Complete your library of Slanted magazines with our Black Friday Deal! 40% discount on all issues + special editions (#35 and earlier) til end of Friday (27.11.20, UTC +1) with discount code THISFUNKYFRIDAY at Slanted Shop!
New and Freshly Printed Publications by POOL Publishing
While switching through the news, we have some good ones for you today. Slanted Shop has refilled its shelves with some brand-new freshly printed POOL Publishing’s publications. We present you two books, a calendar, and one post card set, which put a smile on one’s face in those times.
Lost Spring
2020 was—and still is—a strange year. Starting off as self-therapy to cope with nameless solitude this body of work evolved into a documentation of 10 odd weeks. 10 weeks that didn’t line up with any other weeks before. With Alexander Kilian playful Photographs, composed and arranged but still containing the feeling of a snapshot, the world seems to make sense again. His photographic work is characterized by the precise combination between structures and colors captured together with the playful use of light and shadows. Brilliant!
Lost Springs in Slanted Shop, 22.5 × 29 cm, 2020
Italo Summer Dreams Postcard Box
The Italo Summer Dreams Postcard Box is a series about loving and longing. Dreams of Capri, Sirmione, dreams of Bellini e bacione. A series for the ones you love. Per sempre.
Italo Summer Dreams Postcard Box in Slanted Shop, 12 postcards, 10.5 × 14.8 cm, 2020
Pin Up Guinea Pigs
Hi, there you cheeky little rascals. It’s us, Gin Tonic, Belissa and the other eleven showstoppers from the Pin-Up Guinea show. We knew you would land here, dusting off that old 2020 vibe. Ready for some well-deserved glitz and glamour for this new year. And let us tell you: we’re all here for that, honey.
Pin Up Guinea Pigs in Slanted Shop, 14 pages, 21 × 29.7 cm, 2020
B-Sides
A compendium of outtakes, leftovers, discarded variations of motifs, actually visual B-Sides left behind on Philotheus Nisch’s path to commissioned pictures for various newspapers and magazines.
B-Sides in Slanted Shop, 136 pages, 22.5 × 30.7 cm, 2020
POOL is a contemporary publishing house based in Vienna and Berlin with a focus on illustration, graphic design and photography. Together with creatives from all over the world we create unique publications, speak at conferences about our experiences and run workshops on artist books and self-publishing.
Slanted in L.A.: Jeffery Keedy
In a town like L.A. and on a production like Slanted’s, which brings together the material for a magazine, not everything has to work out. Often, the best things happen when they’re not planned, just as they did when we went to this gleaming city in fall 2019. We were happy to meet the luminaries from the local creative scene and we are thrilled to share our inspiring encounters with you.
Mr. Keedy is an educator, designer, type designer, and writer, who has been teaching in the Graphic Design Program at California Institute of the Arts since 1985. He has been recognized for his design work for institutional and commercial clients in branding, packaging, and publication design. His typeface Keedy Sans was added to MoMA’s permanent Architecture and Design Collection in 2011.
Mr. Keedy’s work can be found in the Slanted Magazine #35—L.A.. Additionally we shot a video interview to talk about his attitude and view of things. Take a look at our new issue and the video platform to encounter new ways of design thinking!
Typ/o
Most typefaces can be classified into one of four basic groups: those with serifs, those without serifs, scripts, and decorative styles. Over the years, typographers and scholars of typography have developed various systems to define those categories, subsequently some of these systems have scores of sub-categories. In order to bring light into the typographical maze, to make classifications possible for both—experts and non-professionals—the typ/o project was conceived as a mobile-first website for recognizing and classifying typefaces.
Its goal is not to automatically identify individual fonts, but to facilitate the learning of how to recognize their underlying formal principles. As a basis, various terms and group divisions in current international use have been relied on here. This means that slight deviations from existing norms for classifying typefaces have consciously been made.
