LICHTSPIEL–ECHT. BEWEGEND. UNVERGESSLICH.

The corporate design for the fictional arthouse cinema LICHTSPIEL was created as part of a Type & Identity seminar at Mainz University of Applied Sciences in summer 2025. The visual identity is built around a simple, familiar star composed of four lines. This minimalist symbol forms the foundation of the design, which is systematically deconstructed into elements that recur across all applications.

Straight and slanted lines appear repeatedly—in posters, typography, and graphic details. Repetition plays a central role: lines and letters are arranged rhythmically, patterns emerge through serial arrangement. Lines strung together are reminiscent of a film strip, and the star itself becomes a stylized film reel in motion.

The concept for LICHTSPIEL combines a minimalist, graphic language with subtle allusions to the medium of film, creating a striking visual identity that is closely linked to the cinema experience.

LICHTSPIEL–ECHT. BEWEGEND. UNVERGESSLICH.

Design: Marei Hager, Emily Wagner, Jakob Jenderek
Supervision: Julia Kahl 
Media: Brand book, animations, posters, program booklet, stickers, menu, tickets
Language: German
Production: Druck und Papier HS Mainz (Marco Moll and Luis Außem)

Geo Sans

GEO is an experimental font pushing the limits of how many anchor points a font file can store.
This font is inspired by geological rock samples, one of the objects I find most inspiring these days. Endless complex intertwining sets of natural physical data shape these rocks in a way that could never be recorded, let alone reproduced. They tell stories in a language consisting of form, color and structure.

The New DFB Brand Identity

The German Football Association (DFB) has undergone a design transformation. Its new brand identity embraces both heritage and progress—from a fresh color palette to a fully variable typeface that captures the emotion and dynamism of the game. Developed in collaboration with Strichpunkt Design, the redesign connects the past and the future through energy, clarity, and inclusivity.

We spoke with Holger Merk, Head of Brand Department / Staff Unit, DFB GmbH, about how the federation’s new visual identity brings its mission to life and unites a community of millions under one design language.

Julia Kahl: The DFB is the umbrella organization for 26 regional football associations and more than 25,000 clubs—a network that reaches millions of people across the country. How do you even begin to approach a redesign for a brand of that scale and significance, one that touches so many different audiences?

Holger Merk: First, we broke the brand down into its core building blocks to really understand what people inside and outside expect from it. Then, when we put it back together, we shaped a clear profile with three key dimensions where the brand creates the biggest impact through all its projects and initiatives. That process gave us a sharp vision for the rebrand.

The DFB’s work spans three core areas:

Organization—administrative, structural, and management topics
Society—social responsibility and community engagement
Sport—everything that happens on the pitch

Each of these areas now has its own visual expression, while core brand elements like the logo, typeface, color palette, and the characteristic pitch grid remain consistent. How is this visual differentiation achieved in practice, and what defines each area’s look and feel?

Each dimension highlights a core area of our work and gives the brand its own distinct vibe. Organization focuses on our work with regional divisions, the DFL, UEFA, FIFA—so its look is formal and structured. Sport is where our passion lives: full of energy and emotion, and that’s exactly what the design should express. To make these differences tangible, we tap into our full brand toolkit. In Sport, that means bold neon on deep green, dynamic use of our variable typeface, and a grid-style Supersign for extra movement and impact.

As a platform with a focus on typography, we’re especially intrigued by the new DFB Sans. It’s now a fully variable typeface designed to convey the rhythm and energy of football. Could you tell us more about how the type system was developed and how this new flexibility translates into daily communication?

Originally, DFB Sans was developed in an extended character set and only a few font styles (Condensed, Regular, Bold), mainly as upright and italic. The sans serif geometric design is derived from the visual language of the picturemark and references the pitch lines typically found on a soccer field, which are also part of the visual design repertoire of our design assets.

