TypeTech MeetUp 20/21

Posted on by Lara Zettl

Fonts have more to offer than good looks. Beneath their polished surface is a complex arrangement of data and functions that few people get to see. Guy Mayger, Font-Engineer at Monotype, says “I think if the writing fits in relaxedly and unobtrusively, we have been successful.” TypeTech MeetUp 20/21 has been created to fill a gap: it needed a place where font engineers and designers, web designers and developers, industry experts, and tech and business professionals can exchange ideas on technical topics and develop a better designed future together.

The event—previously conceived as in-person conference in Munich—is shifting online with four short sessions spread over ten months. Organized by Granshan together with a lot of partners and sponsors. Starting on November 20th, 2020, the first session to the “UI/UX and Type” theme will last for about 2.5 hours with a following a unconventional online chat. The second session on February 26th, 2021, will deal with “Multiscript and WebTypography,” while in the third session on May 7th, 2021, there will be speakers of the filed of tools and (collaborative) font design. The fourth session on July 16th, 2021, closes TypeTech MeetUp 20/21 with Type Design and Society.

The planned schedule for the first TypeTech MeetUp has Claudia Friedrich and Frank Rausch as main speakers, who will each present a 30-minute talk, followed by a short presentation of a student project. During the meeting there will be the possibility of personal questions or networking, and even private conversations with the “Socializig-Break” in between the sessions. The second part will be a moderated discussion group with up to four experts plus speakers, while the online audience will have the opportunity to ask questions and contribute to the conversation.

TypeTech MeetUp 20/21

When?
Four sessions:

November 20th, 2020
UI/UX Type and Typography

February 26th, 2021:
Multiscript and WebTypography

May 7th, 2021:
Tools and (collaborative) Font Design

July 16th, 2021:
Type Design and Society

Where?
Online
Registration

Organized by Granshan together with  Google, Glyphs, Kochan & Partner and TypeTogether

Vacanza in casa

Posted on by ZAINA

From Cape Town to Marrakech, Vancouver to Moscow and more, people were required to stay indoors in order to prevent the spread of Covid-19. As many turned their households into impromptu workplaces, we were left wondering: how would you go on vacation within the narrow confines of your home? That question led ZAINA and Vacanza Studio to launch a non-profit, creative initiative named Vacanza in casa, challenging a selected group of photographers who experienced lockdown from all corners of the world to grab their camera and go on holidays … at home. From their own living rooms, windows, and rooftops, they captured images that seem to encapsulate a unique and extraordinary moment in time.

Each photograph is printed on a postcard that describes where and when the picture was taken, along with a caption written by its author. Every photographer received copies of their postcard so they could share them with others as a souvenir of their unusual holidays. A complete set including the fifteen postcards of Vacanza in casa is presented in a bespoke case featuring foil stamped and blind embossed details. The illustration depicts a romantic horizon whilst its bottom counterpart appears in the shape of a virus, acting as a distorted reflection of the sunset and expressing a sense of duality. The choice of contrasting materials and textures finds a balance in the combination of high gloss, varnished papers and uncoated boards with natural, tactile surfaces.

Vacanza in casa

Collaboration: ZAINA and Vacanza Studio
Format: 15 × 19 cm 
Printing: Grafiche Antiga, Maestro
Paper: Iggesund, Cordenons
Typefaces:  Ian Party, Swiss Typefaces
Contact

Feminist Findings Zine

Posted on by Madeleine Morley

Feminism is on everyone’s lips today and we think that this is a normal state of being. We like to forget the historical background on which we build this feminist self-confidence today. The editorial team of the Feminist Findings zine has analyzed an exciting selection of historical publications that allow us to discover the path of this movement and its significance for our times. This is an important approach to prevent the discussion of sometimes tiresome topics such as gender equality from being forgotten again.

“The power of finding each other.” Coming together through the digital ether over lockdown, Feminist Findings is the product of a collective, extensive research of twenty-six womxn and non-binary people on histories of feminist publishing. The result was the Feminist Findings zine and its accompanying exhibition of the same name, which was on show at Berlin’s A—Z Presents gallery until the end of September, showcase nearly forgotten stories of feminist publishing, packed with powerful messages, art, and illustrations.

The Liberation in Print Collective (L.i.P) formed during the recent lock-down period. Across four continents and many time zones, its members came together via their computers to dig through digital archives, searching for the missing histories of feminist journals, magazines, zines, newspapers, and newsletters. Eventually the Collective’s research took the form of a zine and exhibition, shining a long overdue spotlight on the missing histories of the feminist movement’s print publications.

The Feminist Findings zine presents articles and essays on the labor, loves, networks, hierarchies, friendships, fall-outs, struggles, victories, economics, designs, and daily lives of womxn in the past working out what it might mean to organize a feminist praxis. Especially from the late 1960s onwards, publishing became a crucial means for womxn to build community and inspire social change. Feminist Findings chronicles these means and methods, seeking to garner what we can learn today from the movements that came before us.

Feminist Findings also marks the first project of Futuress, an online magazine and community space launching in fall of this year. It’s mentors—Corin Gisel and Nina Paim—are of the design research practice common-interest, which is a non-profit design research practice collaborated with journalist Madeleine Morley. In a remote workshop during lockdown, initiated by le Signe, the National Center for Graphics in Chaumont, Feminist Finding’s authors met remotely every Wednesday during the early months of social distancing. They shared and discussed individual research findings; quickly, the global group of multidisciplinary strangers. This included artists, graphic designers, writers, educators, type designers, publishers, social anthropologists, students, and more—became a tightly-knit research unit. In recent years, through the efforts of many archivist-activists, more and more feminist periodicals are digitized and available online; with libraries and universities shut, the L.i.P. Collective sought to resurface the unknown histories embedded in these online archives, and make them known to a wider readership.

While there aren’t any plans to reprint the first issue of Feminist Findings, which was limited to a run of just 120 copies, or any suggestion that it’ll run for more issues than a one-off, the contents will be shared gradually online on the new Futuress platform.

Feminist Findings Zine

Designers and Authors: The Liberation in Print Collective
Editors and Publisher: Futuress
Release: August 2020
Volume: 32 pages
Language: English
Production/Finishing: Le Signe (Risograph)
Price: Suggested donation of 20.– Euro
Buy: via the Futuress Instagram (while stocks last!)

