My work stands between surprise and disappointment. I use the printing and painting tradition to set it against itself with its own means. I like the idea to put together elements from different physical dimensions, ages, meanings, flatten them on the same level with my scanner, and changing them by entering this continuous loop that doesn’t end with print, either with the paint. Space City has also been printed in large format 120×170 on tarp and exhibit in a gallery space, I like the idea to see this image in two different contexts and printed in different ways, again, between surprise and disappointment, due especially to the quality of the print, should it have stayed on my computer?
2021
Project based on the printing of graphic clichés found in an old printing press of former companies that have already disappeared in Malllorca. Printed using the letterpress technique, we used an old wooden typeface for 2021. This work aims to pay tribute to the art of printing and bring back to life old brands and illustrations that were once part of posters and advertisements
Playlists cover
In this project, I was asked to create playlists cover and to do so I had carte blanche. I wanted it to be colourful because music can make everyone happy, but also beautiful because music is an Art and the Art is full of colours. There are numerous genres of music: alternative, pop, classic, folk,… and each genre can be divided into subcategories and so on, music is also totally different according to a country and to its culture and origins. A Tibetan monk is probably not going to listen the same music as a grocer in Sao Paulo but music brings together. Music is personal therefore I wanted to have a different cover for each playlist and some abstract for it to be a personal experience.
Representation of a sunset
Taken from the project “cornucopia”.
Cornucopia is dealing with abundance in times of isolation and restriction. The body of work is addressing photographic stereotypes as e.g. beauty, kitsch through recreated topics and setups like sunsets, selfportraits, flower still lifes etc.The aim is to scrutinise traditional procedures in photography and to bend the established aesthetics.
23rd vfg Young Photographer Award
More Drinks
A gift that keeps on giving. Designed by Martin as a gift for Thomas house bar (the client: Julia, Thomas’ wife). Then, a limited edition was gifted to the visitors at the first Studio Mut birthday. Never stops making people happy. Available for the first time, here. The poster is printed in the original format 70 x 100 cm (27.5 x 39.4 in) and in the smaller format 50 x 70 cm (19.6 x 27.5 in) using on-demand digital inkjet technology for vibrant colours on matte paper. We tested the quality and are very happy with the colour reproduction.
Ultra Ultra – Vladimir 518
Made in Collaboration with 20YY Designers. Visuals for Vladimir 518 / BiggBoss label’s album Ultra Ultra. Artdirection and Design, CGI, Photos by Vendula Knopová.
413
Playing with the colors! Don’t have to many ideas, probably I’ll experiment with the colors more often.
Suspension
“SUSPENSION” is part of Printmaking Challenge V5. Museum-quality Giclée print, Enhanced Matte Art Paper, 200 gsm.
Concertina Sketchbook Part 6
We Will Get Through This Together
Poster designed in response to “Stay Sane Stay Safe” by signed Studio Lennarts & De Bruijn. 3-colour screen print produced by Kapitaal print studio, distributed to hospitals around The Netherlands. The poster has also been included in an exhibition at the V&A Museum Dundee, as part of their 2020/21 “Now Accepting Contactless” show.
There Is No Me
Pompon jacket. Produced over a year, during the first and second imposed covid confinement. Photography by Patrick Gries.
Pata Slab
Pata Slab was created as a letter-based balm to a very difficult past year, of which it’s safe to say that the mounting parfait of unprecedented events left no one unscathed. Pata Slab is an optimistic typeface that, lacking descenders, is all upside.
Pata is a font that’s assertive, funky, and more than a little sexy. All characters grow upward from the baseline. Named after a colloquialism for “feet,” it features ultra-heavy slabs and contrasting hairline centers that rise from its chunky footprint. The resulting, retro-inspired vertiginous curves add instant attitude to any design.
All uppercase characters were built to fit precisely inside a square, so they’re all the same width and height. The lowercase alphabet, eñes, cedillas, punctuation, numbers, and symbols all follow the same height restrictions. Despite all that confinement, Pata sports standard-height terminals that connect seamlessly so there’s nearly endless options for modular ligatures. The upshot of all this meticulous awesomeness is that laying out, customizing, and stacking text super simple.
