Slanted in Prague: Parallel Practice

Posted on by Slanted editors

When we took a look at the contemporary design scene in Prague in August 2018 we visited Michal Landa and Jan Brož from Parallel Practice in their studio.

Parallel Practice is an ongoing conversation between graphic designer Michal Landa and artist Jan Brož started in 2013 in Prague. Since then PP realized the variety of assignments in cultural and commercial fields. PP was awarded with The Most Beautiful Czech Book Award and at 26th Biennale of Graphic Design in Brno.

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

Photography: © Dirk Gebhardt, Slanted Publishers

Graphic Days Torino 2019

Posted on by Slanted editors

As part of the Graphic Days Torino, Turin (Italy) is going to be the European capital of visual communication for four days (3–6 Oct.) of workshops, talks, performances, and exhibitions that will celebrate the fusion among visual arts. Graphic Days, the annual international festival that takes place at Toolbox Coworking is going to promote the connection between visual communication and social commitment, choosing integration as the main theme of the new edition. The debate will involve the notion of cultural melting pot, as well as the fusion of different skills, abilities, and perceptions.

Starting from October, 3rd, the most relevant artists and professionals of the European background of visual communication will be involved as tutors and speakers in the festival program. A few names of the professionals that will take part in the 7 workshops, 8 talks and 24 live performances are Field (U.K.), the studio specialized in art and technology, Yukiko (DE), the studio operating in the editorial field that deals also with digital media and video, Folch (SP), which is renown for concepts, brands and storytelling, Eye (U.K.), the magazine that deals with visual culture and Dude, the Italian company that made famous campaigns like the last one for Netflix Italia.

Astrid Stavro from Pentagram London will be the protagonist of the opening talk on October, 3rd: she is going to talk about the experience of running her own studio in Spain and then moving to the internationally renowned design agency Pentagram, showcasing a selection of her most iconic projects.

Olivier Kugler is going to be the guest that will represent most the topic “integration”: he will present a selection of illustrations portraying Syrian refugees featured in his book Escaping Wars and Waves, a work that was originally designed for Doctors Without Borders and has developed in a publication.

Graphic Days Torino 2019

When?
October 3rd–6th, 2019

Where?
Toolbox Coworking 
via Agostino da Montefeltro 2
Turin
Italy

 

INTO THE WILD 2019

Posted on by Urbanmediaproject

On 19 July 2019 the design tour Into the Wild will take place in Offenbach for the 4th time. Leading agencies, exciting newcomers and award-winning design studios from Offenbach will once again be inviting visitors. Between 10 a.m. and 8 p.m. Around 15 hosts will offer an insight into their offices and answer questions. In the evening, there will be a get together with networking in a relaxed atmosphere with drinks and snacks. Participation is free of charge. Places are limited. Registration here.

Into the Wild

When?
July 19th, 2019
10 a.m. to 8 p.m.

Where?
Offenbach am Main 
Germany

Olivine

Posted on by Slanted editors

Recent trends in typography are seeing a shift towards naïve or primitivism from the previous more formal approach of laboring to achieve a clandestine design execution. In art, primitivism is characterized by the works of artist like Wassily Kandinsky of “Der Blaue Reiter” who popularized this type of expression 1912 onwards. However, unlike art, typefaces are used as raw materials to convey messages and it is pertinent to consider the user experience of the recipient. Therefore, true primitivism in typeface design poses challenges for legibility and readability, parameters that are of outmost significance for the reading process.

Olivine is an exploration of form, combining elements of primitivism with rationalism. Ink traps are a legacy of adaptions from founts having been a 3D metal object that had to reproduce in small sizes in demanding print environments such as poor quality paper and uneven inking while printing. Ink traps allowed excess ink to fill on deliberately designed gaps and complete the character, rather than smudging the form of the character. Currently, typeface design is leaning towards a tendency to treat ink traps as bells and whistles, a job that Olivine does with a touch of panache. In Olivine, the nuances of type-design are consistently applied to make the idiosyncrasies of the ink traps disappear in text and become self-conscious in display sizes. Notice the funky uppercase A, and how the ink trap detail disappears as the font becomes smaller, reducing the density of ink where the strokes meet, contributing to an even typographic texture. Overshoots, on the other hand are necessary optical compensations for a round or pointed character where it extends in comparison to a flat letter to achieve the optical effect of being the same size and compensate for the inaccuracies of human visual perception. Olivine exaggerates overshoots to its extremes on the y-axis without compromising the vertical rhythm of the letterforms.

