EDCH – The Idea Salon

Posted on by Clara Weinreich

Pure inspiration for designers of all kinds—Europe’s largest Editorial Design Conference EDCH will be a Salon of Ideas in 2019. In the exciting triangle between editorial design, visual storytelling, and digital content, the most innovative and successful ideas for brands, communication, and sales emerge. EDCH tracks down the inventors, visionaries, and makers, and looks together with them behind the scenes and beyond. 2019 for the first time in the HFF Munich.

Speakers are: Edel Rodriguez (bekannt durch seine Trump-Karikaturen), Michael Wolff (Gründer WolffOlins), Simon Scarr (Reuters), Eric Rodenbeck (Stamen), Larry Buchanan (Ney York Times) and many more.

The Conference will be translated simultanously on Friday and Saturday.

Tickets
Super Early Bird Ticket (limited contingent)
275,– Euro

Early Bird Ticket (limited contingent)
295,– Euro

Regular Ticket
315,– Euro

Special Tickets
for Students only
110,– Euro

Members of ATypI, TDC, AGD, BDG, FT and IO can use the promotion-code ORG-EDCH2019 for a 20,– Euro reduce (not available with student-ticket).

When?
Thursday, March 14th, 2019, 6 p.m.
to
March 16th, 2019, 9 p.m.

Where?
Hochschule für Fernsehen und Film
Bernd-Eichinger-Platz 1
80333 Munich

Get more information about the event and tickets here.

Rutu Modan Interview

Posted on by Slanted editors

When the Angoulême International Comics Festival opens on January 24th, 200,000 visitors will crowd the streets of this small town in the west of France, and publishers of comic books from many countries will set up their stands. Among the numerous exhibitions will be the first comprehensive retrospective of the Israeli comic author Rutu Modan.

She became famous with her graphic novels »Exit Wounds« (168 pages) and »The Property« (232 pages), both originally published by the Canadian publishing house Drawn & Quarterly. Together with artists Yirmi Pinkus, Itzik Rennert, Batia Kolton and Mira Friedmann, Rutu founded the self-publishing group Actus Tragicus in 1995. Today she is a professor at the Bezalel Academy of Art and Design in Jerusalem.

We met her in a café on the beach of Tel Aviv.

How important was international exchange for your development?

Rutu Modan: In the early 90s we met Henning Wagenbreth, Atak (Georg Barber) and Anke Feuchtenberger in Berlin. Yirmi Pinkus stayed in Berlin for a few months and established the relationship. Their self-published little books were an inspiration for us to do the same. If they can do that, we thought, we can do it in Israel. There weren’t many comics in Israel back then. Not even commercial comic books were common, not even for children.

In the past, retrospectives were made for dead masters.

It’s a big deal for me to have a retrospective in Angoulême. On our first visit in 1996, I had a culture shock. All the artists, publishers, visitors. Then we went with Actus Tragicus every year to find publishers and distributors. In Angoulême we met Drawn & Quarterly in 1998. That opened the American market for us. We would not have made it without Angoulême. In Angoulême we understood what we could do and how we could do it. I tell my students how important it is to understand the industry. You don’t have to obey. You still do your own work, but you learn how to carry it into the world. That is what Angoulême showed us.

Are you involved in the exhibition design for Angoulême?

Thomas Gabison, from Actes Sud, my French publisher, curates the exhibition. I’m curious to see what he will do with the material I brought him to Paris. It’s a challenging task. It’s not natural for comics to hang on a wall. It’s impossible to choose a page that represents the whole book. But it can succeed. I saw a very good comics exhibition about Hergé at the Centre Pompidou, another from L’Association in Angoulême. Thomas will choose themes that will guide the exhibition so that you won’t be overwhelmed by the amount of material.

You received the 3 × 3 Award as Educator of the Year in 2017?

I am a professor of illustration and comics at Bezalel Academy. I teach basic courses for grades 1-2, children’s book illustration and all final courses. Teaching professions are something that Israeli illustrators aspire to early in their careers. At least in our generation we had good opportunities to do this. Israeli society is new, Israelis love everything new.

Will you publish something in 2019?

I’m drawing a new book, with a really bad person and a tragic end. It’s kind of political. I’ll probably be working on it the whole year of 2019.

