Bi-Scriptual

Posted on by Slanted editors

Script is language. Language is communication, and communication is the key to successful intercultural exchange. As a result of globalization and increased interaction across countries and cultures, multilingualism is becoming increasingly important all around the world.

Script, as the most important conveyor of information, is at the center of this development. Designers are more and more faced with the challenging task to create advertising posters, signage systems, books or lettering for example that not only combine different languages but two or even more writing systems with varying visual precepts and habits.

Bi-Scriptual
Typography and Graphic Design with Multiple Script Systems

Editor: Ben Wittner, Sascha Thoma, Timm Hartmann
Publisher: niggli
Volume: 320 pages
Format: 21 × 31,5 cm
Language: English
Specials: Hardcover
ISBN: 978-3-7212-0982-2
Price: 49,90 €
Buy

Typeface of the Month: Grand Gothik

Posted on by Slanted editors

Grand Gothik is a postmodern, multiscript, multifaceted and variable type system which pays homage to the development of grotesque (gothic) typefaces over the years. Taking late 19th and early 20th century European and American grotesques as a starting point, it traces this typeface genre up to mid-century movie theater marquees, new wave cinematography, American highway signage and telephone directories, adding some historical references for good measure.

Originally designed in 2017 as a bespoke typeface for a bilingual, black and white magazine on surfers, waves and landscapes, it was later reimagined and redesigned leading to the release of its commercial version. The name reflects Grand Gothik’s versatility as a fully functional variable font and its depiction of a vast array of gothic styles found in American and European grotesques. Designed with 3 stylistic alternates, each variation of Grand Gothik depicts a specific period and style: from the less calculated appearance of late 19th century grotesques all the way to their gracefully-shaped contemporary counterparts.

Open counters with enhanced white space and curved strokes with oblique terminals instead of horizontal were used in order to increase clarity of characters at small sizes. The ascenders were extended and the descenders shortened. The contrast was adjusted to reflect Grand Gothik’s personality as a revamped grotesque, the numbers were redesigned according to their historical references and letter “a” was designed with a spur to increase readability. Contrary to most grotesques, Grand Gothik implements sharp joints, as curved strokes and stems merge into each other with a sharp instead of a smooth connection.

Grand Gothik’s design space includes 3 axes for weight, width and one for italics. It is available as a variable font or as five separate opentype families—compressed, condensed, normal, wide and extended. Each family comes with 9 weights spanning from Extra Thin to Black plus italics. Quite interestingly, the letter “o” in the wide version does not follow the extended form of other characters, taking instead the shape of an almost round circle.

Grand Gothik was designed with a default version and three stylistic variations: The multifunctional default version comes with squared-off stems and letter “a” is designed with a spur. Its first variation (ss01) retains the squared-off stems of the default version, while letter “a” and “G” lose their spur, the curved tail of “y” becomes straight and the crotch of “M” sharp-pointed, altogether imbuing the typeface with a clean corporate texture. The second variation (ss02) is more eclectic, exchanging the squared-off stems for slanted stem endings, ultimately becoming more angular. The third variation (ss03) is vibrant and uncalculated and constitutes a nod to early 20th century European grotesque styles, particularly Venus of the Bauer type foundry or the ATF gothics such as Franklin Gothic or the lesser known Times Gothic and Title Gothic No. 9. The middle stroke on letters such as E, F and H sits higher, pushing the design of other characters such as B, K, P and R, in the same design direction. An alternate version of letter “a” and “k” was designed to reflect that era, along with alternate forms for lowercase letter “t”.

The Grand Gothik type system comes with a wide range of styles/weights and supports an extended array of languages and scripts such as Latin, Greek and Cyrillic. Keeping up with the ever-evolving virtual and digital landscape, Grand Gothik comes with an extended character set of weather icons, numeral symbols, wayfinding arrows, movie rating stars and emojis. Also, a Bitcoin symbol was designed as part of its character set in its newly introduced unicode position, rendering Grand Gothik a truly functional modern typeface. The whole series is complemented by its corresponding italics which are not cursive but rather refined oblique letterforms in sync with their traditional genre. Finally, Grand Gothik’s demanding personality shines at its heavier extended versions with its hip, expressive, almost brutal energy.

