Krautreporter newspaper

Krautreporter is an independent, usually digital magazine from Berlin. Its mission is to help its members to better understand the interrelationships of current events in politics and society. Everything online, fresh every morning, many well researched stories, which do not lose their topicality, but unfortunately disappear quickly from screen. As reasonable as it is not to produce wastepaper, there is less surprise as when you read a newspaper—you may find an article you haven’t looked for and didn’t know you were interested in.

Now they have done something old-fashioned, outdated, perhaps even antiquated: a newspaper edition with some of the best articles by Krautreporter, just like it was in the twenties, made by hand and printed with black and red ink. The idea came from Krautreporter member Erik Spiekermann, a German graphic and type designer.

After he had succeeded in restoring a Johannisberger high speed press from 1924 and making it operational again, it was their motivation to test the printing press on a real product. After he made some efforts at persuading in the Krautreporter editorial team, 5,000 copies were produced.

Unfortunately, the Krautreporter newspaper is not available for sale, but was reserved for Krautreporter members as a gift in July 2018. In the Krautreporter podcast “Verstehen die Zusammenhänge”; Martin Gommel talks with Sebastian Esser about the printed Krautreporter issue.

Photos: © Norman Posselt

Typeface of the Month: Temeraire

Everything but boring—Quentin Schmerber did not design Temeraire to make it invisible. It is conspicuous, and this is what it is supposed to be. Its obvious inconsistency in the cuts always brings surprises in all areas of its use. Temeraire shines with a colorful bouquet of 18th-century letterforms that bring a smile to the face of every typography lover.

Quentin Schmerber’s Temeraire serif font family was not designed to be invisible. It is a typographic exploration meant to be seen—with its beauty, one could even say beheld. While some fonts aim to be as easily ignored as possible, Temeraire is offered as a gift to wide-eyed readers with its anything-but-boring character and its conspicuous inconsistency in styles.

Most type families increase the weight of each character to expand the family. Instead, research into 18th century sources produced Temeraire’s wide range of letterforms, from the predictable to the odd and loosely related through time. Each style is designed to work alongside the others but are also standalone homages to specific parts of English lettering tradition: gravestone cutting, writing masters’ copperplates, Italiennes, and others.

Temeraire’s Regular style is a contrast-loving Transitional Serif with vertical stress, making it great for period and classic works, ironic pieces, and modern throwbacks. The weight of the Bold squares off the ends of each glyph to give it stability, and the italic style rings true: flowing, contrasting, and purposefully inconsistent.

Temeraire’s Display Black style is one salvaged from expressive gravestone artistry. The details most easily noticed are the ‘g’ with its descending bowl that has been pressed back up in the centre, and the additional serif on the ‘t’ crossbar that holds its neighbouring character at bay. (The ‘g’ and ‘Q’ have loopless alternates.) The final style is the Italienne, the horizontally stressed counterpoint to the family. By design its characters flow and bend in ways not in step with the rest of the family. All the weight has been pushed to either hemisphere within each glyph, resulting in a display style that demands space and peacefulness around it so its presence can impress.

Like all TypeTogether families, Temeraire’s five styles meet the current designer’s needs, including alternates for when the defaults are too boisterous. It works on screens for the audacious designer but truly shines in print. The Temeraire serif font family is resurrected from echoes in time and finds its family relation through impeccable taste.

Temeraire

Foundry: TypeTogether
Designer: Quentin Schmerber 
Release: 2018
Format: otf, eot, svg, woff, woff2
Weights: Regular, Italic, Bold, Display Black, Italienne Italic 
Price: from 31.50 Euro per weight, 158.10 Euro the entire bundle
Buy

Werde FC

The new member’s campaign of the FC Cologne is based on an individual script font family, which takes up the look of fan banners and, together with authentic texts, creates closeness and identification with the soccer club. Through the emotional and goal-oriented design of the Cologne based advertising agency Das Hochhaus, the communication of the club was brought back to eye level with the fans. This campaign is a good example of the great influence that target group-oriented font design has.