Typography plays a central role in the visual DNA of the DFB, and it probably has the highest recognition value across the entire design language. By developing it into a variable font and pushing the font’s borders to Thin and Black, Compressed and Super Extended, we now have the opportunity to reflect the depth of German soccer, convey more emotion, and allow us to create a visual volume ranging from “loud” to “quiet”. Apart from the technical features offered by variable fonts, it can be used to express emotions at the font level, particularly in digital and moving applications, which we previously only had in images.

In addition to the main logo, the DFB introduced a “super sign” as part of its new design system. What’s the story behind this super sign, and how does it interact with the core logo?

Over my 20 years at the DFB, the inner structure of our logo has often been considered as a design element—but for a long time, any attempt to modify it was strictly off-limits. In recent years, we’ve become more flexible. During the rebranding process, we realized the potential of this inner structure—what you could call the ‘soul’ of the logo—as a powerful design feature. That’s why we developed a 3D version. Today, the Supersign allows us to infuse every piece of communication with a touch of the association’s identity. We love that! It’s not about interacting with the logo itself: the Supersign works as a bold, meaningful design element.

A large set of icons and pictograms was created as part of the rebranding. The ones representing diversity and togetherness are particularly striking. How and where are these icons being used across DFB communications and platforms?

Icons, especially those representing diversity and community, play a key role in the Society dimension. This is where we drive projects and initiatives that happen off the pitch. Often, we collaborate with organizations and institutions that bring their expertise to the table. A current example is our Year of Schools project, which aims to connect football and education more closely.

In these projects, we don’t have the usual emotional imagery from the game, and the context is often more educational. That’s why we rely on icons to deliver content clearly and make it easy to understand across all touchpoints.

“Be it an umbrella or sub-brand, foundation or competition—every brand in our team has its own character made up of typography, colour scheme, imagery and graphic elements. And all brands together form and strengthen the big picture like a well-coordinated team: the DFB design language.” This quote perfectly encapsulates the new spirit of the DFB’s identity. What did Strichpunkt Design change or introduce to make the DFB design language more future-oriented and inclusive?

The old look of the umbrella brand was clean, white, and strategically unemotional. It reflected the organisational areas of the DFB and thus communicated little to no emotion. In the redesign, the sub-brand levels were dissolved. All the areas covered by the DFB are now reflected in one umbrella brand identity. Within the brand, a distinction is made between the three main areas of activity: organisation, society, and sport. Therefore, the brand’s visual implementation must also enable this balancing act. The new supersign symbolises the association’s work, which ranges from amateurs and children to professional sports. In other words, all facets of football. All in all, the new design elements create a more open, accessible, and approachable brand. This is exactly how the DFB will be positioned in the future.

The DFB’s rebrand is more than a visual update—it’s a cultural statement about what football represents in Germany today: diversity, movement, and belonging. Through color, form, and type, the new identity celebrates both the grassroots and the grand stage, reflecting football’s power to unite. It’s a design language that feels unmistakably DFB—and unmistakably alive. Good work!

MARTIAN — ALIEN FLORA

This typographic work is based on a hand-drawn experiment inspired by the idea of an alien flora from another planet. Each letter grows like a living organism, with stems, leaves and organic curves replacing traditional strokes. The type is imagined as a species of botanical life, shaped by an unknown environment and unfamiliar natural laws. The result blends typography and science fiction into a decorative, otherworldly visual language.

Kado

Kado is a typeface inspired by the traditional Japanese art of ikebana, embodying its essence of balance, harmony, and natural beauty. Each letterform reflects the delicate shapes of petals and pedicels and can be arranged like flowers, coming together to form unique compositions reminiscent of ikebana arrangements.
Kado captures a duality of clarity and fluidity, serving as both outline and shadow, creating a harmonious interplay of form and expression.

Black Friday Special

Latent Figures is a catalogue of automatic ideas — a collection of signs from an unknown memory. Our almost-sold-out publication by Jannis Maroscheck is available at a super special price with 70% off this weekend only. With this sort-of-dictionary, Maroscheck creates a visual language that blends pragmatic graphic design aesthetics with elusive imagery. A collection of shapes that often approximate something we know or understand, but their meaning doesn‘t quite want to resolve, they revolve around themselves, somewhere between meaning and nonsense. Offering a space to project one’s own imagination.