Apart from its default state which embodies the temperament and character of several notable grotesque typefaces, Grand Gothik’s multifaceted disposition and stylistic variations can fit a multitude of typographic needs. Firm, robust and legible, its first variation is an exceptional candidate for corporate brands which need to communicate their vision and value to multiple international markets. The second variation, a bit more vibrant and refined in nature, works beautifully with modern publications. The typographic voice of the third variation, characterized by the vibrant and raw texture of 19th century European grotesques hits home with posters, books, signage, magazines and postmodern conceptual art. Altogether, Grand Gothik’s variable format brings to web design all the precision, variety and spirit once available only in print media. An essential tool for web designers and developers alike.

Grand Gothik

Foundry: Parachute Typefoundry
Designer: Panos Vassiliou
Release: 2018
Format: otf, ttf, eot, woff, woff2
Weights: 92 (available also as a 3-axis variable multiscript font)
Price: 625,– Euro per family (65,– Euro per weight)

KHATT

Posted on by Slanted editors

Egyptian cities and villages abound with an enormous wealth of khatt, or calligraphic script, ranging from casual scrawls and scribbles to elaborately-painted colorful murals. These historical and contemporary versions of urban lettering, varying in surface, medium and technique, adorn mosques, shop-fronts, houses, trucks, boats, schools, tuk-tuks and walls. They are records of human existence, documenting expressions of hope, fears, dreams and anxieties.

Featuring beautiful, unique examples of these written expressions, Khatt is an extensive visual documentation of the found typography and calligraphy in Egypt, a calligraphy hub that possesses a rich tradition of education and production in the field. This timely volume records the traditional craftsmanship of hand-painted
calligraphy, which is fast disappearing because of the digitisation of the Arabic script.

 

KHATT – Egypt’s Calligraphic Langscape

Design: Engy Hashem
Publisher: Saqi Books
Release: October 2018
Volume: 160 Pages
Format: 25 × 23 cm
ISBN-13: 978-0-86356-901-2
Language: Englisch
Pice: 25.00 GBP / 28.20 EUR

Here you can buy the book.

Creative Paper Conference 2018

Posted on by Julia Kahl

Last weekend the Creative Paper Conference took place in Munich. It’s a mixture of fair and conference bringing together the paper, print and design industry. The theme of this year’s edition was “Analog Revolution”, giving insights of the status quo and the future of possibilities in print.

More than 30 companies presented their service and materials to the visitors and gave tipps and first-hand information. In the conference hall international speakers gave insights in their work. We were happy to be among those and to present our latest issue of Slanted Magazine about Dubai and its wonderful production.

Thanks a lot to the organizers of the conference for inviting us and for making this great event every two years. We are already looking forward to the next edition in 2020!

creative-paper.de

Dynamic Font Day 2018

Posted on by Slanted editors

When Variable Fonts came up fall 2016, the Dynamic Font Day was the first conference to profoundly discuss this joint project of Adobe, Apple, Google and Microsoft. Two years later, it’s time to verify the promises of the inventors and promoters. How far support for the new format has grown? Where are the first smart implementations out there? How far still to go to a real responsive typography? — Or will this whole story end in a huge flop?
Typography in digital media has grown by leaps and bounds during the last years. The wheel is rapidly turning for designers and developpers. The Dynamic Font Day 2018 will bring the latest updates, illuminates chances and risks and helps you, to find your own position in this ultrafast digital world.

The conference language will be English. We will have a lineup of internationally renowned speakers in the field of digital typography. You will find a continuously updated speaker list here.

The Dynamic Font Day 2018 will be hosted by Munich School of Design & Fashion in the very city center of Munich. The school is a creative hub for the media and fashion industry not only in Munich and the perfect soil for an international conference like ours.

 

Dynamic Font Day 2018

When?
Sat. November 17th 2018
9 a.m.–8 p.m. 

Where?
Designschule München, Sendlinger-Tor-Platz 14
Eingang West (Wallstraße), Raum 405/406
Bleisatzwerkstatt
80331 München 

More information can be found here.

#nextgeneration: what does the study look like in the future?

Posted on by Slanted editors

The Deutsche Studentenwerk’s poster competition invites graphic design, visual communication and communication design students to take a creative look at topics that are relevant to Studentenwerke and higher education institutions, and to communicate these topics to the public using striking and catchy visual messages.

This year’s topic: #nextgeneration: what does the study look like in the future?

The competition has been taking place every year since 1987. It is funded by the Federal Ministry of Education and Research and its co-operation partner is the Berlin Museum for Communication.

Until December 2nd you can apply online and hand in up to three posters. For more information click here.

