GIF me your best

The Fall of the Berlin Wall: November 9th, 2019 we’ll celebrate the 30th anniversary of the fall of the Berlin Wall, that divided Berlin for 28 years. This was made possible by the peaceful revolution of courageous people in the GDR who took to the streets to demonstrate for their freedom. When the wall fell, anything seemed possible. Wunderbar!

Today, 30 years later, we find ourselves in a situation that we thought we had already overcome. Political leaders and populists want to convince us that the Wall is an effective political tool to master our global challenges. But as the philosopher Noam Chomsky already says: walls that separate people from one another are the architecture of violence. Tell Stories with GIFs! The GIF ME YOUR BEST #ZEROWALLS GIF Competition 2019 aims to collect the best animated GIF stories that show how to tear down walls. The visible ones that separate us from other people, the invisible ones that keep us away from important information, and the self-made ones in our heads that block our clear view of life. Invited are international graphic and animation designers, typographers, illustrators, photographers and artists. Participation is worth it! Out of all entries an international jury will award 5 GIFs. Each of the 5 winners will receive a high-quality collection of 9 books about Berlin, the Berlin Wall, the development of cities, and cross-border communication tools.

The jury consists of Markus Beeko (Secretary General of the German section of Amnesty International, Berlin), Tim O’Brien (Illustrator, New York, United States), Melinda Beck (Illustrator, Animator, and Graphic Designer, New York, United States), Benito Cabañas Aguilera (Graphic Designer, Puebla, Mexico)and Lahav Halevy (Graphic Designer, Tel Aviv, Israel.)

Participants may submit up to five GIFs.
The closing date for entries is November 4th, 2019.
The full terms and conditions can be found here.

The Templates

THE TEMPLATES is a collection of customisable imagery created to showcase artwork in a realistic environment. The project is a close and ongoing collaboration between Maurice Másson and The Brand Identity. Maurice Másson is a German art director operating across mediums within Art and Industry. The Brand Identity is a resource for the creativity community, sharing contemporary design works online, this time also being involved in creation and distribution. The collaboration was born out of a shared desire to offer a new take on photographic mockups that feel both curated and like on-the-fly photography that just happen to contain a poster frame or shop sign.

The first drop consists of 20 templates and includes billboards, posters and signs, and are available individually, in a package by type, or as a complete collection. The collaboration will continue to grow, with future additions set to include flags, shop windows and stationery.

Further information at the The Brand Identity shop.

Typeface used: FK Screamer by Florian Karsten

Augmented Conspiracy

50 years ago, on July 20th, 1969, the first humans set foot on the moon—was it all fake? Since then, numerous conspiracy theories have accompanied the mission of Apollo 11. The bachelor project Augmented Conspiracy by Stella Friedenberger uses Augmented Reality to show a reversible figure between original and counterfeit and plays with possibilities of manipulation.

In 1976 the previously unsuccessful author Bill Kaysing published his book We Never Went to the Moon: America’s Thirty Billion Dollar Swindle and thus founded the conspiracy theory about the Apollo moon landings. In former times supporters of alternative facts rather stayed among their own kind but since the 1990s they are forming global networks on the internet.

During the past decades an entirely new infrastructure of perception, communication and coordination emerged. Our life increasingly translocates into the digital. We are frequently watching the world surrounding us through smartphones, tablets and other technical devices; one could almost say we are continuously developing a new sense—some kind of daily extension of our awareness. What effects does digitization have on the organization of our lives but also on social realities as well as the shaping of public opinion? How do perceptual habits change in times of the Internet of Things and which challenges come along with it?

When we say “There it is in black and white!” than it is not only about printer’s ink but principally about the plausibility of a classical printed medium like a book. When something is literally printed “in black and white” we have a naturally tendency to rely on it. But when it happens that a digital image is displayed into our analogue environment it triggers the very reverse. Just imagine it would be exactly the opposite—when the digital layer would supplement reality or would even have the potential to provide more truth than the analogue reality. In Augmented Reality the analogue and the digital world go hand in hand and this picture is not only an interdisciplinary niche but most of all it is a romantic vision within an current spirit of time. How much technology can reality bear? How much reality can technology bear? Is there some kind of balance between digital and analogue? Perhaps the digital future will not immediately replace the analogue past but what if, for now, it takes it on a journey? Yesterday and tomorrow are one.

This Augmented-Reality-book-installation emerged as a bachelor project in Communication Design/Editorial Design at Burg Giebichenstein University of Art and Design Halle and just got nominated for Giebichenstein Design Award in the category “Best Communication.” As an installation it was primary seen in exhibitions but could also be issued in libraries and book stores. An intended release would require a mobile app version, to be able to experience the interaction between analogue and digital also at home through your smartphone or tablet.

Augmented Conspiracy

Design: Stella Friedenberger
Publikation:
Volume: 164 Pages
Format: 17,5 × 24,5 cm
Language: English
Printing: HPIndigo
Binding: Thread Stitching, Swiss Brochure
Finishing: Blackened back of book block, black edge
Installation:
Setup: Monitor, Webcam with pivot arm, table with plotted grid
AR-Software: Unity, Vuforia

 

Arlonne Sans Pro

Arlonne Sans Pro is a humanistic sans-serif font family, with neoclassical influences and eight weights.

The font was designed between 2015 and 2019 by Sacha Rein with the intent to create a font with a simple appearance yet infused with a lot of character. Inspired by the works of Bigelow & Holmes and Adrian Frutiger, readability was always one of the main concerns. The font is ideal for longer typesetting and multilingual publications, such as magazines, annual reports, brochures and books. The carefully designed characters are equally suited for titles or logos.