No heroic glossy pictures of expensive football players, no flat slogans, no expensive campaign, but something that was “noticeably different”: WERDE FC—actions that appeal to the fan’s heart because they let the fan’s heart speak. Why? Because the FC Cologne needs more members. It should be 100,000 within a year. By the end of the campaign, 108,000 had said: I AM FC.

Slanted in Dubai: Thareek

In Spring 2018 the Slanted editors took a close-up look at the contemporary design scene of Dubai. A city—when described by many people—that is all sickening shine and has no soul. But Dubai and the whole region, originally a piece of desert sparsely populated by Bedouins, is now transforming itself rapidly into a center, if not the world’s greatest center, of trade, finance, and tourism—and moreover, something important happened in the last few years: Culture! Today, a new Arab world is being plotted and planned. The entire Gulf is teeming with initiatives—from the most public to the most private—to change and reinvent seemingly immutable rules, regimes, edicts, and assumptions, culminating, perhaps, in the stated intention to work more closely together. The Gulf states have a past, and they will have a future. The contours of that future are legible in this Slanted issue!

Tahreek is a design and motion studio based in Dubai, founded by three Saudi siblings. It’s a multi-faceted studio that thrives on experimental form-making and conceptual construction. Exploring conceptual and design problems from multiple angles and transforming solutions into visual narratives. As a creative philosophy, experimentation and play are always a part of the creative process.

Take a look at the Slanted #32—Dubai to get an idea of Dubai’s creative environment. Additionally you can find several video interviews on our video platform to get a deeper insight in the designer’s thoughts.

Was Designer verrückt macht | Why designers go crazy

Why Designers go crazy” is the current yearbook of the Institute for Design and Communication of University of Applied Sciences Joanneum. It presents 105 graduation theses from the Information Design bachelor’s program and the two master’s programs in Exhibition Design and Communication, Media, Sound and Interaction Design for the 2017/18 academic year. Now published for the ninth consecutive year, this yearbook impressively demonstrates how diverse design work is, how varied the requirements are, and how broad the spectrum of content‒related topics can be. The high‒quality design theses combine a holistic design approach with an interdisciplinary design attitude. The wide thematic range of the projects is characteristic of our training, and prepares our graduates for a diverse and multifaceted professional life.

The work of the students has received a great deal of recognition in the professional environment and public perception, as well as through prizes and awards. The University of Applied Sciences Joanneum is proud that their institute has been honored with six Red Dot Awards this year, despite competition from around 8,600 submissions from all over the world: three bachelor’s theses, two master’s theses and last year’s publication—the yearbook “What Designers can do”—were awarded this international design prize.

The publication can be purchased at the Institute for Design and Communication for 24,90 Euro or downloaded here as a PDF.

Forward Festival Wien

The Forward Festival celebrates a small anniversary from 4 to 6 April at Gartenbaukino and MAK. For five years now, the festival for creativity, design and communication has been taking place and has established itself as one of the top addresses in the European creative scene within this time. Every year around 3,000 visitors come to Vienna to celebrate with the most influential creative minds from all over the world. This year, you may look forward to the benetton skandal photograph Oliviero Toscani, UK design legend Kate Moross, marketing rockstar Erik Kessel, the aspirational creative studio Sucuk & Bratwurst  and the US design agency Anton & Irene.

When?
April, 4th to 6th, 2019

Where?
Gartenbaukino & MAK Wien
Stubenring 5
1010 Vienna

More information hier.

Berlin Letters Festival

From the 16th–18th of May 2019, more than 200 creative minds will meet, whose heart beats for lettering, sign painting, calligraphy and type design. More than 25 talks, 10 workshops and 24 windows are just a few reasons to buy tickets. Festival tickets are available from 250 €.

Berlin Letters is a new festival for lettering, sign painting, calligraphy and type design. It offers three days of exchange and inspiration for designers and all font enthusiasts—with lectures, professional workshops and surprises. For listening, watching, laying on hands and networking. The festival is limited to 200 participants. The additionally bookable 10 half-day and full-day workshops are held in small groups; personal care is guaranteed.