Peter von Arx

Posted on by Slanted editors

The exhibition “Letterform in Posters and Film” at the Hochschule für Gestaltung und Kunst FHNW, is a showcase of both von Arx’s posters, as well as, short films produced by himself and his students. Today, these historical works can provide us with insights into design processes preceeding today’s digital tools and “new media” which in turn, can be useful in critical reflections on the current situation of visual communication and its relationship to technology, craftsmanship, art, and society.

Graphic designer Peter von Arx (born 1937), produced an extensive body of work in conjunction with his occupation as teacher and, later, as the head of the HFG Ausbildung visueller Gestalter at the Schule für Gestaltung Basel (SfG).

After completing an apprenticeship as a lithographer in Zurich (1954–1958), he went on to train as a graphic designer at SfG Basel (1958–1962) with, amongst others, teachers Armin Hofmann, Emil Ruder, and Walter Bodmer.

Included in his body of work are thirty-five world-format posters, which he began producing in his own studio shortly after his studies, in parallel to his teaching activities.

A comparative examination of the posters, produced between 1960 and 1978, reveals von Arx’s interest in letterform design, showing how the forming of letters can create meaning beyond that of the notated phonetic sounds, thus both elaborating on or changing the meaning of the language itself. Letterforms can also create meaning outside of mere linguistic messaging, linking language and imagery. For example, in some posters by von Arx, letters are coupled to image elements – to either oppose or connect them.

As a result of a commission involving film graphics, in 1968, von Arx was confronted with using time as a design factor. Based on this experience, his design focus turned to developing graphical film sequences, expanding the nature of static graphics with this dynamic medium.

In addition to his own experimental work, von Arx, went on to establish the Filmgrafik course at SfG Basel, which, in 1968, was integrated into the Fachklasse and the Weiterbildungsklasse für Grafik. From 1983, he was head of the HFG Klasse Visuelle Kommunikation at the Schule für Gestaltung Basel and taught the course “Audio-Visual Projects”.

As a consequence of his courses on film graphics, von Arx published the book “Film + Design: Die elementaren Phänomene und Dimensionen des Films im gestalterischen Unterricht” in 1983. This systematic analysis of the phenomenon of film provided a basis for the upcoming age of digitalization and time-based design possibilities.

Through his own initiative and that of his co-operation with highly dedicated colleagues, Peter von Arx can look back on thirty years of innovative design education. His instruction in the field of film graphics is remembered today as a core component of the highly specialized curriculum of the “Basel School”.

Peter von Arx (*1937)
Letterforms in Posters and Film

When?
Vernissage: 
Fri. November 2nd 2018

Exhibition: 
Sat. November 3rd–Fri. November 30th 2018

Symposium: 
Fri. November 16th 2018

Opening Hours:
Monday through Friday: 9 a.m.–5 p.m.
Saturday and Sunday: 1 p.m.–6 p.m.

Wo?
Fachhochschule Nordwestschweiz FHNW
Hochschule für Gestaltung und Kunst 
Gebäude D, Foyer
Freilager-Platz 1
4142 Basel / Münchenstein

Here you can find more information.

Kontiki

Posted on by Slanted editors

The Kontiki typeface digitally simulates a handmade woodprint, but is less expensive to produce and easier to correct. It offers a designer the possibility to create a printed image that is very close to a traditional woodcut. As the warmth of manually printed matter demonstrates a special effort and has become a sign of quality and good taste, Kontiki is quiet useful for advertising, packaging, editorial and corporate design.

To create the Kontiki fonts, 193 glyphs were manually cut into five wooden plates and carefully printed by hand. From countless test prints, the most charming four were selected and digitized to create the different styles. For each of the 560 characters, the font offers four different qualities of print and gives you the opportunity to create a vivid typography according to your own visions.

The Kontiki Family has 4 styles as single fonts with 560 glyphs each, featuring four different qualities of print. The Pro version contains all 2240 glyphs as “stylistic alternates” in one font with optimized kerning for all style combinations offers the “contextual alternates” feature. This OpenType feature generates an automatic variation of glyphs with randomized selection. All customers of the Pro Version will get all single fonts of the family for free. If you have no access to these opentype features with your layout software, it may be better to use the smaller single font files, but if you would like to have optimized kerning for all letters, use the Pro version.