Over 1.800 characters cover more than 143 languages (Latin Extended, Greek, and Cyrillic). The font contains small caps, mathematical symbols, automatic fractions, ligatures, stylistic variants and many more OpenType features. Spacing and kerning were created in collaboration with Igino Marini’s iKern service.

The name Arlonne derives from the small town of Arlon, a Walloon municipality of Belgium and capital of the province of Luxembourg.

Arlonne Sans Pro

Type foundry & Designer: Sacha Rein
Publishing date: June 2019
Weights: Light, Light Italic, Regular, Regular Italic, Bold, Bold Italic, Black, Black Italic
Format: Desktop, Web, App
Price Individual style: 44.– Euro
Price Complete family: 185.– Euro
Buy at MyFonts
Buy at YouWorkForThem

FYI: Conference for Information Design

No longer just an initialism for nerds or workaholics, “FYI:” is also a conference for information design, taking place for the second time on November 9th, 2019.

Around 200 participants are expected to attend the FYI conference. This time around the event will take place in the Ankerhalle of the Vienna Brotfabrik, following the concept that unusual places promote creativity. Visitors await a mix of specialist lectures and short impulses, an experience area for browsing and activities, and a creatively crazy conference organisation. Lectures are held by 9 professionals and 5 recent graduates. Participate, talk to each other, educate yourself, broaden your horizon—all this is is waiting for those who are, or want to become, information designers.

Tickets for 95.– € regularly, Student tickets for 45.– € (bring your ID card with you.)

When?
November 9th, 2019
from 12 a.m. to 7:30 p.m.

Where?
Ankersaal der Brotfabrik
Absberggasse 27
1100 Wien

Bauhaus 4.0 meets Design Thinking & User-Centered Design

Bauhaus 4.0 meets Design Thinking & User-Centered Design: Holistic, interdisciplinary, iterative, empathetic. What can we learn from the Bauhaus? How can Design Thinking and User Centered Design help to solve today’s challenges? How can German design regain international recognition and make an impact as a relevant part of “Made in Germany?” Isn’t the German longing for ethics and morality helpful here? To what extent can design help to balance social and economic requirements? And isn’t good design user-centered anyway?

At the panel discussion on September 17th, 2019 in Berlin we will discuss the role and potential of design as a strategy and method in times of digitalisation in a pointed and provocative way. Among others with Lutz Engelke, Ralph Habich and UlrichWeinberg—as well as Helmut Ness as Special Guest. The moderation will be led by Boris Kochan and Ulrich Müller, the greeting will be given by Victoria Ringleb, Managing Director of AGD. The host is the AGD (Alliance of German Designers.)

Tickets cost 8.– € and are available here.

When?
Tuesday, September 17th, 2019
6:30 p.m.

Where?
In the paperwarehouse of the E. Michaelis & Co. GmbH & Co. KG
Tabbertstraße 18
12459 Berlin

 

PULP – Patrick Thomas

PULP is the title of a new body of work made by Patrick Thomas in response to the reality of living in an age of “truth decay.” Interacting with randomly sourced daily newsprint—the traditionally respected source of factual information—he layers found, drawn and codegenerated graphic forms in an aleatory way utilising the mechanical process of silkscreen printing. Intentionally ambiguous, the resulting prints may be appreciated for their abstract beauty and as a celebration of the disappearing broadsheet newspaper format; however, they might also conceal a darker significance that suggests manipulation, concealment and censorship. They are powerful graphic statements that document a moment in time whose aim is to ask more questions than provide answers, which, due to the unstable physical properties of the newsprint material, will continue to silently evolve over the years. Patrick Thomas (Liverpool, GB) is a graphic artist, who lives and works in Berlin and is a professor at Staatliche Akademie der Bildenden Künste Stuttgart.

Graphics as a political form of expression

“In light of the rise of both social media and right-wing populist movements, not only in Europe, the difference between truth and opinion seems to have become the object of negotiation in widespread political discussion. Underming facts in the name of political interest, raises not only the question of the appropriateness of political reactions but also the viability of the chosen media for political interventions. One of Patrick Thomas’ strengths is not only how he disintegrates the functional logic of graphic design in order to operate on the border between graphic art and social design. But rather how, in a politically precarious climate, the irreducible aesthetic forms expressed in his work pose the question of the role and function of graphic design within political negotiation itself.
In their layering of different graphic forms, his work not only plays with the semantics of surface and subsurface (for example, a version of his work ‘Empire,’ shows the barcode of Trump’s book ‘How to Get Rich’ printed on a title page of the FAZ, which could be read as a motif of capital logic within the political process, in tension, but also in continuity with, the agenda of this newspaper). Rather, this interplay is irreducibly tied to an aesthetic of surface and subsurface. The viewer’s gaze oscillates between an appreciation of the graphic form (which becomes an abysmal reminder of the practices of censorship) and the material of the newspaper. What is at stake always seems to exist in the perspective that the object offers us, which is not the one we are currently taking in. The aim of the exhibited works is not to develop concrete media formats and practices that steer political decision-making processes in a productive direction. But rather, as aesthetic objects and works of graphic art, they offer a medium of reflection and thus an education for the viewer.”
(Daniel Martin Feige, Professor of Philosophy and Aesthetics in the design department of the Staatliche Akademie der Bildenden Künste Stuttgart)

A———Z is a new space in Berlin with the mission of expanding the territory of graphic design by rethinking its limits and challenging traditional perceptions. At the storefront space, located in the heart of the city, renowned graphic designers will be invited to unfold their artistic, conceptual or formally experimental projects.

Where?
Torstraße 93
10119 Berlin

When?
Opening: Thursday, September 12th, 2019, 7 p.m.
Opening times:
During Berlin Art Week: September 13th to September 15th, 2019, 1 p.m.–7 p.m.
After September 16th to November 8th, 2019, Fridays 1 p.m.–7 p.m. and by appointment

Pulic talk by Patrick Thomas:
Thursday, October 10th, 2019, 7 p.m.