When?
16th–18th of May 2019

Where?
Colonia Nova, Thiemannstr. 1, Berlin

Tickets
Festival ticket from 250 €
Workshop “Morgenstunden” from 120 €
Workshop full-time from 220 €

Re:Form

The Bauhaus—one of the most important modern schools—is celebrating its 100th anniversary. Stilwerk celebrates the design icon with the traveling exhibition “Re:Form—A Homage to 100 Years Bauhaus,” developed by artist trio Olff Appold, Kai Brüninghaus and Jürgen Sandfort. The goal: to re-formulate the history of the Bauhaus with contemporary visual worlds and techniques and to visualize them visually. As of May 8th, 2019, as part of the Hamburg Architecture Summer, visitors will be able to experience around 80 works of art on Bauhaus design at stilwerk Hamburg for one month—flanked by original furniture, formal quotes and today’s product innovations of Bauhaus-inspired furniture and lifestyle brands. Afterwards, the exhibition will continue to visit stilwerk Berlin (from June 17th, 2019) and stilwerk Düsseldorf (from August 19th, 2019).

Exhibitions:
May 8th until June 8th, 2019
stilwerk Hamburg*
Große Elbstraße 68
22767 Hamburg
*An event as part of the Hamburg Architecture Summer 2019.

June 17th until July 17th, 2019
stilwerk Berlin
Kantstraße 17
10623 Berlin

August 19th until September 19th, 2019
stilwerk Düsseldorf
Grünstraße 15
40212 Düsseldorf

More information here.

stilwerk Berlin Photo Credit: Felix Loechner

Slanted in Dubai: Tinkah

In Spring 2018 the Slanted editors took a close-up look at the contemporary design scene of Dubai. A city—when described by many people—that is all sickening shine and has no soul. But Dubai and the whole region, originally a piece of desert sparsely populated by Bedouins, is now transforming itself rapidly into a center, if not the world’s greatest center, of trade, finance, and tourism—and moreover, something important happened in the last few years: Culture! Today, a new Arab world is being plotted and planned. The entire Gulf is teeming with initiatives—from the most public to the most private—to change and reinvent seemingly immutable rules, regimes, edicts, and assumptions, culminating, perhaps, in the stated intention to work more closely together. The Gulf states have a past, and they will have a future. The contours of that future are legible in this Slanted issue!

Kholoud is a multidisciplinary design practitioner from Dubai. A graduate with a BSC in Visual Communication from the American University of Sharjah. She is currently leading the Design Communication unit at Tinkah, while also establishing the success of The Foundry and its endeavors. She creatively leads works for Tinkah’s major clients such as Etihad Museum, Irthi Contemporary Crafts Council, HH Sheikha Shamseh Al Sharqi, etc.

Take a look at the Slanted #32—Dubai to get an idea of Dubai’s creative environment. Additionally you can find several video interviews on our video platform to get a deeper insight in the designer’s thoughts.

A’ Design Awards & Competition – Last Call!

A’ Design Award and Competition is the World’s largestmost prestigious and influential design accolade, the highest achievement in design. A’ Design Award Winner Logo, symbolizes exceptional design excellence in your products, projects and services.

Use your chance until February 28th, Midnight, to submit your work now! The award is organized under various categories based on Locarno classification of economic sectors and industries such as Graphics and Visual Communication Design / Packaging Design / Advertising, Marketing and Communication Design / Photography and Photo Manipulation Design / Computer Graphics and 3D Model Design Competition. All categories here.

Costs for taking part are calculated upon point of time, amount of submitted work, professionalism, etc. Unlike other design award and competitions there are no further fees for winners’ services: All the services for winners; including exhibition, book and the winners’ packages are provided free of charge to award winning designers.

The A’ Design Prize includes public relations and publicity services in addition to the award trophy, certificate, yearbook and of course the winner logo which laureates could use to differentiate and add further value their award-winning products, projects and services.

 

Mut zur Wut 2019

HEAR YE, HEAR YE!

Mut zur Wut will celebrate its 10th edition this year! Yay! From February 15th, up until the 15th of April, you can upload your posters to the international competitions here! The call for entries PDF is downloadable now over at the homepage.

This years jury consists of Julia Kahl (Germany), Ariane Spanier (Germany), Verena Panholzer (Austria), Eduardo B. Arambarri (Mexico), Steffen Knoell (Germany), and more infos will follow soon!