Kontiki offers various sets of numerals and mathematical signs, as well as common currency symbols in all four styles. To meet the needs of global communication it has a wide range of language support and supports all western-, eastern- and central-European languages: English, French, German, Spanish, Portuguese, Afrikaans, Albanian, Basque, Breton, Catalan, Corsican, Danish, Dutch, Faroese, Finnish, Frisian, Galican, Greenlandic, Icelandic, Indonesian, Irish, Italian, Kurdish (Latin), Leonese, Low German, Luxembourgian, Malagasy, Malay (Latin), Norwegian (Bokmål), Norwegian (Nynorsk), Occitan, Pilipino (Tagalog), Rhaeto-Romanic, Scottish Gaelic, Swahili, Swedish, Tahitian, Wallon, Bosnian (Latin), Croatian, Czech, Hungarian, Polish, Romanian, Serbian Latin, Slovak, Slovene, Upper Sorbian, Lower Sorbian, Turkmen.

Kontiki supports the following OpenType features: standard ligatures, lining figures, oldstyle figures, tabular figures, tabular old style figures, fractions, nominatoers, denominators, inferiors, ordinals, contextual alternates (this OpenType feature is only availabe in the Pro version. It generates an automatic variation of glyphs with randomized selection. You can also choose the stylistic sets manually with stylistic alternates)

Inspired by type, made from woodcuts his wife has carved, Felix Braden decided to cut a full set of glyphs for a manual printrun. To start with, he draw a Clarendon style bold typeface, by reducing the contrast of one of his favourite typefaces: Century Schoolbook. A light and a black weight were digitized and interpolated to generate a bold weight to be cut in wood.

After testing different techniques and sizes, he settled on a woodcut in a size of around 150 points and cut a total of five plates to complete a full set of glyphs. The choice of paper was also a difficult task. Eventually, he chose a matte coated printing paper with a very smooth surface, because he wanted to show the misprints in the printed image and not the effects caused by the structure of the paper. All plates were printed in an edition of 30 and four different qualities for digitalization were chosen: a print with full pressure, a half pressure print, and two subsequent prints without re-inking.

After selecting the best quality prints, the complete set was scanned and all same style glyphs were compiled into a single pixel file. Prior to vectorizing (with the „Trace Image“ extension) the scans had to be simplefied by using Gaussian Blur and Median filter to keep the file size as small as possible. To be a well performing font, a glyph should have around 1000 nodes as a maximum, and all its curves should be replaced by straight lines. After all the fonts were optimized and generated with Glyphs app.

Residing in Cologne Germany, Felix Braden, the designer behind Kontiki, has a background in graphic design. He studied Communication Design at Trier University of Applied Sciences with Prof. Andreas Hogan and worked with Jens Gehlhaar at Gaga Design. He co-founded Glashaus Design, is an art director at MWK Cologne and works as a freelance type designer. In 2000, he founded the free font foundry, Floodfonts, and designed numerous free typefaces, which are available as webfonts via Adobe Typekit. His commercial fonts are distributed by FontShop International (FF Scuba), Floodfonts (Capri, Sadness, Grimoire), URW++ (Supernormale), Volcanotype (Bikini) and Ligature Inc (Tuna, as a cooperation with Alex Rütten) and are all available via MyFonts. FF Scuba is one of the winners of the Communication Arts Typography Annual 2013, and was an honorable mention in Typographica’s Favorite Typefaces of 2012, in Typefacts Best Fonts of 2012, in FontShop’s Best Types 2012, and in Typecache’s Favorite Typefaces of 2012. Kontiki was nominated for the German Design Award 2019.

Kontiki

Foundry: Floodfonts
Designer: Felix Braden
Release: Oktober 2018
Formats: OTF / TTF
Weights: Fine, Rancid, Rotten, used
Price per Cur: until November 17th available for EUR 9, then EUR 17.99
Family price: until November 17th available for EUR 27.50, then EUR 54.99

Here you can buy the font.

Festival Architecture RADIKAL

Posted on by Slanted editors

Festival Architecture RADIKAL

Conditions for Participation:
The Festival Architektur RADIKAL (May 31st until June 2nd 2019) is aimed at international students of all design disciplines.
Our only condition to you is that you are definitely able to take part at the Festival.

Services:
The Bauhaus Dessau Foundation will offer following things for the three festival days:
Work and livingrooms
Assistance with the organization of events as well as technical assistance and public relations.
Certificates for all participants

Following is required by the participants:
Health and liability insurance
Visa
Cost of living
Traveling expenses
Participants are free to apply for additional funding for their stay with the support of the Bauhaus Dessau Foundation.

The Jury:
Dr. Claudia Perren, Leitung Festspiele Bauhaus Dessau und Direktorin der Stiftung Bauhaus Dessau
Kathrin Luz, Kuratorin Festival Architektur RADIKAL
Dr. Werner Möller, Kurator Festival Architektur RADIKAL

Deadline:
November 15th 2018 (MEZ)

You can apply here.