Latent Figures
€34 →  €10

28.11.–30.11.25, 24:00 (UTC+1)

BUY HERE!

Penrose Helix Visual Identity & Publication

The visual identity and typographic intervention respond to this complexity by adopting a method of iterative displacement—collaging typographic strata, bending formal hierarchies, and allowing linguistic fragments to fold into one another. Rather than treating design as a static vessel for content, the system foregrounds the instability of the tower as both physical form and social metaphor: an entity whose apparent solidity masks diffuse forms of influence radiating into its environment.

Positioned Realities Visual Identity

For Positioned Realities, Can Yang developed a visual identity that accompanies curators, artists, and audiences navigating the exhibition’s transnational and decolonial questions. Blending multiple typefaces, intuitive lettering, and hand-drawn illustrations refined through digital translation, she crafted a responsive system that invites dialogue and connects heterogeneous works within a shared visual framework.

Release Party & Open House

Our Open House celebrating the release of Slanted Magazine #46—Cairo was truly unforgettable—and we’re still glowing from the energy, conversations, and amazing people who joined us.

The evening kicked off in the best possible way: with great music, good drinks, and delicious food by EAT HAPPY, setting the perfect warm and cozy atmosphere for everyone to unwind, mingle, and celebrate.

We were then excited to dive into two inspiring talks. Markus Lange opened the program by sharing the story behind his photographic series Tayara—The Kites That Flew Too High. During his time in Cairo at the height of the pandemic, colorful kites filled the skies above the city’s rooftops—symbols of joy, freedom, and brief escape for children and families. Shortly after, the Egyptian government banned them, citing accidents and even fears of “espionage.” Lange’s photographs capture this delicate interplay between freedom and restriction, playfulness and politics, transformation and control.

Following this, Dirk Altenkirch took us back to his unforgettable journey through Egypt in 1983. His photographs and portraits from that weeks-long trip offer rare and intimate glimpses into everyday life far from tourist paths—moments that, strikingly, have changed very little to this day. His stories and images provided a unique historical counterpoint to Cairo’s contemporary creative scene.

A major highlight of the evening was the exclusive screening of Cairo Unscripted—Exploring Cairo’s Past, Present, and Creative Future,edited with incredible care and precision by the talented team at NTSAL Chamber of Design. The film offered a vivid, emotional, and unscripted look behind the scenes of our team’s journey to Cairo—and into the people, places, and stories that shaped this issue.

We loved seeing so many of you browse our shelves, discover fresh releases, and even snag limited and sold-out editions available only at the event. Most of all, we’re grateful for the warm conversations, the laughs, and the inspiring exchanges we shared throughout the night.

A huge thank-you to everyone who joined us—you made the evening truly special. ❤️
We can’t wait to welcome you back for the next Slanted Open House!

Perversions

This work explores the Arabizi writing system in relation to Mahraganat, an Egyptian genre of rap. Arabizi is a system of writing Arabic using a combination of English letters and numbers. Mahraganat lyrics are written in Arabizi and Arabic, the two versions are then forced to blend and coexist, rupturing traditional and classic forms of Arab culture and revealing new imaginings of communication.

There is no backwards or forward

‘There is no backwards or forward’ is a typographic experiment that explores the geological connections between language and culture. Using molten aluminium scraps, cultural remnants in flux, it transforms material into living letterforms. This project reimagines type as organic, performative and evolving, challenging the anthropocentric view that matter is inert and voiceless.

Memory Cards

“Memory Cards” is a series of works reflecting on the materiality of the digital form of memory. Memory transitions from the perceptible environment into a digital landscape, experiencing a series of physical transformations inside of an aluminium holder. A vital material lets the transformation memories feel timeless.
Font in use Holger, by Jacob Wise.

