The Foundry Types and asked them to create a typeface based on the new logo they had designed, expanding the character set to include a-z in lowercase, figures, and punctuation glyphs. The Foundry Types’ objective was simple: to create a clear expansion of the Crouwel Edgar Fernhout letterforms that seamlessly integrates with the new DDW brand identity.

The Foundry Types’ ethos throughout the design process was clarity, integrity and authenticity; the constructed Edgar Fernhout letterforms consist of a simplistic rectangle block system, two columns wide and four oblongs tall, circled segments, and angled indentations. Although the glyph shapes are playful and simple—these basic forms often throw up challenging complex problems and limitations.

The purist, basic forms of Fernhout offer little scope to break the grid without diminishing the overall visual virtues. Crouwel’s carefully devised grid often allowed many glyphs to design themselves, but complex glyphs with diagonal strokes, “k, s, x, z, 2, 4, 5, 7” needed to be stripped back and simplified. Characteristics within the letterforms also threw up a few dilemmas—how to design an “i” and “j” dot along with readable punctuation? The Foundry Types decided to introduce another element—the square, this allowed a little more freedom to express the concept in a more refined way. Problematic junctions to the center section of the “3” and “8” were the trickiest to achieve, a double quarter-circle was added to allow these glyphs to be easily recognizable.

Stuart de Rozario (Co-partner of The Foundry Types) said, “Just like Crouwel’s lettering, his posters and catalogs are unique. All vary in style and execution, often displaying humanity within his strict modular grid vision: systematic, logical, but crafted by hand and with a keen eye.”

Thomas Widdershoven (Co-founder of Thonik) said, “Crouwel loved monospaced letters so the fact that Edgar Fernhout’s name doesn’t contain a ‘w,’ ‘m,’ ‘l,’ or ‘i’ must have appealed to him. We did have to tackle those letters and have tried to finish the game while playing by the same rules. We’ve chosen all lowercase letters since they feel more democratic and look sympathetic. The use of indentations has helped increase legibility.”

David Quay (Co-partner of The Foundry Types) said, “Wim never envisaged his designs to go on to be used as complete typefaces, and would often be taken aback to know people would want to use them in their own design projects.”

Roy Terhorst (Partner of Thonik) said, “Animating the newly developed font for the DDW site felt natural, when the letters started moving, the underlying grid became visually present. A bridge was forged between the aesthetics of the past and the design language of the future: motion design.”

The Fernhout typeface consists of just a single weight with a very limited character set due to its elemental forms. It will be available to license later this year at The Foundry Types exclusively, a PDF specimen is available on request.

Fernhout: The New Typeface for the Dutch Design Week

Foundry: The Foundry Types 
Design Agency: Thonik
Release: Winter 2021 at The Foundry Types exclusively
Styles: Single Weight with limited character set; PDF specimen is available on request

Dutch Design Week

When?
October 16th to 24th, 2021

Where?
Eindhoven, Netherlands
The DDW is spread across dozens of locations in the city
The full program for DDW21 will follow in September

Visit The Foundry Types to not miss the release and book your ticket for the DDW here.

Photographs courtesy of The Foundry Types. © The Foundry Types 2021.

The Space Between

Posted on by Concrete Nature

The Space Between — Limited Edition Risograph Photozine is the first publication designed and published by Concrete Nature, a Glasgow based studio launched in 2020. The risograph printed publication features a curated selection of photographic work from an international line up of creatives. The Space Between acts as a collective experiment assembled to consider, observe, and question our relationship with nature. It is the curated product of the studio’s first open call inviting creatives to submit black and white photographs on the subject matter.

The publication takes us on a journey to reflect on the different ways our relationship with nature manifest itself within the various spaces we experience, from the lushness and abundance of the outdoors to the intricacy of the man-made spaces we occupy.

Concrete Nature is an environ­mentally conscious creative studio working across print, digital and space. The studio balances collaborative, commissioned, and self-initiated projects. Their self-initiated work intentionally range across platforms, including publishing, limited edition printed goods, and events.

