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 €
Buy

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.– €
Buy

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 €
Buy

Hans Georg Lenzen. Mit leichter Hand

Hans Georg Lenzen was not only a highly talented draughtsman, painter, author and translator, but also a passionate university teacher. He was director of the Peter Behrens-Werkkunstschule, from 1972 prorector of the Fachhochschule Düsseldorf. Until 1986 he held the professorship for drawing, illustration and design in the field of design.

His command of many languages made him a successful translator of novels, stories, non-fiction books and numerous children’s books which were on the shortlist for the German Youth Literature Prize and which were awarded by Stiftung Buchkunst in the “Schönsten deutschen Bücher” competition.

The contributions and pictures in this artist’s monograph make it clear that Hans Georg Lenzen repeatedly thematized the “world as a stage:” social themes in their ambiguity, the stage with its tragic or comic figures. The allegorical gaze, the mysteriousness of the picture were always central to him. His notes from sketchbooks collected in this book contain inspiring potential for every designer. The book was sensitively designed by Marie Mick as part of her master’s thesis and accompanied by Professor Irmgard Sonnen.

Hans Georg Lenzen. Mit leichter Hand – Die szenische Metaphorik des Zeichnerischen

Publisher: Irmgard Sonnen / Hochschule Düsseldorf
Initiative: Marcelle Lenzen und Irmgard Sonnen
Design: Marie Mick mit Begleitung Professorin Irmgard Sonnen
Photos: Marie Mick
Release: May 2019
Format: 21 × 28,5 cm
Volume: 204 pages with numerous images
Workmanship: Hardcover
ISBN: 978-3-00-062056-0

Price: 39.– Euro
Buy

DDC AWARD GUTE GESTALTUNG 2019

“Good design implies more than formal success. From my perspective, “good“ should always be understood in terms of social and ecological sustainability. When I add the will to independence, experiment and innovation, I am thrilled,” says Lilli Hollein, patron of the competition and founder, curator and director of Vienna Design Week.

For the 20th time in a row, the DDC is organizing the independent competition GUTE GESTALTUNG © [Good Design]. In 2019, designers, architects, agencies, companies, graduates, founders, start-ups, cross-border commuters, lateral thinkers and initiators will once again submit their most innovative projects to a top-class jury for discussion and awards. All of them have a common goal: to discover, develop, promote, integrate and communicate groundbreaking design. High quality standards guarantee fair competition conditions for all entries.

What counts for the DDC is the value in each piece, the value for our society and the sustainability of our work. The German Designer Club (DDC) has stood for this for 30 years—for good design in all disciplines. They support the people who create or commission design. For these people we network, create and maintain platforms such as the DDC-Award GUTE GESTALTUNG (Good Design) to enable open, controversial, constructive but above all interdisciplinary communication. We are particularly committed to students and graduates of colleges and universities for the next generation of designers. This is why young professionals, graduates, founders and start-ups benefit from our special conditions for participation in the competition and membership in the DDC.

The awards can be given to works belonging to the following categories: Identity, Publishing, Reporting, Campaign, Spaces, Product, Interactive and Promotion. 50 top-class jurors take 2 days to rate the designs. The expert juries will be invited and put together by the DDC. There are 7 persons per expert jury. The jury includes both DDC members and guests. The composition is professionally competent, independent and balanced in age and gender. Each member of the jury is bound by the DDC Code of Conduct when judging the submissions: Anonymity, transparency, equal opportunities, fairness, balanced medal table. The DDC, the jury and this year‘s patron Lilli Hollein treat all entries with the utmost respect.

Submission:
Normal until 30.08.2019
Late until 20.09.2019
Students until 20.09.2019
Design-oriented start-ups until 20.09.2019

More information, all information about participation and details here.

deValence—Systems as Playgrounds

deValence is one of France’s most prolific contemporary graphic design studios. Established in Paris in 2001, deValence is headed by Alexandre Dimos and Ghislain Triboulet. The studio now operates mainly in the fields of contemporary creative arts, design, theatre, publishing and architecture. In parallel with its design work, deValence has always been involved in projects to promote thought on graphic design, particularly through the organization of conferences. This led to Alexandre Dimos’ creation in 2008 of the B42 publishing house. B42 produces books relating to the entire breadth of visual cultures, including design. In addition, the studio dedicates itself to providing analysis tools for exploring visual cultures and the role of the designer in society.