Overtrump

Posted on by Sven Lindhorst-Emme

Right on time for election day, studio lindhorst-emme published a book, which could be seen like a summary of the concerning past four years in America. To overtrump oneself or others does not necessarily have negative connotations. It also means to get the maximum out of oneself, to constantly better ones standing, and to learn from what has come before.

Overtrump is a collection of quotations, but does not intend to give an opinion, but rather to show a broad sampling of Trump’s verbalizations and thus of his thinking, and ultimately leave it to the reader to create their own picture. The facts (or the quotations) that make up this picture are often contradictory: they impress, shock, surprise, amaze, amuse, provoke anger, sadden, or leave one incredulous and confused.

The book collects 58 quotations with their sources and partly background information on 128 red colored and thread-bound book pages. The design is based on a classic poetry book and is intended to provoke the greatest possible distance between content and appearance. Comparable to what is printed in relation to real reality. The author says about the book that “(t)he publication does not claim to be a literary masterpiece. In my imagination it is a small object that is fun, doesn’t take itself too seriously, is beautiful to look at and can be found at illustrious evenings in shared kitchens or as toilet literature.”

While Donald Trump says: “I’m intelligent. Some people would say I’m very, very, very intelligent.” (Fortune, April 3rd, 2000)
“I will build a great, great wall on our southern border, and I will have Mexico pay for that wall. Mark my words.” (Campaign Rally, June 15th, 2015)
“ […] And I then I see the disinfectant, where it knocks it out in one minute, and is there a way you can do something like that by injection inside, or almost a cleaning.” (Press Conference White House, April 24th, 2020)

Overtrump

Editor: Sven Lindhorst-Emme
Design: studio lindhorst-emme
Publisher: Kerber Verlag
Volume: 128 Pages
Format: 10.8 × 16.5 cm
ISBN: 978-3-7356-0735-5
Workmanship: Paperback
Languages: English
Paper: two-color Pantone Cover and red dyed Paper inside
Price: 12.95 Euro
Buy

Photography: Ina Schoof

newglyph

Posted on by Lara Zettl

Effective communication is one of the most vital life skills we need to succeed. Conveying ideas, thoughts, feelings, facts and information clearly and concisely has always been important—but it has never been as important as it is nowadays. In digitalized times, where we coexist in front of our digital devices, a new type foundry was formed in order to satisfy those needs.

newglyph is a Lausanne based type design studio specializing in the design and development of classic and variable fonts systems technology founded by Ian Party, Dennis Moya Razafimandimby and Daniela Retana. They have recently released their website and online shop, the quintessential classic fonts collection with a contemporary license system. They are developing variable design systems and standard formats to fit our ever-changing global communication needs. This culturally divers team has many years of experience in this uniquely creative and technologically driven design field. In this continuously transforming market they strive to better understand our global visual communication needs, help protect our environment and global community.

They have teamed up with three non-profit organizations, and with your help they are donating 30% of their proceeds, they are committed to protecting our planet and all life on earth. A new kind of company that is challenging themselves to create something that understands the issues and needs of our time. A revolutionary move on their part, they offer the most contemporary license for all of a customer’s visual communication needs. Their standard license packages allows you unlimited desktops, websites, mobile apps, electronic publications, broadcasting, videos, films, merchandising, and free updates. They also offer free trials and student discounts to help the next generation of designers.

The Atacama typeface name is derived from “El desierto de Atacama” located in South America. The typeface’s horizontal crossbars, peeks and humanist curves convey a more organic structure and approach to type design. A typeface of the Garalde classification, this font transports the reader between thick and thin strokes, bracketed serif and beautifully curved droplets accentuate a natural softness and strength that evoke the Atacama landscape, and wilderness. The Antarctica typeface name is derived from the Earths southernmost continent and hemisphere. With a timeless Neo-Grotesques contemporary approach this typeface will stand the test of time, much like the majestic Arctic. Amazonia’s powerful contrast between thick and thin strokes, make it ideal for print use in body text, such as book printing, magazines and newspapers. With its many variable possibilities, this typeface aspires to be the Didot archetype font in your personal font catalogue. The name Alaska derives from the Aleut word Alaxsxaq, also spelled Alyeska, meaning mainland. With minimal contrast and even widths, this font is perfect for logo design and branding projects. This geometric archetype font and its endless variable possibilities can be used all throughout one single project and would be a great addition to your personal font catalog.

newglyph’s mission is to help protect our planet. Their essential fonts Atacama, Antarctica, Amazonia, Alaska are made for the reason of supporting and spreading change.

newglyph

Founded: 2020
Team: Ian Party, Daniela Retana, Dennis Moya Razafimandimby, and David Massara
Get in contact
Try and buy

SAMT Magazine

Posted on by Samt Magazin

Visibility, appreciation, and networking. SAMT Magazine shows what is developed, designed, conceived, and implemented at the Design Department of HAW Hamburg. It is a stage for graduation- and semester projects in the field of communication design, illustration, fashion, costume, and textile design.

Moreover SAMT Magazine is a student magazine that was initiated and launched in December 2019 for the first time at the HAW Hamburg. Whereas you get insight in present master, bachelor and course projects from various fields of the design department, the magazine also enables insights into work processes, theoretical discussions and design positions. In addition SAMT Magazine includes interviews with former students, showing their potential careers and fields of work in the area of design.

The aim is to make projects in the fields of communication design, illustration, fashion, costume, and textile design of the HAW Hamburg accessible to a wider public. Interested parties outside the university should be reached and informed. Within the university the magazine wants to report about exchange and collaboration of design students. The project was led and founded by three communication design students, Alexandra Vögtle, Julika Hother, and Katharine Watzlawick, with support of three other students from other courses of studies.

SAMT Magazine

Concept and Layout: Alexandra Vögtle, Julika Hother, and Katharine Watzlawick
Release: December 2019
Volume: 208 pages
Production: Stern’sche Druckerei
Language: German
Paper: Munken Polar 100 g/sm, MultiArt gloss 115 g/sm,
Format: 23 × 17 cm
Print Run: 1,000 copies
Contact

Lottery: Extraordinary Artistic Bags from LOQI

Posted on by Lara Zettl

Maybe some of you know them from the museum stores, or others have wondered about their friend’s new trendy accessory. This brand seems to be everywhere in the world, because LOQI has established itself in our lives with high quality and beautifully printed bags. Whether classic, modern or contemporary, LOQI collected an enormous amount of the world’s most beautiful artwork for his prints. By finding new designs they don’t hesitate to climb the Romanian mountains, or to stumble through the streets of Tokyo, or to get lost in London and buzzed in Berlin. They would just do about anything to hunt down a LOQI artist.