The Space Between

Publishing, Concept, and Design: Concrete Nature
Foreword: Clementine Carriere
Format: 148 × 210 mm
Volume: 56 pages
Language: English
Printing: Out of the Blueprint
ISBN: 978-1-5272-7610-9
Price: £ 17.– (£ 2.– from each sale will be donated to two UK based charities, Refuweegee and Mermaids UK)
Buy

Tÿpo St. Gallen 2021

Posted on by Nina Steimel

Trust your gut feeling, book your ticket, and look forward to the three-day event of Tÿpo St. Gallen 2021—Intuition in November 2021 with various lectures, workshops, book presentations, and get-togethers with lunch and aperitifs!

Be it in private or professional life: Projects and plans are often agreed to spontaneously. If they succeed, one speaks of a gut feeling on which one could rely. Conversely, an uneasy feeling can protect you from disappointment. So much for the theory of intuition, which is the subject of the 20 or so top-class speakers at this year’s Tÿpo St. Gallen. The three-day typography symposium is considered the most important industry gathering for designers in the German-speaking world and is organized by the St. Gallen School of Design. The workshops offer a colorful mix of paper science, lettering, programming, writing, type, and web design.

Among others the following voices will speak at the Tÿpo St. Gallen 2021 Symposium: OrtnerSchinko is a graphic design and art direction studio in Linz, Austria. Founded in 2015 by Kira Saskia Schinko and Wolfgang Ortner, OrtnerSchinko develops contemporary design and brand strategies for companies as well as in the field of art and culture. Specializing in typographic design, OrtnerSchinko realizes—through consistent simplification—strategic design with added value in terms of perception, visibility, memorability, orientation, differentiation, and positioning.

Just von Rossum, a well-known Dutch type designer and programmer, is coming to St. Gallen on Saturday. He studied at the Royal Academy of Fine Arts in The Hague. After working for MetaDesign in Berlin, he opened his own studio as a type and graphic designer in the Netherlands. Together with his brother Guido van Rossum, he developed the Python programming language. Together with Erik van Blokland he is co-founder of LettError.

Ana Laura Campos, Sonja Steven, as well as Kerstin and Sarah Tolpeit already started working together during their time at the Hamburg University of Fine Arts. In 2013 they founded Klass—the office for design. The common focus of their work is typography. It is the starting point for logo, book and web design. The medium does not determine the form. Whenever they find time, they realize their own projects such as books, prints, calendars, or exhibitions.

Tÿpo St. Gallen sees itself as a forum for experts and people with an affinity for design, and seeks and promotes the exchange between speakers and audience. In addition to presentations, there will be plenty of time for discussions and an inspiring supporting program.

Tÿpo St. Gallen 2021

When?
November 5th to 7th, 2021

Where?
Gewerbliches Berufs- und Weiterbildungszentrum St. Gallen
Schule für Gestaltung
Demutstrasse 115
9012 St. Gallen
Switzerland

Tickets
Early bird: CHF 348.–
Professionals: CHF 398.–
Students, apprentices: CHF 199.– (Student ID must be provided)

For further information click here and book your ticket here

Itacolomi

Posted on by Emerson Eller

Itacolomi by Eller Type is a font family conceived for editorial purposes. Based on historical models, it is well placed in the present time, turning classic proportions into contemporary letter shapes. It is robust and clean in small sizes, keeping consistency in both print and digital environments.

Itacolomi is an outcome from Eller’s Ph.D., the result of an extensive investigation into Scottish style types produced in Brazil around 1820. A possible connection between Brazil and Scotland. In short, it preserves the qualities of the famous 19th-century Scotch Roman types while adding a personal approach with unique features from the early Brazilian models.

The Typeface has six weights, romans plus respective italics, which makes twelve fonts with an extensive character set that supports over two hundred languages and includes small caps, ligatures, old-style, and tabular numerals.

Itacolomi

Foundry: Eller Type
Designer: Emerson Eller
Release: 2021
Format: otf, woff, woff2
Styles: Light, Regular, Medium, SemiBold, Bold, Black plus respective italics (12 fonts)
Price: Family $ 168.–
Individual Styles: $ 35.–
Buy on MyFonts or Fontspring

No School Manifesto & Wicked Arts Assignments

Posted on by Nina Steimel

We are very pleased to have two publications now available in our Slanted Shop from the Dutch publishing house Valiz: No School Manifesto & Wicked Arts Assignments.