Every love has it’s meaning

Fueled with love for design, I created four image-based works that each one had different textures.
And then I found some interesting letter forms from those four pieces afterward, and then made letter LOVE with it. Different textures, different sensual feelings, and different meanings from it.
It’s similar to what loves always brings us.

ALT Erogenous

ALT Erogenous is a bold display serif that balances sharp contrast with seductive curvature. Designed to draw focus, its high-impact letterforms feature pronounced stroke contrast, sensual serifs, and a strong base structure provoking visual tension and intrigue. With 484 glyphs, support for 219 Latin languages, and coverage of Latin Extended-A and 95% of Latin Plus, it’s a typeface built to tempt.

Designer Eunice Su takes inspiration from the hand-painted signage and deep-rooted craft traditions of Tainan, Taiwan. Living amongst ceramics, lantern-making and traditional artisans fostered her sensitivity to form, material, and texture. The elegant, suave shapes of ALT Erogenous carry this heritage forward, translating vernacular influences into a contemporary, striking display serif.

ALT Type Foundry was established with a purpose: to partner with type designers from backgrounds under-represented within the industry. By collaborating with talents like Eunice Su, they craft unique, forward-thinking typefaces fit for purpose; optimised for both digital and printed spaces. ALT Erogenous embodies this ethos: a typeface that is both deeply rooted in tradition and sharply attuned to modern design needs.

ALT Erogenous is now available to trial for free.

ALT Erogenous by Taiwanese Type Designer Eunice Su

Foundry: ALT.tf
Type Designer:Eunice Su
Graphic Design: Giulia Boggio
Campaign Direction: Amber Weaver
Release: 09/25, currently single weight in otf format

Photo Credits
Producer & Art Director: Jake Martin

Photographer: Lindsay Ellary 
Lighting Director: Oliver Matich 
Set Design: Olivcia Giles
Beauty: Grace Ellington 
Nails: Hannah B Manicures
Set Assistant: @r.osew
Models: Milly Cope and Charlotte Robinson 
Thank you: Buttress & Snatch

Kurotowa

Design for the solo live performance of the string ensemble “Kurotowa,” based in Fukuoka and Tagawa City. Held at OVERGROUND in Minoshima on September 6th. Their music is perfectly suited for the transition from summer to autumn, offering a soothing experience. I designed the promotional visuals using fallen leaves. Each character was individually crafted from leaves, photographed, and then laid out on the page. To create promotional materials that resonated with the atmosphere of their music, I

Fountain Installations Näfels

Fountain Installations is a fictional art event in Näfels, Switzerland, inviting artists to reinterpret local drinkable fountains. The letterpress poster, printed in three passes on metallic paper, relies solely on typography to convey its theme, with fountain as the central motif. Hand-carved linoleum blocks produce tactile textures that unite historical craft with contemporary design and the refreshing spirit of Alpine water.

Raw Cycling Magazine – Issue Zero: Stepping into the Unknown

Raw Cycling Magazine, founded in 2013 as a digital platform for cycling culture, has released its first printed edition: Issue Zero – “Stepping into the Unknown”. This milestone marks the transition from online storytelling to a tangible publication, reinforcing Raw’s core values of quality, authenticity, and community.

The project is the result of a close collaboration between the magazine’s editorial team and Sheila Dobón Studio in Barcelona, who led the art direction and design. The editors played a crucial role in curating the stories, selecting the voices, and shaping the narrative tone that defines the issue, ensuring the publication remains true to Raw’s identity.

The design embraces exploration — paralleling the journeys of the riders — through a flexible grid system, dynamic pacing, and a photographic index that functions as a map for the reader. Typography strengthens the bilingual voice of the magazine: Neue Haas Grotesk (English), Freight (Spanish), and Century Schoolbook for timeless headlines.

Photography by Brazo de Hierro, Toni de la Torre, and Javi Angulo captures both landscapes and intimate moments, amplifying the magazine’s editorial depth. Together with the editorial team’s careful storytelling, the visuals create a publication that is as emotional as it is visually striking.