The studio’s superlative design creations have garnered high accolades from all quarters, all around the world. deValence’s clients include such major institutions as the Venice Biennale, the Centre Pompidou, La Commune theatre (centre dramatique national, Aubervilliers), the Maison&Objet international trade fair of interior design, and Harvard University, as well as some of France’s leading contemporary artists, including Pierre Huyghe, Raphaël Zarka and Saâdane Afif.

deValence’s projects seek to develop rigorous, effective and original visual systems requiring the active intellectual involvement of the viewer. Following in the footsteps of the Swiss and Dutch graphic design, deValence pays particular attention to typography and the process of shape forming.

This exhibition “deValence—Systems as Playground” at kyoto ddd gallery will be deValence’s first show in Japan. They hope visitors will take this opportunity to see and appreciate the many outstanding works demonstrating the significant contribution deValence has made to the renewal of contemporary graphic design. Discussions and conferences with Japanese graphic designers and curators will be held throughout the project.

deValence—Systems as Playground

When?
August 28th until October 23rd, 2019

Where?
kyoto ddd gallery
10 Uzumasakamikeibucho
Ukyo-ku
Kyoto, 616-8533
Japan

 

Slanted Special Issue Rwanda

Many asked us: Why the hell did you go to Rwanda and how did you even get the idea? To answer these questions, a little segue into the past is necessary. Way back in 2012 Lars Harmsen was sitting in the jury of the Design Award Rhineland-Palatinate, awarded by the descom Design forum Rhineland-Palatinate. In 2018 Julia Kahl has been invited to be part of the jury and it was there that she found out about the project to showcase Rhineland-Palatinatean design in Rwanda–and the other way around. To this end, descom has conceived an exhibition that has been implemented in cooperation with the Partnership Association Rhineland-Palatinate/Rwanda (Jumelage) in Kigali and showed projects from both countries.

This project has gained our attention and we wanted to take a look at the up-and-coming creative scene in Rwanda ourselves. But the country also impressed us in other ways: Plastic bags? They are absolutely forbidden there since 2004. Environmental management is being decentralized from the political to the local level, leading to a widespread understanding on how to preserve the environment. On the last Saturday of the month, for example, every citizen is obliged to tidy up the streets. Since this year, no more old clothes from the West may be imported to Rwanda—this could create around 25,000 new jobs and the textile industry is flourishing.

To see a developing country implement and carry out such legislations is ground-breaking. It goes to show; anything can be possible if the political will really exists and true efforts are made. So, we have to say it again: Rwanda showed us how it’s done!

It’s now our honor to present a few outstanding personalities as well as many good stories besides some “design eye-candy” in this Slanted special issue and interesting video-interviews which we conducted in Rwanda.

Participants: Maggie Andresen, Timothy Wandulu / Concept Arts Studio, Mihir Bhatt / Creative Communications Rwanda, Abdi Latif Dahir, Carolin Dürrenberg und Silke Philipps-Deters / descom – Designforum Rheinland-Pfalz, Pierra Ntayombya / Haute Baso, Katharina Hey, Matthew Rugamba / House of Tayo, Innocent Nkurunziza / Inema Arts Center, Umuhire MweneMuntu Isaac, Judith Kaine / Kurema Kureba Kwiga, Jacques Nkinzingabo / Kigali Center for Photography, Niyunkuru Canda & Manzi Jackson / Kuuru Art Space, Moses Turahirwa / Moshions, Lynn Harles, Michael Nieden / Partnerschaftsverein Rheinland-Pfalz – Ruanda, Nelson Niyakire, Guillaume Sardin, Chris Schwagga, Daniel Sommer, The Economist

Many thanks to all participants and especially to descom Designforum Rhineland-Palatinate and the Partnership Association Rhineland-Palatinate / Rwanda (Jumelage), without their support the issue would not have been possible.

Slanted Special Issue Rwanda

Publisher: Slanted Publishers
Photography: Daniel Sommer
Release: August 2019
Volume: 128 pages
Format: 16 × 24 cm
Language: English
ISBN: 978-3-948440-02-2
Price: € 12.–

Buy issue!