Exposition Rutu Modan – Un théâtre tragi-comique
46th International Comics Festival
Angoulême, January 24th–27th, 2019

Sources: The Property, Exit Wounds, Jamilti and Other Stories, The New Yorker

Parcours MSD

Posted on by Slanted editors

Sometimes clear and straightforward, sometimes intuitive and vibrant: design thinking and creative processes always require the ability to view and explore challenges from different angles. Together, these contrasts form an interface, a focal point where conception and creativity meet. Along with the bachelor and master graduates from the fields of illustration, communication design, media design and product design, Parcours 18/19 cordially invites you to experience this interface from 8th to 10th February 2019.

When:
Vernissage:
Friday, February 8th, 2019
8 p.m.–11 p.m.

Exhibition:
Saturday, February 9th, 2019
11 a.m.–8 p.m.
Sunday, February 10th, 2019
11 a.m.–6 p.m.
Free entrance

Where:
Fachhochschule Münster
MSD, Münster School of Design
Leonardo-Campus 6
48149 Münster

More information can be found here.

Slanted in Dubai: Fikra Design Studio

Posted on by Slanted editors

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!

Salem Al-Qassimi is a multidisciplinary designer, educator, and entrepreneur. He is the Principal and Founder of Fikra, and Director of the Fikra Graphic Design Biennial. He has published numerous articles, reviews, and essays on Arabic typography, culture, design. Al-Qassimi’s work focuses on elements of culture and identity and has been awarded regionally and internationally.

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.

STGT Outstanding

Posted on by Slanted editors

STGT Outstanding shows five boroughs of Stuttgart. Subcultural institutions, like bars with a creative concept or off-spaces like project rooms, were interviewed about how they create the look of the city with their projects. Which part of the different boroughs influence them in their works? Which spots do they visit the most? The look of the city is created by the people who live there. STGT Outstanding creates a city portrait of that kind of Stuttgart you can see if you look closely.

Designer: Denise Löher
Release: July 23rd, 2018
Pages: 200
Dimensions: 26,4 cm × 19,8 cm (+ inside book: dimensions 12,1 × 16 cm)
Language: German
Production: Print Peter Käß, 4/4-color, MunkenPolar rough 150 g/qm, Rainbow yellow 80 g/qm; Hardcover, stitch binding Margit Boger
Price: 95,– Euro
Buy

Total Armageddon—A Slanted Reader on Design

Posted on by Clara Weinreich

Help us to publish this amazing summary of the past 14 years of independent publishing and preorder your copy for only € 30,– (≈ $34).

Total Armageddon is about design. And culture. And complexity, notably how we, as a global civilization, deal with science fiction, taste, social media, the cities we live in, aesthetics, PowerPoint, burkas, Big Tech, full-contact sports, and other thorny topics. A collection of both essays that are brand new to Slanted readers, as well as the very best essays from past issues of Slanted Magazine, written by the most vital and vibrant global voices in writing on design and culture today such as Steven Heller, Piotr Rypson, Gerry Leonidas, Yoon Soo Lee, Kiyonori Muroga, and a host of others.

With financing this special Slanted publication on Kickstarter, we are attempting to integrate our audience and followers to be a part of the creative process, a publication for our loyal friends and also new design enthusiasts alike. 

Please help us reach the goal within 30 days, to sum up 14 amazing years of independent publishing. Pledges start from € 5,– and include many exclusive rewards like early bird discounts, tote bags, mention in the book, …

Total Armageddon—A Slanted Reader on Design

Publisher: Slanted Publishers
Editor: Ian Lynam
Release: March 2019
Volume: 400 Pages
Dimensions: 16 × 24 cm
Language: English
Printing: LE-UV offset + white (Vogl)
Paper: Holmen BOOK Extra 2.0 (Holmen Paper)
Cover material: Invercote G Metalprint (Iggesund Paperboard)
Typefaces: Beatrice (Sharp Type) and Edit Serif (Atlas Font Foundry)
Price after release: € 30,–

Support the Kickstarter Camapign

Brygada 1918

Posted on by Clara Weinreich

Brygada 1918 is a digital revival project of Brygada typeface done thanks to the support of the “Independent” program and the President of the Republic of Poland. The source of inspiration lies in casting matrices found by Janusz Paweł Tryzno In the Book Art Museum in Lodz. Extended Btygada 1918 family including six versions is available for download under Open Font License. We hope that through its use the Brygada 1918 project will benefit the building common conscience of type design—a domain of significant, culture building character.