Slanted Magazine #32—Dubai

Posted on by Clara Weinreich

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!

Slanted met some of the most amazing creatives such as Möbius Studio, Wissam Shawkat, and Fikra Design Studio. Not only can you find their brilliant works in the new issue, Slanted also provides a deeper look at their opinions and views through video interviews that can be watched online on our video platform for free.

Illustrations, photography, interviews and essays complement the issue thematically. Slanted #32 comes with contributions by Abjad Design, Uday Al-Araji, becky beamer, Jason Carlow, Dr. Nadine Chahine, Afra Bin Dhaher, Fatmah Al Dhanhani, Noor Eid, Elephant Nation, Jori Erdman, Reem Falaknaz, Marcus Farr, Fikra Design Studio, Martin Giesen, Glyphs, Nan Goggin, Gökçe Günel, H2R Design, Hanken Design Co., Tulip Hazbar, Khalid Al Jallaf, JAM Type, Kemistry Design, Ibraheem Khamayseh, Cristiano Luchetti, Faissal El-Malak, Mohammed Mandi, Möbius Studio, Moloobhoy & Brown, Myneandyours, Nasir Nasrallah, Ingo Niermann, Narjes Noureddine, Sultan Sooud Al Qassemi, Uzma Z. Rizvi, Khaled Al-Saai, Sheikh Saifi, Fatmah Salmeen, Ruben Sánchez, Tarsila Schubert, Wissam Shawkat, Slash, The Flip Side, The Lighthouse, T.ZED Architects, Tahreek, Tinkah, Toil & Tinker, Tribe Magazine, Twothirds Design Bureau, WTD Magazine, Majid Al Yousef, and Mandana Ziaei.

The booklet “Contemporary Typefaces” is a regular feature of Slanted Magazine presenting an editorial selection of recently published international high-quality typefaces as well as typefaces with an Arabic language support in an additional section, including Akkordeon Slab (Eduardo Manso / Emtype Foundry, Faune (Alice Savoie / Centre National des Arts Plastiques), Knif (Building Paris, Axel Pelletanche-Thévenart / A is for…), Mackay (René Bieder), Mazagan (Mário Feliciano / Feliciano Type Foundry), Rektorat (Prof. Rudolf Barmettler, Anton Studer / Nouvelle Noire), SangBleu (Swiss Typefaces), Sloop Script Pro (Richard Lipton / Lipton Letter Design), Trash (Estela Ibarz González / Bruta Types), Adelle Sans Arabic (Azza Alameddine / TypeTogether), Amariya (Dr. Nadine Chahine, Matthew Carter / Monotype), 29LT Bukra (Pascal Zoghbi, Swiss Typefaces, Adrien Midzic / 29Letters), Clother (Jérémie Hornus, Julie Soudanne, Ilya Naumoff / Black[Foundry]), Edit Serif Arabic (Christoph Dunst / Atlas Font Foundry), FiraGO (Ralph du Carrois, Anja Meiners, Botio Nikoltchev, Titus Nemeth, Hasan Abu Afash, Rob Keller, Kimya Gandhi, Natalie Rauch, Akaki Razmadze, Natalie Rauch, Yanek Iontef, Mark Frömberg, Ben Mitchell / bBox Type), URW Geometric Arabic (Jörn Oelsner, Boutros Fonts / URW Type Foundry), Graphik Arabic (Khajag Apelian, Wael Morcos, Christian Schwartz / Commercial Type), Markazi Text (Fiona Ross, Borna Izadpanah, Florian Runge / Google Fonts), Skolar Sans Arabic (Titus Nemeth, David Březina / Rosetta Type Foundry), Teshrin (Kristyan Sarkis, Peter Biľak / TPTQ Arabic), and SF Tobba (Sultan Mohammed Saeed Maqtari / Sultan Fonts).

In addition to this exciting publication, a limited special edition is available consisting of a tote bag designed by Wissam Shawkat and produced by World of Textiles and a risograph printed booklet presenting the colorful work of Ruben Sánchez. Moreover, it contains a photo book showcasing the work of Ola Allouz, Faysal Tabbarah / Architecture + Other Things, Ammar Al Attar, Lamya Hussain Gargash, Tarek Al-Ghoussein, Lars Harmsen, Irenaeus Herok, Johannes Heuckeroth, Celia Peterson, Juan Roldán, Christian Topp and Ashok Verma that has been printed by Océ.