A challenging aspect of typography and type design is finding the sweet spot between the anonymous and the noticeable. It is a fine balance between the self-conscious design elements overwhelming the message versus the lack of defining elements that leave the message unnoticed. The details of the Olivine type family such as its rhythmic proportions of letterforms and it’s well executed spacing against its flamboyant overhangs and ink traps strike that optimum balance between the appealing qualities and the elements necessary to make it a flawless design. Olivine is neither solely experimental nor minimal, striking a balance between formality and friendliness.

If you are looking to add some flavor into your design, try Olivine. The family comes in 3 widths, narrow, regular and wide, and a total of 42 fonts responding to modern typographic needs. Try before you buy; Olivine Medium and Medium Italic are available free at MyFonts for unlimited commercial usage.

Olivine

Type Foundry: URW Type Foundry
Designer: Pria Ravichandran
Release: July 2019
Format: OTF, TTF, WOFF, WOFF2
Weights: 42
Price: Volume 110.– €, Weight 20.–

Slanted in Prague: OKOLO creative group

Posted on by Slanted editors

When we took a look at the contemporary design scene in Prague in August 2018, we visited Jan Kloss, and Adam Štěch from Heavyweight Digital Type Foundry in their studio.

The OKOLO creative group, comprised of Matěj Činčera, Jan Kloss, and Adam Štěch, has dedicated its work to design, architecture, and other disciplines and to their presentation through a variety of media. Since 2009, it has initiated lots of publications. They have authored exhibitions in which it interconnects a largely educative content with graphic design, illustrations, and the creation of objects.

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: Heavyweight Digital Type Foundry

Posted on by Slanted editors

When we took a look at the contemporary design scene in Prague in August 2018 we visited Filip Matějíček and Jan Horčík from Heavyweight Digital Type Foundry in their studio.

Heavyweight Digital Type Foundry is based in Prague and has been established by Filip Matějíček and Jan Horčík in 2013. Both used to study at Academy of Arts, Architecture and Design in Prague in the Studio of Typography led by Karel Haloun and Tomáš Brousil. Heavyweight designed five typefaces so far, their own website is going to be released.

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

Photography: © Dirk Gebhardt, Slanted Publishers
http://www.dirkgebhardt.com/

Werkschau 2019 – Peter Behrens School of Arts

Posted on by info219

At the end of summer semester 2019, the department of design at the Hochschule Düsseldorf, Peter Behrens School of Arts, will open its doors for an exhibition. Over 100 designers from the Bachelor and Master courses give an insight into their work in the fields of Applied Art and Design, Exhibition Design, Communication Design and Retail Design. Six alumni will give a talk every hour in the atrium of building 6.

Werkschau 2019 – Peter Behrens School of Arts

When?
Architecture: July 12th–13th, 10 a.m.–6 p.m.
Design: July 20th, 11 a.m.–6 p.m.

Where?
Hochschule Düsseldorf
Peter Behrens School of Arts
Gebäude 6
Münsterstraße 156
40476 Düsseldorf

B-LA CONNECT

Posted on by Slanted editors

B-LA CONNECT is a platform for the promotion of cooperation and networking of the creative communities of the two partner cities Berlin and Los Angeles. In the next years a large exhibition and exchange project is to take place between project spaces operated by artists / curators and collectives from both cities: In June 2019, 20 art spaces from Los Angeles were be exhibited in 22 art spaces from Berlin. The interdisciplinary program includes art exhibitions, film screenings, performances, lectures, and more. In the following year, 2020, the Berliner Kunsträume will travel to LA for a return visit. Find the full program here.

B-LA CONNECT sees itself as an international cultural exchange at the grassroots level. It brings together members of different art spheres and scenes from both cities. New possibilities for interaction and interconnection are created and expanded locally within and across borders between the two cities.

In the sense of a positive globality B-LA CONNECT wants to advance the cultural partnership between Berlin and Los Angeles. B-LA CONNECT wants to celebrate urban variety and show presence. Berlin and Los Angeles share the urban self-image to be the world in the small, a place of cultural diversity and individual freedom. B-LA CONNECT wants to build bridges where other walls erect.

Direction, Coordination Berlin: Daniel Wiesenfeld
Co-Direction, Coordination LA: Carl Baratta (Tiger Strikes Asteroid), Max Presneill (Durden and Ray, Torrance Art Museum)
Design Concept: Visual Identity and Communication for B-LA CONNECT

A project in which new opportunities for interaction and networking between the two cities are created and expanded. Our approach was to create a reduced and modular design to give the galleries and spaces their space. The design plays with an aesthetics that makes the connection between the two cities clear, both in terms of colour and symbolism.