Initiated by the design department of the University of Applied Sciences Aachen, under the direction of Prof. Eva Kubinyi and Robin Coenen, the typ/o project team conceived a mobile-first website for recognizing and classifying typefaces. typ/o is a comprehensive application with which typography can be investigated through the sections Learn, Identify, Play and Fonts. In times of digital teaching this work from about two years seems impressive and more relevant than ever.
Not to be mixed up with automatically identifying individual fonts, typ/o facilitates the learning of how to recognize their underlying formal principles. As a basis, various terms and group divisions in current international use have been relied on here. This means that slight deviations from existing norms for classifying typefaces have consciously been made.
In particular, typ/o can be used in the classroom for motivating students and fostering curiosity about investigating typography. In the Learn-section, basic information about how typefaces are grouped into categories and subcategories is presented. In the Identify-section, users can compare typefaces found in everyday life, or that they encounter in their studies, with the models shown. In the Play-section, users can check what they have learned playfully. The font catalog has a selection of more than 100 typefaces, with relevant background information.
Typ/o
Languages: English and German (French and Spanish planned)
Publisher: FH Aachen, University of Applied Sciences, Department of Design
Typefaces: Didactic selection over 100 typefaces, the website is displayed in Infini (Designed by Sandrine Nugue)
Sponsors: “Fellowship für Innovation in der digitalen Hochschullehre 2019” of the Ministry of Innovation, Science and Research of the state of North Rhine-Westphalia and the Stifterverband
Free for use
Contact
More information here
On the occasion of the virtual conference ATypI 2020 All Over, from October 27th to 31st, typ/o was presented to the public for the very first time. Check out the presentation here.
Wolfgang Tillmans. four books.
The works of photographer Wolfgang Tillmans have always had a unique visual language that shapes our perception of the world. On the occasion of the 40th anniversary of TASCHEN, where he has already published four books in the course of his career, the book Wolfgang Tillmans. four books. has now been published, which presents overlapping perspectives from his previous books with new works on over 500 pages.
Thus, his fifth book is a retrospective, but also a look into the present, which, thanks to digital photography, makes possible a density of information and sharpness that was hardly known until then.
It is surprising that this thick book costs only 20 Euros and thus becomes affordable for a very large audience. An absolutely worthwhile purchase!
Wolfgang Tillmans. four books.
Publishing house: TASCHEN
Photographer & Editor: Wolfgang Tillmans
Format: 15.6 x 21.7 cm
Volume: 512 pages
Workmanship: Hardcover
ISBN: 978-3-8365-8253-7
Price: EUR 20.–
Secret Societies
Attention to detail and creative design, with that certain something that makes a print publication special today—Secret Societies invites you to take a trip to New York at the beginning of the last century and immerse yourself in its pages.
Much is popularized of the Mafia in film, literature, music, and urban legend. Some stories are inspired by and respectful of the facts, but many are presented through a creative lens distorting how organized crime began. References are often made to criminal activity in the infamous Prohibition Era, but few stories cover the preceding years, until now. Secret Societies presents a graphic history of true crime. It examines the origins story of the American Mafia through the rise and fall of the first boss of bosses Giuseppe Morello and his powerful brother-in-law Ignazio Lupo.
This is a time before the Castellammarese War—a period of bloody power struggles for control of the Italian—American Mafia that took place in New York City between 1930 and 1931. The important period preceding the war is considered murky and lacking historic documentation. This meticulously illustrated volume of Secret Societies shines a light on this fascinating time of American history and organized crime. Through the rise and fall of the first US Mafia bosses, this book examines the early development of the Sicilian-American criminal network. Illustrated with over 175 period photographs, contemporary articles and documents.
The book also examines the story of the Barrel Murder in which Giuseppe Morello, the first boss-of-bosses of the US Mafia, was arrested following a brutal murder in the heart of New York’s Little Italy. Soon followed by the tragic story of NYPD officer Joseph Petrosino who became a pioneer in the fight against black handers and Mafiosi alike. In 1909, while on a secret mission, Petrosino became the only NYPD officer to be killed while on foreign soil after he was assassinated in Palermo.