Subscribe to Slanted Magazine til end of August 2019 and receive the Rwanda Special Issue additionally for free on top!

Slanted in Prague: Studio Novák & Balihar

When we took a look at the contemporary design scene in Prague in August 2018 we visited Robert V. Novák and Zuzana Burgrová in their studio Novák & Balihar.

Robert V. Novák and Zuzana Burgrová collaborate on larger cultural projects all over the Czech Republic. They have created the design for the past four annuals of Theater World Brno Festival, two annuals for the International Opera and Music Festival Janáček Brno, and created a brand new visual concept for the Gallery of Fine Arts in Ostrava.

Take a look at our new issue and the video platform to meet more creative people from Prague!

Photography: © Dirk Gebhardt, Slanted Publishers

Interview with Ofra Amit

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 Masha Manapov. More will follow. But now Ofra Amit.

Ofra Amit is an Israeli illustrator. She studied architecture, then visual communication at Wizo Academy of Design in Haifa, Israel. Ofra first worked as a digital animator, lived in New York for two years and finally settled down as an illustrator living and working in Tel Aviv. She uses acrylic paints on paper or board, sometimes combined with collage, and colour pencils. Her illustrated children’s books often treat dark topics. So, she succeeds to bring light and creative dialogue into the terrible life story of the Polish-Jewish writer Bruno Schulz (1892-1942) on whom she created an illustrated book. Ofra Amit has won many Israeli awards as well as numerous international prizes including 3 × 3 Picture Book Show Gold Medal, Society of Illustrators Gold Medal, and the Israel Museum Award for children’s books illustration. Her work was exhibited in Europe, South America, Iran and Israel. Ofra has been lecturer of illustration at Wizo Academy of Design in Haifa.

Do you do commercial or advertising work on assignment?

I rarely get such assignments. I recently turned down a commercial assignment because although it was something I really wanted to do, and although the concept integrated feminist ideas that I identify with, the company of the promoted product is known for conducting its business in a way which, although indirectly, supports the occupation of Palestinian Territories.

Commercial and advertising illustration is a more manipulative art. For me it means going through the creative process in a more detached state of mind, so that the quality of work does not depend upon the illustrator’s empathy or lack of empathy to the idea it promotes. This is why I find more freedom in book illustration.

You seem well equipped to deal with dark subjects. Would you ever want to illustrate a cute Baby Shark tune?

I have no problem with “cuteness,” as long as there is more to it than just being cute. To me, the Imperfect is more interesting to explore than the Perfect and the Ideal. Same with “darkness” or “sadness,” there has to be a bright side too. For quite a while my visual interpretations were too one-sided (towards the dark side). But one-sidedness literally means flattening. So, to me the artistic search has to be for the delicate balance between sadness and happiness, good and bad, dark and bright. It took me some years to apply this seemingly obvious insight into my work.

Do you find your artistic soulmates rather in the art world or with writers?

Naturally, with people from the visual fields I would have common interests and mutual understanding, but I think that eventually, artistic soulmates come into being on the basis of the essence of their artistic doing and not on the basis of the artistic field they come from. It can be literature, film, music etc., it doesn’t really matter. What makes people become artistic soulmates is sharing a similar point of view through their art.

Would you like to do stage design or theater posters?

Yes, I would love to! I have this fondness for three-dimensional art, and I like designing and building boxes and other 3D stuff in my spare time. I usually work in small formats and I can be easily deterred by large format projects like stage design. However, some time ago I had the opportunity to create a continuous mural in a large space. The work process was so fascinating and mind-opening for me, that stage design projects are definitely something to look forward to.

How did you manage to participate in an exhibition in Iran?

I have many Facebook friends from Iran, all of them related to art in one way or another. It’s so great being able to connect regardless of the political situation between our countries. If there are any bright sides to Social Media, this is definitely one of them. A few years ago, one of my Iranian colleagues invited me to participate in this illustration exhibition of works done for poetry. Besides the Iranian illustrators there were also some illustrators from around the world to be presenting their artwork. Of course, I would not turn down such opportunity! I sent a digital file of the artwork and it was printed and exhibited. The only thing was that I wasn’t able to get the physical copy of the exhibition catalogue. Anyway, it was a real “Art is a Bridge Between Cultures” feeling.