Pata Slab was created by In-House International, designed by Alexander Wright in collaboration with Rodrigo Fuenzalida. It is available via YouWorkForThem and MyFonts in Opentype format (.otf) compatible with Mac and PC.
This font is our way of ending the year on a hopeful note.
Pata Slab
Foundry: In-House International
Designer: Alexander Wright, In-House International, and Rodrigo Fuenzalida
Release: December 2020
Weights: Regular
File Formats: .otf
Price starts at: $ 10.–
Buy: available via YouWorkForThem and MyFonts
Colours—Call for Submissions
Now, the Colours—Call for Submissions for the upcoming issue of Slanted Magazine has officially started!
Joan Miro said: “I try to apply colours like words that shape poems, like notes that shape music.” We are inviting you to submit your work, showing COLOURS. We want to celebrate happiness, joy of life, power and / or symbolism. And meaning of colour. We look for contrast, colourful typography, gradients, fun, chaos, shock. We celebrate art, illustration, fashion, photography—but most of all we look for strong, meaningful graphic design though in a colourful way.
For this issue we will print beyond cmyk, means not all prints will be in cmyk, some will be printed in rgb, others in fluorescent colors or with one color on colored paper.
Graphic designers, illustrators, artists—you’re very welcome to submit your artwork with a statement / quote that explains your work. Journalists, authors, or poets, we would be very happy if you’d contact us by email and talk with us about your text submission. Text contributions are highly appreciated!
Submissions can be uploaded until April 30th, 2021 (the issue will be published in October 2021). We will curate and review all contributions and get in touch with you afterwards, if your work is selected. Once the issue has been published, you can order a free copy.
Thank you so much for being part of this!
LL Heymland
LL Heymland expands on an archive discovery attributed to Solomon Telingater (1903–1969), a legendary Soviet graphic artist who, with Aleksandr Rodchenko, Sergey Eisenstein, El Lissitzky, and others, initiated the constructivist October Group. The undated, unsigned, single-page calligraphic study found in his estate refers to Rudolf Koch’s exceptional Koch Antiqua (ca. 1922) and most likely originated in the early 1960s. In 2018, it caught the attention of Yevgeniy Anfalov, who eventually adapted the minimal character set into a full titling font for both the Latin and Cyrillic scripts.
Koch Antiqua was a typical, if rather quirky decorative typeface family of the early 1920s, heavily promoted by the Klingspor foundry even throughout the 1930s. In the USSR, the upper case Latin alphabet of the titling weight made a surprise appearance in a 1960 calligraphy book edited by Estonian designer Villu Toots. The layout of the study found in Telingater’s estate is identical with the visual in the book, but the lettershapes appear somewhat simplified, geometrically more pronounced, and less mannered. While some specialists question Telingater’s authorship, the piece aligns with other typographic work from the last phase of his career: After the dire years of Stalinism, the comparably liberal climate of the Khrushchev Thaw allowed Telingater to release acclaimed printing types such as Titulnaya (1955–62) and Akzidentnaya (1959), win a Silver Medal at the International Book Fair in Leipzig (1959), and design the first issue of Sovetish Heymland (סאָוועטיש היימלאַנד), a Yiddish-language literary magazine published by poet Aron Vergelis in Moscow (1961).
Although clearly fascinated by the personal hand-lettering style of the source, Yevgeniy Anfalov chose a distinctly digital approach to achieve a formal reappraisal. He stripped the drawings of any details that he perceived as superfluous, and he systematically unified the shapes, before re-considering each letter under optical criteria to avoid an all too mechanical feel. He designed a large number of entirely new glyphs in order to create a typeface suited for contemporary design projects. For LL Heymland’s first public appearance in TATE ETC. magazine (Summer 2020, designed by Studio Ard), Yevgeniy also drew a whole set of custom ligatures which have since been added to the font.
From the start, LL Heymland is published containing full character sets for both Latin and Cyrillic, a first for Lineto. Some of these shapes are rooted in a Cyrillic adaptation of Koch Antiqua found in a Russian manual book on type design from 1970, as well as in a few other sources from that time. Both the Latin and Cyrillic versions result from a process similar to Chinese whispers, connecting the German 1920s via the Soviet 1960s and 70s with the present day, making LL Heymland a playful exercise in post-modernism. It provides a contemporary option for anyone interested in the multi-faceted legacy of Roman capitals.