Druckerwochenenden

The Speyerer Winkeldruckerey is dedicated to experimental typography and artistic hand pressure. Graphic works are created at the printer weekends held once a month in the winter months, to which graphic designers and hand press printers with national and international reputations are invited. In the “open workshops,” visitors can study the guest printers work on Saturday and Sunday from 11 a.m. to 6 p.m. In the gallery Typographisches Kabinett, works by the present artists are shown for four weeks each.

When?
28–29/09/2019
Philipp Hennevogl

26–27/10/2019
Hannes Steinert

23–24/11/2019
Niklaus Troxler

18–19/01/2020
Anastasiya Nesterova

15–16/02/2020
Thomas Siemon

14–15/03/2020
Pierre Pané-Farré

Opening Hours
Tuesdays 1 p.m. to 4 p.m.
as well as during the printer weekends
Saturdays and Sundays 11 a.m. to 6 p.m.
admission free

Wo?
Winkeldruckerey and Typographisches Kabinett
Im Kulturhof Flachsgasse
Flachsgasse 3
67346 Speyer
Germany
Telephone +49 6232 142250
#winkeldruckerey

Get more information here.

K. H. Drescher—Berlin Typo Posters, Texts, and Interviews

Please help us to publish this comprehensive publication about the typographic work and life of the designer of the Berliner Ensemble Karl-Heinz Drescher (1937–2011)! The book is now available for preorder on kickstarter.

While researching in the university archive of Burg Giebichenstein (Halle, Saale, DE) for his master studies, the designer Markus Lange came across the fantastic typographic poster artwork of Karl-Heinz Drescher (* October 7, 1936 in Quirl; † May 19, 2011 in Berlin), a graphic artist, who studied from 1955 to 1960 in the former GDR at the same school (formerly known as Hochschule für industrielle Formgestaltung). In the 100-year history of the university Drescher’s name was rather unknown and nobody knew anything about him. In a 1-year research Markus Lange got in touch with Drescher’s family, and conducted various interviews with companions and friends to get to know more about this talented designer.

Lange found out, that Drescher joined the Berliner Ensemble in 1962, the theater founded by Berthold Brecht for which he worked as a graphic designer for almost 40 years under the direction of Brecht’s wife Helene Weigel. In addition to his work at this house, Drescher also worked for other organizers, museums, galleries, and theaters, amongst others the Akademie der Künste der DDR, the Maxim-Gorki-Theater, and the Deutsche Staatsoper in Berlin. His catalog of works today comprises over 400 posters, about one third printed with letterpress.

For the first time, this book summarizes most of Drescher’s (typographic) posters in one comprehensive volume. The book contains texts and interviews by various authors such as Dr. Friedrich Diekmann, Dr. Sylke Wunderlich, Helmut Brade, Niklaus Troxler, Gerd Fleischmann, Jamie Murphy, Erik Spiekermann, Ferdinand Ulrich, Götz Gramlich, Peter Kammerer, Vera Tenschert, Cesarina and Alessandro Drescher.

This publication serves as a review of the life of an extraordinary theater graphic designer but also as an inspiration for the here and now. Please help us reach the goal, to sum up the amazing work of an outstanding designer. Pledges start from €5.– and include many exclusive rewards like early bird discounts, original posters, mention in the book, …

Published by: Slanted Publishers and Markus Lange
Concept and Design: Markus Lange
Release: February 2020
Format: 195 × 265 mm
Volume: 272 pages
Language: German + English
Printing: Offset
Edition: 1,000
ISBN: 978-3-948440-00-8

Preorder your copy on Kickstarter!

Typeface of the Month: Monterchi

Monterchi is an ode to the typefaces of the early Renaissance and their detailed ornaments, ligatures, and constructed geometric beauty. With Monterchi, the Zetafons designers have succeeded in creating a true working typeface that can be used in any design environment of modern life and yet still lives up to its historical origins.

In 1459, while visiting his dying mother, Italian painter Piero della Francesca spent seven days creating a fresco of a pregnant Madonna in a small country church in the hilltown of Monterchi located near Arezzo, in Italy. Hailed today as one of the masterpieces of Italian Renaissance, the fresco was given a new branding in 2019 by Italian art director Riccardo Falcinelli who asked the Zetafonts team to develop a custom font for the project.

Cosimo Lorenzo Pancini, lead designer for the project, decided to start from the extensive research work made in 2016 by Francesco Canovaro for his Beatrix Antiqua and Florentia typefaces—based on the same inscriptions in Basilica di Santa Croce in Florence that had inspired Hermann Zapf’s Optima typeface. These classical uppercase letterforms, with their striking geometric proportions and flared serifs, are the same used by Piero della Francesca itself in some of his hand-painted autograph inscriptions—where one can also notice the ligature forms that were created by middle age stone carvers as a way to keep a consistent balance for each line while carving more letters in a given space. Over one hundred of these ligature letterforms where researched and added to the typeface with the help of Andrea Tartarelli and Maria Chiara Fantini, who also helped develop the lower case alphabet, inspired by the early humanist minuscules like the Littera Antiqua as reimagined by humanist punch cutters like Jenson and Griffo.