With Issue Zero, Raw demonstrates how digital identity can evolve into a physical experience, inaugurating a new chapter in its editorial journey.

Read more here.

ABC3D

This project investigates how typography can become spatial and interactive. Using projection, motion tracking and real-time software, it explores how letterforms can behave and transform in response to a viewer’s movement. Throughout the year, sensor-based input were explored as a way to connect physical interaction to type as part of the broader research process. The final installation treats typography as a spatial element that adapts to its environment. Image courtesy by Koen Cant

Cologne Design Prize 2025

Every year, the Cologne Design Prize honours the best and most innovative final projects by graduates of Cologne’s design universities. The prize is intended to promote young talent and further raise Cologne’s profile as an internationally significant design location.

This year, the total prize money amounts to €45,000, funded by the Prof. Dr.-Ing. R.G. Winkler Foundation and KölnBusiness.

All nominated works and the award winners will be on display from November 28th to December 7th 2025 in an extensive exhibition at the MAKK (Museum of Applied Arts Cologne), admission is free.

Cologne Design Prize 2025

When?
November 28th 2025—December 7th 2025

Opening hours: 10 a.m. to 6 p.m. (closed on Mondays)

Where?
An d. Rechtschule 7,
50667 Cologne

ADC Digital Conference 2025

Closing this year’s design conference season, the Art Directors Club brought the creative industry together for the ADC Digital Conference at the Kunstpalast Düsseldorf, for a compelling look at the current state of the industry under the theme of digital evolution. Alongside critical discussions on where the industry is heading, leading artists and studios shared project insights, highlighting lessons learned, boundaries pushed, and methods reshaped. 

Entering the main hall, visitors were immediately drawn upward: a special projection spanning the 13-meter dome by Vasjen Katro (Baugasm) turned the space into a shifting field of light, color, and motion under the topic of surveillance and algorithms.

DixonBaxi, the London-based design studio known for global brand systems across entertainment, tech, and sports, set the tone with a clear statement: “If the tools are all the same, thinking differently is a superpower.” Their cases showed how conceptual clarity and attitude matter more than software capabilities. From Barcelona, Domestic Data Streamers expanded the perspective toward social impact. After outlining “infoxication”: the overload that erodes empathy, they presented current research projects on accessibility. Their approach centers on designing communication systems that stay emotionally legible and inclusive from the ground up.

Chris Kore, a digital artist working between Berlin and London, calls herself a “digital dreamer” and unpacked her process for creating live, code-driven visual experiences. Her work for Boiler Room and Dekmantel connects generative systems with intuitive input, a recurring theme throughout the conference.

A highlight of the day was Vincent Schwenk, the Hamburg-based 3D artist known for his playful, tactile visual worlds. His talk condensed years of practice into a compact guide on staying experimental, curious, and fast in an industry that constantly shifts.

On the church stage, a panel brought together Burkhard Müller (Mutabor), Chris Kore, and Vasjen Katro. The discussion circled around personal branding, visibility, and the pressure of algorithm-driven platforms. When asked how they navigate the overwhelming stream of visual content, both Chris and Vasjen emphasized seeking out human-curated references instead of relying on algorithmic feeds, a conscious strategy to maintain originality.

In the context of our upcoming issue Slanted Magazine #47—Digital Tools, this event reinforced just how urgent and relevant the discourse and exploration of digital creative practice has become, and how strong the interest is in expanding the possibilities of the digital toolbox. Thanks for the invitation ADC!

© Photos by Jacob Tessmann

Call for Entries: Experimental Type 4.0

We are excited to announce an open call for entries for the next edition of Experimental Type IV, a publication dedicated to unconventional approaches in typography and graphic design. We welcome projects that explore unusual processes, embrace mistakes, or follow unique conceptual frameworks.

The fourth edition is currently being prepared in collaboration with students from FH Dortmund under the direction of Professor Lars Harmsen and Andreas Ruhe. This call invites all interested contributors to take part.