According to the historical research the typeface was most probably created during the interwar period, in the Type Foundry Idźkowski and Co. in Warsaw. The main idea of this undertaking was to honor the typographic heritage in a vivid manner. Original matrices were available in regular, italic, and bold versions. To allow the practical application of the font in a larger versatility of projects the collection gained semibold, semibold italic and bold italic variants. Apart from redrawing, the shapes were adjusted and corrected, and the available glyph coverage was greatly expanded. Regarding the character set, Brygada 1918 type family contains extended Latin, extended Cyrillic, basic Greek, International Phonetic Alphabet, four figuer versions (oldstyle, lining, tabular oldstyle, tabular lining), small caps, sub- and superscript, currency symbols, mathematical signs, and a wide set of ornaments, in all 6 versions.

The Btygada 1918 family is available for download under Open Font License here.

Designed by: Mateusz Machalski, Borys Kosmynka, Ania Wieluńska, and Przemysław Hoffer

81st Berlin Typostammtisch

Posted on by Slanted editors

Mastering Type 2018 shows all theses, which were created last year in international master programs in the field of typeface design, in Berlin. The exhibition offers you the only opportunity to see 40 projects from Amiens (FR), Buenos Aires (AR), Den Haag (NL), Lausanne (CH), Nancy (FR), and Reading (UK) at one place. What are the similarities and differences? What are the currently most exciting typographic topics? Which unexpected conceptual or creative approaches were chosen? Or does everything look the same again as last year anyway?

Aldo Arillo, Dominic Stanley, Hidetaka Yamasaki, Katja Schimmel, Mona Franz, Namrata Goyal, and Rafał Buchner are giving short lectures (in German and English) about their projects and present the associated work steps, intermediate results and ways of thinking.

When?
Exhibition
Friday, January 25th, 2019 at 7 p.m. (Doors 6:30 p.m.)
Saturday, January 26th, 2019 12 p.m.–7 p.m.

Presentations
Saturday, January 26th, 2019 4 p.m.

Where?
Medienhaus der Universität der Künste Berlin,
Grunewaldstraße 2–5,
10823 Berlin,

For more information click here.

Slanted in Dubai: Moloobhoy and Brown

Posted on by Slanted editors

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!

Moloobhoy & Brown is an award-winning independent design and brand communication studio based in Dubai. They strive to deliver creative thinking that differentiates their client’s brands across all key touch points. M & B loves everything from brand identity to advertising, packaging, and editorial design. They specialize in the arts, fashion, and hospitality industries.

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.

TOCA ME

Posted on by Slanted editors

On March 9th 2019 once again TOCA ME design conference will take place in Munich’s Alte Kongresshalle with renown speakers from all over the world.

Since 2003 TOCA ME design conference brings together some of the most innovative designers from around the globe. Covering all fields of analogue and digital design. From graphic design, typography and film to creative coding, virtual reality and machine learning. Past participants include legends of design such as Joshua Davis, Jessica Walsh, Seb Lester, Malika Favre, Sougwen Chung, Brendan Dawes, Mr Bingo, Signalnoise, Brosmind, Eike König, Gmunk, Tomato and many more. Aside of a high-quality lineup, the beautiful prepared location with interactive art installations, a design books & magazines corner and additional showcases, creates a unique experience—a journey full of creativity and inspiration.

The next TOCA ME design conference will happen on March 9th 2019 in Munich‘s Alte Kongresshalle. Amongst the speakers is Montreal-based artist and creative technologist James Paterson and Annie Atkins, Oscar awarded graphic designer in the film industry. Furthermore artist and activist Evan Roth, filmmaker and animation director Anna Ginsburg, British designer Anthony Burrill, and computational artist Memo Akten. The talks on stage are accompanied by installations and actions of local creative heads.