The resulting typeface system is a 50-weights ode to the beauty of classical roman letterforms and their renaissance re-discovery, pairing elegant alternate forms and quirky uppercase ligatures with an array of design features for clear and effective editorial, signage, logo and wayfinding design. The base display family Monterchi allows endless design expressions with a range of six weights from the slender thin to the strong Extrabold, all with matching Italics and an array of over one hundred discretionary ligatures. A fine-tuned Monterchi Text version—with a larger x-height and wider spacing—has been developed to remain clear and legible even at small sizes in use as a body text font. The use range of the family is enriched by Monterchi Serif and Monterchi Sans that feature different contemporary interpretations of the same classical geometric skeleton, allowing for layered editorial design and variation in use. While the first offers an alternative to classical humanist serifs, the second family gives a twist of modernity to the family, reducing contrast and embracing modern geometric sans proportions.

All the fifty fonts in the Monterchi Type System feature an extended character set of over 1,100 glyphs covering over 200 languages using the Latin alphabet, as well as Greek and Russian Cyrillic. OpenType features include small caps, positional figures, alternate letterforms, stylistic sets and over a hundred discretionary uppercase ligatures.

With his elegant, historical aesthetic, Monterchi embodies the spirit of early Renaissance and the humanist obsession with constructed and geometric beauty—still managing to function as a workhorse family, ready to help any designer in need of a timeless classic look, or looking for the right ligature to transform a simple word into a striking wordmark.

Monterchi

Foundry: Zetafonts
Designer: Cosimo Lorenzo Pancini with Francesco Canovaro, Andrea Tartarelli, and Maria Chiara Fantini
Release: 2019
Format: Desktop, Web, App
Weights: Four families—Display, Text, Sans, and Serif:
Monterchi Display: Thin, Thin Italic, Light, Light Italic,  Book, Book Italic, Regular, Italic,Bold, Bold Italic, ExtraBold, ExtraBold Italic
Monterchi Text: Thin, Thin Italic, Light, Light Italic,  Book, Book Italic, Regular, Italic,Bold, Bold Italic, ExtraBold, ExtraBold Italic
Monterchi Sans: Thin, Thin Italic, Light, Light Italic,  Book, Book Italic, Regular, Italic,Bold, Bold Italic, ExtraBold, ExtraBold Italic, Heavy, Heavy Italic
Monterchi Serif: Thin, Thin Italic, Light, Light Italic,  Book, Book Italic, Regular, Italic,Bold, Bold Italic, ExtraBold, ExtraBold Italic
Price: Single weights from 25.– € (some weights free), full family (50 styles) from 181.– €

The International Biennal Poster Design Terras Gauda

The International Biennial Poster Design Terras Gauda—Francisco Mantecón Competition is celebrating its 14th edition this year with 16,000 € prizes. More than 17,000 posters from 96 countries have participated in the 13 previous editions since 2002 in the private sponsored competition. Works can be submitted at any time before the September 30th, 2019 deadline.

Geographic diversity is also reflected in its awards: previous winners were artists and studios in Japan, the United States, Germany, Belgium, Portugal, Poland or Spain. Terras Gauda Wineries will award 16,000 € to the winners, with 10,000 € going to the 1st prize, 2,000 € to the 1st Runner-up, 2nd Runner-up and Honorable Mention, respectively.  The panel of judges includes internationally acclaimed designer Javier Jaen, winner of the Laus Award and author of works for The New York Times, The Washington Post or National Geographic; and Diego Areso, Art Director of El País and El País Semanal. Along with them, Portuguese National Design Prize winner Miguel Palmeiro will attend on behalf of the studio United By, the winner of the latest edition of the competition. José María Fonseca, Chairman of the Terras Gauda Group, will preside over the panel of judges, accompanied by CEO Enrique Costas; Enrique López Veiga, President of the Vigo Port Authority; Nava Castro, director of the Galician Tourism Board; Pilar Barreiro, philologist and widow of Francisco Mantecón, and Paulino Novo, who will serve as secretary.

Galician Tourism Board Competition

The Galician Tourism Board is reinforcing its partnership with the International Biennial Poster Design Terras Gauda through the creation of a closed binding competition in which only the finalists and award winners of this 14th edition will participate. The works selected in the Galician Tourism Board Competition, eligible for 10,000 € in prize money, will be the promotional image of the “9th and 10th Galician Wine Routes Open Door Sessions.” The International Biennial Terras Gauda—Francisco Mantecón Advertising Poster Competition is supported by the Vigo Port Authority, as well as the Department of Culture and Tourism through the Galician Tourism Agency.

Works can be submitted any time before September 30th, 2019.
More information here.

ADC Design Experience

On November 13th 2019, the ADC Design Experience will be back for another round of inspiring talks and workshops at Neues Schloss Stuttgart. Like it was one year ago (we were there,) the Art Directors Club has once again engaged some of the best international and local heads of the creative industry as speakers. David Carson (legend of typography), Cécile Dormeau (illustrator & instagrammer), Bruno Maag (Swiss typeface designer & founder of the famous Dalton Maag Studio), Andreas Uebele (expert in visual communication and graphic design) and lots of other top creatives as well as industry leaders will share exclusive insights to the following key questions of the conference:

What does the future of design look like? What impact has social media on design? Will design trends rather be shaped by social media platforms, such as Instagram? Or by leading industries?

„INSTA VS. INDUSTRY“ will be the common thread running through the talks, workshops and networking opportunities of the ADC Design Experience. Tickets are now on sale, with special discounts for students.

When?
At the 13th November 2019 at 11 a.m.