In this important stage of history, the hierarchies of crime families were established and reinforced. Secret Societies obtains the American Mafia origins story.
Secret Societies
Author and Designer: Jon Black
Editor: Tom Hunt
Publisher: same old
Language: English
Edition: One, 1,000 copies
Format: 21 × 29.7 cm
Binding: Exposed smyth sewn
Price: £ 35.–
Buy
Arcade Game Typography
It’s been a while since I listened to Toshi Omagari’s talk at TYPO Berlin about his research on 8 pixel fonts. Growing up with video games, there are of course many fond memories of the colorful letters flickering animatedly across the screen telling us WON or GAME OVER.
It was only a few years ago that Toshi came across the topic in an issue of the Japanese graphic design magazine Idea about video game graphics and then turned his attention to games from the 70s, 80s and 90s. He was able to identify about 250 fonts, which he then divided into categories for his book Arcade Game Typography —The Art of Pixel Type and presented them in a clearly arranged manner.
The press release reads: “Exhaustively researched, this book gathers an eclectic typography from hit games such as Super Sprint, Pac-Man, After Burner, Marble Madness, Shinobi, as well as countless lesser- known gems. The book presents its typefaces on a dynamic and decorative grid, taking reference from high-end type specimens while adding a suitably playful twist. Unlike print typefaces, pixel type often has bold color ‘baked in’ to the characters, so Arcade Game Typography looks unlike any other typography book, fizzing with life and color.”
Color and resolution limitations were a new challenge for the typeface designers to create expressive and elegant fonts in a small space. But this is exactly what should inspire the readers of the book to create their own designs.
For all who love video games and typography!
Arcade Game Typography—The Art of Pixel Type
Publishing House: Thames & Hudson
Author: Toshi Omagari
Preface: Kiyonori Muroga
Design: Leo Field
Release: August 2019
Format: 17.5 × 23 cm
Language: English
Scope: 272 pages
Processing: Softcover with dust jacket, adhesive binding
ISBN: 978-0500021743
Price: £ 19.95
BUY regular softcover version
BUY limited hardcover version for £ 35
Neuwerk #7
Neuwerk #7 magazine has just been published by the MA students of design studies at Burg Giebichenstein at a time when each of us is more than ever concerned about the topic of the current issue.
Neuwerk #7 deals with contact in terms of design, because: Design creates contact. According to Gui Bonsiepe—a german designer and theorist—by linking an acting person with his or her goal and the tools chosen for it, design works at the basis of human action. In its creative function, design thus creates relationships, forms connections and transforms actions. According to this definition, it serves as an interface between people, different entities and the world. The contact between the components of a constantly changing and constantly reorganizing world is characterized by the constant negotiation of boundaries. Design determines these boundaries and overcomes them. Beyond its purposeful nature, design also has an epistemic dimension that has the potential to open up social spaces of action and open up new possibilities for dialogue. In this respect, an epistemic interplay between knowledge and design can be identified, both in design practice and on the user side. Knowledge is generated via, through and with design, which becomes critically reflexive with post-disciplinary ambitions and can generate new discourses.
In 2020, Neuwerk #7 is dedicated to the most diverse situations, in which the role of design in the ambivalent game of closeness and distance becomes apparent. The design of this seventh issue of Neuwerk magazine also reflects the ambivalent relationship between defining and overcoming boundaries that is inherent in designing matter. In addition to the individual articles, the magazine consists of an index of words and images. The register—usually located in the appendix—becomes the central element of the design. With breaking classical reading habits and providing various possibilities, Neuwerk#7 obtains other dimensional experiences. Readers are encouraged to use the magazine like a search engine and to recognize links between the individual articles, to build associative bridges, to discover unexpected connections and to relate the magazine’s contents to each other in new ways.