After collabs with the renowned Sagmeister & Walsh, Alex Trochut, as well as Jean-Michel Basquiat, we are happy to offer you some of their bags in a lottery! Don’t miss the chance to have your own LOQI bag, because they are not only super strong, durable, water resistant, but also extremely good looking. Belinda Klaes is the founder of Loqi, she answered a few questions about the brand:

Where does the name LOQI come from? What does it mean?
Our brand name combines Latin and Chinese to symbolize our close ties between our global partners the East and West. It is a combination of Loci, which is Latin for location and Qi, which is Chinese for air and life energy.

How would you describe the DNA of your bags?
I love the simplicity of the LOQI products: it’s the core of the business. The cultural world is an endless source of possibilities and collaborations for us as a brand. It sparks our imagination and curiosity. We want to inspire the LOQI community to spread the word for art and foster culture in their lives.

How many different bags does LOQI currently offer?
200 designs.

Do you have a favorite bag yourself and if so, which one and why?
Jean-Michel Basquiat, Skull Bag. Basquiat is a super-hero, super-talent. The paintings are layered and layered with icons, skulls and words, so you always find a new detail on the bag to put a smile on your face.

On your website you write: The cultural world is an endless source of possibilities and collaborations for us as a brand. It sparks our imagination and curiosity. What can we expect from LOQI in the future? What are your plans?
Important for our collaborations is that all future collections will be recycled and we are developing new sustainable materials like Tyvek. LOQI plans to introduce female graphic artist rock stars like Rouhan Wang in Berlin (just released Nike sneakers) and GoalGirls. Also female artists to the museum collection such as Frida Kahlo. Our bestseller collections with Smiley will be expanded including masks, to keep a smile on your face.

Now you also have the chance to call a LOQI bag your own: We raffle nine editions, listed below. To take part in the lottery, write an email to [email protected] with the subject “LOQI,” name your favorite bag and let us know your postal address (for dispatch). The lottery ends November 6th, 2020, 11 a.m. (UTC+1). The winners will be drawn after the deadline and contacted by email. Whoever takes part in the raffle agrees to receive news from Slanted and accepts the privacy policy. Legal recourse is excluded. We wish you good luck!

Brick

Posted on by Fermin

The story of Brick started back in 2015 whilst Fermin Guerrero was studying Typeface Design in Reading. Visiting London, and walking down Brick Lane in London, Guerrero noticed an often overlooked, but incredibly beautiful sign for the now-closed pub, The Jolly Butchers. There was an instant fascination with the forms found within the sign. The style of Brick exquisitely blends Art Deco with a touch of Art Nouveau, resulting in highly unique features and a world of possibilities for a potential revival. With this initial reference point, Guerrero looked to explore the history of the Truman Brewery and more specifically if there was additional information that could be brought out from this lost signage. It wasn’t until several years later that the collective forms and development of the design began to materialize. Brick’s foundations lie in the signage of three prominent pubs in London’s East End, The Jolly Butchers, The Royal Oak in the Columbia Road, and The Prince Albert in the Acton Street. Referencing their Art Deco traits, with a trace of Art Nouveau heritage, Brick is Fermín Guerrero’s re-interpretation and continuation of the vernaculars elegant gestures, brought into the 21st century.

When starting to design the typeface, it became apparent that this wasn’t to be a stringent revival, but instead the process utilized the referenced signs as a catalyst for a new design, whilst enjoying a certain sense of carte blanche to adapt and develop the design in a new direction. Originally released in 2019, Brick has been extended further, with the inclusion of two new weights—an incredibly delicate and nuanced ExtraLight, along with a Light style sitting below the Regular’s denser appearance. Brick type family is now available in five weights ExtraLight, Light, Regular, Medium and Black, across two optical sizes—Text and Display. It is available to license at Colophon Foundry—in both Standard and Professional versions. The latter encapsulates the prominent Truman brewery’s unique personality through an exhaustive series of OpenType features and stylistic alternates available within the Professional variant.

Brick

Designer: Fermin Guerrero
Type Foundry: Colophon
Released: 2019, extended: 2020
Extent: 5 Weights, 10 Styles
Buy

Slanted Magazine #36—COEXIST

Posted on by Lara Zettl

COEXIST—to live or exist together, in peace, at the same time, or in the same place. The first time in our lives the world is changing fundamentally. We need to rethink what all this is about. Higher, faster, and further at the expense of others cannot point the way to the future. We need to question ourselves, how we want to coexist, show consideration, and take a step back.

In summer 2020 Slanted initiated a global call for submissions questioning topics such as climate change, political power, human rights, freedom of speech, wars, and many other global issues.

More than 450 designers, illustrators, photographers, writers and artists from all over the world contributed to this extra thick issue (almost 100 pages extra—352 instead of 256)

We would like to take this opportunity to express our sincere thanks to all participants of the edition who made a significant contribution to the result with their contribution. Many thanks also to all supporters and sponsors, without whom the magazine would not have been possible in these special times. Thank you very much!

Slanted Magazine #36—COEXIST

Publisher: Slanted Publishers
Release: October 2020
Volume: 352 pages
Format: 16 × 24 × 2 cm
Language: English
Printing: Stober
Cardboard Cover: Chromolux Pearl Board 250 g/sm
Paper: OpakoSatin 80 g/sm
Cover Illustration: Benedikt Luft
Introduction texts: Tom Barbereau & Jack Dignam
ISSN: 1867-6510
Price: 18,– €

Single Issue
Subscription
Special Edition

By the way: The Slanted Magazine #36—COEXIST comes along with a limited special edition which contains a high-quality shirt from Reell with a design by the AGI member Andrew Ashton. If you subscribe til November 15th, you’ll receive the Coexist Special Edition Shirt for free!

ATypI 2020 All Over

Posted on by Clara Weinreich

Take the last chance to sign up for the ATypI 2020 All Over, which will start tomorrow with a full day of workshops!

Type Lovers all over the world are invited to join ATypI 2020 All Over virtual conference presented by the Association Typographique Internationale. Whether you are a type enthusiast, designer, student, or aspiring creative, here’s your chance to enhance your knowledge and get inspired. Registration for ATypI All Over is open, with more than 200 exciting speakers showing on the site. Register now!