Typeface: Favorit by Dinamo
Design + Art Direction: Studio Last
FB: https://www.facebook.com/studiolast.berlin
IG: studio.last

Kommune

Posted on by LaicType

Kommune is a display typeface designed by Verena Gerlach and distributed by Laic: Type Foundry. It is inspired by the vernacular shop- and promotion letterings of Burkina Faso. Originally designed as a stencil typeface for the solo show and accompanying catalogue of Burkina Faso born Architect Francis Kéré (famous for his Laongo Opera Village and communal school buildings) at the Pinakothek der Moderne in Munich, it is now also available in a new version as a normal, non stencil typeface.

Kommune

Foundry: Laic: Type Foundry
Designer: Verena Gerlach
Release date: June 2019
Weights: 4
Heights: 2
Styles: 2
Test version available at: [email protected]
Prices: Single style: 20 Euro, family of 16 styles: 200 Euro
Buy

Annual Exhibition 2019

Posted on by Marelle

Traditionally at the end of the summer semester, the Muthesius Kunsthochschule opens its doors to its studios and ateliers from July 10th, 5 p.m. until Saturday, July 13th for the annual exhibition.

Annual Exhibition 2019 – Muthesius Kunsthochschule Kiel

When?
Opening:
July 10th, 5 p.m.
Exhibition:
July 11th–13th, 11 a.m.–8 p.m.

Where?
Muthesius Kunsthochschule Kiel
Legienstraße 35
24103 Kiel

parcours – Sommersemester 2019

Posted on by Clara Weinreich

Between restlessness and anticipation, short-sightedness and transparency, duty and passion—parcours is more than just an exhibition. Rich in contrast and versatile, sometimes contradictory, but always individual and special. parcours makes design tangible and creates direct access and exchange.

From July 19th to 21st, parcours cordially invites you to the final exhibition of all MSD Bachelor and Master graduates in summer semester 2019. They are looking forward to a very special weekend full of exciting impressions. Experience the course.

When?
Vernissage:
Friday, July 19th from 8 p.m. on
Exhibition: 
Saturday, July 20th from 10 a.m. to 8 p.m. + from 2 p.m. to 5 p.m. screen printing workshop with the Screen Printing Ninjas
Sunday, July 21st from 10 a.m. to 6 p.m.

Where?
Münster School of Design
Leonardo Campus 6
48149 Münster

 

Slanted in Prague: Studio Marvil

Posted on by Slanted editors

When we took a look at the contemporary design scene in Prague in August 2018, we were allowed to visit Olga Benešová and Pavel Zelenka from Studio Marvil.

Studio Marvil devise logos and graphic design projects, and create complete visual identity systems for companies and projects. They are highly skilled at managing the entire design process, from the initial proposal through to production. Also, they are interested in content and always seek a solution specifically tailored to the client’s needs; a solution fully in line with the project plan.

The exciting works of Studio Marvil can be found in the Slanted Magazine #33—Prague, additionally we conducted a video interview with Pavel Zelenka about his attitude and work. Take a look at our new issue and the video platform to meet more creative people from Prague!

Photography: © Dirk Gebhardt, Slanted Publishers

Semester Exhibition FH Aachen

Posted on by Redakteur

Boxgraben 100 opens its doors: On Thursday, July 11th, 2019, the students of FH Aachen invite all potential applicants and design enthusiasts to their semester exhibition. The students present their projects in the fields of product and communication design to the public. They get an exclusive insight into fascinating projects of all semesters. The event offers prospective students the opportunity to broaden their horizons and gain inspiring insights into the broad spectrum of the design world.

When?
July 11th, 2019
2 p.m. to 9 p.m.

Where?
Boxgraben 100
52064 Aachen

 

Interview with Masha Manapov

Posted on by Slanted editors

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 Assaf Benharroch more will follow. But now Masha Manapov.

Born in Baku, raised in Tel Aviv, Masha Manapov received her degree from the Bezalel Academy of Art and Design in Jerusalem, with a major in illustration. She worked at a design and brand agency in Tel Aviv and as a graphic designer within the Haaretz newspaper group. She has since worked as an editorial illustrator for many magazines and newspapers worldwide: The Independent, Wired, The New York Times, Boston Globe and many more. She currently works at an interactive science centre in Bristol, UK, designing both in print and digital and for exhibitions.