Where?
Neues Schloss Stuttgart,
Schloßpl. 4,
70173 Stuttgart

adc.de

The Franfurt Art Experience

THE FRANKFURT ART EXPERIENCE celebrates its premiere and the 25th start of the season of the Frankfurt Galleries from the 6th to the 8th of September 2019 as a unique four-day art experience. 50 galleries and art venues are open throughout the city and in the heart of the city, the Frankfurt Art Experience Center offers information, a café and a relaxed atmosphere. The art fair paper positions comes to Frankfurt for the first time and shows outstanding artistic positions on the subject of drawing and the medium of paper. “The Art Experience Talks” highlights the latest developments in the industry, and “The Art Experience Walks” provides a unique insight into the local heterogeneous art scene in the city. Information and accreditation:

 

THE FRANKFURT ART EXPERIENCE

When?
6th to 8th of September 2019

Where?
Throughout the whole city of Frankfurt. The heart of the weekend will beat at the Flare of Frankfurt, Großen Eschenheimerstraße 16 (Stadtmitte.)
For an easy orientation to the Galleries, Off-Spaces and Art-institutions we recommend to use the interactive map.

Further information to the event and accreditation here.

Interview with Noa Snir

In this series we introduce you to the most exciting Israeli creative minds in graphic design, animation and illustration. Last time we introduced the illustrator Ofra Amit. More will follow. But now Noa Snir.

Noa Snir deals with newspaper illustrations, book illustrations, commercial commissions and personal projects. She is an illustrator, printmaker and, according to her website, a bookworm. Noa Snir has worked worldwide for magazines and newspapers such as The New York Times, Granta Magazine and the children’s magazine Anorak Magazine. Her work has been exhibited in Israel, many European countries and the USA. Born and raised in Jerusalem, she graduated in 2012 with a bachelor’s degree in Visual Communication from the Bezalel Academy of Arts & Design in Jerusalem, lived in Tel Aviv and moved to Berlin to earn a master’s degree in illustration from the Universität der Künste, graduating in 2016. Her first children’s book, an illustrated biography of the American writer Maya Angelou, will be published in the UK in September.

You said that you discovered illustration while working in a book shop. Do you find some of that atmosphere in your daily work? 

I think my love of books is what drove me go work in a book-store when I was twenty, but also pushed me to pursue a career where I would be forever surrounded by text and reading. I did a lot of creative writing as a child but as I got older, I understood I don’t want words to be my medium. I have such immense respect for the written word; I slowly became paralyzed as a writer. Being an illustrator allowed me to still tell stories, and a lot of what I do is strongly connected to literature and language.

I feel lucky doing a lot of editorial work, because it allows me to learn about topics I never would’ve encountered otherwise. My work always starts with doing some research, visual as well as textual. In this regard I feel an illustrator needs to be a bit of a scholar, and I admit that this is one of my favorite parts of the job.

Is there a current project you would like to tell us more about?

I am now in the final stages of working on a book about mental illness, together with the nice people of Libros del Zorro Rojo, a Spanish publishing house. It will be an illustrated lexicon for adults, with my artwork being black-and-white lino prints. It started out as a university project in the Universität der Künste, Berlin, a few years ago, mostly because I needed a project-theme for a class I was taking in lino-cut and printmaking. It was the first time I tried lino-cut or made anything in black and white. But it became not only an exploration of the medium, but an exploration of my family’s history with mental illness and of other people around me. I harnessed the artistic process to discover more about things that were taboo or painful, and I have to say that dealing head-on with this complicated topic was anything but depressing—it felt like opening a window and letting sunlight into a room that was dark for too long.

You described yourself as a “curious illustrator.” Where do you find opportunities to practice curiosity and observation?

I think illustrators need to function as explorers and observers, in order to comment meaningfully on the societies and cultures they operate in. They need to develop skills such as eaves-dropping on strangers in the street or looking around in public transport instead of staring at their phone and opening dusty library books instead of google image search. All the best stories are already around us, and all the best design solutions too, we just need to train ourselves to look in the right places.

For me personally, I’ve always been a bit of an outsider and being an illustrator gives me the framework to explore the world with a sense of purpose. I will give a concrete example: I do not have a visual library in my head of how things look. I am not one of those artists who can draw everything from her head elegantly in one stroke. Every time I need to draw something, I find myself puzzled, thinking: what does this actually look like? And how would it look as a drawing? And how would it look like if I was the one drawing it? I am never sure of the answer in advance. And I think all this questioning keeps me on my toes, it makes sure I treat every illustration job as a riddle I have to solve. The world is a mystery to me, and illustration helps me make sense of it.

Do you enjoy and study the work of other artists?

Of course! And I envy a lot of other artists, too. I think artistic jealousy is a good motivation to improve one’s own craft. I find myself especially drawn to outsider-art, to creative expression that was made by people who did not necessarily call themselves artists. I think there is so much to learn from it, from the fresh and unexpected perspectives a lot of outsider art holds, to the mere fact many outsider-artists kept on creating for many years without ever being recognized for it in the traditional ways. It reminds me that art exists on a higher realm, that it can have little to do with money or professional success. And this reminder, when I think about artists like Henry Darger or Vivian Maier, is a big comfort to me.

Images from Bitch Media, Nobrow, The New York Times, and personal projects. Portrait photo by Uwe Fechner.

László Moholy-Nagy und die Neue Typografie

From August 29th to September 15th, 2019, the Kunstbibliothek Berlin is inviting visitors to the exhibition “László Moholy-Nagy und die Neue Typografie, Rekonstruktion einer Ausstellung—Berlin 1929”, which will begin on August 31st, 2019 as part of the Lange Nacht der Museen. The publication “Moholy-Nagy und die Neue Typografie” is available in the Slanted Shop for 65.– € in two languages (German and English).

Lange Nacht der Museen
Saturday, August 31st, 2019, 4 p.m.
Panel discussion on the question “Wohin geht die typografische Entwicklung?”
with Florian Lamm & Jakob Kirch (Lamm & Kirch), Johanna Siebein (Studio Laucke Siebein), Ariane Spanier (Ariane Spanier Design) and Stefan Guzy (Zwölf)
Moderation: Michael Lailach (Art Library SMB) and Bernard Stein (AfHAP)
Admission to the panel discussion is free.