Neuwerk #7
Layout / Design: Lucas Kramer
Authors: Ellen-Sophie Neugebauer, Lea Zimmermann, Lukas Schilling, Michel Fleißner, Pauline Löhr
Publisher: Burg Giebichenstein—University of Art and Design Halle
Release: October, 2020
Volume: 160 pages
Format: 14.5 × 19 cm
Language: German
Production: Printed by print shop of Burg Giebichenstein—University of Art and Design Halle
Binding: Buchbinderei Marré
Paper: Maximat Prime woodfree, matt coated 115 g/qm, Circlesilk Premium Whitesilk matt coated 350 g/qm
ISBN: 978-3-86019-155-2
Price: 8.– Euro
Buy here or at specific retailers such as MZIN, Buecherbogen, Pro qm
Papaik
Designing a typeface can be a long journey, there are numerous fundamental choices to make before and defining the letterforms often starts physically by drawing, sketching or cutting. Papaik’s story began with one single brush stroke. Originally, existed in one tiny version, but since last year it was modulated and polished. It may seem delicate at first glance, but with getting a stronger formal language, Papaik can solve solutions to problems that seem insurmountable to other typefaces within the genre. Its wide range of applications can often help to vary the layout and suits to a wide range of typographical needs within comic books, cartoons, video games, advertisements, peripheral products ranging from flyers, posters and films. The Regular weight of Papaik is part of Joanna Angulska’s MA thesis at the University of Arts in Poznan, in collaboration with The Designers Foundry. While being an independent graphic designer specialized in type design and visual identity, Joanna also works with calligraphy and illustration. Her Masters diploma is a compilation of calligraphy and type design. That’s how P was born and transitioned into Papaik, her first TDF typeface.
The display typeface Papaik consists of two relevant styles: Regular and Bold. Both styles include small caps, alternates, ligatures and OpenType features. Its handwritten style is based on the sign painting tool, i. e. a pointed brush. The inspiration for this typeface came from the years when signs were commonly painted. Letters appeared on shop windows, walls, vehicles, on anything that could serve as an advertising medium. To diversify the visual side of the text, contextual sets, final sets, standard and stylistic ligatures were created for this purpose and the typeface is usable for whether a small amount of text, but also for headlines, best for posters.
“Type was always my trigger to move forward and encourages me to take further creative efforts” explains the designer, a philosophy which is certainly not to be missed out on.
Papaik
Design: Joanna Angulska
Publisher: The Designers Foundry
Release: 2020
Styles: Regular and Bold
Price weight: $ 30.–, price family: $ 45.–
Publisher: The Designers Foundry
Release: 2020
Styles: Regular and Bold
Price weight: $ 30.–, price family: $ 45.–
Breakout—100 Posters Book
As it is a common habitat in the graphic design branch, starting to build a business can be tough, especially while being a student. Cihan Tamti is a self initiative design student who had a clever solution, with starting to treat Instagram like a graphic design gym and worked on poster design on a daily basis. Without the constraints of a client, he developed designs with strong, experimental typography and complex compositions that ended up winning competitions and attracting people all over the world. The team of Slanted thought that his works should also be seen on paper and subsequently started a Kickstarter campaign together with Cihan. Breakout—100 Posters Book shows his love to experiment with letters and customizing fonts, as well as his sense for ambitious cutting-edge graphics.
Cihan’s book summarizes 100 selected posters from the past few years. These posters include free and personal ones, real commission work, exhibition posters, and award-winning posters. But what it makes even more important to us is that it encourages and inspires to breakout oneself and to start spreading one’s own visual messages.
Become a supporter of his Kickstarter campaign and purchase one of his poster designs to help produce Breakout—100 Posters Book!
Breakout—100 Posters Book
Graphic Designer: Cihan Tamti
Publisher: Slanted Publishers
Format: 160 × 240 mm (6.3 × 9.4 in)
Volume: 128 pages
Language: English
Printing: Offset
Cover: Softcover with book flaps
Binding: Adhesive binding
Support Breakout
Lottery: Freshly Printed Paper Swatch by Europapier
There is no way around Europapier when it comes to producing print products that meet the criteria of sustainability and high-quality results. Their newest Design Papers Collection from 2020 is diligently curated, with great dedication, and addressing all those who realize the importance of using quality paper as a medium, awakening pure feelings in exceptional print products and bringing out the best of it.