Bauhaus 4.0 meets design theory:

Are digitization and globalization, as today’s major economic and social issues, perhaps comparable to the Industrial Revolution of the early 20th century? Can we use the utopian potential of the Bauhaus to find ways to adapt the design theory to the new demands? How can we exploit the expansion of the fields of work of designers completed in recent years and not fall into the trap of diluting the design concept beyond recognition? What is the correspondence to the demand for lifelong learning for a continuous education and training of professional designers, and what actually helps us with all these questions the design theory?

At the panel discussion of Bauhaus 4.0 meets design theory on February 19th, 2019 in Dieburg near Frankfurt they will discuss the tension between teaching and practice in times of digitization pointedly and provocatively. Et al with Susanne Lengyel, Frank Zebner, Valentin Heisters, Markus Frenzl, Rüdiger Pichler and the two moderators Ulrich Müller and Boris Kochan. Welcome by Ralph Habich and Nicolas Markwald.

An evening on a small scale for designers, teachers and students at the IGEP paper warehouse—join in the discussion!

When?
February 19th, 2019
6:30 p.m. to 8:30 p.m.

Where?
In the paper warehouse of IGEPA Großhandel GmbH
August-Horch-Strasse 3
64807 Dieburg

Here you can buy tickets and for more informationen click here.

Photo Nicolas Markwald: © Hartmut Nägele

Speed

Your newest Slanted publication is SPEED and provides an insightful and personal look into the subcultures scenes of of transportation in its various forms and beauty. Photographed by Horst Friedrichs between 1997 and 2018 and in collaboration with Creative Director Lars Harmsen the book showcases two decades of photography on these active groups. The photos are defined by the acute styling and attention to detail that seamlessly transport the reader to a world of cars, motorcycle, scooter, and bicycles.

Publishing house: Slanted Publishers
Photography: Horst Friedrichs
Text: Stuart Husband
Design: Lars Harmsen
Release: February 2019
Volume: 320 pages
Format: 21 × 28 × 2 cm
Print: Canon Europe Océ Printing Systems
ISBN: 978-3-9818-296-5-5
Price: €39,–
Buy

Saturday Type Fever 2019 – Recap

On 11th and 12th of January 2019, NoFoundry hosted the type-marathon “Saturday Type Fever”: for 30 hours, around 80 students and typographers from numerous schools from Germany, Belgium, Estonia, France, Switzerland and the Netherlands gathered at the HfG Karlsruhe to work side by side on their unfinished fonts or one-day font projects. The event also aimed to connect type design students from different universities across regional boundaries, and create a lively exchange between apprentice typographers and designers. Carlotte from Geneva, Switzerland says : “I wanted to challenge myself and see what I can do in thirty hours. It’s also a great opportunity to meet other designers and work in an unfamiliar environment.”

The marathon started on Friday at 6 p.m. and lasted until Saturday at midnight. To kick off the work in a playful way and gather some inspiration, seven students of the HfG organized an hour-long workshop on analog type design in smaller groups for all the participants. Then, throughout the event, ten graphic designers and typographers, student or not, held short talks giving an insight into their works and the design of fonts, and offered feedback sessions for participants to discuss the work in progress. Guests included Johnson/Kingston and Reto Moser, Charlotte Rohde and Tatjana Stürmer, Jérémy Landes, Simon Knebl, Riefka Elhabachi, Massimiliano Audretsch, Catharina Hirsch, and Severin Geissler.

The designers were working in groups of four to seven people per table and every ten hours, a zine was produce for each group showing the current version of each participant. These process zines were then displayed after the end of the countdown on Saturday night as the results of the marathon. A great number of typefaces were produced during the marathon, including numerous first ever typefaces and collaborative projects. Alice from Lugano in Switzerland had no previous experience in type design: “I wanted to try to make a typeface; so it was my first experience in type design and the event was the best opportunity for that. I am very happy that I came here.”