Opening hours
Tuesday to Friday from 10 a.m to 6 p.m.
Saturday and Sunday 11 a.m. to 6 p.m.
Admission 6.– €, concessions 3.– €

When?
August 29th to September 15th, 2019

Where?
Ausstellungsraum Kunstbibliothek
Matthäikirchplatz 6
10785 Berlin

© Staatliche Museen zu Berlin, Kunstbibliothek.
An exhibition in cooperation with the Institut Designlabor Gutenberg, University of Applied Science Mainz

FURE—The Future of Reading 2019

FURE—The Future of Reading, this year on November 22nd in its third edition, will present twelve lectures.

The conference focuses on the chances and challenges of the changing media world. What roles can print media take over in times of digitalization? What ideas and opportunities does digital reading hold? How does our reading behavior change? How can reading defend itself against other cultural techniques like playing, listening or watching? FURE offers room for statements, visions and positions by established and up-and-coming designers.

This year’s speakers are Rayan Abdullah, Philippe Großmann, Rosalie Heinen, Arthur Jakobs, Boris Kochan, Saskia Kraft, Albert-Jan Pool, Malin Schulz, Björn Schumacher, Leonie Schäffer, Henning Skibbe, Roland Stieger, and Frances Uckermann.

FURE – The Future of Reading 2019

When?
November 22nd, 2019
9 a.m. until 7:45 p.m.

Where?
MSD – Münster School of Design
Leonardo-Campus 6 
48149 Münster

Tickets:
Professionals from 69,– Euros + VAT (early bird)

Students from 35,– Euros without VAT (early bird)

Get more information about the event here.

 

PHOTODARIUM 2020 & PHOTODARIUM Private 2020

The popular classic PHOTODARIUM is now appearing for the eighth time and will delight us day after day in 2020 with an instant picture and its own little story. The high-quality tear-off calendar shows artistic and intimate snapshots of 366 well-known photographers and newcomers, of professionals and Polaroid fans from all over the world.

Once again, an uncensored nude edition appears parallel to the classic. A modern, young and emancipated look at eroticism beyond the pornographic clichés of Polaroid photographers from all over the world. The special edition is limited and not just something very special!

Because we want to put a smile on your face every day again in 2020, we are giving away a copy of the PHOTODARIUM Classic to all participants. To participate in the raffle, write an email with the subject “PHOTODARIUM 2020” and your postal address (for shipping) til August 29th, 2019, 11 a.m. (UTC+1) to [email protected]. The winner 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 data protection regulations. The legal recourse is excluded. We wish you good luck!

PHOTODARIUM 2020

Publisher: seltmann+söhne, Kunst- und Fotobuchverlag
Author: Lars Harmsen, Oliver Seltmann, Raban Ruddigkeit
Creative Direction: Boris Kahl
Release: August 2019
Volume: 380 sheets
Format: 8,8 × 10,7 cm
Language: Englisch
Workmanship: 366 images, black glued, Collection box, images lacquer finish
ISBN: 978-3-946688-59-4
Price: 29.80 €
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PHOTODARIUM PRIVATE 2020

Publisher: seltmann+söhne, Kunst- und Fotobuchverlag
Author: Lars Harmsen, Oliver Seltmann, Raban Ruddigkeit
Creative Direction: Boris Kahl
Release: August 2019
Volume: 380 sheets
Format: 8,8 × 10,7 cm
Language: Englisch
Workmanship: 366 images, black glued, Collection box, images lacquer finish
ISBN: 978-3-946688-60-0
Price: 35.– €
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Moholy-Nagy and the New Typography

A while ago I heard of a publication that would deal with the recently discovered exhibition panels by Moholy-Nagy, which he originally showed in 1929 in the exhibition “New Typography” in the Martin-Gropius-Bau Berlin. The exciting theme — “Where is the typographic development going?” – Moholy-Nagy depicted on the panels both his own designs and advertising printed matter by colleagues from the Bauhaus environment.

The functional graphic design, initiated by the “New Typography” movement in the 1920s, broke with tradition and established a new advertising design based on artistic criteria. It aimed to achieve a modern look with standardized typefaces, industrial DIN norms, and adherence to such ideals as legibility, lucidity, and straightforwardness, in line with the key principles of constructivist art.

For the first time, this comprehensive publication showcases Moholy-Nagy’s wall charts which have recently been rediscovered in Berlin’s Kunstbibliothek. Renowned authors provide insights into this treasure trove by each contributing to this alphabetized compilation starting with “A” for “Asymmetry” and ending with “Z” for “Zukunftsvision” (“vision of the future”). By perusing through the pages and allowing a free flow of association, the typographical world of ideas of the 1920s avant-garde is once again brought back to life.

A book that you don’t want to put out of hand because it contains so much exciting information and has been designed very appealing!

Moholy-Nagy and the New Typography

Publisher: Verlag Kettler
Editor: Prof. Dr. Petra Eisele, Prof. Dr. Isabel Naegele and Dr. Michael Lailach for the University of Applied Sciences Mainz and the Kunstbibliothek, Staatliche Museen zu Berlin
Release: August 2019
Format: 24 × 30 cm
Volume: 256 pages
Workmanship: Hardcover
Language: English, German
ISBN: 978-3-86206-753-4
Price: 65.– €
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Porto Design Biennale 2019

Porto Design Biennale intends to promote, revitalize and internationalize the thinking and practice in design. The first edition will take place between September and December 2019 in several locations of Matosinhos and Porto. Please find the full program here.

From September 19th until 28th, 2019, the Porto Design Biennale 2019 opening week will take place in several galleries and locations all over the creative hotspot towns Matosinhos and Porto. Please find the full program including exhibitions, workshops, and lectures here.