ATypI 2020 All Over is the first virtual conference presented by the Association Typographique Internationale. Due to the global pandemic we have all been facing, and out of an abundance of caution and concern for the health and safety of our typographic family, the organizers made the decision to postpone the Paris conference until it’s safe for everyone to travel and attend large events. Even though we can’t be together in person this year, they are looking forward bringing their community together in a new and exciting way.

ATypI 2020 will bring together typeface designers, lettering artists, publishers, developers, educators, and other members of the global type, tech, and design communities. ATypI is an international network that spans design professions, company sizes, and geographic areas of activity. The ATypI team is going to take full advantage of the opportunity to offer exceptional programming, networking, and social events, and to hear from top experts and new voices from around the world. They couldn’t be more excited—a virtual conference will allow them to be more inclusive and accessible than ever before. Proposals to present in languages other than English are welcome and encouraged!

ATypI conferences are known for taking place in stimulating environments where participants will meet like-minded professionals and students, make connections across industries, and develop extensive networks of learning, enterprise, and mentorship. This year’s big event is no exception! The organizers are creating a new kind of gathering that bridges cultures, generations, and time zones at the intersection of business and friendship.

It is in this spirit of comprehension, optimism, and inclusion that they invite designers, typographers, type designers, and type enthusiasts worldwide to join them the last week of October for ATypI 2020 All Over.

ATypI 2020 All Over

When?
October 27th–31st, 2020
24 hours for 5 days

14 Workshops on day 1, Tuesday, October 27th
The workshops are available free to conference attendees

Where?
Online

Get your ticket now!

Salz

Posted on by Isabella Schlagintweit

Table salt, cooking salt, or table salt, generally speaking simply “salt,” is the spice used in the kitchen for human nutrition as a seasoning. The fact that salt does not only consists of sodium chloride is proven by the two designers of Hazod Schlagintweit with their new publication. In their book called Salz different graphic designers and artists are dealing with this savory topic. The result is different interpretations, embedded in stories about places, nature, people and the far-reaching topic of culinary art. The graphic designers and artists are showing, that you can deal with an ordinary everyday topic like salt in many different ways, and their works are all featured in the book. Salz is not just a declaration of love for the raw material that gives the food the necessary flavor, but can also be seen as a metaphor for the flavor of life itself.

The two-part publication has two different screen printed covers and its aesthetics are very much influenced by the risography printing technique, which has led to a reduced, bright color scheme. Everything of this book is self-initiated, as the two designers from Vienna are publisher, publishing house, and responsible for creation at the same time. With the book’s production they supported small local businesses. Altogether a book, that definitely has enough salt in the soup. Salz was awarded for the most beautiful books in Austria.

Salz

Designers, Editors, Publishers: Anna Hazod & Isabella Schlagintweit
Release: December 2018
Volume: 100 pages
Format: 27 × 19.4 cm
Language: German
Production and Finishing: Risography book by Soybot Press
Cover: Silk screen print by Printaffaires
Book Binding: Buchmanufaktur Christina Petutschigg
Price: EUR 29.–
Buy

Drifting East

Posted on by Paul Voggenreiter

Five countries. Seven cities. Drifting East—A journeyman’s travelogue is the documentation of a graphic design master student’s trip through Southeast Europe. Inspired by an old ongoing craftsman tradition, the Journeyman Years, Paul Voggenreiter offered his expertise as a graphic designer outside of his usual environment.

In the period from September 16th to December 20th, 2018, Paul associated various collaborations with artists and cultural workers in Croatia, Bosnia and Herzegovina, Albania, Bulgaria and Romania. In keeping with the tradition of the Journeyman Years, he received accommodation and an authentic insight into the working and living conditions of independent art institutions, artists and cultural workers in Southeast Europe. In his first week of traveling he designed a poster and program for a non-partisan, non-profit, non-governmental citizen association, called Autonomous Cultural Center—Attack!, which is active in non-institutional and youth culture in Zagreb and Croatia. During his stay in Sarajevo at his friends and host Airbnb, he created Business cards and a Airbnb account refreshment for his friend’s Deni Guesthouse Sarajevo. His travel ended in Bucharest, Romania, where he made a website for a football and society magazine, called CORNER. The Romanian magazine looks at the game in an interdisciplinary way, with starting a discussion about the context of football, society, and fine arts.

In addition to the graphic works, a broad documentation of the places, people and their work was created. The book documents in chronological order the journey from each country with location descriptions, interviews and field reports. By presenting the local independent arts scene through this personal yet practical perspective, it’s also a one-of-a-kind guide book for anybody taking a cultural interest in the Balkans region.

Furthermore Paul created a blog, which places the focus on the graphical output created during his project Drifting East.

Drifting East

Design, concept, and texts: Paul Voggenreiter
Publisher: Materialverlag der HFBK Hamburg
Release date: May 2020
Volume: 180 pages
Language: English
Format: 16 × 24 cm
Edition: 400
Print: 4C-Offsetprint
Workmanship: Softcover with flaps
ISBN: 978-3-944954-52-3
Price: 12.– Euro
Buy

Support “Woodcut Vibes” on Kickstarter

Posted on by Clara Weinreich

Today starts the Kickstarter-campaign for Woodcut Vibes, a book initiated by illustrator Roman Klonek, which gives an extensive insight into the work process and the backgrounds of his woodcut printings. Take a look at the campaign and find many additional rewards that Roman has created with his woodcuts.

Roman Klonek, born in Kattowitz, Poland, has a spot for old fashioned cartoons and modern block printing styles. In the 90s he studied Graphic Arts in Düsseldorf and discovered a passion for woodcut. For the past 20 years he has created illustrations and prints with a wide range of whimsical creatures, mostly half animal / half human and preferably in awkward situations. His work can be described as a bizarre balancing act between propaganda, folklore, and pop. Roman Klonek lives and works in Düsseldorf. With Woodcut Vibes he would like to give an extensive insight into the work process and the backgrounds of his woodcut printings.

“I think it cannot be overlooked that I’m particularly interested in dealing with strangeness in itself and distorting forms of expression in propaganda, folklore, and pop. A special incentive for me is a wild growing comic and trash culture. It is scattered all over the world—and you can always discover new impulses for the high culture. In addition, I find the woodcut technique particularly interesting, as it is primarily known as a ‘very old’ medium and therefore often creates a surprise effect, especially with contemporary motifs.” —Roman Klonek

To support Woodcut Vibes on Kickstarter, you can preorder your copy of the book here or choose one of the rewards like riso art prints, tote bags, t-shirt, screen-prints, and woodcuts.