NoFoundry is a type foundry run by students of the HfG Karlsruhe, established in the semester 2017 / 18 in a seminar of the HfG Professor duo Johnson/Kingston, with the aim of giving students the opportunity to sell their own typefaces and to exchange ideas with other students and designers about the design and use of typefaces. The next NoFoundry font release, and the first ever external font in the catalog, is planned for early March.

Auslöser

Auslöser is an indie print magazine that focuses on personal photographer stories. Each issue features four photographers, one company behind the scenes, and one camera. The first issue will be published in March 2019.

In times when everything lives online and has to be faster, Auslöser goes back to the essentials and features long-form in-depth interviews, reports and photo stories exclusively in printed form.

In the first issue (March 2019) Auslöser features Friedl Kubelka, Yanina Boldyreva, Wolfgang Zurborn, and Brian Finke. The magazine presents the famous photo book publishing- and print house STEIDL in Göttingen, Germany. Furthermore, one selected camera from the Westlicht camera museum is presented in detail.

Auslöser – Photography in Portrait

Format: 16 × 22 cm
Volume: 160 pages
Paper: Circlematt White 300 g/m2 & 120 g/m2
Binding: Swiss brochure with open thread stitching
Publication: twice a year
Language: German & English
Price: 20,– Euro
Buy

There is a beautiful poster available in addition to the magazine. Get it here

Questions? Looking for answers in the middle of somewhere.

What is this? A book launch? Yes, exactly! What is the name of the book? The book is called Questions? Looking for answers in the middle of somewhere.

What is it about? It started with Sereina Rothenberger & David Bennewith inviting a selection of graphic designers to Otl Aicher’s ‘Institut für analoge Studien’ in Rotis, in May 2015 and then again in November 2017. Over two days these designers were ­interviewed in a myriad of ways by graphic design students from the Karlsruhe University of Arts and Design, whose ­assignment it was to learn to ask, and design, questions.

Who did you invite? Marietta Eugster and Manuel Krebs (Norm) from Switzerland, Wayne Daly and Veronica Ditting from the UK, Elisabeth Klement & Laura Pappa and Vinca Kruk (Metahaven) from the Netherlands, Monika Maus from Germany, Boy Vereeken from Belgium, Vier 5 from France and Honza Zamojski from Poland.

Who’s publishing it? Spector Books.
What is the ISBN? Glad you asked, it is 978-3-95905-281-8.
When will the book be launched? On Wednesday, February 13, 2019, 17:00, on the second floor of the HfG Karlsruhe. Bändelraum, to be precise.

Slanted in Dubai: Twothirds Design Bureau

In Spring 2018 the Slanted editors took a close-up look at the contemporary design scene of Dubai. A city—when described by many people—that is all sickening shine and has no soul. But Dubai and the whole region, originally a piece of desert sparsely populated by Bedouins, is now transforming itself rapidly into a center, if not the world’s greatest center, of trade, finance, and tourism—and moreover, something important happened in the last few years: Culture! Today, a new Arab world is being plotted and planned. The entire Gulf is teeming with initiatives—from the most public to the most private—to change and reinvent seemingly immutable rules, regimes, edicts, and assumptions, culminating, perhaps, in the stated intention to work more closely together. The Gulf states have a past, and they will have a future. The contours of that future are legible in this Slanted issue!

Twothirds Design Bureau established in 2016 by Lujain Abulfaraj and Sara Al Ari, is a research-based design studio dedicated to building timeless designs. By working together with the client and devoting time to understand their brand and vision, research the marketplace and study the targeted audience, Twothirds is able to discover and highlight each brand’s core competency.

Take a look at the Slanted #32—Dubai to get an idea of Dubai’s creative environment. Additionally you can find several video interviews on our video platform to get a deeper insight in the designer’s thoughts.

Senza

Senza is a contemporary, neutral, all-purpose sans-serif. Its basic and open shapes convey a remarkable sense of clarity and accuracy to the overall design. These features in combination with a large x-height make Senza a very legible and solid text typeface especially on screen.

The family of 8 styles offers full European Latin language support and a set of small caps.

Senza was originally designed for a mobile phone interface. Although it was eventually developed into a much more versatile family, these initial researches on readability on screen are the core of Senza’s design. This development process has been conducted with great attention to details. The letter shapes are well recognizable without being too fancy. Senza’s low contrast and its underlying humanist construction make the reading act very comfortable and natural, without any clutters or distractions.