As Slanted was especially curious about the new paper swatch, which shows now more than 85 brands and gives an easy overview of all the different qualities, we asked Sandra Schmidt, Europapier’s Head of Design Papers, a few questions.
As Slanted is a strong proponent of the aesthetics of print objects, we are very curious about the paper selector? Which ideas and thoughts brought it into its form?
It was very important that its aesthetics appeals to our customers. Because of the swatches size it is practically to flip through it, and easy to create an ideal paper combinations. Our assortment has grown over the years and so we created two swatches. Our wish is that it becomes a daily used tool for customers and that it beautifully decorates their desks and inspires to include quality paper in their future projects.
You created a selector which binds Europapier’s new design papers selection, which features make it outstanding?
We keep our clients at the heart of everything we do. This is why, our wish is to deliver the best we possibly can—and over a nine month process we put our heads together and meticulously create the collection. With the help of the specialists from Metaklinika—an independent design studio from Belgrade— the packaging of the Design Collection is flawless, looking dazzling and functions perfectly. While the inner life of the swatch is perfectly organized into six categories, within the papers maintain a high-end look which fits a variety of different applications.
In your formal language you are quoting a web/UX design style and subsequently building a bridge between the digital and the analogue, where does this idea come from?
Inspired from modern web aestheticism and data design and Metaklinika wanted to imbue the box, by imitating the infinite scroll from the swatches form to even its folding. In a constantly digitalizing world, paper continues to enjoy not only undiminished, but even new blazing popularity. It will accompany us also in the future as a multisensory medium and assume a dominant position when it comes to the emotional component of messages. It is particularly masterful when it comes to conveying value emotionally.
How do you make your selection of papers? What are the criteria?
Every year, stunning new paper developments are presented to us. In combination with customer feedback and needs, we decide about new assortments. Then, every other year we include all these news in the new Design Papers Collection.
What can you foretell for future projects?
In a world of digital senses overload, the role of paper will be intensified probably in future. We see an increasing trend in choosing one of a kind papers to underline stunning print projects, as haptics and emotions are undeniably transported through this multisensory medium: from creator to end user. From the Beginning up-cycling, i.e. the reuse of waste products or useless fabrics for new products had been a central issue. Social change, particularly in the area of ecological topics, will make up-cycling even more important in the future. We are definitely excited to work with creatives and curious to what imaginative projects will be launched with up-cycling papers.
If you want to know more about the project, check Europapier’s blog article about the new design paper swatch online.
Now you also have the chance to call a Design Paper Swatch from Europapier your own: We raffle five editions. To take part in the lottery, write an email to [email protected] with the subject “Europapier,” and let us know your postal address (for dispatch). The lottery ends November 19th, 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!
Werkschau 2020—Peter Behrens School of Arts
These days, the browser window seems to replace the one in our apartments and gives us a view on the world. It has never been so important to stay connected to a transforming technical world. Also in universities being digitalized is more evident this semester than ever before. At the same time, new challenges are emerging for students as obstacles on the path of graduating Bachelor and Master students are showing up. A topic, which is dealt with at the digital exhibition launched on October 16th for the subject area of design for the Hochschule Düsseldorf, Peter Behrens School of Arts, where about 80 bachelor and master graduates studying Communication Design, New Craft Object Design, Retail Design, and Exhibition Design showcase their thesis works.
Instead of a physical tour through the building—where the student works are normally shown—this semester the Werkschau 2020—Peter Behrens School of Arts will be an online gallery where graduates of the four courses can introduce themselves and their work to virtual visitors. Each graduate has their own individual space in their individual form language to support the theme of their graduation work. The online gallery itself with an overall arrangement is according to a theme of Digital Overkill which can be explored on the exhibition website.