Once again TOCA ME design conference will be one of the main events of the Munich Creative Business Week taking place from 9th till 17th March 2019. TOCA ME design conference is funded by bayern design and the Bavarian Ministry of Economic Affairs, Energy and Technology. The event is supported by its partners Adobe, Eventwürze, Designerdock, Schoene Neue Kinder and Mates. Organizer is the Munich-based design studio TOCA ME.

For more information and tickets click here.

Thonik: Why We Design

Posted on by Clara Weinreich

In this book, Thonik, the Amsterdam-based studio led by lauded designers Nikki Gonnissen and Thomas Widdershoven, researches eleven personal reasons why they design—from the need to create impact to a constant search for independence; from the benefits of systems to the urgency of play. Additionally Why We Design looks back on twenty-five years of design practice and speculates on the future of graphic design.

Thonik was founded in 1993 and specializes in visual communication, graphic identity, interaction, and motion design. To the studio it is important to create work that sets apart and differentiates, work that sparks discussions and initiates change—one design at a time.

Thonik: Why We Design

Publisher: Lars Müller Publishers
Design: Thonik
Contributions by: Aaron Betsky, Adrian Shaughnessy, Gert Staal, Nikki Gonnissen, Thomas Widdershoven
Dimensions: 17 × 24 cm
Pages: 352
Workmanship: paperback
Release: 2018
ISBN: 978-3-03778-556-0
Language: English
Price: 35,– Euro
Buy

Typeface of the Month: Molto

Posted on by Slanted editors

Xavier Dupre’s Molto font family is a tonal master, creating tenderness in a slab serif and tempering toughness with flourishes. Slab serifs created their original niche by their ability to grab attention and overwhelm, which caused them to be seen as strong, dominant, and desired fonts, especially in advertising. Slab serifs are the result of placing defined edges on something meant to take up an inordinate amount of space, rather than meant to be graceful. Molto updates this concept to allow a greater, and gentler, range in the lighter weights.

Molto’s nine weights are defined by their intended use. The two extreme weights (Hair and Fat) act as display partners for magazines, titles, and posters. The Hair weight is runway ready with its sturdy serifs, breathy internal space, and stable lettershapes that were designed both to perform and impress. Molto’s Fat weight packs maximum punch in a believable way. Its wide and deliberate curves contrast against thin connections and landing strip stems. Molto can be put to perfect use in a fashion magazine using swashy Hair headlines set against its darkest weight.

Molto’s seven intermediate weights, with their classic and legible shapes, are meant for texts of all sizes. The notches on diagonals, distinct numerals, and acute terminals grant benefits from caption sizes up to headings. Molto’s refined light weights and punchy heavy weights set the stage for a swashy surprise — alternate capital letters act as refined garments laid atop its concrete skeleton.

The Molto font family rejects saving space in favour of intensifying shapes, placing maximum weight on the edges for better legibility and impact. Latin-based digital and printed designs will benefit from Molto’s design voice and breadth. This means UI, video, and online text, and print materials like dictionaries, packaging, advertising, and branding can all put Molto’s robust forms to multipurpose use. Molto successfully creates balance in a slab serif design: an opinionated and striking type family, stalwart in captions and exuberant in display, thanks to swashes which add some originality to the slab category.

Molto

Foundry: TypeTogether
Designer: Xavier Dupre
Release: 2018
Format: otf, eot, svg, woff, woff2
Weights: Hair, Thin, Extralight, Light, Regular, Medium, Bold, Black, Fat
Price: 44,10 € per style / 297,68 € the family

You can get a digital specimen here.

Adobe Creative Residency 2019

Posted on by Julia Kahl

Working on your dream project for one year without any financial worries? To be supported in the realization of this project? Speaking at conferences and give workshops? To be celebrated by the design community? Sounds too good to be true? With Adobe’s Creative Residency Program, creative dreams really do come true! The next application phase starts today—and we’ll show you why you should definitely join in!

Adobe Creative Residency is a program that allows aspiring creatives to focus on their personal projects for one year and to start a career they’ve dreamed of. The Creative Residents will be supported with everything they need—including a salary, mentoring, access to Adobe software, and much more. But what should you bring with you to become a Creative Resident? And why shouldn’t you miss this opportunity under any circumstances? You’ll find out right here!