About the Designer
Born in Kyiv (Ukraine) in 1986, Yevgeniy Anfalov moved to Germany in 2003. He studied Visual Communication at Hannover University of Applied Sciences and Arts, and he launched his own design practice in 2010, two years before graduation. LL Heymland is Yevgeniy’s first typeface on Lineto. He is currently completing a redraw of Stephan Müller’s LL Chernobyl (1998), to which he added a Cyrillic counterpart.
LL Heymland
Type Foundry: Lineto
Designer: Yevgeniy Anfalov
Font Engineering and Mastering: Alphabet, Berlin
Release: September 2020
Weight: Character sets for Latin and Cyrillic in Regular
Test Version: Yes, login for Lineto Trialfonts
Price: CHF 120.– (≈ € 110.–)
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Marginalia
The publication Marginalia draws our attention to the overlooked elements that coexist in carefully designed books. Removing the text and images from a selection of art books designed by Anja Lutz in close collaboration with the individual artists reveals the nondescript details: the margins, the edges, the backgrounds, the spaces between the lines …
Each book is unique in its choice of format, material, layout, composition, and rhythm. The selected pages underwent a process of transformation in which Lutz dissected them with surgical precision, layer by layer, removing their vital parts, and revealing their skeletons—the actual support of the content. The results are filigree grids, fragments of images, and traces of the layout that form intricately layered compositions of voids, exposing the hidden relationships between the pages.
Marginalia is an investigation into the anatomy of books—the physical object, its materiality, and inner structure. It is an attempt at mediating the emptiness. The quiet and yet eloquent remaining spaces seem to have their own language—that of an abstract visual poetry of books.
Marginalia is a personal interpretation of the books designed by Anja Lutz with and for the following artists: Kader Attia, Sonia Boyce, Angela Bulloch, Jeanne van Heeswijk, Christine Hill, Hannah Höch, Hella Jongerius, Loriot, J. Mayer H., Laercio Redondo, Julian Rosefeldt, Lawrence Weiner amongst many more.
Marginalia
Author: Anja Lutz
Designer: Anja Lutz // Art Books
Format: 24.5 × 33 cm
Volume: 112 pages
ISBN: 978-3-941644-00-7
Price: € 28.–
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For more information about “Marginalia” please visit the facebook page.
Walkshow
This year’s Werkschau of graduates in Communication Design at RheinMain University of Applied Sciences, Wiesbaden, Germany, is entitled Walkshow and will still take place until the 4th of March.
Since it was not possible to hold their exhibition within a closed venue, due to the corona crisis, the current Werkschau is being presented in a completely new format. Several institutions and businesses have provided the graduates with their shop windows for presentation. The 26 projects of the graduates will be showcased in lit windows. This new concept has turned the exhibition into a city tour and with its many stations invites the audience to take a stroll through the city itself. The exhibition is thus aptly named Walkshow.
The different projects are visible in public spaces throughout the day. The full effect of the exhibition however is most prominent in the evenings when the monitors and orange lights illuminate the Walkshow windows. The exhibition comprises a big range of concepts: from an elaborate design book on exceptional female athletes, a projection mapping project on a model of the facade of the State Theater, a self-help platform for people with rare medical conditions, up to a filmic installation on the topic of intuition or to the creation of an upcycling start-up for furniture.
Albeit group shows are not possible under the current circumstances, the Walkshow offers the graduates a platform to present their diverse and timely concepts and designs. And a wider audience is being offered the chance to get to inform themselves on the achievements of the young creative scene of Wiesbaden.
An extraordinary answer to extraordinary circumstances.
Walkshow
What?
26 projects, 14 locations, 29 graduates
When?
From February 18th to March 4th, 2021
Where?
At 14 locations in the city of Wiesbaden
Find a map of the locations here
ZUM LICHT
In 2018, Prof. Felix Müller and the Berlin-based light artist Nils-R. Schultze won the Light-Art-Competition BTHVN 2020 in honor of the 250th birthday of Ludwig van Beethoven, with their light installation series ZUM LICHT.