Corporate designs based on Senza are able to express precision and performance without any ostentation. The shapes and details are special and well recognizable without being too fancy. The family is therefore best suited for high-tech, specialized and modern products or publications. It is a small but strong Family you might say.

An example of that would be the German bicycle brand Bergamont, which uses a custom version of Senza for usage on their bikes. The Blackmoon Foundry did a whole redesign and new concept for the product-graphic identity. We designed a new logo typeface and updated the “b”-icon. We developed a set of icons for technologies and bike categories. And all the fonts used on the bikes are made by the Blackmoon Foundry, a special edition of the Senza and a specially designed font called Kiez, referring to Bergamonts heritage fo being from St. Pauli and nearby amusement district, the so called Kiez. Take a look!

Our design department is dedicated to build a special connection between concept and typography through original type designs and cool graphics. At The Blackmoon Foundry we have a special thing for the sport industry and of course for Typography.

Senza

Type foundry: The Blackmoon Foundry
Designer: Elena Albertoni
Release: January 2019
Format: oft
Weights: Light, Light Italic, Regular, Regular Italic, Bold, Bold Italic, Black, Black Italic

At the moment Senza is on 50% introductory sale on FontSpring.

Was bedeutet für mich Designkritik?

The publication Was bedeutet für mich Designkritik? (What does design criticism mean to me?) Is dedicated to a subject that is currently given little attention. Neither the public nor their own discipline deals with criticism in depth—unlike, for example, art, literature, music, etc. In order to counteract this, people who work in design in various functions have asked a question: What does design criticism mean to you? Twenty personal answers show how relevant the critical discourse is with and for design.

Contributions by: Birgit S. Bauer, Ruedi Baur, Klaus Birk, Meret Ernst, Sabine Fischer, Götz Gramlich, Andreas Koop, Mateo Kries, Matylda Krzykowski, Cornelia Lund, Holger Lund, Claudia Mareis, Hubert Matt, Fidel Peugeot, Markus Rathgeb, Jürgen Schwarz, René Spitz, Ralf Tracht, Niklaus Troxler, Heinz Wagner.

“An appealing appetizer that makes you want more; a proof of how important and neglected this topic is.” form N° 281

Was bedeutet für mich Designkritik?

Editor: Ephraim Ebertshäuser
Publisher: Prima.Publikationen
Design: it’s mee, Basel
Dimensions: 14 × 21 cm
Pages: 48
Print: einfarbige Risographie
Release: 2018
Price: 15 €
Buy

depatriarchise design *!Labs!*

The design discipline is deeply interwoven with the patriarchal structure of our society. The initiative depatriarchise design deals with analysing this complicity of design in the reproduction of oppressive systems and imagining visions for alternative futures. Through discussing the societal issues within design practice through an intersectional feminist perspective and through developing hands-on approaches, the initiative aims to bridge theory and practice.

depatriarchise design now starts a series of workshops with three events in Basel. The depatriarchise design *!Labs!* are spaces where you can explore design from feminist perspectives, exchange ideas, find allies, and create hands-on tools for your own daily design practice.

Each *!Lab!* is an educational experiment trying to expand and to question the established ways of teaching, learning, producing and displaying design. The *!Labs!* are rooted and inspired by feminist pedagogy. They are spaces for dialogue, personal expressiveness, caring and unlearning – they are never meant to be finished, rather form part of a larger process of depatriarchising design.

depatriarchise design *!Lab!*—Position Yourself. Design Visions
with depatriarchise design—Anja Neidhardt and Maya Ober
9 Feb 2019, 10—17h
SP!T – Raum für queerfeministische Anliegen und Praxen, Erlenstrasse 44, Basel
How do you position yourself within the design field? This workshop aims at imagining diverse design practices through illustrating and writing activities. After reading Cheryl Buckley’s text “Made in Patriarchy” (1986) and “Design and Intersectionality” (2016) by Ece Canli and Luiza Prado, we will discuss the current state of the design discipline and our roles in it. The creation of drawings and texts will then help us to imagine different futures of how our design practices could be.

