Werkschau 2020—Peter Behrens School of Arts

Posted on by eric_fritsch

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!

Posted on by Julia Kahl

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

Posted on by Lara Zettl

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

Posted on by Clara Weinreich

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

Posted on by Lara Zettl

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:

STRAJK

Posted on by Lara Zettl

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
Download

 

ÉTÉ

Posted on by Lara Zettl

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
Buy via Mail or on the website

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.