Isabel Lea’s typography-led designs show you what it’s like to be young and British today

Isabel Lea, co-founder of ATYPICAL and the first ever Adobe Creative Resident based in the UK, is an art director and designer. Isabel used living in the UK as inspiration for her project BRIT(ISH). The project is an attempt to explore being young and British during recent turbulent years. As part of her creative residency, in which Adobe empowers talented individuals to spend a year focusing on a personal creative project, she’s exploring how typography-led design can respond to a place, its language, and its cultural identity. She develops experimental fonts and designs that depict ideas, words and signs for which there is neither translation nor explanation. Lea supports her work with evidence from social research. Her works celebrate language and identity in an unconventional way.

Inspired? Then join in yourself! Everything you need to know is here!

This year you can apply for the Creative Residency from January 7th until February 7th. As every year, we’re looking for a variety of ideas, people, and projects to adequately represent the diversity of the Adobe creative community. This time, applications will be accepted from Canada, Germany, the United States, the United Kingdom, and, for the first time, Japan.

This year’s selection of Creative Residents focuses on the following creative disciplines:

  • UI/UX Design
  • Video
  • Digital illustration
  • Design (Digital and Print)
  • Photography

Do not despair: If your area of expertise is not listed above, we still look forward to receiving your application. If you take a look at our Alumni Residents page, you will quickly become aware of the variety of areas and styles that have been part of the Creative Residency in recent years. So: Make sure you take part, one way or the other!

Application made easy: Some tips!

Of course, the first thing you need to do is take your time and look at the Creative Residency website and all the help it offers. And then it is important that you really think through your dream project: What is your motivation? What should (and will) the project achieve? Which other material or support are needed? In any case, take your time to prepare thoughtful answers to the application questions.
You can also get further help in the video of Alumni Resident Anna Daviscourt, in which she gives you five tips for your application. And you’ll find many more detailed tips for a good application in the article by our colleagues from Adobe Create Magazine.

What does Adobe look out for?

In addition to the idea behind the project and everything that goes with it, the jury will also consider your creative work to date, flexibility in trying out new things, work experience, and willingness to take on new challenges. As a prime example of a fresh and unusual application that will remain in your memory, here is the application video by Aaron Bernstein, who presented his project concept last year with stop motion animation, audio and photography. And to top it all off, here are a few more questions you should be prepared for:

  • Describe your project, including your goals & what you want to achieve!
  • How does this project build on your previous work?
  • What creative tools are you planning to use?
  • Which workflow would you like to use for your project?
  • How do you plan to share your project with the creative community?
  • What should the creative community learn from your project
  • What are your long-term career goals and how will Adobe Creative Residency help you achieve them?

In addition to answering the above questions, you will need to share three previous projects and links from your online portfolio and/or Behance page. This will give Adobe colleagues a better understanding of who you are as artists. The applications from former Creative Residents Jessica Bellamy, Aundre Larrow, and Rosa Kammermeier are good examples to use as a guide for preparing your application.
We hope that this information will help you to make a successful application & wish you good luck!

APPLY NOW!

Jacques Devaulx. Nautical Works

Posted on by Julia Kahl

Five hundred years after the historic French seaport of Le Havre was established, TASCHEN presents a facsimile reproduction of Les premières œuvres de Jacques Devaulx, pilote en la marine, first published by Le Havre-born “Naval Pilot to the King” Jacques Devaulx in 1583. This extraordinary illuminated manuscript, dedicated to the Duke of Joyeuse, collates nautical, astronomical, and cartographic ideas as well as Devaulx’s own extensive notes, observations, and records as a seafarer, hydrographer, cosmographer, and cartographer.

An encyclopedic reference for sailors, as well as a magnificent maritime showpiece for his royal employers, the elaborately annotated and decorated folios are a repertoire of naval and cosmographic tools and techniques, including astrolabes, nautical charts of the Atlantic Ocean, tabular statements of diurnal tides, astrological charts, and measurements for solar altitude. They also gather Devaulx’s volvelles, wheel charts made of rotating parts that are today considered an early example of the paper analog computer. Together, the folios encapsulate the state of knowledge at a time when sailors pushed the limits of sea exploration and offer a glimpse into the practical daily requirements of Renaissance seafaring.