From your education at Bezalel Academy, what do you remember most?

I remember being hungry, tired and more creative than I ever was. It was a big part of self-discovery both personal and professional as it might be for every other student at this very particular time in your life. It taught me a great deal, even if I didn’t acknowledge it at the time, about project research, intent, and honesty in my work, concept, originality and responsible design. Even though ever since, I was always extremely lucky to work in an amazing environment with brilliant, stimulating minds I never had the chance to share the same workspace with so many like-minded creative individuals again. I guess it is one of the hardships working as a freelancer or as an in-house designer in a non-design-based organization.

When working on assignments, when do you know you come close to your aims?

It varies, in some jobs I like the in-between phase of not knowing and testing different angles, textures, techniques, and colors. The search is a process of discovery that might not necessarily affect the job I’m working on at the moment but will always find its way into another work. If I’m enjoying it, it’s always a good sign, and If I come back a day or a couple of hours later and am still pleased with myself, it’s a winner.

How does a typical workday look like to you?

My week is shared between working from my home studio on freelance illustration projects to the work I do as a senior designer at the science centre. In both places, I sit by a giant 3-meter window overlooking a nice view and have the freedom to create my own schedule and at times initiate my own projects.

We The Curious is quite an unusual place where the day can start by stargazing in our 3D planetarium (of which I illustrated some of the constellations), then to participate in a user testing group in the prototype room, to designing a new card game for an activity and working on a new marketing campaign. It is never dull, and the whole place is buzzing with people from different disciplines and backgrounds. The work phase is quite fast which helps me focus much better.

When I’m freelancing from home, it’s more isolated and quieter, and I allow myself more flexibility with my time. Recently I started to have walks, to meet a friend or do house chores (which I find therapeutically) to give myself some time away from the monitor.

Tell us about the challenges of working on exhibition design and museum branding.

I like the reality of being part of an actual in-house design team where I’m quite often the client and designer at the same time. I have the privilege of knowing the brand and our offer inside out which allows me to be a vital voice in the decision-making process. About a year ago, the organization went through a massive rebrand which naturally affected my line of work.

The new brand is all about evoking curiosity, which is a very cool concept to have, yet, at times, it might be too broad to work with. While the brand is still new and needs nurturing, care and support, it does not forgive any flexibility. Which is where as a designer I need to draw the line and be the killjoy to all the eager enthusiasts. I usually don’t mind doing so. This is where my Russian upbringing kicks in.

As a charity organization, we often design with limited production budgets or on no budget at all. When I first started, it took me a couple of months to realize that my ideas are not feasible. Nowadays it’s always part of my brief. This format requires me to think differently, which brings more creative results. It makes it harder to “cheat” because no fancy technology and the light-sound-smoke machine will come to my rescue and cover up a poorly made work. The concept and the design are all I have to work and win with.

More about Masha Manapov here.

The World’s Writing Systems

Posted on by Slanted editors

When we first heard about decodeunicode, our typo hearts jumped a little higher—what a great idea to capture all the characters in the world in Unicode. Now Prof. Johannes Bergerhausen together with the Institut Designlabor Gutenberg (IDG), the Atelier National de Recherche Typographique, and the Script Encoding Initiative of the University of California has initiated the new project worldswritingsystems.org, which gives an overview of the 292 writing systems of the world! These writing systems can be sorted chronologically, alphabetically and geographically. You can also discover which writing systems are alive or extinct and how many have been included in the Unicode standard.

We asked Prof. Johannes Bergerhausen a few questions about the project:

How did this project come about?

At www.decodeunicode.org you can see all the Unicode characters, currently there are 137,374 characters. Every year new characters are added; meanwhile Unicode 12.0 covers 150 font systems. At some point the question arose: how many are still missing? That’s what I asked the linguist Dr. Deborah Anderson from Berkeley. After months of research, she presented a long list of 142 scripts that are not yet available on the computer. Then I was visiting professor at the ANRT in Nancy and suggested the joint project “Missing Scripts” to the director Thomas Huot-Marchand. For each font we researched a typical character and designed it in a characteristic style.

How can you imagine researching centuries-old systems? Where do you start searching?

In the relevant literature there are almost always experts somewhere in the world, mostly linguists or paleographers, who have been dealing with their obscure writing system for years. Often they are scripts that do not yet have a fixed typographic canon of forms. That’s what makes it so interesting. In the post master at the ANRT in Nancy, students can spend 18 months researching and designing one of these writing systems.

