TypeParis Now26

Posted on by Franziska Müller

On May 30, 2026, the TypeParis Now26 Conference will bring designers, typographers, and creatives from around the world to Paris for a day dedicated entirely to typography. The one-day conference is part of TypeParis’s international program, which has been organizing workshops, courses, and events focused on type design and typography since 2015.

The event brings together renowned designers from various disciplines—ranging from graphic and editorial design to motion design and type design—and showcases how typography is used in a wide variety of contexts. The focus is not only on the design of typefaces themselves, but above all on how typography shapes communication and visual culture.

The conference program features presentations by international designers as well as a concluding panel discussion on publishing in graphic design and typography. Speakers include Tobias Frere-Jones, Astrid Stavro, David Quay, and Özge Güven. During the panel discussion, representatives from various design publications will discuss the role of books, magazines, and independent publishers in the typographic discourse. In the panel discussion, representatives from various design publications will discuss the role of books, magazines, and independent publishers in the typographic discourse. Julia Kahl from Slanted Publishers will also be there to discuss current developments in design publishing alongside other guests.

At the same time, Slanted Publishers will have a stand featuring a selection of books and magazines, allowing visitors to dive directly into the world of independent design publications.

Following the conference, two workshops will take place on May 31, offering practical insights into type design and analog printing techniques.
A workshop with Ulrike Rausch and Georg Seifert will focus on the development of two typefaces, while a second workshop with Megan O’Connell will cover the basics of letterpress printing.
Concurrently, the Type Directors Club’s annual exhibition will be on display during the conference, showcasing the latest international typography work, will also be on display during the conference.

With its international audience and interdisciplinary program, the Now Conference has established itself in recent years as a key gathering place for the typography community. The 2026 edition continues this tradition and promises another inspiring day filled with ideas, discussion, and a passion for typography.

More information about the program and tickets can be found here.

When?
May 30–31, 2026

Where?
Novotel Paris Vaugirard Montparnasse
257 rue de Vaugirard
75015 Paris, France

Call for Entries: Slanted Magazine #48—Seoul

Posted on by Franziska Müller

We are excited to announce an open call for submissions for Slanted Magazine #48 Seoul, dedicated to exploring the vibrant and diverse design scene in Seoul and across South Korea. The issue will highlight the work of creatives from Seoul, other cities in South Korea, as well as those based abroad, showcasing a range of contemporary design practices and perspectives that shape the cultural landscape of South Korea today.

From graphic design, typography, and visual communication to architecture, digital design, and product design, we are looking for exceptional work that reflects the dynamic creative energy of the region. Whether it’s innovative branding projects, experimental design practices, or impactful visual storytelling, we want to see the work that is driving the conversation in South Korea’s design community. We also welcome perspectives that explore the cultural forces shaping contemporary design in Seoul—from music and pop culture, including the global influence of K-pop, to technology, fashion, and urban culture. We encourage submissions from both emerging and established designers.

Graphic designers, illustrators, journalists, authors, and artists are encouraged to submit their work along with a statement or quote explaining their work via the online form. Text submissions in the form of essays and articles on cultural and creative topics related to Seoul are also welcome. Please send an email with your idea to [email protected].

After the submission deadline, all contributions will be carefully reviewed and curated. If your work is selected, we will contact you. Please bear with us as we take the time to thoroughly evaluate each submission and make a thoughtful decision. Selected contributors will receive a discount code by email to order a copy upon release.

📅 Submission Deadline: Sunday, April 26, 2026
📅 Publication: End of October 2026

Very much looking forward to your submissions!

Submit your work here. 

What was design?

Posted on by Franziska Müller

What was design? is a quick starter to one of modernity’s most contested terms. In its brief but meteoric career, “design” was subject to vast controversy. Celebrated as an engine of change, denounced as a driving force of commercialization, and regularly lamented as overused, design remains a concept whose true meaning is still being sought. While answers to the question “What is design?” are constantly shifting, the time has come for a retrospective. This book looks back, presenting a century of design thinking in its most compact form: a collection of bold quotes.

What was design? pits 87 historical one-sentence answers from practitioners, theorists, and philosophers against one another. The result is a web of radical short-form definitions that remain strikingly contradictory in their references. This selection is accompanied by an essay from Florian Walzel, exploring the deeper reasons behind the conceptual ambiguity of design.