depatriarchise design *!Lab!*—Whose “Real World?” Papanek and the Politics of Display
with depatriarchise design—Anja Neidhardt and Maya Ober
9 Mar 2019, 10—17h
SP!T – Raum für queerfeministische Anliegen und Praxen, Erlenstrasse 44, Basel; Vitra Design Museum, Weil am Rhein
Design is political. This statement is at the core of Vitra Design Museum’s current exhibition which discusses it through focusing on the work of Victor Papanek. We will conduct a field trip to “Victor Papanek: The Politics of Design” to not only find out which contents it communicates and how, but also to examine to what extent the museum translates the upheld values into the design of the exhibition itself.

depatriarchise design *!Lab!*—Gender Disbalance as Edible Statistics
with common-interest—Corinne Gisel and Nina Paim
6 April 2019, 13—19h
Café Unternehmen Mitte, Gerbergasse 30, Basel
After a “food for thought” introduction that blends together aspects of statistics, infographics, pizza, and politics, we will team up to analyze the gender (dis-)balance of recent design exhibitions and awards across the globe. Working in groups, we will turn our statistical findings into pie charts, and bake them into real-life edible pizzas at Unternehmen Mitte. Our efforts will lead to a communal dinner, where the general public will be invited to take a slice and talk politics.

Nina Paim and Corinne Gisel from common-interest were commissioned to design the overall visual identity of depatriarchise design *!Labs!*. They proposed to use it as a platform to support and promote young female type designers. For each workshop, a typeface by a different female designer is selected and purchased. By creating a singular identity for each workshop, the visual identity of ‘depatriarchise design *!Labs!*’ will grow into a diverse set of positions. At the same time, the identity will function as a type-specimen that promotes emerging names and thereby becomes a feminist tool for graphic design in and of itself.

Participation is free of charge. Please sign up via E-mail.

Typeface of the Month: Oldschool Grotesk

Writers and readers of Oldschool Grotesk undertake a slightly eccentric journey to Victorian Britain. Due to its organic, yet geometric shapes, the new typeface from the German type foundry Kilotype is an enrichment to your display typeface selection, but is also suitable for body texts.

Oldschool Grotesk is a look behind the façade of Victorian vernacular sans serif inscriptions. The distinct, and often most compelling aspects of early British Grotesques and architectural letterings from that period are their quirkiness and eccentric details. Look beyond, however, and you will find yourself glaring at the roots of Modernism and the early attempts of the industrial period in search for structure and clarity.

A central element that informed the design was an inscription from 1864 at the entrance of an abandoned train station in the borough of Southwark (London), then under the operation of the Charing Cross Railway Co. The letters are not the most excellent example of geometrical sans serif lettering, but they inherit a noticeable Britishness, most evident in the barless G, that can often be found around the streets of Great Britain, as well as in typefounders’ specimens from that period.

Oldschool incorporates some of these traits and forces them into a rationalized, modern geometric structure. While the proportions of the uppercase letters could be regarded as rather classical, further underpinning the early geometric heritage, the lowercase is more regularized and even. The main characteristic, however, is not entirely rooted in history. Let’s closely examine the junctions between round and straight elements in letters like g. At larger sizes, they add a sharp, sparkling texture to the lighter weights, while in darker weights the small curves mimic the soft puffiness often observed in wood type printing.

The typeface is primarily intended for display and editorial usage. Other noteworthy features include support for 400+ languages (Latin alphabet), an extensive list of symbols, alternate characters (yes, a single storey a), and various OpenType features.

Oldschool Grotesk

Foundry: Kilotype (@kilotype)
Designer: William Montrose
Release: February 2019
Weights: 9 weights ranging from Air to Heavy
Price: From 60,– Euro (free trials available)

Migration As Avant-Garde, My Friends Got Famous, Best Friends / Social Fabric

Especially in times of Instagram, Behance and Co., photo and art publications have more justification than ever before—to look at a picture in peace and to be drawn into an entire world of images by scrolling is simply wonderful. The Kettler publishing house has published two wonderful books and a postcard edition that are sometimes very personal, sometimes socially critical, sometimes funny, always inspiring to participate in the current, social discourse.