The task was, to tie in with the musical work of Beethoven and to establish a connection to his birthplace Bonn. A transformation, though not to the extent that the city has changed since Beethoven’s work, is the goal. The urban spaces are to be experienced in a new way, and new and different (light) images are to be created in the minds of the visitors, which will remain in their memories. The short days and long nights in Beethoven’s month of birth—December—form the stage for our nightly illumination of the city. The pictures from Bonn go out into the world and at the same time should be shown, that Beethoven’s musical work is present in the world and still gives impulses. The illuminations follow the basic idea of the lighting project, to unite a wide range of different appearing installations into one overall picture in the urban space of Bonn.
The ten installations are distributed like a gallery course in the city center and are never more than four minutes’ walk apart from each other. So the audience walks through the city, as the young Beethoven could have done 230 years ago.
The artists offer installations with a long-distance effect, installations that relate to specific urban spaces, installations that can be experienced by the senses, experimental objects, and independent light sculptures.
Based on the artists more than eight years of experience with light objects in the urban space of Berlin in the winter months, they made the decision, to propose a mix of conventional light or conventional light with simple controls and only a few projections. The light objects should be placed in the urban space, that they are well spread in the city center and generate a wide variety of images. The light installations should be within walking distance. The audience is invited to walk from installation to installation. In December 2019, the Bonn city center was filled with ten large light installations. A catalog was be published in 2020.
ZUM LICHT
Artists: Nils-R. Schultze & Felix Müller
Prize Offerer: Beethoven Jubiläums GmbH
Jury: Christian Lorenz (Artist Director Beethoven Jubiläums GmbH), Rein Wolfs (Intendant Bundeskunsthalle Bonn), Stephan Berg (Intendant Kunstmuseum Bonn), Christina Vegh (Kestnergesellschaft Hannover), John Jaspers (Director Lichtkunstzentrum Unna), Bastiaan Schoof (Artistic and technical producer Amsterdam Light Festival)
Awards: “Gold Winner” Muse Design Award 2020 NewYork, Lighting Design Award 2020 London (nomination), German Design Award, “Special Mention” for Light Installations for the Beethoven-Year 2020 in the category Excellent Architecture—Lighting Design
Zweitakt
The publication Zweitakt is now available at Slanted Shop.
Thirty years after the German reunification, the name Simson is immediately associated with the legendary two-wheelers which today have acquired an iconic status even in the West of Germany. The cult surrounding the many different versions of the Simson moped, produced at the Suhl factory, appears to grow steadily. This product of the GDR attracts increasing fascination the more time goes by since the eclipse of the regime.
Simson clubs continue to mushroom everywhere in the East and West of the country. Adjusting screws, painting, polishing, riding, partying, and enjoying the collective spirit—these are what the Simson community are all about. The Simson moped unites people of all social classes as well as the young and old alike.
The hype around the moped is not based on nostalgia for everything retro from the former East–a phenomenon called “Ostalgia.” Shortly after the reunification, the vehicle already enjoyed a great degree of popularity among people in western Germany almost unrivalled by any other eastern product. With its distinctive look, the moped rapidly became a design icon promising a lifestyle of youthful liberty and metropolitan flair in countless cinema and TV films.
Maren Katerbau’s book is a photographic tribute to the moped, affectionally known as the Simme. She has visited Simson enthusiasts everywhere from Munich to Stralsund and has made portraits of them while working on their mopeds, riding them, and exchanging know-how. The result is a truly exceptional volume, a loving homage not only to the Simme, but also to its faithful custodians.
Zweitakt
Publisher: Verlag Kettler
Editor: Maren Katerbau
Photographer: Maren Katerbau
Volume: 204 pages
Format: 17 × 22.5 cm
Language: German
Bookbinding: Hardcover
ISBN 978-3-86206-853-1
Price: € 38.–
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CoFo Cinema 1909
The typeface CoFo Cinema 1909, an old-fashioned elegance and reinterpreted classic, was specially designed for the identity of the Khudozhestvenny Cinema, one of Moscow’s historical landmark attractions.