The publication will also be introduced in two upcoming events this April, extending the discussion into a shared, conversational setting. On Thursday, April 9, 2026, at 7 p.m., a book premiere & apéro will take place at open.form in Darmstadt (Rundeturmstr. 16, 64283 Darmstadt). A second presentation follows on Tuesday, April 21, 2026, at 6:30 p.m. at Kulturraum B25 – Raum für kulturelle Fragen in Frankfurt-Höchst (Brüningstr. 25, 65929 Frankfurt am Main). Both evenings invite guests to engage with the question “What was design?” beyond the page — through exchange, reflection, and drinks.

What was design?

Publisher: Slanted Publishers
Editor: Florian Walzel
Editorial Advisor: Jurek Werth
Design: Paul Jürgens
Release: March 2026
Format: 12 × 19 cm
Volume: 152 pages
Language: English
Printing: offset printing with spot colors
Paper: PEYDUR RECYCLED neuleinen 135 g/sm (Cover), SURBALIN glatt ultraviolett 115 g/sm (Endpaper) by Peyer Cover, Holmen TRND 2.0, 80 g/sm (Interior)
Bookbinding: Hardcover with round spine, thread stitching
ISBN: 978-3-69202-005-1
Price: €26.– (DE)

Buy here

re_CREATION 2026

Posted on by BDG Berufsverband Kommunikationsdesign e.V.

Creative professionals thrive on change—it is both their greatest strength and one of the central challenges of their practice. In an industry defined by constant transformation, the ability to adapt and evolve has become more important than ever. But what does this ongoing shift mean for the future of design businesses? Which opportunities arise, and how can designers actively shape their professional paths within this dynamic landscape?

From May 29 to 31, 2026, re_CREATION invites designers from across Germany to spend an entire weekend exploring precisely these questions. Organized by the BDG Berufsverband Kommunikationsdesign, the workshop event brings together practitioners for a series of hands-on sessions, discussions, and exchanges under the motto “feel it, shift it.” Hosted as an intensive and collaborative gathering, re_CREATION focuses on practical insights, shared experiences, and new perspectives on navigating change in the design profession.

The program features speakers who combine deep industry experience with a strong connection to design practice. Among them are designer, author, and lettering specialist Chris Campe, designer, author and lettering specialist; Irmgard Hesse, founder of Zeichen & Wunder—one of Germany’s top 15 brand agencies; and Tobias Roppelt, founder of Gehirngerecht Digital GmbH, who will speak together with blind AI developer Steve Weidel about inclusive perspectives on digital technology.

“feel it, shift it” is both the motto and the programme: it stands for the courage to change perspectives and for shared growth. re_CREATION offers a space to be inspired by designers from all over Germany and to learn from each other on topics such as: specialisation as a strategy, AI tools in everyday design business, accessible design from the perspective of those affected and sharpening one’s own positioning. Last but not least, re_CREATION is a great place for exchange, enjoyment and a good time together.

More information and tickets are available here.

When?
May 29–31, 2026

Where?
WANNSEEFORUM
Hohenzollernstraße 14,
14109 Berlin

The event language will be German.

at the edge of knowing

Posted on by Julia Kahl

at the edge of knowing will take place on Tuesday, 31 March 2026, from 10 am to 6 pm at LUX Pavillon in Mainz. This fourth edition of the readOn conference, organised by the Master’s programme in Communication Design at Mainz University of Applied Sciences, is dedicated to the unknown: to gaps in knowledge, the limits of understanding and the possibilities that emerge through not knowing.

Bringing together experts from research, design and culture, the conference offers a day of lectures, discussions and exchange. It creates a space in which certainty begins to dissolve, new perspectives can emerge and the role of uncertainty in creative processes, research and future thinking can be examined.

It focuses on those moments when knowledge becomes fragile, when an open space appears between certainty and conjecture, insight and intuition. In this space, questions matter more than answers, processes carry as much weight as results and uncertainty is recognised as a productive force.

Speakers include Mara Recklies, A204, Aram Bartholl, Simon Wahlers, Tim Rodenbröker and Uwe Holzhammer, who will share perspectives spanning theory, practice and experimentation. Participants will have the opportunity to engage, reflect and connect across disciplines.

Registration is required; participation is free of charge and voluntary donations are welcome. For more information, including the schedule and updates on speakers, visit the readOn conference website: readon-konferenz.de

Unlearned

Posted on by Samira Niedermayer

Unlearned is a new editorial project by Readymag that explores the gap designers and artists often encounter between academic training and professional life.