The works are diverse and reach from photographic examination, dealing with the momentary drag scene in the USA (butterflies and caterpillars—Ardelle Schneider), to the rebranding of a pharmacy (MyMeds—Philip Siegel) or editorial projects like A book as time capsule?! from Valentin Schnitzler. Let’s see if your curiosity brings you to look through the browser window on the inspiring works of Peter Behrens School’s Werkschau 2020.
Werkschau 2020—Peter Behrens School of Arts
You can take a look at the presented final theses of the summer semester 2020 here or check out their Instagram
Praktikum bei Slanted Publishers 2021 – jetzt bewerben!
Slanted Publishers hat ein 6-monatiges Praktikum im Bereich Redaktion/Grafik ab März 2021 zu vergeben: Wir suchen eine(n) engagierte(n) Studierende(n) mit großem Interesse an Typografie und redaktionellen/organisatorischen Aufgaben, der/die Lust hat zu erfahren, wie wir arbeiten und für 6 Monate Teil des Slanted-Teams wird.
Wir bieten:
- Einblicke in unsere Verlagstätigkeit (Konzeption, Redaktion, Organisation, Vertrieb, PR etc.)
- Redaktionelle und grafische Mitarbeit am Slanted Magazin und anderen Verlagspublikationen
- Redaktionelle Mitarbeit in unseren Onlinekanälen (Blog, Social Media)
- Studiofotografie und Reportagefotografie
- Verantwortungsvolle, selbstständige Arbeit und unter Anleitung
- Organisatorische und administrative Aufgaben
- Mögliche Teilnahme an Designkonferenzen im Rahmen unserer Medienpartnerschaften
Das sollte der/die BewerberIn mitbringen:
- Abgeschlossenes Grundstudium im Bereich Grafikdesign (o. Ä.)
- Sehr gute Deutsch- und Englischkenntnisse
- Sichere Anwendungskenntnisse in InDesign und Photoshop
- Interesse an neuen Strömungen in den Bereichen Design, Kunst und Kultur
- Begeisterung für Typografie, aktuelle Strömungen im Typedesign
- Redaktionelles Interesse
- Selbstständigkeit, Weitblick, Flexibilität, Kreativität und Ideenreichtum
- Organisationstalent und Kommunikationsstärke
- Gewissenhaftes und genaues Arbeiten
- Das Praktikum erfolgt im Rahmen eines studienbegleitenden Pflichtpraktikums
Das Praktikum bei Slanted Publishers findet vom 01.03.–03.09.2021 in Karlsruhe statt und wird vergütet. Bewerberinnen und Bewerber sollten erklären, warum sie ihr Praktikum bei uns machen möchten. Bitte richtet Eure vollständige Bewerbung als aussagefähiges PDF-Portfolio ab sofort bis spätestens 24.11.2020 an Julia Kahl: [email protected]. Die Bewerbungsgespräche finden anschließend ab 26.11.20 statt.
Wir freuen uns sehr auf Eure Bewerbung!
Visual by Lara Zettl
Leafy House Plants
Nature is one of the most multi-faceted sources of inspiration that exist on our planet: endlessly complex yet simple, exciting and unique but also calming and unpretentious. How incredible—that there is a way we can bring a piece of this nature into our own four walls. But the cultivation of house plants does not always prove to be easy. With many plants there are special peculiarities that should be considered.
In 1899, the German botanist Udo Dammer wrote down his knowledge of the ins and outs of different houseplants and published the book called Zimmerblattpflanzen. Since completing his studies at the State Academy of Fine Arts in Stuttgart Benjamin Wurster has been deeply interested in exploring the topic of inspiration. So when he accidentally came across a copy of this encyclopedia 120 years later, Benjamin had the idea of a modern version of this book including every plant illustration as well as the original German texts translated into English for the first time.