No School Manifesto — A Movement of Creative Education wants to open up the meaning of learning and fundamentally questions traditional education, through creativity. Curiosity, experimentation, unrestricted thinking, making, and developing—by yourself and in collaboration with others—are basic elements of all forms of learning and living together. In the current educational system these values are regularly overshadowed by rules, legislation, bureaucracy, a unitary approach, and little attention to the intrinsic inquisitiveness of both the student and the teacher.

No School is a growing movement that together with the creative field wants to provide space for experiment, flexibility, cooperation, “wild” thinking, looking ahead; experimenting off the beaten track with different forms of learning, in which creativity is the key concept.

No School Manifesto opens up possibilities for thinking how to go about this, and to start experimenting. It is not an exhaustive analysis of the approach—this would not be possible, as No School is not static, but constantly evolving and continually reassessing its place vis-à-vis standardized educational frameworks. Key concepts, values and attitudes such as “Curiosity,” “Magnetism,” and “Zigzag” are explored through an A–Z Lexicon, and are complemented by illuminating examples of students’ work. An explanation of the urgency of No School, and an essay on the fundamental value of creativity provide introductory context to the book. The overarching Manifesto summarizes what the No School movement and the book stand for.

In collaboration with Cibap, Zwolle; SintLucas, Eindhoven; ArtEZ Arnhem–Zwolle–Enschede; No School.

No School Manifesto — A Movement of Creative Education

Publisher: Valiz
Editor: Betje Stevens, Fabiola Camuti, Ilse Ouwens
Designer: Marius Schwarz
Volume: 228 pages
Format in cm (w × h): 15 × 22 cm
Language: English
Bookbinding: Paperback
ISBN: 978-94-92095-85-5
Price: € 19.90 

Wicked Arts Assignments are bold, unusual, contrary, funny, poetical, inspiring, socially committed, or otherwise challenging. Everyone who teaches art knows them: the assignment that is seemingly simple but which challenges participants, students and pupils to the max. Many artists and arts teachers have that singular, personal, often-used assignment in which everything comes together: their artistic vision, their pedagogical approach and their love for certain techniques or methods.

The almost hundred arts assignments collected in Wicked Arts Assignments – Practising Creativity in Contemporary Arts Education connect to the visual arts, performance, theatre, music and design, but more importantly: they encourage cross-disciplinarity. They reflect themes and ways of working in contemporary arts, offering opportunities to learn about ourselves, the arts and the world.

The first part of this book provides a theoretical view on arts assignments from historical, artistic and educational perspectives, complemented by interviews with experts in contemporary arts and education. The second part consists of the actual wicked arts assignments. These can be carried out in various contexts: from primary schools to higher education, from home to the (online) community, and from Bogotá to Istanbul. They are meant to spark the imagination of both teachers and students, contributing to new, topical educational and artistic practices.

In cooperation with Amsterdam University of the Arts.

Wicked Arts Assignments — Practising Creativity in Contemporary Arts Education

Publisher: Valiz
Editors: Emiel Heijnen, Melissa Bremmer
Designer: Laura Pappa
Volume: 304 pages
Format in cm (w × h): 15 × 22 cm
Language: English
Bookbinding: Paperback
Release: 2020
ISBN: 978-94-92095-75-6
Price: € 19.90
Buy

Both publications were selected by the student jury as one of the best Dutch book designs 2020.

everwave

Posted on by g31

The agency g31 in collaboration with Thanh-Thao Tran, Anna Fitzon, Stephanie Butzen, and Marie Volmar has designed the new branding for marine start up everwave: a start-up that develops sustainable solutions for global plastic pollution.

When the everwave team approached g31, their name was Pacific Garbage Screening. The old name was based on CEO Marcella Hansch’s master’s thesis at RWTH Aachen University that developed a platform that filters plastic in the Pacific Ocean. In the meantime, Marcella Hansch’s organization grew considerably and expanded beyond the physical screening of plastic in the Pacific Ocean to holistic approaches that target the entire (vicious) circle of marine pollution. These approaches range from education and awareness campaigns to innovative “Clean-up” products. To do justice to the ambitious new direction the organization has taken, the agency joined forces to develop a new brand world to inspire people around the world to support everwave’s mission to save the oceans.