This edition of Devaulx’s stunning document, produced in collaboration with the Bibliothèque nationale de France, reproduces each of the 31 folios in all their brilliant art and science, including the original colorful illuminations, in particular the volvelles. The volume features essays by Jean-Yves Sarazin and Gerhard Holzer, as well as commentaries from a team of experts coordinated by Élisabeth Hébert and Véronique Hauguel-Thill, contextualizing Devaulx’s work with fascinating insights into 16th-century seafaring and exploration.

The editor

Jean-Yves Sarazin (1967–2016) was a curator and historian. After completing advanced studies in history, paleographic archiving, and library conservation, he managed the Directory of French Cartographers at the Bibliothèque nationale de France, responsible for the conservation and restoration of cartographic documents. From 2010 he worked as director of the Department of Maps and Plans at the BnF. He also dedicated his academic career to the history of legal documents, and is the author of the Bibliographie d’histoire du notariat français, 1200-1815 (2004). He passed away on September 4th, 2016, following a lengthy illness.

The authors

Élisabeth Hébert is a mathematician and historian. She is the author of Instruments scientifiques à travers l’histoire (2004), a book about the usage of scientific, geometrical, and nautical instruments throughout the course of history; and Le Traité de Navigation de Jean-Baptiste Denoville (2008), an analysis and commentary of a reprint of Denoville’s nautical manuscript from 1760, which received a prize at the Nuit du Livre book awards in Paris, 2009. She is also President of the mathematical society Association Sciences en Seine et Patrimoine (ASSP) in Rouen and a retired Associate Professor of Mathematics at the IREM (Institut de Recherche sur l’Enseignement des Mathématiques) at the University of Rouen.

Gerhard Holzer studied history and geography at the University of Vienna and graduated with a thesis on the German-Austrian geologist Ferdinand von Hochstetter. Since 1989, he has been curator of the Woldan Collection at the Austrian Academy of Sciences in Vienna and has published a number of papers on scientific history, in particular on the history of discovery and cartography.

Jacques Devaulx. Nautical Works

Jean-Yves Sarazin, Élisabeth Hébert, Gerhard Holzer, Véronique Hauguel-Thill, Marie-Thérèse Castanet, Françoise Doray, Josette Méasson
Hardcover, 27.6 x 39.5 cm, 264 pages
ISBN 978-3-8365-3923-4
Multilingual Edition: English, French, German

BUY

Bringing Color Fonts to Messaging

Posted on by wbrooke

Color fonts—where font letters can have multiple colors, shapes and texture—are still fairly new. Even though they’ve been around since 2016 many typographers have yet to really experiment with color fonts or even hear about them at all. That said, their use is growing and now being adapted for use in mobile messaging for the first time. The first mobile app to adopt color fonts for messaging is Fontmoji.

Fontmoji uses color fonts to allow people send expressive messages or “fontmojis.” Their iOS keyboard converts messages from iMessage’s default San Francisco font to over 80 available fonts. These color fonts have letters shaped out of birthday cake, balloons, fire, water, chocolate, and pencils, to name a few. Some of these fonts use the older Truetype font format, but most of their available fonts are color fonts, using the Opentype SVG format.

Interestingly, they’ve recognized that color fonts allow fans to engage with their favorite brands. Previous font formats didn’t allow brand logos with complex texture or multiple colors to be rendered into a font—any complex texture or multiple colors would be lost. Now smash hit TV shows like Game of Thrones and Stranger Things to video games like PUBG & Fortnite can be rendered as completely identical fonts.

It will be interesting to see how color font technology further evolves our modern day communication.

Get the App here.

Begel, der Egel

Posted on by Julia Kahl

Most children’s books deal with wild animals such as bears, lions and tigers or with cute dogs and cats – Nele Brönner puts the leech into the focus of her latest book. A leech? Right, a leech. And he lives in a veterinary practice, where he pursues his daily work for medical purposes. In the morning he does his gymnastics exercises, then he treats the patients, and in the evening he takes care of the river sand bottom of his glass. That much depends on him, that’s clear to Begel. That’s why he does not understand why he suddenly has to share his cozy glass with the slender leech Ögel. Of course, Begel does not know anything about the huge dog patient and how uncomfortable it can be outside his little home …

A great book printed with bright special colors for small and large readers!