Support Woodcut Vibes on Kickstarter

Woodcut Artist: Roman Klonek
Publisher: Slanted Publishers
Graphic Design: Eva Sieben und Robert Bürgel
Format: 160 × 240 mm (6.3 × 9.4 in)
Volume: 164 pages
Language: English
Printing: offset
Cover: softcover with book flaps
Binding: sewn binding

The book will be printed and bound in Germany and be published beginning of 2021! Preorder now!

PUBLIC—Editorial Design from Cairo 

Posted on by Lara Zettl

Publishing can take a myriad of forms and formats, which are united in the act of making things public. Referring to the original sense of the Latin word “publicare” (engl. to make sth. public), the question of publishing is a hybrid of display and creating something physical in order to create an audience. Publishing media, whether digital or printed, assigned or self-initiate, could be ordered by their frequency of appearance—from newsfeed, daily or weekly newspaper, poster, magazine or journal, book or application to exhibition, mural, or inscription. The context in which something is published, for example a medium, culture, audience, or a writing system, has an impact on the way stories are told, information is displayed and finally an audience is listening up. The traditional role of the editorial or publishing designer, focusing on form-giving, layout, typography, or art-direction, has expanded towards many related fields, including researcher, curator, writer, editor, information designer, entrepreneur, publisher, and producer. PUBLIC—Editorial Design from Cairo is a premaster project, supervised by designers and teachers Markus Lange and Phillip Paulsen, which aims to give their students an overview on the world of publishing.

In the Editorial Design premaster course at the German University in Cairo, students researched a topic of their choice, developed an editorial design concept for a publication, and went through all the processes of publishing and achieved a high-quality print object, which could be seen in PUBLIC—Editorial Design from Cairo.

The new Design Study Programs, offered by the Faculty of Applied Arts and Sciences at the German University in Cairo, is a modern array of study programs in Design, consciously rooted in the traditions of both Egypt and Germany. The aim of the program is further to develop personalities of young women and men with the ability to create new products for the Egyptian and international market with a special focus on the needs of new markets in the middle East, Africa, Europe, India, China, which are all in a process of constant change and in search for new ideas.

PUBLIC—Editorial Design from Cairo

Cover and Concept: Markus Lange and Phillip Paulsen
Course: Editorial Design Premaster Course, Graphic Design Department of the German University in Cairo
Semester: Summer 2020

The project includes seven publications designed by:
Reham Mohamed, Sahar Tawfik, Marina Gohar, Rehab Ayman, Habiba Hesham, Nour Megahed, Monica Emad,
Monica Samir, Engi Mohamed, Heba Nounou, Mena Zaki, Marina Gomaa, Sandy Ayman, Hannah Alaa, Mirette Moudy, Sara Hesham



Photographic Studies

Posted on by photographicstudies.net

Archives are storages, which carry the responsibility of universal knowledge, but if you look closer they are so much more. They are the basis of the recapturement and redefinement of communities, which require former knowledge to change. Universities and their communities are constantly changing, as different personalities create, research, and work together. So what could be more interesting than an archive of one of these universities.

The photography degree courses of the Dortmund University of Applied Sciences and Arts provide now their archive in the format of a website, called photographic studies. The repository presents, documents, works and projects by students and graduates of the BA and MA degree programs at the Department of Design. These include works from photographic diploma, master, and bachelor theses, as well as student projects from photography degree seminars or freelance work.

Exposure is of paramount importance for creative work. Therefore, photographic studies has the task of providing young photographic talents with a platform that focuses information not only about their works but also enables a connection with their authors. The site is an intermediary between students, agencies and editorial departments as well as a good point of first contact for prospective students as it gives a comprehensive insight into the photographic spectrum of the BA and MA degree programs at the Department of Design.

“We would like to give the students a permanent space to present their work,” says Prof. Susanne Brügger, initiator of the website and lecturer at Dortmund University of Applied Sciences and Arts. “At the same time, the site also explicitly sees itself as an interface to the market and research on photographic matters and social issues.”

Interested students of the Dortmund University of Applied Sciences and Arts can upload their work on the website at any time.

Photographic Studies

Contact: Fachhochschule Dortmund, Faculty of Design
Direction: Prof. Susanne Bruegger
Realization and programming: Hamon Nasiri Honarvar
Visit

 

You can also contact the team behind photographic studies for advice or more information here or check out their Instagram Account here.

Case and Turbine

Posted on by Floodfonts

Just a few weeks after Fontwerk has launched with ten type families, the foundry is growing fast and surprises again with brand-new content. Another two superfamilies are following: Case by none other than Erik Spiekermann who collaborated with Anja Meiners and Ralph du Carrois to create a modern Neo-Grotesque for the new Twenties and Turbine, a Neo-Grotesque with superelliptical curves designed by Felix Braden.

Case is the essence of several corporate type projects the trio collaborated on in the past. They left out everything that they felt was unnecessary in the world’s most popular typeface genre but they made sure to keep all the best bits. Building on that concentrate, they added new ideas and conceptual solutions for a contemporary static grotesque. The result is the missing element in an otherwise strained and bloated genre: A typeface whose clear basic personality looks familiar and creates trust, but at the same time is novel and individual and is therefore perfect for strong brand building.

Case is currently available in three optical sizes: the core family is suitable for the vast majority of applications, especially larger applications, the Text family for longer reads and the Micro version for small text. A distinguishing criterion of the family members is their respective spacing, the main family’s spacing is narrow, whereas it is wider on the Text and widest on the Micro. For better readability, both Case Text and Case Micro have a higher x-height and slightly more open shapes than its bigger sister. A unique selling point are the Variable Fonts, which are included in the complete package. At no extra cost. So don’t hesitate to try it out as Fontwerk offers Trial Fonts

All of Felix Braden’s typefaces have a name that is related to water. Turbine follows the aquatic theme but draws upon the more technical and mechanical aspects associated with water. In naming this typeface, the designer from Cologne emphasizes its technical prowess and properties. The striking curves, the wide proportions and the minimal contrast result in a rational appearance that is highly recognizable. It makes Turbine the perfect fit for corporate design projects and advertising campaigns, especially for clients working in engineering, technological or pharmaceutical industries.

Turbine is a Neo-Grotesque with superelliptical curves. This fine geometric feature—a mixture of ellipse and rectangle, also known as Lamé curve—has often been applied in architecture, urban planning, product and interior design and its application exudes a friendly, approachable appearance. This type of design became particularly popular in the 60s and 70s, and this look and feel spills over into Turbine, giving it a little bit of a retro feel. The open forms of this Neo-Grotesque achieve a significantly higher legibility and elegance compared to older typefaces of this type. Low contrast and angular curves work perfectly on screen and make Turbine an all-rounder also for digital environments.