An independent, typographic voice for our seas
g31 designed a new headline font exclusively for everwave, in cooperation with type designer Gabriel Richter, to give its mission a distinctive voice. Subtle, typographic references to water and waves create a typeface with a strong character that is friendly and engaging. The team round off the typographic system with a functional grotesque typeface that serves as an objective counterpart to the new headline font.

A strong symbol that is easily drawn in the sand
The new everwave logo is radically minimalist, yet reflects the most important facets of the brand personality. The “e,” formally adapted to the new headline font, reveals a stylized, breaking wave in the negative space that refers to the ideals of a sustainable recycling economy.

Sustainability begins in our minds
everwave’s new brand identity creates a spirit of optimism and addresses many stakeholders including the general public, investors, as well as scientific, and political partners. “After all, we are all in the same boat—global marine pollution can only be solved by working together. We are proud to be able to contribute to this ambitious goal with our work.”

everwave

Design: g31
Collaborators: Thanh-Thao Tran, Anna Fitzon, Stephanie Butzen and Marie Volmar
Typeface Design: nice to type
Find further information about the marine start-up here.

MA-MA Type

Posted on by MA-MA Type

Today we would like to introduce you to Parisian type foundry MA-MA Type, which has a special appreciation for the craft and artisan approach to type design:

MA-MA Type is a small-scale type foundry based in Paris, France. It was founded in 2021 by Maxime Fittes as an open creative space allowing the making of singular fonts. The foundry believes in values of craftsmanship and is devoted to the making of context-related typefaces that tell their own story. As an independent foundry, MA-MA Type claims its freedom from type industry standardization. This translates into a specific creative process which the foundry tailors to each new release. Alongside its retail catalog, the type foundry designs custom typefaces for cultural projects: identities, magazines, etc.

Typefaces distributed by MA-MA Type:
Fork is a monospaced typeface designed as an exploration of geometry and simplicity. The overall sharpness of shapes brings a mechanical flavor to the characters as well as a singular typographic color.
Marcus is an uppercase-only display typeface which draws inspiration from old film titles and handcrafted signages. Its letters are inspired by Roman square capitals with condensed proportions.
Packer is a monospaced typeface designed as a cheerful alternative to monotonous office aesthetics. Its round and generous shapes offer a counterweight to the technical tone of fixed-width characters.
Ziggy is a strong display typeface inspired by hand-painted letterings found on boat hulls. Odd details and awkwardness features have been preserved to give its letters their distinctive identity.

MA-MA Type

Foundry: MA-MA Type
Designer: Maxime Fittes
Styles and Weights: From Thin to Bold with matching Italics
Formats: otf, woff, woff2, eot
Price Single Style: from € 50.–
Price Full Family: from € 120.–
Buy typefaces here
Find free trials here

Airport Wayfinding

Posted on by Nina Steimel

Dedicated to the wanderlust, we would like to introduce you to a publication now available at our Slanted Shop, that takes a closer look at the complex infrastructures of our airports: Airport Wayfinding — Wayfinding Systems of 70 Airports.

Airports are places with multi-layered identities that millions of people pass through and where cultures meet: On the one hand, the history and the design heritage of the particular country can be identified and local characteristics are intensified and reinforced almost stereotypically. On the other hand, airports represent hypermodern functional environments in which processes are internationally standardized and maximally efficient, with a strong emphasis on entertainment and consumption.

Guidance systems navigate people through airports. The graphic language creates an image in the viewer’s head carrying the respective identity in its own compact form through color, fonts, and pictograms. The authors, both specialists in the field, decipher this identity and trace its emergence and evolution over the decades. From the perspective of information design, they examine and analyze the wayfinding systems of approximately 70 airports by aligning their identities and functions.

Airport Wayfinding — Wayfinding Systems of 70 Airports

Publisher: niggli
Editing and Design: Heike Nehl, Sibylle Schlaich
Release: April 2021
Volume: 272 pages
Format: 23 × 28.5 cm
Printing: Hardcover
Price: 44.– €
ISBN: 978-3-7212-1014-9
Buy

What Design Can Do: No Waste Challenge

Posted on by alison.pasquariello

The wait is over: The winners of the global competition What Design Can Do (WDCD): No Waste Challenge — 16 Ground-Breaking Ideas for a Circular Future have been determined and were unveiled in a video ceremony attended by nominees and jury members. A total of sixteen winning projects were named across all categories, representing innovative strategies for reducing waste and its enormous impact on climate change. Initiated in partnership with the IKEA Foundation, the competition now enters an exciting new phase as finalists gain access to an award package designed to launch their ideas into action.