The restoration of the Khudozhestvenny Cinema—one of the main symbols of the capital of Russia with more than a century of history—has been completed in Moscow. Using the original drawings of Fyodor Schechtel and photographs that have been preserved in the archives, the restorers managed to recreate the look as close as possible to the historical one. Along with that a new typeface was developed for the logo and the identity of the venue by Contrast Foundry. The studio was commissioned for the project by Anna Kulachek—art director of the Strelka Institute, involved in the reconstruction of the Khudozhestvenny Cinema.
The resulting CoFo Cinema 1909 echoes aesthetics of the elusive Soviet art deco and is inspired by the sign at the Komsomolskaya station of the Sokolnicheskaya line of Moscow subway. The typeface combines reinterpreted classicity and old-fashioned elegance.
Liza Rasskazova, designer behind CoFo Cinema 1909: “I like building cultural bridges and rethinking the historical heritage in my work. And the development of the CoFo Cinema 1909 typeface is exactly the case when it turned out to be absolutely appropriate. This typeface originated as a personal project, a study of art deco—a style that never managed to become big in Soviet art. But in the end, it found its place in the newly renovated Khudozhestvenny Cinema, which was restored to its early-century appearance.”
CoFo Cinema 1909
Client: Khudozhestvenny Cinema
Design: Liza Rasskazova, Contrast Foundry
Identity: Anna Kulachëk, Strelka Institute
Release: 2020
Cartographies
The publication Cartographies originated from a series of photos with the same name by Italian photographer Louis De Belle that portrays details of the clothes of passers-by glimpsed along the streets of Manhattan. Folds, stains, or little traces of clothing thus constitute impressions of everyday life, potential cartographies of everyoneʼs journeys.
The book, devised in a newspaper format, is made up of twenty unstitched sheets held together with an elastic band, alternating original photographs with large, full-page details. The central spread features an index of the images organized by time of day. The subtitle New York, 10 a.m. to 7 p.m. in fact references the time span in which the images were shot, underlining the repetitiveness of everyday actions.
The photographic sequence is accompanied by a text written by Francesco Pacifico within a New York setting, laid out in text fragments alternating with the images.
Cartographies
Designer: Claire Huss
Authors: Louis De Belle, Francesco Pacifico
Publisher: Humboldt Books
Release: January 2021
Volume: 40 Pages
Format: 32 × 23 cm
Language: English
Bookbinding: Rubber band
ISBN: 9788899385835
Price: € 25.–
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Cartographies was one of the eight successfully financed projects from the Slanted × Kickstarter Mentoring & Publishing Program.
typo/graphic posters
typo/graphic posters focuses exclusively on typographical and graphical posters, those that challenge type, colors, and shapes to express a message. Each poster is reviewed to meet a standard in visual qualities and functional efforts.
Created in 2008, typo/graphic posters is developed and curated by André Felipe. Currently the site features 6,500+ posters in its archive, from 42 different countries, and created by 287 authors, that can be explored through an enhanced search with colors, tags, and keywords.
The goal of the new website is to offer a better usability and search capabilities, as well as saving favorite posters in collections, providing a better foundation for research and inspiration. In addition, some more new features will be added in 2021, such as the option to show animated posters.
typo/graphic posters is not a portfolio platform. All the posters go through a selection process to keep the profile of graphic and typographic posters, and also to maintain strong posters in content and form. If you are a poster designer, don’t hesitate and submit something for this great project. You can find all the conditions here.
typo/graphic posters
Design & Web Development: André Felipe
Design & Content: Flávia Menezes
Fonts: FF Meta & FF Meta Serif
Posters: all posters featured here are copyright of each author
Volume: 6,500+ posters, from 42 different countries, and by 287 authors
visit typo/graphic posters
Büro Destruct 4
The new book Büro Destruct 4 not only presents the best of realized projects of the past twelve years, but also intermediate steps, discards, experiments, and inspiration of the Bern-based and internationally renowned design studio Büro Destruct. The Swiss, who see themselves and their studio as a kind of band, again present a skillfully composed album with this new book.