Slanted Magazine #32—Dubai

Publisher / Design: Slanted Publishers
Release: October 2018
Volume: 256 pages + 48-pages booklet
Format: 16 × 24 cm
Language: English
Printing & Finishing: Stober
Paper: Gmund 925 Brown Silver, MultiArt Gloss, PlanoPlus, OpakoSatin, distributed by Papyrus
ISSN: 1867-6510
Price: € 18,- (DE) / € 21,- (International) 

Get your copy here.

Reportagen Band #43

Posted on by Slanted editors

Report # 43 is released.
The content:

– The Phoenix of Paris. By Julia Amberger.

– Where is Transdniestria? By Urs Mannhart.

– 5x Mail. By Erwin Koch, Carol Pires, Amir Hassan Cheheltan, Emilienne Malfatto, Kerstin Zilm.

– This Animal is an Issue. By Barbara Bachmann.

– Whose will be done? By Alexander Krützfeldt.

– The Historical Reportage: In Court, 1976. By Fritz H. Dinkelmann.

Reportagen #43

Publisher: Puntas Reports AG
Design: Moiré
Release: November 2018
Volume: 144 pages
Format: 16,5 × 23 cm
Language: German
ISBN: 978-3-906024-42-4
Price: 15,– Euro
Buy

The Global Warming Typeface

Posted on by Slanted editors

Unique font with implemented global warming data. This annually released font is a new and unusual method of data visualization in the graphic world and we already look forward to the day, on which we won’t have to release an updated version of the typeface ever again, because the human race actually managed to stop the global warming process. But until then we’ll start with five fonts for the years 1910, 1936, 1963, 1990, 2017

50% of the payed amount will be donated to the Climate Group.

The Global Warming Typeface

Foundry: STAN STUDIOS
Cuts: 1910, 1936, 1963, 1990, 2017
Format: OpenType Font / Web Open Font Format
Price per Family: 25,– Euro

 

Morisawa Type Design Competition 2019

Posted on by Clara Weinreich

Morisawa Type Design Competition has been giving birth to new typeface designs for more than three decades from the first Morisawa Awards International Typeface Competition held in 1984. The last competition (2016) received more than 700 entries from 49 countries and regions, including both Kanji and Latin category. We are looking for works with new expressivity and full of challenging sprit from all over the world.

Morisawa Award calls for typeface designs with creativity and aesthetic excellence of designs for two categories, Kanji and Latin. Designers and experts who lead each field will join as new judge members and will evaluate entry works. People’s Choice Award will be chosen by the general public votes online.

Akashi Award used to call for entries for typeface to commercialize. We launch a new initiative and set a theme each time for entries. This time, the theme is “variable fonts” which is implemented in the OpenType specification. The judges will comprehensively evaluate whether your work is new or progressive as a variable font.

The submission period is November 1st, 2018 to January 31st, 2019. The result is planned to be announced in July 2019. You can find all the submission informations here.

Judges of Morisawa Award

Kanji Category
Issei Kitagawa / Osamu Torinoumi / Ryoko Nishizuka / Masaaki Hiromura

Latin Category
Ilya Ruderman / Indra Kupferschmid / Cyrus Highsmith / Laura Meseguer

The Emeritus Jury
Matthew Carter

Awards
Morisawa Award (Categories: Kanji and Latin)
Winners receive a testimonial, a trophy and a sub-prize money;

Kanji Category
Gold Prize: JPY 1 million (1 work)
Silver Prize: JPY 500,000 (1 work)
Bronze prize: JPY 300,000 (1 work)
Honorable Mention: JPY 50,000 (3 works)

Latin Category
Gold Prize: JPY 1 million (1 work)
Silver Prize: JPY 500,000 (1 work)
Bronze prize: JPY 300,000 (1 work)
Honorable Mention: JPY 50,000 (3 works)

Peopleʼs Choice
Winners receive a testimonial, a trophy and a gift.

Kanji Category
Highest number and 2nd highest number of votes (1 work each)

Latin Category
Highest number and 2nd highest number of votes (1 work each)

Akashi Award
The theme is “variable fonts.” Please see the entry guideline for more detail. Morisawa Inc. examine entry works. 
Winners receive a testimonial, a trophy and a sub-prize money.
JPY 500,000 (Up to 3 works)

Melnikov-House Moscow

Posted on by Julia Kahl

During my trip to Moscow for bauhaus imaginista, I was lucky to have the possibility to take part in one of the rare guidances at the renowned Melnikov House.

It was built by architect Konstantin Melnikov as a classic residence that represents the forefront of the 1920’s Russian avant-garde and was opened to the public only just in 2017. Located in the trendy district of Arbat, its aesthetics differ dramatically from traditional Soviet residential architecture.