To speak of new millennium tensions is to enunciate a diffuse picture of change and conflict. Change presupposes a change in a state of things; relative to the final decade of the 20th century, the ongoing changes are profound and affect the forms of production and consumption, representation and communication, mediation and participation. Conflict presupposes a confrontation between opposing positions.

The identification of changes and conflicts is confronted with the difficulty of objectifying and interpreting complex, ongoing processes. It is also important to go beyond the identification of problems and come up with proposals for solutions. In the context of this complex framework of tensions, how will design be affected? How do design practice and theory react to this conjuncture of change and conflict? How do you update design to be socially current? How appropriate are research and teaching in design? How is the discipline of design projected and what realizable utopias does it project today in the search for a better world?

At the beginning of the 21st century, Canadian designer Bruce Mau confronted designers with the following question: Now that we can do anything what will we do? In a context of increasing technological availability and new social, environmental and political emergencies, critical design practice should not be guided by what can be done but by what needs to be done, assuming responsibility and ethical awareness. According to Dunne & Raby, the “shift from thinking about applications to implications creates new roles, contexts and methods.”

Confronting the tensions of the new millennium, the first edition of Porto Design seeks to analyse the current disciplinary configuration of design. The reflection on the one hand takes into account the historical perspective and tension relationships, between remoteness and closeness, contemporary design and the model of modern design that was in effect until the end of the millennium; on the other hand, it is important to identify and evaluate the forms and functions of design produced in the first two decades of the current millennium, as well as to reflect on the social efficiency of design and the new connections that arise from the economic, technological, political, cultural, and environmental situations.

The millennium shift coincided with a deep, broad and diversified picture of structural and cyclical changes that have largely redefined the world we live in. moving in a changing world has become a central challenge to critical thinking, and in this context, the epistemological framework of design has also changed, giving rise to new ideas, models and processes of intervention (in the material field), exploration (in the relational field) and resistance (in the ideological field).

Close attention will be focused on the millennial designers, reflecting on what might characterize and differentiate a generation that is educated and integrated into the labour market in shifting circumstances, marked by new geopolitical scenarios, web 3.0 power, political rhetoric, the neoliberal crisis, the financial sector crisis, the ubiquity of terrorism and the proliferation of new forms of diffuse threat, the spread of open source culture, the predominance of the prosumer, the reconfiguration of forms of production and the appreciation of participation, co-production, immaterial production, critical thinking, and collective action.

Maybe design thinking has never been as focused on issues of identity as it has in the last 20 years. the crisis of dominant financial and political models has elicited a reflexive demand for a radical, authentic, honest identity that Jason Moore has identified with the emergence of a new “ontological policy,” i. e. a broad, radical reconfiguration of values. We believe that this reconfiguration appears to be current and pertinent to contemporary design. Raised by these critical premises, the core porto Design Biennale program will focus on the development of three programmatic axes:
– Present Tense focuses on Portuguese design in the new millennium, aiming at surveying a multiform professional practice. issues that are recurrently debated in the context of Portuguese design, such as the connection with industry, the intersection between design and craftsmanship, auteur design and design as a freelance profession, must be replaced within a real context where all these dimensions have changed.
– Design Forum stems from the thematization and problematization of the central theme of the Biennale. It is a question of weaving a critical map of post-millennium tensions and reflecting, on the one hand, specificities of disciplinary characterization and, on the other, working lines of intersection, conflict, confluence or consequence between design, other disciplinary domains and political, financial, technological and cultural aspects.
– Design and Democracy will focus on the political context of design, and above all on a reflection on possible modes of relationship between Design and Democracy. the practice of design has been understood throughout history as a socially effective activity, which has consolidated in recent decades expressions of greater activism, argument and resistance; At the same time, projects of inclusion, dialogue and democracy have increased in number and relevance, complemented by discourses of a fictional or speculative nature that remind us of the central function of design in the realization of realistic utopias that contribute to the creation of a better world. José Bártolo, Chief Curator Porto Design Biennale—post millennium tension

Porto Design Biennale 2019

When?
September to December 2019

Where?
Several locations in Matosinhos and Porto
Portugal

Find more information and the full program here

ABC. Avantgarde – Bauhaus – Corporate Design

The Gutenberg-Museum in Mainz, the world museum of printing art, is throwing a spotlight on Bauhaus typography on the occasion of the 100th anniversary of the Bauhaus, which revolutionized graphic and communication design and continues to influence it worldwide to this day.

The special exhibition “ABC. Avantgarde – Bauhaus – Corporate Design” shows in a series of six to seven thematic sections the prerequisites and different phases of the development of “Bauhaus Typography”, as it was first created in Weimar and especially between 1925 and 1932 at the new location in Dessau. Above all, the artistic quality and originality of the typographic designs and products on display are surprising and form a focal point of the exhibition, which documents the creative and creative potential as well as the functional significance of the grotesque typeface at the Bauhaus – and far beyond.

Vernissage on 5 September 2019, 7.p.m.
Exhibition: 06.09.2019–02.02.2020

Supporting programme for the vernissage on 05 September 2019, 7 p.m.:

  • Michael Ebling, Lord Mayor of the State Capital Mainz
  • Prof. Dr. Konrad Wolf, Minister of Science, Continuing Education and Culture of the State of Rhineland-Palatinate
  • Friederike Zobel, Federal Cultural Foundation, Research Assistant Bauhaus 2019
  • Wolfgang Thoener, Head of the Bauhaus Dessau Foundation Collection
  • Prof. Dr. Wulf Herzogenrath, Director of the Visual Arts Section of the Akademie der Künste Berlin “The one bauhaus doesn’t exist – at least 5 phases, also in typography.”
  • Marianne Grosse, Department Head for Building, Monument Preservation and Culture of the State Capital Mainz
  • Dr. Annette Ludwig, Director of the Gutenberg Museum, Exhibition Curator

Avant-garde musical interludes by Hagen Pätzold.
Festive finale with music and wine.
Admission from 18.20.