In contrast to the strict and somewhat restrained Swiss Style of the 1960s, Büro Destruct stands for design without the handbrake on. Apparently everything is possible. It can be humorous, loud, colorful, and zeitgeisty. At the same time, minimalism, precision, and craftsmanship are present in all their work.
The layout of the book presents various works in detail—in progress and finalized. It is always left open which of the variants shown was realized. Although the illustrations are only minimally explained, this principle allows for a particularly intensive look over the shoulder and reveals much about the working methods of Büro Destruct.
Their vector-heavy graphics have always conformed to “think global, act local.” Often against the grain of public conception: they were among the few to ignore the temporary, yet intense flirt of Swiss graphic design with fledgling neo-conservatism.
Over the past 27 years, Büro Destruct have successfully avoided being pinned down or getting too comfortable in a defined area. At the same time, of course, it is there: that special Destruct eerie feeling. An independent handwriting, for which many words could be found, but which even after more than two decades is best conveyed by looking at their work …
Büro Destruct 4
Concept & Design: Büro Destruct
Publisher: Slanted Publishers
Preface: Jens Müller
Format: 24 × 28 cm (9.4 × 11 in)
Volume: 256 pages
Language: English, preface also in German and Japanese
Printing: Offset with spot color
Cover: Softcover
Binding: Thread-stitching
Printed in Germany, to be published in June 2021
Hometown Journal
The Hometown Journal is about who we are—as creatives, as humans, as citizens. It’s where we come from and where we want to be going. Hometown investigates the work of passionate creators all over the globe, as a reflection of today’s constantly evolving zeitgeist. By digging deep into the complex dynamics of modern-day systems and their functions, they hope to reach the core of each topic, and collectively discover new possibilities for change.
Rooted in film, Hometown as a Duo has always been about telling stories. In the beginning, two high school friends, Alex and Eric, produced, shot, and directed their own documentaries, as well as music videos. Those films had one thing in common, they centered around the joys, habits, and suffering of human beings. When a global pandemic hit in 2020, making films was off the table for a while. What was left was the desire to tell stories. Annoyed by the fast-paced online platforms around them they wanted to find an outlet that was real. Not a file name, but an actual, crafted piece. Hometown Journal was born.
They approached the magazine as a film project, looking at it from a wide range of perspectives. What can print do? How can we tell the story right? What is fun to look at and what creates excitement for the reader? The team of three started to look for their origin. What is Hometown? What does it mean to their creative collaborators? And what is still wrong in the world we call home? Artists were as carefully gathered as topics and the written word in itself. But also the choice of paper and different ways of printing were considered to tell a single story. Every element within the magazine is meant to tell the story of Hometown, creating a haptic guide throughout the chapters. This episode is not perfect, but it is crafted with love, it is a documentation of the process of creating in itself, and the outlet of three friends, wanting to bring joy into the world.
So what is Hometown? Hometown is for anyone who lives and breathes art, who embraces the medium, whether it be photography, illustration, music, or film. It’s meant to be a source of inspiration and to lift the curtain for those aspiring to know more. It’s for those who like to take a ten minute break from the day, and anybody who gets tired of the digital world from time to time. This one’s for you. Welcome to our Hometown.
If you like this issue, keep your eyes open: The second issue of Hometown will be out soon.
Hometown Journal
Publisher and Founder: Alex Schuchmann and Jan Eric Hühn
Art Director and Designer: Zoé Paula
Proofreading: Elliot Blunck
Print: Druckerei Rüss
Web Development: Monday Morning
Writers: Alex Schuchmann, Jan Eric Hühn, and Kyra Albano
Photographers: Ingmar Björn Nolting, Pat Martin, Maxime Cardol, Alex Schuchmann, and I AM HERE
Release: 10/10/2020
Cover illustration: Maria Jesus Contreras
Format: 21.3 × 28.4 cm
Volume: 156 Pages
Edition: 800 copies (Each Magazine is numbered)
Language: English
Font Used: TTNorms and Marta
Workmanship: offset printed on seven different types of paper, finished with a foil stamp, In the middle of the issue there’s an extravagant pull-out spread, and a transparent orange page introduces to the work of Maxime Cardol
Price: € 30.–
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