Nearly 60 hexagonal windows with nine types of frames establish the aesthetic quality of the rear cylinder, showering the interior with light. Functionally not a masterpiece – you can’t really open them properly. Aesthetically for sure one of the most iconic pieces of modern architecture!

Frankfurter Buchmesse 2018

Posted on by Clara Weinreich

Frankfurter Buchmesse is the world’s most important fair for the print and digital content business, as well as an outstanding social and cultural event.
 We visited the book fair to get an impression of the latest trends and publications from the design book world. We were very happy to be also part of this year’s fair, because the Indiecon Island were hosting the Slanted Magazine in their stock. Have a lot of fun by taking a look at our review pictures and we hope to see you next year.

For five days, publishing experts, writers and cultural enthusiasts from all over the world come together at the fair in Frankfurt, where they network, talk, make decisions, get inspired and join together in celebration. Every October, Frankfurt is the centre of the global publishing industry. It’s where ground-breaking contractual agreements are made, innovative technologies are presented, and world literature gets discovered. And during the rest of the year, Frankfurter Buchmesse lives on with appearances at many locations across the globe.

DOCKS ’18

Posted on by Slanted editors

DOCKS is a collective of five young photographers (Fabian Ritter, Arne Piepke, Ingmar Björn Noltig, Maximilian Mann, Tim Brederecke) from FH Dortmund. They stand for diverse and contemporary approaches to documentary photography. With humanistic values as their common basis, they believe in the power of visual storytelling. They just published a first Magazine that you can order for free.

DOCKS ’18

Design: Simon Schulz
Printing: Rheinisch-Bergische Druckerei GmbH Düsseldorf
Promotion: NIKON Deutschland
Release: May 2018
Volume: 48 pages

10th Weltformat Graphic Design Festival

Posted on by Slanted editors

As every year, the opening day is one of the highlights of the festival. The programme features a series of introductions and openings. This year, the tour through the exhibitions starts in the north of the city – at Kunsthalle – and ends, after numerous stopovers, in the south – at Neubad. In between, the designers and curators introduce their exhibitions and projects. The highlight of this year’s opening day will be Weltformat Newcomer Award ceremony followed by an anniversary dinner at Neubad and the printing of the world’s longest silkscreen print. Weltformat Graphic Design Festival Switzerland.

The Weltformat app has been launched and is now available on the App Store! The app not only accompanies you through the exhibitions of the festival but – thanks to augmented reality – makes some of them possible in the first place. Get the App here.

Designers’ Open 2018

Posted on by Slanted editors

Slanted is offering 3 x 2 tickets for the Designers’ Open. To take part in the lottery, just send an email to [email protected], subject “Designers’ Open 2018” until November 11th, 2018, 11 a.m. (UTC+1) and add your postal address for shipping. There is no right of appeal. When taking part, you agree to our privacy policy. Good luck!

Designers’ Open

When?
October 26th—28th 2018

Where?
Kongresshalle am Zoo Leipzig
Pfaffendorfer Str. 31
D—04105 Leipzig 

Beautifully Simple

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Studio Makgill, the independent design and brand studio, presents Beautifully Simple, an exhibition at private gallery Ground Floor Space this October, to mark the studio’s tenth anniversary. Not to be confused with minimalism or with notions of pure beauty, Beautifully Simple looks at ten extraordinary designs, that articulate the most stringent of briefs – designs that are stripped of the unnecessary and could not be any other way.

When?
Vernissage
Thursday, October 11th 2018
6 p.m.—8 p.m

October 12th—19th 2018
10 a.m.—5 p.m.
Free Entry

Where?
Ground Floor Space, 3 Tyers Gate,
London SE1 3HX

nomad #5 – where to go?

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The fifth issue of nomad addresses “the human aspect” in the development of our time. The human race is the greatest influencing factor on our planet, with an impact that is changing the very role of humanity itself. In this context, artist Edward Burtynsky documents the ways in which humans are re-forming, and deforming, the earth. What does it mean to be human if intimacy can be provided by robots? A question explored by interactive designer Dan Chen with his responsive machines. The global digital transformation determines the routes travelled by information, but also the pathways of our feelings; multimedia artist Cécile B. Evans explores the economic value of emotions. How will we feed ourselves in the future? Hervé This introduces Note by Note, the successor to molecular cuisine. Will the concepts of interior and exterior still have a place in the future, or will simply being take centre stage? Japanese architect Junya Ishigami abandons boundaries in architecture to focus on the existence of humanity in the here and now.