Slanted is giving away 3 issues of Begel, der Egel. To participate, simply write an e-mail to [email protected] til January 7th, 2019, with the subject “Begel.” The winners will be drawn after the deadline and contacted by email. Who participates in the raffle, agrees to receive news from Slanted and agrees to the privacy policy. The legal process is excluded. We wish you good luck!

Begel, der Egel

Illustration: Nele Brönner
Publisher: Luftschacht Verlag
Release: October 2018
Version: Hardcover
Language: German
Format: 19.0 x 25.0 cm
Volume: 32 pages
ISBN 978-3-903081-31-4
Price: € 22,–

BUY

Disappearing Objects

Posted on by louisdebelle

Disappearing Objects is a book, featuring 32 photographs of magicians’ secret tools, hidden between the pages of a short fiction story by american writer Jordan Hruska.

Disappearing Objects
Louis De Belle

Publisher: bruno
Designer: bruno
Dimensions: 16 × 22 cm
Volume: 144 pages
Release: 2018
ISBN: 978-88-99058-22-7
Language: English
Price: 25,– Euro
Buy

Programming Posters

Posted on by timrodenbroeker

The printed poster, the major medium for visual communication in public space for centurys, experiences fundamental transformations. The “Poster 2.0” is much more than a surface with type, colors and images on it: It is an interactive application, animated, audible, data driven and intermedial. It involves all senses and disciplines. And it melts together graphic design with cutting edge technologies. Watch an expressive process video here.

Designer and educator Tim Rodenbröker teaches Generative Design at Rhine-Waal University in Germany. To prepare his recent course titled “Programming Posters,” he developed more than 40 generative design-systems to showcase the visual possibilities of algorithmic graphic design.

Thank you …

Posted on by Julia Kahl

We are about to leave for some christmas holiday and will be back in the office on January 7th, 2019. Thanks to all of you who shared pictures in our social media channels from around, showing the magazine in stores, shelfs, living rooms, offices … Through your awesome online support, we got connected and through this stayed updated about new projects from all of you.

We started Slanted as a blog back in 2004, as a magazine back in 2005. After all these years, the publication has undergone a bunch of evolutions to become a serious, competitive publication in the field of graphic design and typography.

We are truly grateful for your continuous support. Thanks to all the contributors and readers, for your interest in our blog (after more than a year of effort, the new responsive & bilingual website is online finally), social media, and magazine.

We wish you, your families, and friends merry christmas and a happy new year. Let’s think of design as an always evolving process. Let’s recognize the interdependence, power, and influence of our role as professionals, and let it resonate with the world around us and within ourselves!

Typography 39 – The World’s Best Type and Typography

Posted on by Slanted editors

Amidst the sea of design competitions, there is only one that shines brighter, one that’s more clearly positioned, one that doesn’t keep adding disciplines to earn more money, but remains true to itself and its quality aspirations: the TDC Competition of the Type Directors Club of New York. This award results in Typography – The Annual of the Type Director’s Club New York.

It focusses on type and typography and uncovers new talents around the world every year. Furthermore it does not concern itself with the financial assets of the competition and draws participants by low submission fees and the chance to present their work to a genuinely independent jury, who rewards skilled craftsmanship and innovative ideas.

“Awarded for Typographic Excellence” is one of the highest honors a designer can receive and the 2018 annual Typography 39 gathers once more the world’s best type and typography! It shows the lengths you need to go to be world class. And it inspires you on your way there.

Typography 39
The World’s Best Type and Typography

The Annual of the Type Directors Club 2018

Author:: Type Directors Club of New York

Publisher: Verlag Hermann Schmidt

Design: Triboro Design, New York

Volume: 352 pages with more than 500 images and 18 new typefaces

Language: English


ISBN: 978-3-87439-912-8

Price: 69,90 Euro
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Saturday Type Fever!

Posted on by Julia Kahl

Saturday Type Fever! NoFoundry invites you to a Type-Marathon on the 11th and 12th of January. For 30 hours, (design) students and typographers from all over Europe will gather at the HfG Karlsruhe to work on their unfinished fonts side by side. Everyone is welcome, whether you have an almost finished font that needs that last push or you want to work on a one-day font project. It's a great opportunity to finally finish that one font that's been sleeping on your hard drive for months!