Here is a video portrait on Ofra’s work.

All illustrations are taken from the personal book project Kashtanka, a short story by Anton Chekhov, illustrations by Ofra Amit.

New video interviews online from Rwanda

When the Slanted team found out about a project showcasing Rhineland-Palatinatean design in Rwanda–and the other way around, they wanted to take a look at the up-and-coming creative scene there themselves to find out more. As they traveled to Rwanda in February 2019, the country impressed them in many ways: Plastic bags? They are absolutely forbidden there since 2004. Environmental management is being decentralized from the political to the local level, leading to a widespread understanding on how to preserve the environment. On the last Saturday of the month, for example, every citizen is obliged to tidy up the streets. Since this year, no more old clothes from the West may be imported to Rwanda—this could create around 25,000 new jobs and the textile industry is flourishing. Rwanda showed us how it’s done!

Find out about the creative scene in Rwanda from the video interviews online!

Supported by descom Designforum Rhineland-Palatinate and the Partnership Association Rhineland-Palatinate / Rwanda.

Slanted in Prague: Studio Najbrt

When we took a look at the contemporary design scene in Prague in August 2018 we visited Studio Najbrt.

Studio Najbrt is a leading Czech graphic design studio. It was founded in 1994 creating for domestic as well as international clients. The studio’s longtime collaborations with International Film Festival Karlovy Vary and many others established its bold and playful approach. “When I think about them [Studio Najbrt], the first idea that comes to my mind is fun,” wrote critic Rick Poynor in 2007 and to this day no one objected.

Take a look at our new issue and the video platform to meet more creative people from Prague!

Photography: © Dirk Gebhardt, Slanted Publishers

Typeface of the Month: Night

When creating the typefaces the aim was clear, to create a type family that would raise awareness and make Braille more accessible. The typeface aims to achieve this by providing a frictionless way to type and display Braille with little to no knowledge of the system. Now everyone can type the dots. The typeface is also being used to “do good” meaning even if you don’t use the Braille weight, money is being raised for a good cause.

The history behind the name. In the 1800’s Napoleon requested a code be developed so soldiers could silently communicate in the dark. In 1808 Charles Barbier developed such a system, consisting of 12 dots arranged in two columns which would be embossed to denote particular letters. The system was know as “Night Writing” which Louis Braille would later develop into the six dot Braille system used today.

The type family is made of 9 weights; three traditional weights, three dot weight and three Braille orientated weights. The traditional weights have a simplistic and traditional form, allowing everyday application. The dot based weights give the user the option to use it as a display element or when raised can be used as a tactile teaching tool to educate on tradition letterforms. Finally are the Braille based weights, the display that blends what we are used to and what we are not, to help familiarize people with the Braille form. The outlined Braille, allows you to see the placement of each dot in the grid. The Braille weight in its pure form. The primary language for the Braille weight is UEB, the British standard, however the weight also has localized language based alternates based on Braille standards of other European countries.

The typeface is part of the Type the Dots campaign which raises money for the RNIB (Royal National Institute of Blind People).

For more information on the type family, the campaign or our other works please visit bonezdesignz.

Night

Foundry: Bonez Designz
Designer: Fiona Clarke
Release: April 2018
Weights: Light, Regular, Bold, Light Dots, Regular Dots, Bold Dots, Braille, Outlined Braille & Display Braille
Price: From GBP 8.– with 50% of profit donated to RNIB

New(s)comers Best 2019

Just over 2 weeks until the submission date 15.8.2019 for the New(s)comers Best 2019: New(s)comers Best is the young creative competition of newspapers, organized by the Federal Association of German Newspaper Publishers (BDZV). The participants* develop an advertisement for the medium newspaper, a renowned jury of experts evaluates the work. The winners will receive a publication of the winning motifs in several newspapers and cash prizes worth a total of 7,000 euros. The competition is aimed at junior copywriters* and junior art directors with up to three years of professional experience as well as students in creative study courses at a university of applied sciences or university.