“The quality and range of entries we’ve seen in this Challenge is remarkable,” comments Richard van der Laken, co-founder and creative director of What Design Can Do. “In a turbulent year, this shows that the creative community is willing and able to break away from centuries of linear thinking and bad design. And through redefining our relationship with waste, these ideas also help us to recalibrate our relationship with design: looking at ways it can be restorative and regenerative, instead of merely productive or destructive.”

Tasked with selecting the winners was an international jury comprising twelve leading experts in design, entrepreneurship, and climate action. Working remotely over multiple sessions, the panel selected 16 winners from a list of 85 high-potential nominees. In the end, the jury of the No Waste Challenge based their decision on the official Challenge criteria of impact, creativity & design, feasibility, and scalability.

Among the winners are solutions that focus on the production process—aiming to revolutionize the taking and making of all the things we use and eat. Sustrato (Mexico), for example, combines traditional craft, contemporary design, and waste from the pineapple industry to develop a range of sustainable bioplastics. Modern Synthesis (UK) makes use of a similar waste stream—this time from apple farms—to feed microbes that grow fully circular fibers for the fashion industry. Meanwhile, working to clean up the construction sector are Carbon Tile (India) and Packing Up PFAS (Netherlands), two projects which offer innovative building materials that actually remove toxic pollutants and carbon dioxide from the environment.

Moving away from the factory floor, other winners are unified by their desire to uproot entire value systems. These projects are looking to prevent waste by addressing the underlying problem of consumerism. Reparar.org (Argentina) for example, is a service which connects individuals to local cobblers and repair shops, working to promote a culture of care and the right-to-repair. Similarly, Project R (Japan), is a community centre that empowers citizens to learn about circular techniques and lifestyles. Another disruption to throwaway culture is Nyungu Afrika (Kenya), a social enterprise hoping to make low-cost and biodegradable menstrual products the norm across Africa.

Together, these ideas suggest inventive ways for us to reconcile what we want with what the planet needs. Liz McKeon, Head of Climate Action portfolio at the IKEA Foundation, says: “A pillar of the IKEA Foundation’s mission is to reduce greenhouse gas emissions. One way is to find solutions for waste by tapping the creative power of design. As part of the jury, I was thoroughly impressed by the many great young entrepreneurs and creatives from around the world who submitted designs to tackle the root causes responsible for waste, and their determination to find solutions. I can assure you that even those who were not selected as winners will contribute just as much to creating a liveable planet for the many.”

INNOVATION WITH LONG-TERM VISION
Work now begins on strengthening each winning idea, and deepening their potential impact. Teams will receive € 10,000 in funding, and access to a development program co-created with Impact Hub Amsterdam. This program begins with a week-long bootcamp, and is tailor-made for the special blend of change-makers present among participants. Winners can expect mentorship on a range of skills they need to make their projects a success—from developing a viable business model, to impact-assessment, and networking. Combined with valuable exposure and publicity, the program is set to provide unique support for the thinkers, doers, and makers of the new economy.

ABOUT THE NO WASTE CHALLENGE
The No Waste Challenge is What Design Can Do’s third Climate Action Challenge in partnership with the IKEA Foundation. Launched in January 2021, the design competition called for bold solutions to reduce waste and rethink our entire production and consumption cycle. It was open to creative entrepreneurs everywhere and offered three design briefs tackling different aspects of the ‘take-make-waste’ economy. Additional tracks were also provided for participants in our partner cities: Amsterdam, Delhi, Mexico City, Nairobi, São Paulo, Rio de Janeiro, and Tokyo. The open call ended in April with an exceptional 1,409 submissions from innovators in more than 100 countries.

What Design Can Do: No Waste Challenge

Find further information about What Design Can do here. All projects can now be viewed on their platform.