Migration As Avant-Garde by Michael Danner delivers a moving, critical, and thought-provoking contribution to the current public debate. He skillfully deploys a variety of elements and combines his own photos and texts with historic images. The result is a consistent but multifaceted narrative, which is frequently deconstructed both in terms of design and content.

Photography: Michael Danner
Volume: 120 Seiten
Size: 20,7 × 31 cm
Format: Hardcover
Release: November 2018
Language: English
ISBN: 978-3-86206-718-3
Price: € 45,–
Awarded with Dummy Award 2018

Buy at Slanted Shop

If you like German rock music, you have definitely heard of the successful Cologne-based band AnnenMayKantereit. But what if they used to be your unknown, dear friends? From the very beginning, Martin Lamberty has been their photographer. He has been traveling with his old friends from school around Europe ever since. His pictures tell the story of how the young musicians started their careers by performing on the streets of Cologne right up to the development of their current album “Schlagschatten”.

Lamberty has provided a chronicle of the concerts, of the band’s life on tour, and their studio recording sessions. But his shots are far more than just classic band photos. As their friend, he is always a part of what is happening and gets to capture private moments behind the scenes, ranging from the miserably long journeys on the tour bus and the lonely hours in anonymous hotels to the band’s vacations together.

Photography: Martin Lamberty
Volume: 96 Seiten
Soue: 18 × 22 cm
Format: Hardcover
Release: Januar 2019
Language: English
ISBN: 978-3-86206-737-4
Price: € 28,–

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This book focuses on two series of works by the artist Nevin Aladağ that explore issues of self-determination, identity, and community in society and culture. For her series Social Fabric (2017–2018), Aladağ cut out pieces of different carpets with characteristic patterns representing distinct cultural identities and combined them into new, unifying pictures. Her photo series entitled Best Friends (2012–2018) presents snapshots of friends who Aladağ met randomly while walking the streets of Dortmund, Berlin, Basle, Los Angeles, Mons, and Hanover.

Remarkably similar in appearance, body language, and manner of dress, the friends portrayed almost seem to merge into one person, contrasting with our desire to set ourselves apart as individuals.

Artist: Nevin Aladağ
Publisher: Christina Vegh für die Kestner Gesellschaft, Hannover
Volume: 22 pages
Size: 11 × 16,5 cm
Format: Postkartenbuch
Release: November 2018
Language: German, English
ISBN: 978-3-86206-726-8
Price: € 20,–

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Slanted in Dubai: Abjad Design

In Spring 2018 the Slanted editors took a close-up look at the contemporary design scene of Dubai. A city—when described by many people—that is all sickening shine and has no soul. But Dubai and the whole region, originally a piece of desert sparsely populated by Bedouins, is now transforming itself rapidly into a center, if not the world’s greatest center, of trade, finance, and tourism—and moreover, something important happened in the last few years: Culture! Today, a new Arab world is being plotted and planned. The entire Gulf is teeming with initiatives—from the most public to the most private—to change and reinvent seemingly immutable rules, regimes, edicts, and assumptions, culminating, perhaps, in the stated intention to work more closely together. The Gulf states have a past, and they will have a future. The contours of that future are legible in this Slanted issue!

Sheikha Bin Dhaher is an Emirati graphic designer. In 2010, she gained her MA degree in Communication Design from Central Saint Martins College of Art & Design in London, with a focus in typography and language. Not long after, she cofounded Abjad Design with Diana Hawatmeh. She derives her inspiration from literature, history, and nature. And Diana Hawatmeh is the art director and co-founder at Abjad Design. She is a graduate of the American University of Sharjah with a Bachelor of Science in Visual Communication. For several years she worked as a graphic designer in the fields of branding, publishing, and television in Dubai and the Netherlands. Her work is influenced by the Dada movement and recognized by experimental and exaggerated forms.

Take a look at the Slanted #32—Dubai to get an idea of Dubai’s creative environment. Additionally you can find several video interviews on our video platform  to get a deeper insight in the designer’s thoughts.