Unlearned consists of short essays by 13 designers and artists who share lessons that became clear only after completing their studies. Among them are internationally renowned figures like Stefan Sagmeister, Shantell Martin, and Erik Kessels, as well as independent practitioners such as Harriet Richardson, Jipeng Zhu, Raissa Pardini, Jarrett Fuller, and Cherry-Ann Morgan.

Unlearned highlights the diversity of experiences that shape a designer’s career. Some authors reflect on key early career steps—for example, Jipeng Zhu’s rapid transition from university to work at Sagmeister & Walsh, or Sarah Boris’s strategic portfolio restructuring before joining the Barbican Centre in London. Others take a more philosophical approach: Erik Kessels writes about the value of experimentation before work reaches a professional audience, and Shantell Martin reflects on how creative identity can’t simply be “switched off.”

Several essays also address broader issues of identity, ethics, and cultural context in design. Cherry-Ann Morgan discusses how reconnecting with cultural heritage can challenge dominant Western narratives, while Harriet Richardson reflects on maintaining creative integrity within professional practice.

The project embraces contradictions rather than offering a definitive plan of action. The collected reflections show that creative careers rarely follow a linear path, evolving instead through questioning, curiosity, experimentation, and reinvention.

With Unlearned, Readymag contributes to the industry’s broader design conversation, offering points for reflection for design students and recent graduates as well as experienced professionals.

Read the full project HERE.

Producer: Alya Datii
Chief editor: Tatyana Kovalchuk
Editors: Bazhena Gurlenia, Alex Ferapontov
Design: Francisco Pires

A—Z Counter Session #6

Posted on by Franziska Müller

The A–Z Gallery in Berlin invites visitors to a special edition of its Counter Sessions: Play the System. The evening is dedicated to parametric design and explores how rules, systems, and variation shape creative processes in graphic design.

The starting point for the event is the book Play the System. Parametric Approaches in Graphic Design by Heike Grebin, published by Slanted Publishers. In her talk, Grebin reflects on design as a rule-based yet open process—an approach that creates space for variation, experimentation, and unexpected outcomes. As digital tools and algorithmic methods increasingly influence creative practice, the role of designers is shifting: from designing individual artifacts to developing systems within which design can emerge.

Drawing on more than twenty years of teaching and research, Grebin brings a broad perspective to the discussion. Originally trained as an architect, she found her way into graphic design through unconventional paths and later became a professor of communication design at HAW Hamburg. Her work focuses particularly on typographic information systems in the context of social, political, and technological processes.

During the event, several contributors to the project will also share their perspectives. Designers Paulina Mohr and Jens Schnitzler will present their own projects, demonstrating how the interplay of structure and variation has shaped design for centuries—from medieval scriptoria to today’s dynamic systems.

Andreas Trogisch will provide insights into the technical background of the project and explain the automated layout process that connects the web-to-print platform play the system.xyz with the publication. The evening will be moderated by Katharina Wanke, who has accompanied the project editorially.

Play the System connects theory, teaching, and practice, offering an engaging look into the inspiring world of parametric design.

A—Z Counter Session #6—Play the System with Heike Grebin and Guests

When?
Thursday, March 26, 2026
7:00 pm

Where?
A–Z Gallery Berlin
Torstraße 93
10119 Berlin

The language of the talk will be German.

More information about the talk can be found here.

The Period Uniform

Posted on by Samira Niedermayer

As the new school year kicks off, a groundbreaking initiative is tackling the menstrual inequity that keeps many young girls from attending school consistently. The recent design project by Serviceplan Innovation brings this vision to life with ingenuity and care: in collaboration with Colombian sustainable intimate-care leader Somos Martina and supported by the Vice Minister of Education, period protection has been integrated directly into the official school uniform—helping students stay confident, comfortable, and in class.

Stigma that Causes Absence

Across Latin America, 1 in 4 girls regularly misses school during their period because they don’t have access to period products. This is linked to a deeprooted menstrual stigma: Periods are often not even discussed at home, which makes it difficult for girls to ask for support. Without protection, many girls stay home to avoid leaks and the shame that comes with them. Repeated absence affects education and future opportunities.

A Fundamentally Different Approach

School uniforms, which are mandatory in Colombia, have long been used to promote inclusion and equality in public education. The Period Uniform extends this principle to period protection. Instead of distributing period products through temporary, local programs that require separate logistics, the Period Uniform model builds on the existing school uniform system, making period protection accessible by design.

The Period Uniform

Normalizes Period Protection
Schools add period underwear to their list of required school items. This turns period protection from an extra into the standard.