nomad #5 – where to go?
The Magazine for New Design Culture, Business Affairs & Contemporary Lifestyle

Design: Veronika Kinczli und Frank Wagner, hw.design gmbh
Editor: Frank Wagner
Publisher: hw.design gmbh
Release: biannual, May and November
Volume: 168 pages

Format: 23 × 26 × 1,7 cm

Language: German or English

Price: 14,– Euro
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POSITIONS 2018

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POSITIONS 2018

The graphic design conference POSITIONS during the Designers‘ Open is taking place for the fifth time. Philipp Neumann, self-employed graphic designer and owner of the book and magazine store MZIN will present six positions.

Speakers 
Sandra Kassenaar, Neven Allgeier, Happy Little Accidents, New Tendency, Stefanie Leinhos, Anymade Studio

When?
Saturday, October 27, 2018
10 – 11 a.m. SANDRA KASSENAAR (Amsterdam)
11 – 12 a.m. NEVEN ALLGEIER (Frankfurt/Berlin)
12 – 13 p.m. HAPPY LITTLE ACCIDENTS (Leipzig)
14 – 15 p.m. NEW TENDENCY (Berlin)
15 – 16 p.m. STEFANIE LEINHOS (Leipzig)
16 – 17 p.m. ANYMADE STUDIO (Prag)

Where?
KONGRESSHALLE am Zoo Leipzig / Lessing-Saal
Pfaffendorfer Str. 31,
04105 Leipzig, DE

Important:
Limited seats available.
You can reserve via this formular.

Click here for more information.

Typeface of the Month: SangBleu

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Guided by their vision of future graphic and editorial design, the Swiss type design company has developed SangBleu into an elaborate supercollection of unprecedented structure and versatility. The typeface consists of five full-featured collections: Empire, Kingdom, Republic, Versailles, and Sunrise, each in a range of weights with matching italics, spanning 45 styles in total.

SangBleu is informed by history, but it’s not a revival. The typeface collection appropriates the best from the past and transforms it into an effective tool set for the aesthetic and technical environment of our day and age. All five collections can be used separately or in combination. Thanks to their consanguinity, they perfectly complement each other.

SangBleu Empire loves to be big. Serifs are lineal and contrast is high, like in a Didot. In the Black styles, its thick & thin delicacy is taken to the max. Fat curvy letters like the grinning ‘e’ or the spiraling italic ‘w’ may evoke Caslon burlesques from the 1970s. But then you encounter the crude bar in ‘G’, devoid of any smooth transition, or the leg of ‘K’ that has been synthesized into a pure rhomboid – and you’ll realize this diva is headed for the future.

SangBleu Kingdom stands between Empire and Republic, in terms of shaping, contrast amount, and application range. Sturdy bracketed base serifs are paired with pointy triangular terminals. At the same time, Kingdom forms a pair with Sunrise: Both collections come with Light and Air styles. These slender members demand a certain size to thrive, while the other weights work fine down to medium-sized text.

With its modest contrast, economical horizontal proportions and larger serifs, SangBleu Republic is designed for unobtrusive text and continuous reading. It is the only collection not to flaunt the crescent shapes in ‘bdpq’. In letters like ‘m’, the arcs don’t flow smoothly into the stems, but form an angle. The collection still shares much of the design DNA, and can serve as a demure text companion to Empire or Kingdom.

SangBleu Versailles is a softer, rounder sibling to Republic, with wider capitals and a gracefully curved leg for ‘R’. It is distinguished by flatter top serifs, and introduces lachrymal terminals for ‘acfry’. Although many of the other glyphs are virtually identical in both collections, the difference in rhythm and feel is immense. Just like with Republic, the weight span of Versailles includes a Book, indicating that these two collections are made with text sizes in mind.

SangBleu Sunrise stands out as the only member without serifs. It is not a grotesque, though, rather a serifless roman. With the round ‘a’ and ‘g’, it seems derivative of Versailles. Traits like the stylized ‘Q’ tail can only be found back in Empire, while details like the straight-stemmed ‘M’ suggest close ties to Kingdom. Sunrise doesn’t have a single seriffed counterpart, but several. Stripped to the bone, it embodies the essence of the SangBleu concept.

SangBleu

Foundry: Swiss Typefaces
Designer: Ian Party, Swiss Typefaces
Release: September 2017
Format: otf, ttf, woff, woff2
Weights: From Air to Bold
Price: 400,– CHF 
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