Lexik

Posted on by Nina Steimel

Today, we would like to share the typeface Lexik by Binnenland Typefaces and Thomas Hirter with you.

Have you ever wondered what the vocabulary of a typeface is? From a designer’s point of view, it is the shapes which determine the character of a font. Typefaces don’t communicate with words, but instead are able to convey a message with their visual appearance. Binnenland’s new release Lexik consists of organic curves along with sharp straight lines. This juxtaposition of round and pointy shapes is what makes up the formal language of their new serif typeface.

Lexik comes from the Greek léxis (“speech,” “word”) and means something like the vocabulary of a language. In terms of typography, this raises the question of the vocabulary, the formal language of a typeface. In the case of Lexik, it is the juxtaposition and interplay of organic round forms and sharply cut terminal forms and serifs.

Lexik was designed by Thomas Hirter for the layout of the men’s newspaper (now ERNST Magazine). Under a long process of refinement and in close cooperation with Binnenland it was optimized for fluid reading and expanded to a family of five weights and their corresponding Italics.

Lexik

Foundry: Binnenland Typefaces
Designer: Thomas Hirter
Release: 2021
Styles: Light, Light-Italic, Regular, Italic, Medium, Medium-Italic, Bold, Bold-Italic, Black, Black-Italic
Price: € 60.– per Style, € 435.– for the Complete family
Buy

INSTANT NUDES

Posted on by Clara Weinreich

We are very excited about today’s release of INSTANT NUDES! For years, the collection of intimate instant photos of the creators of PHOTODARIUM Private, a tear-off calendar that brings together the most fascinating images of international photographers from around the world, has been growing. Now the archives are opening up and present a curated selection in this high-quality photo book.

In the photo book INSTANT NUDES the work of eleven photographers who use instant images to capture erotic moments. Some of the photographs are revealing, some more discreet. What they all have in common is their reverence for a beautiful body. Because of its authenticity, the medium of the instant photo is the antithesis of digital photography. Instant photos enhance the erotic-voyeuristic moment through their intimacy, uniqueness and materiality, often not perfect and therefore all the more authentic, provocative and yet differentiated.

In their everyday working lives, models are projection screens for social ideas of beauty. They are staged by the photographers and a whole staff of stylists and hair & make-up artists. It is different with the photography of nudes at home, in the intimacy of their private surroundings. 

The calendar PHOTODARIUM Private has been published since 2016. The tear-off calendar shows uncensored instant pictures with an artistic approach to nudity. Day after day a new erotic, naked, or cheeky instant image is revealed. A modern and young look at eroticism beyond pornographic clichés—by photographers and individuals from all over the world. Emancipated and honest. 

This project was brought to life through a successful Kickstarter campaign. We would like to express our gratitude to all supporters!

INSTANT NUDES

Publisher: Slanted Publishers
Design: Clara Hoppe
Curators: Boris Kahl, Herr Merzi
Photographers: Alan Marcheselli, Christoph David, Frank de Luyck, Herr Merzi, Jens Voshage, Luc Masson Todeschini, Philippe Galanopoulos, RRRDiaz, Solimano Pezzella, Stefano Questorio, Timo Schäfers
Text: Dr. Denise Susnja, Clara Hoppe
Release: July 2021
Volume: 192 pages
Format: 16 × 21 cm
Language: English
Printing: Full color
Workmanship: Hardcover with linen, hot-foil embossing, thread-stitching
ISBN: 978-3-948440-23-7
Price: € 29.–
BUY

Paintings League

Posted on by Nina Steimel

Today, we would like to present you the photo book Paintings League by Max Siedentopf and invite you to visit the accompanying exhibition in the Galerie Kernweine in Stuttgart, Germany, which takes place from July 3rd to September 3rd, 2021.

Paintings League seeks to answer the age-old question “How can you make art for people who don’t normally like art?” After much research, artist Max Siedentopf concluded that people who avoid the museums and galleries are often the same people who would rather spend their time watching soccer. If there are certainly more soccer fans than art fans, why not cater to this newfound audience? This is where Siedentopf tried to find the solution by creating a series of paintings that would please both the most discerning art lover and the most serious soccer fanatic. Paintings League pays homage to iconic soccer teams such as FC Bayern Munich, Inter Milan, Chelsea FC, Manchester United and FC Barcelona by painting the teams’ iconic jerseys in acrylic on canvas. Art lovers will appreciate the minimalist, abstract approach and brushstrokes of the paintings, while soccer fans can enjoy the colors of their favorite team. Just like soccer, the paintings function like a league. Each painting represents a different group of people through their interests, passions, and backgrounds, ultimately trying to be the champion of the Paintings League.