Leafy House Plants includes all the original 1899 texts and pictures, as well as a comprehensive introduction to the whole project with thoughts on plants, art, and inspiration. The heart of the book is made up of the 46 beautifully detailed plant illustrations from the original publication. These as well as other original content are supplemented by an overview of all plant names and miniatures of the original book pages.
A must for all plant lovers!
Leafy House Plants
Publisher: Slanted Publishers
Authors: Udo Dammer, Benjamin Wurster
Design: Benjamin Wurster
Release: November 2020
Volume: 224 pages
Format: 16 × 24 cm
Language: English, German
ISBN: 978-3-948440-15-2
Price: 30.– Euro
Buy
Radical Passion. The Worlds Longest Produced Electric Train and a Vibrant Train Culture
Radical Passion. The Worlds Longest Produced Electric Train and a Vibrant Train Culture book project unveiled the untold history about brutal design, visual culture, and the community of radical train lovers. The publication is more than 500 pages visual story about the extraordinary train model EN57 and the creative impact it had on society. This unit was the worlds longest produced electric train, born in Wrocław (Breslau), Poland in 1962 and operates until now. The authors spent four years traveling around the country, interviewing passionate spotters, graffiti writers, model makers, photographers, painters, train drivers. This diverse community often have a clashing point of views but share love to this same object. You will find in this book new content which has never published until now from private and neglected archives.
There is also something for typography and graphic design fans. A new typeface—Tor Grotesk was developed for this book by Threedotstype. This font is a revival of the lettering used on the train EN57 and signage dating back before World War Two.
This project is not only about the sentimental world of the train culture. It is also about raising awareness about trains as an inspiring model of sustainable public transport with its positive impact on our lifestyle and (as the authors trying to prove) also on human creativity.
Torypress is a team of four researchers and designers exploring the intersection between visual culture and design.
This book project needs your support and is available to preorder on Kickstarter until November 15th, 2020.
Radical Passion. The Worlds Longest Produced Electric Train and a Vibrant Train Culture
Publishers: Torypress and Threedotstype
Format: 21 × 28.5 cm
Pages: 500+
Authors: Dawid Błaszczyk, Tomek Czechowicz, Maciej Janus, and Marian Misiak
Languages: Polish and English
Typefaces: Tor Grotesk, Di Grotesk
Preorder now!
Type on Earth
Everyday life is full of inspiring typographical situations. Especially when you keep your eyes open, you will discover beautifully and absurdly used typefaces on places you won’t expect them. For the love of typographical bits and unintentional design processes, Sebastian Bissinger and Laure Boer, from the German-French design agency BANK™ in Berlin, decided to reveal not only their type photo archives, but also to call for entries to create a common place Type on Earth for designers, who share the same passion worldwide. They had this project in their heads for a very long time, and finally, just a few months ago they launched their website for Type on Earth.
This curated online archive is about sharing photos of letters you came across. It doesn’t matter if the letter designs are done in an amateurish or professional manner unless they are striking and surprisingly unique. And the picture itself? Well, it simply needs to be a good photograph. With Type on Earth BANK™ creates an online archive about typographic culture from all over the world.
Categorized by countries, Type on Earth features already type-photos from more than 30 countries. But to make this a real community project, we call for entries. Ed Fella, Åbäke, Dina Benbrahim, Peter Bil’ak, Yukiko, Piero Di Biase, Carlos Segura, Slang, Nolan Paparelli, Open 2 Type, Svenja Prigge and many others are already on board. While scrolling through the website you will come across Logotypes from the Czech Republic—A maximum of absurdity achieved with total reduction: strokes with just two directions. Or official display types for the whole metropolitan region of Lille in the north of France with complex grids, which seems challenging to display letters with it.
When you share the same interest in spreading fancy typographic findings to others, you can send your high resolution photos using the submit form. Please name your files after the country where they were photographed. Sebastian Bissinger and Laure Boer are very thrilled about submissions, the more outrageous and extravagant, the better.