Case

Foundry: Fontwerk
Designers: Erik Spiekermann, Anja Meiners, Ralph du Carrois
Release: October 12th, 2020
Format: .otf .woff, .woff2 (static fonts); .ttf, .woff, .woff2 (variable fonts)
Styles: Hairline, Thin, ExtraLight, Light, Regular, Medium, Bold, Heavy + corresponding Italics (Case); Light, Regular, Medium, Bold + corresponding Italics (Case Text, Case Micro)
Price family: starting from € 200.–
Price single style: starting from € 50.–
Try or buy

Turbine

Type Foundry: Fontwerk
Designer: Felix Braden
Mastering, Production: Andreas Frohloff and Christoph Koeberlin
Release: August 2020
Styles: 14 in total, 7 weights plus Italics
File Formats: otf, web (Further formats available on request)
Price family: starting from € 300.–
Price single style: starting from € 50.–
Try or buy

EVERYTHING SO DEMOCRATIC AND COOL

Posted on by Studio Last

Familiar faces, anonymous portraits, abandoned landscapes, animals and urban spaces—EVERYTHING SO DEMOCRATIC AND COOL designed by Matthias Last’s Studio Last sketches an associative collage of our collective present. The images selected for the retrospective of Christian Werner’s photographic work are drawn from various series and contexts: shots from fashion shoots, commissions for magazines and private portraits, as well as personal projects. They reveal the variety of Werner’s work, and the vision of a gaze that is at once intimate and reserved.

“In Christian Werner’s photography, the subject is always simultaneously in both the present moment and the past. They tell us about a turning point in our civilization. Space, time, youth, natural resources; everything seems to abound in these pictures. However Christian Werner’s special visual language already anticipates the end; his photographs are also always looking backwards.”
– Felix Stephan, Süddeutsche Zeitung

“Christian Werner’s pictures always have attitude. A mixture of nonchalance, serendipity and attentiveness.”
– Ijoma Mangold, Die ZEIT

“Behind each of his photographs is a clear, sharp idea. They are among the most exciting that contemporary German photography has to offer. His new book EVERYTHING SO DEMOCRATIC AND COOL shows that Christian Werner has mastered the almost impossible trio of rigour, humor, and poetry.”
– Adriano Sack, Welt am Sonntag

“Christian Werner’s art always strikes an aesthetic nerve. His latest photo book shows a piece of sensitive pop-cultural history.”
– Silke Hohmann, Monopol

“You almost have the impression that you’re holding a personal photo album. One that represents the span of the last decade.”
– Kevin Hanschke, Frankfurter Allgemeine Sonntagszeitung

“The feeling that Christian Werner captures in his photography is something that has not yet been adequately defined—a feeling without a name, whose magical attraction draws the viewer all the more into its spell.”
– Hanno Hauenstein, Berliner Zeitung

Christian Werner lives and works in Berlin. In addition to his work for many national and international magazines, he focuses on long-term projects from which several books have already emerged. Christian Werner previously dealt, among other things, with the disappearance of the former Federal Republic of Germany (Stillleben BRD, Kerber Verlag 2016) and the urban flora (Die Blüten einer Stadt, Suhrkamp 2018). In 2019 his book Los Angeles was published by Korbinian Verlag.

EVERYTHING SO DEMOCRATIC AND COOL

Publisher: Blake & Vargas
Design: Studio Last
Print: Full color offset print
Workmanship: soft cover
Volume: 200 pages
Format: 32 × 24 cm
Buy

The posters were explicitly made for Christian Werner’s photo exhibition in Berlin in September 2020.

Slanted #36—Coexist Special Edition

Posted on by Lara Zettl

On occasion of the release of Slanted Magazine #36—COEXIST, a limited special edition has been published which is exclusively available in the Slanted Shop. The edition contains a high-quality shirt from Reell with a design by the AGI member Andrew Ashton. Show your love!

Coexist–One and all, me and we
Born in 1969, Andrew Ashton grew up in between the leafy suburbs of Sydney, and rural life in the Blue Mountains, Australia. Ashton works as a graphic designer, image-maker, strategic communicator, educator, writer, gardener and parent. His creative practice is paradoxical; a meeting of artful and strategy, research and inquiry, people, and place, clients renowned and modest.

In September 2020 Ashton explained “All living things, including people are facing incredible changes and adaptations (as they have for eons), and yet have to get on with the business of living. I wanted to make a motif that spirited Coexist, that could be understood with little explanation, as a semiotic. I questioned our senses and Coexist in the context of a black and white poster image. Can Coexist be an emotion? Can Coexist be an action? How do you see Coexist? Can Coexist be simply defined? The dictionary defines Coexist–as an attitude of existing together or at the same time. In my poetic brain I responded with a line of copy: Coexist–One and all, me and we. Everything fell into place from that notion.”

Slanted × Reell—A perfect fit
Founded in 1997 with a simple idea, functional, well-designed pants, Reell is a pan-European brand on a mission to innovate. Well beyond simply being a pants specialist, their backbone remains quality products at honest prices. A passion for aesthetic and clean design makes what they are. The Reell family has grown with athletes, artists, and free spirits who manage to pursue their passion and remain true to themselves. These individuals represent who they are.

The shirt is available in a unisex size of S–XL. To find the right size, please check Reell’s size chart online.

Slanted #36—Coexist Special Edition

Publisher: Slanted Publishers
Design: Andrew Ashton
Brand: Reell
Release: October 2020
Language: English
Material: 180 grams combed cotton jersey
Size: S, M, L, XL
Edition: 250 pieces
Buy

Photos by Reell

Call for Entries Yearbook of Type 2020/21

Posted on by Lara Zettl

After the successes of its first four editions the Call for Entries for the Yearbook of Type 2021/22 starts again. The book will be published in spring 2021 and will follow the same design concept as the fourth edition. It presents a selection of contemporary typefaces from larger typeface publishers as well as smaller, independent typographers and foundries in the form of a clear, comprehensive compendium.

Each individual typeface in the Yearbook of Type is presented on one spread. The left side shows a visual with a detailed view of the type and an initial visual impression. We will take a close look at each typeface and its specifics and then develop a design that shows its character, language support, styles, weights and widths, special glyphs, OpenType features, and possible application areas. On the right side more detailed background information about the designer and the foundry is provided as well as a list of the typeface’s different features.