Which writing system do you particularly like and why?

Oh, there are many of them. I find the African scripts very interesting. Here it is often very difficult to find an expert. The writing system Bamum, for example, is very fresh and lively.

Thank you very much.

For the project, a typical character was researched and a glyph designed for each of the 292 writing systems during an 18-month post-master period. A four-color screen print now presents all glyphs on a poster.

The World’s Writing Systems Poster
Release: 2018
Edition: 600 copies
Format: 80 × 120 cm
Workmanship: 4-color screen printing
Print: Lézard Graphique, Brumath, France, 2018
Price: 22,– €
The poster is available here. 

Data: Dr. Deborah Anderson, Berkeley, USA
Type design: Johannes Bergerhausen, Arthur Francietta, Jérôme Knebusch, Morgane Pierson; ANRT, Nancy, France, 2016—2018
Design: Ilka Helmig, Johannes Bergerhausen, helmigbergerhausen.de, Cologne, 2018
Design/Coding/UX: wysiwyg*, Düsseldorf, 2018

Annual exhibition 2019—collective, collaborative, cooperative

Posted on by Julia Kahl

The Karlsruhe University of Arts and Design (HfG Karlsruhe) is proud to present its annual exhibition 2019. From July 18 to 21 the atriums, workshops, and rooms of HfG Karlsruhe become a vast exhibition space. Students from the fields of Exhibition Design and Scenography, Communication Design, Art Research and Media Philosophy, Media Art, and Product Design will give visitors insights into their artistic and theoretical work, products, designs, and concepts. The public will be confronted with the ideas of a new generation of artists and designers, curators, scenographers, philosophers, art historians, film directors, and photographers.

HfG Karlsruhe takes this year’s Annual Exhibition as an opportunity to address forms of cooperation in everyday student life and beyond. Under the motto “collective, collaborative, cooperative,” various collective methods of artistic practice are made tangible and discussed. What are the benefits of collaborative work and where can its limits be explored and negotiated time and again? The 2019 exhibition serves as a platform to initiate, inspire, and learn from each other.

Annual exhibition 2019—collective, collaborative, cooperative
18–21 July 2019
opening hours
19 July: 8 AM to 10 PM
20–21 July: 10 AM to 10 PM

Karlsruhe University of Arts and Design
Lorenzstraße 15
76135 Karlsruhe
For free for the entire duration

Program, 18 July
6 PM opening
8 PM party
19 July
2–3 PM public guided tour
3–6 PM talks and lectures
20 July
11 AM Instawalk
2–6 PM talks and lectures
6 PM public guided tour
21 July
2–3 PM public guided tour

hfg-karlsruhe.de

Master & Master

Posted on by Slanted editors

During our research for the Slanted Magazine—Prague we became aware of the Prague-based furniture manufactory Master & Master. The company was founded in 2012 by Ondřej Zita and Luděk Šteigl.

Master & Master are characterized by the production of simple and efficient furniture with minimalist forms and natural production techniques. They create furniture as a product of everyday life. They appreciate the heritage of everyday product design that is simple and uncomplicated to produce and use.

The furniture of Ondřej and Luděk is not only beautiful, but also practical, of high quality, and made of durable materials. Everything it needs to become an absolute classic!

masterandmaster.eu

Where creativity lives: 40% discount now available on Creative Cloud

Posted on by Julia Kahl

With inspiration, you can achieve great things. Show your creativity in all its shapes and colours by downloading the apps and tools from Adobe Creative Cloud, now for only €35.69 (incl. VAT) instead of €59.49 per month.

Every idea needs a home, a place to unfold. Artist Birgit Palma has built a whole city for her creativity. There’s a lot to discover: fantastic views, impressive perspectives and extraordinary buildings.

Birgit loves the unusual, playfully switching between perspectives and composing geometric colour surfaces in a very avant-garde way. Her artwork challenges the familiar. This mix of surrealism, op art and abstract geometry creates a fascinating effect.

In the Artist Spotlight, she talks about her work, her inspiration, coming trends and her favourite projects. Visit the Artist Spotlight!

What would your city of creativity look like? Would it be monochrome or colourful? Round or square? Ordered or chaotic? Try it out and secure Adobe Creative Cloud for only €35.69 (incl. VAT) instead of €59.49 per month only until 8 July.

Get started now!