Experimental Type IV showcases innovative strategies in type and design—from accident-driven processes and intentional imprecision to concept-based systems, AI-generated typefaces, variable fonts, and other cutting-edge techniques.

Graphic designers, illustrators, journalists, authors, and artists are encouraged to submit their work in black and white, accompanied by a brief statement or quote. Essays or articles are also welcome; please send your idea via email. Submissions are open until January 18, 2026.

Please use our submission form to submit.

📅 Submission Deadline: Sunday, 18.01.2026

📅 Publication: To be autumn 2026

After the submission deadline, all contributions will be curated and reviewed. We will contact you if your work is selected, you will receive a discount code by email to order a copy.

 

© Animation by Steven Thiele

BOUNCE 2026

BOUNCE, the acclaimed design event taking place at Trinity College Dublin on January 16, 2026, returns with the compelling theme of “BEING.” This year’s event invites designers, thinkers, and creators to engage with design as a dynamic process that reflects identity, fosters community, and embraces ecological futures beyond human-centered perspectives.

The distinguished lineup of speakers responding to this theme includes Neasa NiBhriain and Aaron Copeland (A Playful City), Agyei Archer (TypeTogether), Jaron Korvinus (Studio Spass), mixed media artist Luna Maurer and many more. Each speaker brings unique perspectives on how design intersects with identity, society, and ecological responsibility, inspiring conversations on inclusion, and the expanded role of design within communities and ecosystems.

BOUNCE 2026 offers a transformative platform for designers and audiences to explore how design shapes our collective experience and challenges traditional boundaries. Attendees can expect engaging talks, and collaborative sessions promoting innovation and social impact.

Tickets and further information are available at the official BOUNCE website. Receive a 15% discount on every ticket type with the promo code SLANTED.

When?
January 16th 2026
 
Where?
Trinity College
The Arts Building
Dublin, Ireland

Win 1 of 5 memo Neon Lime Notebooks!

Meet memo — not your average notebook. The new German-made label combines premium stationery with a playful twist: every edition integrates crosswords and sudokus alongside classic note pages. Designed for those who love structure, focus, and a bit of fun, memo turns everyday jotting into mindful me-time — creative brain training wrapped in good design.

Each notebook belongs to a distinct collection. The first, Neon Lime, features three vibrant designs that stand out without shouting. With their compact format and soft covers, they fit perfectly into any bag — and any aesthetic. Whether you’re a design lover, puzzle enthusiast, or someone seeking a digital detox, memo offers a refreshing way to stay mentally active while staying offline.

From concept to production, this product is made entirely in Germany in collaboration with brandbook, known for their craftsmanship and attention to detail. The result is a notebook that’s as smart inside as it is on the outside—thoughtfully printed on premium paper, thread-stitched, and built to last.

Beyond the looks, there’s a little boost for your mental fitness: solving puzzles enhances concentration and reduces procrastination; writing by hand helps organize thoughts and sparks creativity. And since the holiday season is just around the corner, memo also makes an ideal gift for anyone who values design and mindfulness.

To celebrate the launch, we’re giving away five memo notebooks from the Neon Lime collection!

To take part in the giveaway, write an email to [email protected] with the subject “memo Neon Lime” and include your postal address (for dispatch). The giveaway ends November 17th, 2025, 09 a.m. (UTC+1). Winners will be drawn after the deadline and contacted by email. By participating, you accept our privacy policy. Legal recourse is excluded.

Follow memo on Instagram or visit www.memo-books.de to discover more.

Product Details
• Collection: Neon Lime
• High-gloss cover for protection and radiant color
• Flexible cover
• 120 pages total
• 40 pages with crosswords & sudokus (in German)
• 80 dotted pages for notes
• Premium 120 g high-white offset paper
• Thread stitching
• Format: 135 × 200 mm
• 1 integrated ribbon bookmark
• 1 additional bookmark + 3 stickers
• Price: €28.00