Gutenberg Museum
Liebfrauenplatz 5
55116 Mainz 

Tuesday–Saturday 9–17 o’clock
Sunday 11–17 o’clock
Closed on Monday and public holidays
Guided tours and events take place regularly as part of the accompanying programme.

Supported by Kulturstiftung des Bundes.

Lyrra

Lyyra is a typeface with a radical aesthetic that alternates between the organic and the mechanical. The de sign incorporates diverse references from various points in history and yet is unmistakably rooted in the present.

Lyyra’s distinguishing trait can be found in the counters of the lowercase. Bowls start from a point and grow into acute symmetrical petals. The emphasis on angled lines is echoed in the drawn-out straights in a or s. Arches start low and ascend slow, quite like tree branches, further enforcing the diagonality. In words and lines, the elements add up to a gently undulating rhythm of ups and downs. This contrasts with the geometric precision of the stroke endings, which are all cut vertically, giving Lyyra a bare look and, by extension, an expression of immediacy. There are only a few predecessors for such a treatment, perhaps most notably Johnston’s Railway Type (1918) and, more comprehensively, Excoffon’s Antique Olive (1960s). The high-waisted caps channel German grotesks from the 1910s and underline the strong-willed character.

When set in capitals, Lyyra can acquire monumental qualities. In mixed case, it’s a self-confident face suitable for a range of applications, in editorial design and beyond. The wider styles make for powerful display options free of patina. So do the bolder cuts with their strikingly modulated strokes. Thanks to its high recognizability, Lyyra lends itself to being used in identity work. The family eschews condensed widths for more luxuriant Extended and downright decadent Expanded styles. There, the diagonality is carried to extremes. Each of the three widths spans five weights. In addition to the default lining figures, all fonts include oldstyle, tabular and sub-/superscript numerals as well as fractions. For situations where the diamond dots are too daring, Lyyra offers tamer alternates with rounded shapes.

Lyrra

Type Foundry: Schick Toikka
Publishing date: August 2019
Styles/Weights: 3 Styles (Standard, Extended, Expanded), jeweils 5 Schnitte (Light, Regular, Medium, Bold, Black)
Price: Per style from € 200,– family, from € 50,– single weight

Buy here!

Adobe Creative Cloud gives you all the tools you need to create anything you can imagine

With the industry-leading apps and services for video, design and photography at your fingertips, you can create work that’s exciting, surprising and worth keeping an eye out for.

Creative Cloud is available until 27 August for only €35.69 per month inc VAT.

Whether you‘re a beginner or a professional – immerse yourself in the world of Creative Cloud and capture your memories forever!

More details!

notamuse lottery

In spring 2017, the three master students Claudia Scheer, Lea Sievertsen and Silva Baum approached us with an interview request because they were working on a design book on contemporary graphic design by women and wanted to learn more about Julia Kahl’s work. “notamuse—A New Perspective on Women Graphic Designers in Europe” thus collected interviews with female graphic designers online and presented their work as a book in their master’s thesis, which was now published by niggli Verlag in 2019 in a revised, more comprehensive form.

In the press release it says: As a response to the predominantly male presence in the design scene, this book exclusively presents works by exceptional female designers. It is not about discovering something inherently “female” and defining “feminine” design, but to counter the male-dominated discourse of the sector. The carefully selected graphic works stand on their own and range from commissioned assignments via free artistic projects to the area of design research. They open new perspectives on how diverse contemporary graphic design can be.

This presentation is complemented by interviews conducted with 22 female designers, sociologists and design theorists. To shed light on the lacking visibility of women in the design sector, the editors especially focused on the design philosophy, perceptions, and ideals of the respective sectors and the experiences encountered in everyday work situations.

Slanted is now giving away 3 × the book “notamuse—A New Perspective on Women Graphic Designers in Europe!” To take part in the raffle, write an email with the subject “notamuse” and your postal address (for dispatch) to [email protected] by August 20, 2019, 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!

notamuse—A New Perspective on Women Graphic Designers in Europe

Publisher: Niggli
Authors: Claudia Scheer, Lea Sievertsen, Silva Baum
Release date: June 2019
Scope: 480 pages
Format: 22 × 31 cm
Price: 49,90 €

Buy here!

100 beste Plakate 18

Every year the association 100 Beste Plakate e. V. presents awards to honor the most innovative and groundbreaking poster designs from Germany, Austria, and Switzerland. The yearbook has long been the go-to source in poster design for graphic artists, designers, and advertisers. While the traditional printed poster is still regarded as the most challenging genre in the graphic arts, it is increasingly coming under the influence of digital technology.

For this reason, the 2018 yearbook explores the status of posters amid the wide variety of media and forms of expression available to clients and designers. What relevance do posters still have in our day and age? Are they no more than decorative items for cultural institutions, festivals, and academic events? Or do they still serve their traditional purpose of influencing societal discourse and flagging up trends in lifestyle, fashion, politics, esthetics, and the corporate world?

This year’s edition was designed by the Zurich design studio Hi. It was printed on affiche paper, and the folds of the printed signatures were cut only on two sides similar to classical Japanese binding, inviting readers to make an effort to “open up” the book.

100 beste Plakate 18
Deutschland, Österreich, Schweiz

Publisher: Verlag Kettler
Editor: 100 Beste Plakate e.V.
Release: June 2019
Language: English, German
Format: 17 × 24 cm
Volume: 304 pages
Workmanship: Softcover
ISBN: 978-3-86206-734-3
Price: 29.90 €
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