Tino Pohlmann: New Works to Celebrate World’s Largest Arena

Posted on by Slanted editors

_a r e n a is the latest exhibition and book release from award-winning photographer Tino Pohlmann. Arena seeks to celebrate the beauty and grandeur of the Tour de France through its two great contributors: the harsh, rugged mountains of France and the hundreds of thousands of fans who transform this natural landscape into the world’s largest, open-air sporting venue. Pohlmann’s large format images make visible this unique fusion of nature and sport, and serve as an hommage to the spectators whose presence amid the colossal natural backdrop verify the true greatness of the Tour. _a r e n a is supported by longtime TPO partner Canyon Bicycles, as well as Phase One cameras of Denmark, makers of exclusive mid-format systems.

On June 27th, 2019, the public is invited to Heynstudios Berlin to join the opening and book launch set to coincide with the start of the 106th Tour de France. The exhibit will display stunning, large format Archival Pigment Prints certified according to the standard for museum quality and mounted on investment framing from Karo König/Berlin (National Gallery, Moma, Hamburger Bahnhof, Helmut Newton Foundation). The accompanying book, “_ a r e n a – Le colisée du Tour de France” will be released in a limited edition of 1,000 copies.

Concurrently, the exhibition will run at collected.photo, a new platform for photo editions developed by Düsseldorfer web agency Wysiwyg and Tino Pohlmann. Here users can browse galleries and purchase rare, museum-quality works online. Parts of the exhibition will also be traveling internationally, currently planned are Hamburg and Los Angeles starting from September.

When?
June 27th, 2019, 7 p.m.

Where?
Heynstudios
Heynstraße 15
13187 Berlin

Admission is free.

Slanted in Prag: 20YY Designers

Posted on by Slanted editors

When we took a look at the contemporary design scene in Prague in August 2018, we visited Robert Jansa and Petr Bosák from 20YY Designers in their studio.

20YY Designers is a graphic design studio founded in 2011 by Robert Jansa, Sébastien Bohner, Petr Bosák, and Adam Macháček. They are based in Lausanne, Prague and San Francisco and work mainly in the cultural field. Collaborations include, among others, Brno Biennial, California College of the Arts, Chronicle Books, Galerie Rudolfinum, Municipality of Montreux, Museum of Czech Literature, Museumsquartier Vienna, National Gallery in Prague, as well as the San Francisco Museum of Modern Art.

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

Photography: © Dirk Gebhardt, Slanted Publishers

Pasto

Posted on by antipixel

Pasto is a fun and charming display type family of two styles and four weights each. The first one, Print, is a textured irregular stamp style, and Sharp is a straightforward soft-edged type with clean strokes.

As the name Pasto suggests (“Grass”), this typeface has natural shapes such as curves, curls, and confident but delicate lines, making it playful yet strong. Going from Thin to Bold and from Print to Sharp, Pasto takes the different sizes and textures in grass and translates them into different rhythms.

With developed OpenType Contextual Alternates, this type family provides three alternating alphabets that are automatically replaced in turn repeatedly to avoid the same letterforms and textures appearing next to each other, once more referring to its natural uniqueness inspiration. Ligatures are available for specific character combinations, to improve the overall look of the word or sentence.

Perfectly suited for graphic design and any display use, Pasto has very large language support allowing users to write in English, Spanish, Italian, French, German, Polish, Czech, Icelandic, among many others! Special characters and currency symbols are also available.

Pasto

Type foundry: Antipixel
Designer: Julia Martinez Diana
Release: May 2019
Weights: Thin, Light, Regular, Bold
Price: Style 11.99 Euro / Family 89.99 Euro (check the discounts on MyFonts)
Buy

Open Source Festival Congress 2019 – Komm raus. Denken!

Posted on by Slanted editors

After a successful premiere last year, the Open Source Festival Congress will take place on July 12th, 2019 under the motto “Come out. Think!” into the second round! The OSF Congress takes place during the Open Source Festivals, which this year for the 15th time offers a forum for pop music formats and creativity at the Horse Race Track Düsseldorf.

The main idea of the OSF Congress in 2019: How is one actually creative—in very different areas, industries and professions and which questions do we have to ask each other in order to shape a future worth living together? With international keynotes, investigative talks and cross-sector panels, the festival grounds will once again be used to create an extraordinary open-air projection surface for new ideas. Inspiration and input from the most innovative thinkers, leaders and doers of our time and the context of the global issues that move us today and tomorrow.

The speakers are available for touching and not as pure frontal sound. Every format gets its appropriate location, whether it’s a main stage with the greenest racecourse in the background, a cozy sofa for two to talk to each other or a discussion chair circle in an overseas container. The main thing is open air and lots of fresh air and swallow chirping to stimulate your thoughts.