The catalog is followed by an index of all the included typefaces arranged by category. Short texts provide information on individual type foundries and an essay section offers sketches, background knowledge, technical information, instructions and descriptions from the world of typography. Additionally, it offers an overview and a description of the technical supports of each typeface and, as a new component, includes a key with information about OpenType features. The Yearbook’s microsite shows the presented typefaces on screen. It simplifies the connection between print and web and helps the user to select, try, or buy a typeface.

The informative presentation of the typefaces serves graphic designers and advertising agencies as a source of inspiration and helps select the right typeface. As a catalog and reference work it is also of interest to all those who are interested in the contemporary world of typography and the latest in typeface design.

Conditions for Participation

It is possible to submit several typefaces as well as custom fonts. Latin and non-Latin typefaces are most welcome! Every submitted typeface must been published within the years 2018 to 2021. Typefaces can be submitted via our website until November 15th, 2020.

Are you an author in the field of typography? We also accept submissions for essays and advertorials by mail.

We reserve the right to reject applications. We want to ensure a constant quality of content. Therefore we check every application carefully and get back to you with personal feedback.

In order to participate in the project, there will be a production fee per submitted typeface, to cover the costs of the high quality production, as well as sending you one copy of the book.

In addition to the presentation in the book, we offer for the first time additional features on Instagram (99 K followers) with a booking.

Early Bird rate (EB) (+ VAT) available until October 23rd, 2020
Regular rate (R) (+ VAT) available until November 15th, 2020
1 typeface: € 199.– (EB) / € 229.– (R)
1 typeface + 1 Instagram story: € 249.– (EB) / € 279.– (R)
2 typefaces + 1 Instagram story: € 379.– (EB) / € 409.– (R)
3 typefaces + 2 Instagram stories: € 559.– (EB) / € 589.– (R)
4 typefaces + 1 Instagram feed: € 739.– (EB) / € 769.– (R)
5 typefaces + 1 Instagram feed + 2 stories: € 919.– (EB) / € 949.– (R)
Prices for 6+ submissions upon request

Get detailed information about the book, special rates for multiple typeface submission in combination with all Slanted online features, and our media reach from this PDF.

Call for Entries Yearbook of Type 2020/21

HOW TO reserve and book a space:
1. Get in contact with the number of typefaces to be submitted, your invoice details, and possibly questions.
1. Pay the submission fee.
2. Now your space is booked. We’ll get in touch with more information about the upload.
3. Upload the requested files and information until November 15th, 2020 (latest!) and you will be guided step-by-step through the process.

More information here

DDCAST—Was ist gut?

Posted on by Lara Zettl

Once, Jason Silva, a well known techno futurist from the USA, said “What we design designs us back.” Design has a great influence on our existence and living together, which is exactly the message of the DDCAST—Was ist gut? (“What is Good”) The call for fundamental changes in our planetary reality is getting louder and louder, as the sea level rises and a global crisis shows also the vulnerability of the Western world. It is not possible to continue as before and will inevitably plunge us into the next crisis. So right now, the DDC thinks, our creativity is more in demand than ever. In the Podcast they ask questions like “What is possible?,” “What is coming and what can we do better,” as well as “How can we rethink design?”. For this purpose, the DDCAST—Was ist gut? of the Deutscher Designer Club presents a strong voice every week. It comes from all areas of design, its related disciplines, from science, business, and politics.

The DDC invites highly inspiring people, who really ask themselves how they could have a good impact on our world. Like Prof. Friedrich von Borries, who is an architect and professor of design theory at the University of Fine Arts in Hamburg. He operates in the border areas of urban development, architecture, design, and arts. His work focuses on the relationship between design and social development. As Rainer Gehrisch, board and moderator of the podcast, asks for the professor’s opinion about good design, he gets the answer that—in a politic view—good design maps a field of tension of creating and submitting oneself.

Frauke Fischer is a biologist, who thinks poorly of only talking without acting, and subsequently founded PERÚ PURO GmbH, a start-up that wants to open the European market to Peruvian cacao farmers under fair paid conditions. She thinks that we should overcome planetary boundaries to make the world a better place. She answers the question of “what is good” very simple, that our actions should “make it better, not worse.”

The variety of the DDCAST’s subject areas is vast, as you can listen from upfront information technician David Gilbert, over social design consultant Madita Morgenstern Antao, to Atelier Brückner’s manager Shirin Brückner. But most importantly, the podcast inspires to ask oneself the question of how to design and to create in a world, that requests for change.

DDCAST—Was ist gut?

Editors: Prof. Georg-Christof Bertsch, Rainer Gehrisch, Nicolas Markwald
Animation: MOVINGK & Adrian Berger
Sound: db-tonstudio (Dirk Buro)
Language: German
Speaker: Gilles Kalolyi
IT: Lasse Nielsen
Social Media: Svaerm GmbH (Johanna Fertig und Steffen Mai)
Support: Hessisches Ministerium für Wirtschaft, Energie, Verkehr und Wohnen

Listen to the episodes below:
11—Shirin Brückner / Ausstellungen mit allen Sinnen erlebbar machen
10—Dr. Frauke Fischer / Design und Biodiversität gehören zusammen
09—Raphael Gielgen / Wir müssen in das Kollektiv zurückfinden
08—Daniel Cohn-Bendit / Wir haben ein falsches Effizienzdenken
07—Anette Lenz / à propos
06—Prof. Annette Bertsch / Eine gemeinsame Sprache finden
05—Benedikt Wanner / Von der Wiege zur Wiege
04—Madita Morgenstern Antao / Soziales Design in der Praxis
03—David Gilbert / Digital Design braucht Struktur und Gespür
02—Uli Mayer-Johanssen / Zusammen neue Perspektiven öffnen
01—Friedrich von Borries / Was ist gutes Design?

 

Ragtag

Posted on by michubenaim

Ragtag is an adventurous display typeface that’s fun, graphic, and loud. Each letter is unique and designed so it composes beautifully with all others—but can also stand on its own as an accent piece or as part of a design. Ragtag features three glyph sets (A–Z, 0–9) plus a few extra goodies like eñes and diacritics.

The typeface was inspired by the scattered crew of makers and designers at branding and creative studio In-House International, which is a fully remote creative home based in Austin, Texas. Ragtag also marks the launch of the studio’s foundry, which will be focusing on bold display typefaces.