Max Siedentopf is an artist, photographer, video director, and freelance art director living in London and Berlin. He is the founder of the art magazine Ordinary.

Paintings League

Book:
Publisher: Hatje Cantz
Concept and Design: Max Siedentopf
Release: 2021
Language: Englisch
Volume: 96 Seiten
Format: 16 × 23 cm
Production: Integral binding (flexcover)
ISBN: 978-3-7757-5106-3
Price: 20.– Euro
Buy

When?
July 3rd to September 3rd, 2021

Where?
Galerie Kernweine
Cottastrasse 4–6
70178 Stuttgart
Germany

Review 26. Leipziger Typotage

Posted on by Nina Steimel

This year, we had the chance to participate online in the 26. Leipziger Typotage—Turn by Turn. Typography and Navigation, which took place in the Museum of the Printing Art in Leipzig from June 4th to 6th, 2021. The event presented the speakers’ findings and research to an interested group live and online. Particularly exciting was the variety of topics discussed and the many practical tips from the working lives of designers and typographers, presented in a calm and pleasant environment. Thank you for the opportunity to participate in the event online as well. Perhaps this format of events is something that can continue to give people from all over the world access to new content in the future. Hope to see you again next year!

On Saturday, June 5th, 2021, the 26. Leipziger Typotage focused on typography as a medium for orientation in digital and analog contexts. Not only questions about individual type design have been addressed, but also the role of typography as an information carrier for (guided) communication processes. The lectures have been addressing user interface design, gaming, cartography, generative design, and visual communication, which reflects a broad spectrum for typography as a navigator.

The following voices have spoken: Claudia Friedrich (Hamburg), Julian Jarosch (Mainz), Nadya Kuzmina (Berlin), Jana Moser (Leipzig), Jay Rutherford (Weimar), Benjamin Schöndelen (Berlin), and Nico Wüst (Stuttgart/Berlin). The conference was moderated by Peter Mohr (Agency Zentrumwest, Leipzig).

The Leipziger Typotage is an event organized by the Gesellschaft zur Förderung der Druckkunst Leipzig e.V. Since 1995, the event has been held annually at the Museum für Druckkunst Leipzig. Initially conceived as a two-day event, since 2008 the Typotage program has essentially been concentrated on one Saturday in the spring. In addition to type and typography, the conference focuses on graphic design, art, production techniques in the print sector and related topics. Renowned speakers look at various issues from ever new angles, in both analog and digital contexts, looking back and forward. The Typotage sees itself as a platform for all interested parties and promotes professional exchange as well as dialog with other disciplines.

Photos by Klaus-D. Sonntag and excerpts from the opening conference.

schaubau 2021

Posted on by BueroHallo

schaubau 2021 is an international summer school which takes place in the heart of Dessau—the city of the Bauhaus. A design camp, which is targeted at all creative students, pupils, craftsmen and -women, and creators of value of all designing disciplines like design, architecture, fashion, and art. This year, the schaubau Summer School of Design is dedicated to the future. And in this context, completely in line with this year’s motto weigh, choose, and dare. “Change means opportunity. It’s all in there, you just have to decide what to take out of it. The future belongs to those who find solutions where others only formulate problems.”

For one week, participants weigh, re-select, and venture forth. They explore and design graphic and typographic commentary to creatively formulate future perspectives and political possibility spaces. Using the environmentally friendly instant screen-printing process MiScreen, the designed results are put on paper, walls, and truck tarps and become visible in the urban space of Dessau. In addition to designing and creating, a culturally program ensures a varied, sunny workshop week. So don’t forget your swimming gear.

schaubau 2021

What?
A sunny screen printing workshop week in Dessau, organized by BüroHallo and Drucken3000

When?
August 15th to 21st, 2021

Where?
VorOrt e.V.

All information about the schaubau Summer School of Design Dessau can be found here