At the OSF Congress 2019 these five topics in particular will be up for discussion: Communities, New Work, Digital Transformation, Sustainability and Urban Development. But as usual, there will be creative input from all imaginable areas and visitors can look forward to a colorful mix of lectures.

Slanted is giving away 1 × 2 tickets for the Open Source Festival Congress! To participate simply. To participate in the raffle, write an email with the subject “OSF Congress 2019” until June 28th, 2019, 11 am (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!

OSF CONGRESS 2019
July 12th, 2019, 9 a.m–9 p.m.
Horse Race Track Düsseldorf-Grafenberg

Tickets
Congress + Festival: 195.– € / 75.– € (Junior)
(Admission to the OSF Congress on July 12th, 2019 with 25 international speakers in keynotes, talks, panels and beer garden and to the Open Source Festival on July 13th, 2019 with musical and artistic program of 30 international artists on four stages, dance floor and numerous exhibition areas.)
Congress only: 175.– € / 55.– € (Junior) (Admission to the OSF Congress on 12 July 2019 with around 25 international speakers in keynotes, talks, panels and beer gardens.)

The OSF Congress is sponsored by the Ministry of Economics, Innovation, Digitization and Energy of North Rhine-Westphalia and the innogy Foundation for Energy and Society and supported by Wacom and sipgate.

More information about the Congress on the Website, Facebook and Instagram!

CA Saygon

Posted on by Slanted editors

The CA Saygon font family consists of a display variant with three weights and a text variant with 7 weights plus italics.

It was originally designed for the pitch for the redesign of the Sprengel Museum Hannover. But when another agency won the pitch, the way was clear to further develop the font for a wider audience. In the beginning there was the striking display variant with its unmistakable appearance. It contains unexpected fractions in the design that lead in combination to a coherent appearance in practical use. Numerous alternative letter forms keep boredom away.

Its calmer counterpart is CA Saygon Text, which only came into being after the pitch phase. It picks up shapes and proportions of the display variant, but was created with the clear objective of a text font suitable for everyday use. The typeface does not deny its influences by fonts such as Akzidenz Grotesk, but develops the repertoire of forms further in a completely independent direction. In letters such as f, t, i and r, for example, there are striking accents on the horizontal. All in all, the font with its high x-height makes a robust but friendly impression. With four different Stylistic Sets, the character of the font can be changed with a single click. A special highlight is Set 3, “Cape Style,” in which the typeface combines a single-storey a with a three-storey g—something you can hardly find in any other typeface.

Both fonts are very well equipped—in addition to Latin Extended, Cyrillic and Vietnamese are also available as language support. In addition to arrows and other useful additional characters, various OpenType features round off the professional overall picture, such as superscript and subscript digits, fractions and proportional and table figures. Great emphasis was on a professional kerning, which was done by kerning specialist Igino Marini (iKern).

CA Saygon

Type Foundry: Cape Arcona Type Foundry
Designer: Stefan Claudius & Thomas Schostok
Release: April 2019
Format: OTF
Weights: Thin, Light, Regular, Medium, Semibold, Bold, Extrabold 
Price: 
Saygon Complete Family: 200.– € / 230.– $
Saygon Text Family: 175.– € / 200.– $
Saygon Display Family: 70.– / 80.– $
Weights: 35.– € / 40.– $

Questions? Looking for answers in the middle of somewhere

Posted on by Julia Kahl

This book is about asking and designing Questions. And beyond that, it has just received the Young Book Design Award from 109 submissions. An introduction by Juliane Hohlbaum:

When Prof. Sereina Rothenberger and Prof. David Bennewith invited graphic designers to give lectures at the University of Arts and Design in Karlsruhe, they noticed that there was a certain hesitation amongst students to ask questions. They were convinced that this was not out of a lack of curiosity, but more likely because they felt they might ask the ‘wrong’ questions. So Rothenberger and Bennewith came up with a seminar that was all about asking questions, which is also a valuable skill to have for a graphic designer. In May 2015, they invited Marietta Eugster, Elisabeth Klement and Laura Pappa, Vier5 and Honza Zamojski to an extended interview session at Otl Aicher’s ‘Institut für analoge Studien’ (Institute for analog studies) in Rotis (Germany). The seminar was repeated in November 2017, this time to meet and talk with Wayne Daly, Veronica Ditting, Manuel Krebs (Norm), Vinca Kruk (Metahaven) and Monika Maus.