In-House partner Alexander Wright drew individual characters so they could “stand on their own, like each one could be a logo, but keeping compositions and the system top of mind.” The typeface works best on very graphic headline displays, large visual uses like signs, t-shirts, and posters. Because it’s irreverent and dynamic, it’s especially good for brief, clever text that takes center stage. Rodrigo Fuenzalida developed the font. He noted that “what distinguishes this font is that every letter is a logo on itself. You could basically start a new alphabet from each of the letters.”

Ragtag 

Foundry: In-House International
Designer: Alexander Wright
Developer: Rodrigo Fuenzalida
Release: July 2020
Format: OTF
Styles: Display containing 3 glyph sets
Price: from 10.99 Euro
Available on: MyFonts and YouWorkForThem

dai—Designing with Artificial Intelligence Conference / Review

Posted on by Lara Zettl

“What would you think if a robot smiled at you? Would you think it was genuine, or incredibly creepy?” This question was among other things discussed at the dai—Designing with Artificial Intelligence Conference, and shows that Artificial Intelligence is no longer only concerning tech freaks. It is common and might be easy to assume AI has nothing to do with oneself, while in contrast it impacts the everyday life. In reality, AI is encountered by most people from morning until night. Even more as a concept, algorithms enriched and sharpened the philosophical debates concerning the nature of the mind, intelligence, and the uniqueness of human beings. 

However, the major opinion and acceptance of AI is that machine-intelligent systems have already penetrated all areas of our life and have had a trend-setting influence on our working and living environment. And yet there are areas in which the practical applications of future technologies have receded into the background or are only treated shabbily in academic dis­courses. AI-based, application-oriented design is one of these areas.

This is where Prof. Dr. Sebastian Löwe, Professor of Design Management at the Mediadesign Hochschule Berlin, and Marc Engenhart, multi-disciplinary designer, musician, and artist from Stuttgart, came in with dai—Designing with Artificial Intelligence Conference. The three-day digital conference from September 17th to 19th, 2020, addressed and discussed questions and topics arising from the design of, for and with machine learning algorithms. We, as the team of the Slanted Magazine, were thrilled by the great contribution to the field of design, better the status quo of design and AI and the obviousness of necessary cooperation between man and machine, showed through the event.

The organizers brought together a diverse audience of design practitioners, design managers, design theorists, design leaders, and interdisciplinary thinkers interested in questions that result from designing both with and for machine learning algorithms and assist systems. Rebecca Fiebrink, for instance, introduced her tool “Wekinator” a free, open source software, which allows anyone to use machine learning to build new musical instruments, gestural game controllers, computer vision or computer listening systems. Also Andreas Refsgaard presented loads of tools using ML, like for example Booksby.Ai or Doodle Tunes. Don’t hesitate to try them out. Moreover the dai provided the opportunity of in-depth discussions and chats to interact with the speakers, hands-on workshops, individual networking options. There were even robots amongst the audience.

Get more information about the dai here.

Designing Sustainable Cities

Posted on by Lara Zettl

The fact that by 2050, 70% of the world’s population will live in cities, the subject of “sustainable urban design” is an important issue for UNESCO’s Cities of Design. Taking into account that urban design can make a significant contribution to positive changes in environmental and social matters, the book presents seven inspirational examples for copying. Included are analyses and measures for the cities of Detroit, Graz, Istanbul, Mexico City, and Puebla, as well as non-location bound projects. The authors of  the publication Designing Sustainable Cities investigate the efficiency of certificates, climate installations for urban spaces, and new ecological, architectural, and sociological concepts for mega-cities. It is a  reader for stakeholders at the interface of social and urban design.

Designing Sustainable Cities is published by Sigrid Bürstmayr, who works and teaches at the FH JOANNEUM–University of Applied Sciences in Graz, Austria and Karl Stocker, a historian and head of the Institute of Design and Communication at the University. Their research approach covers topics from sustainable design, design activism, design theory and society, as well as socio design. They make a great contribution to the question, creative people are discussing everywhere you go: How can we change the world? For some years now the teaching in Graz has increasingly shifted its content-related orientation towards an understanding of Design as a means to improve, repair and save the world. The institution upholds the opinion that the confrontation with societal and social issues cannot take place without considering sustainable design, environment and nature, therefore they summarized their work in a new publication. Designing Sustainable Cities shows manageable approaches to make Urban Spaces better. Moreover it describes concrete and location-independent city projects that are recommended for stimulation and and imitation. Thus, a book was created that wants to attract international interest and also serves as basis for further discussion about current and future Design strategies.

Designing Sustainable Cities

Publisher: Birkhäuser Verlag GmbH
Editors: Sigrid Bürstmayr and Karl Stocker
Release first edition: May 18th, 2020
Language: English
Workmanship: Paperback with adhesive binding
Volume: 152 pages
Dimensions: 19.56 × 23.37 cm × 1.78
ISBN-10: 3035621985
Price: 39.95 Euro
Buy

Dédale

Posted on by Lara Zettl

Dédale, designed by Thomas Bouville in 2020, is a hybrid type family inspired by inscriptions cut into the stone of the underground passages of the Paris Catacombs.

Identified while exploring underground, the diversity of the inscriptions and their varying states of erasure inspired the designer’s unique approach. Rather than seeking to unearth the original drawings of the stone engravers (in an attempt to “rewind” the flow of time), Thomas Bouville sought to reveal links between the inscriptions and wanted, on the contrary, to give a sense of the passing of time.

The varying structure of the letters, common between styles, skillfully evokes the ossuary. It emphasizes an analogy between the letter and the human body, composed of both a skeleton and a physical envelope. The evolution of the three styles—from slab serif to lineal—shows the effect of time and the passage of life towards death.

The Light version—a slab serif made elegant by the contrast between its refined appearance and the prominent serifs—is designed for composing large sized titles with subtlety. The Regular—an incised typeface with pronounced extremities, is designed for reading long texts. The Bold version—a neo-grotesque sans serif that conserves certain details of the incised form—is useful for its strong lines. Each style has its own Italic.

Dédale is also available as a variable font, allowing the design to move freely between the three styles, with the technology seeming to play with time.

Dédale

Foundry: 205TF
Designer: Thomas Bouville
Release: October 2020
Format: .otf (desktop); .woff, .woff2, .eot, .ttf (web, app, epub); .ttf (variable font)
Styles: Light, Regular, Bold + Italics
Price family: 260.– Euro (desktop)
Price packages: 120.– Euro (desktop)
Try the variable font here
Buy