The winners will be selected and received by a jury of top-class experts from the advertising industry:
— Cash prizes totalling 7,000 euros
— the full-page placement of the winning works in German daily newspapers
— exclusive participation in the creative workshop of BDZV and ADC on 4/5 November 2019 in Hamburg

Information about the jury, the participation documents for download and a gallery of winners from previous years can be found here:
awards.die-zeitungen.de/newscomers-best

Slanted in Prague: Rostislav Vaněk

When we took a look at the contemporary design scene in Prague in August 2018 we visited Rostislav Vaněk in his studio.

Rostislav Vaněk is a typographer and graphic designer who has worked in nearly all fields of graphic design. He worked on logos, posters, books, exhibitions, large visual communication projects, corporate identity, and has a focus on type design in the last years. His works have been awarded internationally. Since 2001, he is the head of the Graphic Design and Visual Communication Studio at the AAAD in Prague.

Take a look at our new issue and the video platform to meet more creative people from Prague!

Photography: © Dirk Gebhardt, Slanted Publishers

Slanted in Prague: ReDesign

When we took a look at the contemporary design scene in Prague in August 2018 we visited Petr Krejzek from ReDesign in his studio.

Klára Kvízová and Petr Krejzek founded the graphic studio ReDesign in Prague in 1999 as a platform for graphic design in the field of creating magazines, books, CDs and corporate identity. They have won a number of awards. In 1995 they have started Živel magazine, with particular emphasis on the experimental space for writing and typography. They worked together with other Czech designers.

Take a look at our new issue and the video platform to meet more creative people from Prague!

Photography: © Dirk Gebhardt, Slanted Publishers

Hyper

Hyper is a brand new headline typeface for the summer and all the delicious fruity and juicy things that sweeten us in the sun and refresh us in the heat. Hyper looks best in large headlines and even larger sizes. Hyper is available in two weights, Hyper Black—made for headlines—and Hyper Grande—made for really large sizes.

Hyper Grande is a little more elegant due to narrower horizontal line widths. These two weights allow a better typographic fine-tuning than just a single cut could, and the individual letters of Hyper are slightly curved and gently nestle together without touching.

Special attention has been given to the f, which changes its shape to perfectly fit the following letters. So Hyper comes up with a number of 62 f-ligatures, which are controlled by OpenType features.

Hyper

Designer: Anita Jürgeleit
Release: April 2019
Weights: Black, Grande
Price: 23,99 €

Hyper is available here

Diese Weite

As part of the repositioning of the Engadin brand, the first issue of the newly conceived Engadin Magazine has just been published. As part of the current reorientation of the entire tourism communication line, the magazine is moving into the center of the measures as a key brand ambassador. The brand values around the positioning as a “place of longing” form the basis for a canon of themes that is oriented towards the peculiarities of the landscape, the region and the people.

Gerhard Walter, CEO of the publisher Engadin St. Moritz Tourismus AG, says: “The magazine focuses on an absolute place of longing: the Upper Engadin with its unique and diverse nature. The people who live here also make our region special. Authentic, creative and cordial characters, whose enthusiasm for their homeland and their hospitality are transferred to everyone who comes to visit. With this magazine we want to surprise potential as well as regular guests with exciting stories and inspiring pictures.”

The design concept of the Engadin Magazine was developed by the design agency jäger&jäger, which is also responsible for the development of the entire visual communication line, and implemented by C3 Creative Code & Content. The publication has a circulation of 30,000 German and 15,000 English copies. It is available free of charge at numerous information points of the tourism organization, from over 2,000 partners in the valley (hotels, holiday apartments, businesses, etc.) and from many other partners in Switzerland.

The design of the magazine is based on the new visual and typographic language of the Engadin brand. A special focus is on the visualization of the core values, through typography. The typeface is deliberately set “rough” in order to create a near-natural image of the originality and abruptness of a high alpine landscape.

Similar to a gaze wandering across the landscape, in which the impressions of the images are seamlessly lined up, the images slide over one another in the magazine’s layout and are moved on to the next double page.

The content consists of carefully researched, surprising articles about Engadin peculiarities and personalities: from the most diverse sports experiences to cultural and art venues to the golden autumn and its peculiarities.