Over two days, the invited designers were interviewed in a myriad of ways by groups of students, whose ­task it was to learn to conceive, ask, and design questions. Each text in the book was designed by the students who devised and conducted the respective interview. As a second part of the assignment the students had to design a typeface for their text, based on ‘Rotis’, a font released by Otl Aicher in 1989.

A team of students – Friederike Spielmannleitner, Simon Knebl and Béla Meiers – then collected the interviews of both seminars and designed the book. The varied content of the interviews is conspicuously structured into two sections, one for each visit to Rotis. The colours of the book represent the different seasonal atmospheres of the two seminars – a marshmallow in winter-purple and spring-yellow. They are also a homage to the colours the team discovered in Aicher’s work. The two sections are joined by a chapter of illustrative collages that give an atmospheric insight into the two trips to Rotis.

The work produced by students of all age groups is maybe the most contemporary insight you can have in the field of graphic design, since the work reflects their momentary curiosity and interests. It is interesting to question if and to what degree there is already visible differences between the designs made for the 2015 edition and those from 2017.

Friederike Spielmannleitner, Simon Knebl und Béla Meiers have answered a couple of questions on the book:

Why did you decide to publish the results of the seminars?
The invited designers brought a lot of time and interest to the project. This allowed the participating students to develop very free and experimental approaches to the interview format. These sometimes unconventional, but very intensive encounters with the guests, their creative practice and their positions as designers or artists led to highly diverse results. Especially the readiness to experiment, in the way the interviews were conducted, but also later when working on layout and text, makes the material interesting for an audience outside the school context as well. So, the idea of collecting the interview booklets from both seminars in a group publication came up quite early.

What was it like to be both authors and designers in this project? What were the advantages or difficulties?
Mostly, it was exciting for us to have this opportunity to look at the project from different perspectives. Since all three of us had a different relation to the project and the seminars, this double position enabled us to bring our own experiences to the later design process and to include different angles. It was also helpful to be able to relate to the positions of the other participants, to understand their approach and design better and to make this part of the book design as well. For us, there really was no disadvantage, some discussions became even more intense and in the end that led to stronger results.

Can you talk a little about these discussions and the decisions you made on how to deal with the “already existing” material? (The booklets the students made in the seminar)
At the beginning of the project, our discussions about how to incorporate the existing material were completely open. However, we quickly realized that the combination of so many authors and designers and the resulting mix of content and design positions was very valuable. On the one hand it shows how different designers work and on the other hand it is a very contemporary insight into the field of graphic design. Therefore, it was important for us not to change the design of the individual interviews, but to structure them in a way that makes it easier for readers to find their way around.

How did you decide what “extra” material to add?
Part of our work was certainly to bring all the material into one one – one object. This notion and the idea of restructuring already existing content also influenced our discussions and decisions regarding “extra” material. For example, we decided to draw our own font – based on a design by Otl Aicher – for cover, table of contents and foreword in order to frame the whole thing. We also designed a kind of stamp, which contains all important details of the interviews and separates them from each other. The book is divided into two parts, 2015 and 2017; those are complemented by a chapter of illustrative collages that give an atmospheric insight into the two trips to Rotis.

“Questions? – Looking for answers in the middle of somewhere” is now available at Spector Books. We raffle three copies of the book among our readers. To participate in the raffle, write an email with the subject “Questions?” and your postal address (for shipping) til July 1st, 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!

Questions?
Looking for answers in the middle of somewhere.

Authors: Massimiliano Audretsch, Lorena Castro, Timothée Charon, Adrian Dickhoff, Matthias Gieselmann, Laurine Haller, Johannes Hucht, Bruno Jacoby, Desiree Kabis, Rana Karan, Simon Knebl, Janosch Kratz, Calvin Kudufia, Béla Meiers, Yannick Nuss, Sun Young Oh, Tatjana Pfeiffer, Kathrin Rüll, Simon Schelsky, Henrik Schmitz, Ioanna Spanachi, Tatjana Stürmer, Marcel Strauß, Henriette Wehking, Hendrik Whelan, Jannis Zell, Roman Zimmermanns, Shuaitong Zong
Editors: David Bennewith & Sereina Rothenberger for the Karlsruhe University of Arts and Design, Germany
Design: Béla Meiers, Simon Knebl, Friederike Spielmannleitner
Volume: 496
Language: English
Format: 120 × 190 mm
Publication date: February, 2019
Publisher: Spector Books
ISBN: 9783959052818

Buy here