The event will start on Friday, the 11th at 18:00 and will end exactly 30 hours later, on Saturday the 12th at midnight. During the 30 hours, there will be various talks from type designers and talented students, mini-workshops as well as a creative cool off program. After all the hard work we will celebrate with music and drinks! You will also have the possibility to upload & sell your finished font directly on NoFoundry if you want to. 100% of the profits go to the designer.

Participation to the event and the talks is free for all, and cheap good food and drinks will be available at all times!

The idea of the marathon is to work through the night, however there will be chill areas to rest in for power-naps, and some closeby student appartements open for longer sleep just in case.

About NoFoundry:

NoFoundry was developed by students of the HfG Karlsruhe discussing concepts of contemporary font publication. Under the direction of Professor Michael Kryenbühl and Ivan Weiss we created a platform for the distribution and exchange of student typefaces.

Outside of established circles we aim to bring cross-university attention to student works. Trying to build a network of young type designers we offer you the possibility to sell or show your fonts, buy fonts from other students or to get in touch with other designers.

NoFoundry offers students the opportunity to sell their fonts without the waiver of any rights. You decide for yourself how much you want to charge for your font, and you keep 100% of the earnings. You can also upload early versions of fonts, inspirational drawings, pictures and scribbles. NoFoundry presents all its fonts, drawings, ideas and inspirations on a map. After the upload your font gets its own coordinates on the map, so that it can be rediscovered at any time or be shared with others.

nofoundry.xyz

Slanted in Dubai: Slash

Posted on by Slanted editors

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!

Nuno has more than 20 years of experience creating and managing brands. In 2012, he established Slash in the UAE, and later in the US, shaping a network of companies and professionals passionate about brands, design thinking, and architecture: The Ripple Collective. Today he leads Slash globally, always looking to fulfill the company’s core purpose; to impact the lives of those who are touched by these brands.

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.

Adobe Stock Visual Trend “Touch and Tactility”

Posted on by Slanted editors

In the fast-paced world of the 21st century, only a few will last a long time. Adobe Stock is aware of this rapid change process and has therefore defined six #VisualTrends for 2018, thus creating trend forecasts for brands and artists. These should give them an outlook and a suggestion on how to attract the attention of the consumers.

After “Silence and Loneliness,” “The Fluid Self,” “Multilocalism,” “Creative Reality,” and “History and Remembrance,” the last visual trend of the year 2018, “Touch and Tactility,” which we would like to present to you today, follows at the end of the year. Most of the time we operate devices or look at screens and are unlikely to notice the loss of haptic experiences and interactions, but unfortunately this is the reality. To make up for this loss, Adobe Stock has focused on the theme of touch and feel by creating a selected gallery.

Visual art is more and more about not only seeing the images, but in a certain way being able to “feel” them. Well-known structures such as wet hair or dry grass are emphasized. Also, images of people touching, hugging or kissing each other are receiving more attention. The need for touch and warmth as well as personal relationships are clearly in focus. We are increasingly craving haptic experiences, but not nearly enough is preserved. This trend creates a great opportunity for brands and designers to create something that creates real moments of connectedness. A wonderful way to spoil our neglected sense of touch.

Many people today work all day in a digital world and have more or less lost touch with haptic experiences. But many try to recover this loss in their free time, in which they make something with their bare hands and then stroke it proudly about the product. So in recent years, a huge DIY scene has emerged. As a result of this continuing trend, portals such as Etsy, where the handcrafted products can be sold, have become successful. Your buyers are not only interested in the material they are made of, but also in the development process. Even on TV, this trend is present. At NBC, the show “Making It” was very successful this summer, in which the participants created their own products using simple materials such as paper, clay, wood and felt.

Adobe Stock has therefore definitely hit the bullseye with the visual trend “Touch and Tactility” and the year 2019 will be full of stimulating, new #VisualTrends. For example, we can look forward to topics such as Natural Instincts, Creative Democraty, Disruptive Expression, and Brand Stand. Especially in the digital age, images have a special meaning for brands, to address customers and to respond to them. Adobe Stock has therefore stretched out its antennae and diligently researched to define the new trends.

We are very excited about the Adobe Stock #VisualTrends of the coming year and look forward to exciting ideas for our creative work.