Type on Earth
Photographs from:
- Carlos Segura (USA)
- BANK™ (France)
- BANK™ (Philippines)
- Jianping He (China)
- Florent Moglia (Germany)
- Piero Di Biase (Spain)
- BANK™ (Croatia)
- Natalie Sofinskyj (India)
- BANK™ (Hungary)
- Kirstin Weppner (Iran)
- Stefanie Schwarz & Dirk Wachowiak (Portugal)
- BANK™ (UK)
- Natalie Sofinskyj (USA)
STRAJK
Last week in Poland, the street protests lived to see their own typeface. On Friday people all over the world followed the banners appearing on protests in Poland with fascination. The posters and banners, that appeared to mark the protests of the women’s strike in many polish cities from the turn of October and November 2020, triggered a storm, also visually. Inspired by slogans, the graphic designer Michał Berger digitalized letters from handwritten strike banners and designed the font STRAJK. It is a typeface inspired by protests against tightening the anti-abortion law.
The slogans written spontaneously on cardboard and sheets of paper seemed to be honest, while supporting at the same time direct and strongly an important message—the rejection of Poland’s new abortion ruling. “Recently I felt like writing something about handmade banners for protests and women’s strikes. Not from a political perspective, but from the perspective of a designer, a creator. I am impressed by human creativity and often a cool sense of humor. Although I look at these cardboard banners and boards, I know that one hour of art in school is definitely not enough.” says Michał Berger.
Instead of analyzing, however, the creative director of the polish design agency BERGERCHOJNACKI and graduate of the Academy of Fine Arts in Łódź, treated the phenomenon creatively and turned it into his own project. From the visual storm he chose the most characteristic letters and arranged the alphabet from them. They are curved and irregular, sometimes not written correctly, but at the same time bold and devoid of complexes. And what is most important: strong and striking. For the time being, STRAJK is a rather truncated version, but the author announces that he will develop it in subsequent versions adding more letters and characters.
STRAJK is available for free download, so that it can serve everyone, not only in protests. Michał Berger writes shortly about his font: “A little bit dull, but very real.”
STRAJK
Designer: Michał Berger
Release: November 2020
Price: Free for use
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ÉTÉ
For two years, with their 4 × 5 large format camera in their luggage, a lot of patience and great physical effort, two photographers from Munich were on the road in winter sports resorts between Lake Geneva and Nice. Their astonishing photographical documentation ÉTÉ covers once hypermodern holiday colonies, created in the building boom from the 1950’s until well into the 1970’s, that mark the euphoric departure into the future and have landed like gigantic spaceships in the middle of nature.
With the photography series, called ÉTÉ, Olaf Unverzart and Sebastian Schels explore Alpine landscapes in shots that have nothing in common with stereotypical postcard images. The two photographers have captured a total of 33 ski-resorts in the Western Alps of France and Italy using plate cameras. Their pictures, taken in the years 2018 and 2019, portray a world marked by the architecture and infrastructure of the tourism industry. They show winter sports centers that were conceived from scratch on the drawing board as holiday resorts. From the 1960s onwards, these structures shot up in a way that is nearly unimaginable today. They were designed for the general public as places undisturbed by traffic, offering space-efficiency and high-density in line with the functional leisure architecture of the 1960s and 1970s.
These utopias from a bygone era seem divorced from the present time in which more and more ski resorts are falling victim to climate change. Owing to their subtle, almost poetic perspective, Unverzart and Schels have created a photographic monument to the ideas of that age. All photos were taken during the summer months: the deserted places without snow exude an eerily disconnected, melancholic mood.
ÉTÉ
Design: Alexandra Rusitschka
Publisher: Verlag Kettler
Essay: Dietrich Erben
Photography: Olaf Unverzart and Sebastian Schels
Volume: 184 pages, 98 Images
Release first edition: October 2020
Workmanship: Hardcover, Linen, 24 × 30.5 cm
Printing: Special Edition + Prints
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TypeTech MeetUp 20/21
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
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
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Feminist Findings Zine
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
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
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Photography: Ina Schoof
newglyph
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
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SAMT Magazine
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
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