Avoids Stigma
Because schools communicate the requirement to parents, the burden of initiating the conversation is lifted from the girls.

Works at Scale
Period underwear works with existing school uniform infrastructure and processes. Once established this model works for every school, without additional effort.

Reduces Cost
Period underwear is already more affordable than single-use period products over time. As part of the initiative, Somos Martina provides period underwear to participating schools at a price comparable to regular underwear.

The Path to Nationwide Adoption
Launched at Institución Educativa Mayor de Mosquera in January, the initiative is
now expanding to additional schools. To inspire public discussion and encourage the government to adopt the model, Somos Martina has launched an awareness campaign. It includes a dedicated website with more information and an editorial by New York Times contributing journalist María F. Fitzgerald as well as a short film by award-winning director Claudia Barral.

Why Period Underwear

Experts agree that period underwear is the best choice for young girls. It‘s noninvasive and functions just like the daily underwear they already know. Period underwear is more comfortable and eliminates the skin irritation and health risks associated with pads or tampons. Unlike disposables, it provides up to 12 hours of protection, suitable for long school days. With a lifespan of up to 3 years, period underwear, is significantly more affordable and environmentally sustainable than single-use alternatives.

For Women, by Women

The Period Uniform initiative is powered by a network of influential women and female-led institutions across education, healthcare, media, and the arts, each bringing their unique expertise. From Institución Educativa Mayor de Mosquera, the first school to implement the uniform, to Fundación Poderosas Colombia, supporting engagement with students and families on menstrual health, every partner plays a vital role. Medical guidance comes from gynecologist Dr. Laura Gil, public communication is shaped by journalist María F. Fitzgerald, while filmmakers Claudia Barral Magaz and the women-led production company Demente document the initiative. Photographer Violeta Zambrano captures the lived realities of menstruation and school life, and illustrator Adriana Lozano crafted the distinctive visual language.

Drawing on the aesthetics of a teenage diary and avoiding clinical or commercial cues, the visual identity—complete with custom illustrations, hand-drawn typography, and scribbled data charts—feels relatable and human across print, film, web, and school materials, uniting the project into a truly transformative experience.

Because equal education starts with dignity, and dignity starts with care. 💛 Read more about the project HERE.

Brand: Somos Martina
Campaign: Serviceplan Group
Film Director: Claudia Barral Magaz
Illustrations: Adriana Lozano
Photography: Violeta Zambrano
Website: Daniel Kuhnlein
Typeface: ABC Stefan by Stefan Marx and ABC Dinamo

Maurizio

Posted on by Gallery Type

Maurizio feels like Italian bellezza as the evening sun accompanies the second glass of strong red wine on the shores of the Mediterranean. Maurizio is a display typeface suitable for large screens and big stages—the bigger, the better. Only at large sizes do its design features fully reveal themselves: razor-sharp serifs, open lobes in the “g”, twisted dots on “i” and “j”.

The Italic, designed by Nina Botthof, adds subtle tenderness to the condensed and rigid design. The exaggerated end strokes in the lowercase letters create a distinctive rhythm in the Italic styles while staying true to the original design.

Maurizio is an exploration of how far interpolation can be stretched in a super high-contrast display typeface. The design goal was to make the entire family interpolable from one extreme to the other. Only the two extremes—Hairline and Black—were drawn by hand, in both Roman and Italic. Almost everything in between has been interpolated.

Gallery Type is a new type foundry built for modern brands—by designers for designers. Founded by designer Daniel Perraudin and built with an international network of type designers and engineers, Gallery Type offers a curated library of retail fonts plus custom type services.

Learn more about Gallery Type here.

Maurizio

Foundry: Gallery Type
Designer: Daniel Perraudin, Nina Botthof
Engineer: Noe Blanco
Release: December 2025
File Formats: OTF. WOFF2.
Styles / widths / weights: 18 Styles (9 Weights, Italics, 2 OTVar Fonts)

BUY

The Old Man and the Sea

Posted on by lochi.stutt

This special edition of The Old Man and the Sea, developed as a hypothetical commission for Éditions B42, explores the role of the printed book in an age increasingly dominated by digital reading. In the 21st century, much of our engagement with text has shifted to screens, reducing print to a secondary medium for the distribution of information. Yet the physical book continues to offer a tactile and immersive experience that digital formats cannot fully replicate. The project uses design as a means to question contemporary reading habits and to reposition the book as an active, critical artefact rather than a neutral container for text.

Ernest Hemingway’s novella provides the conceptual framework for this investigation. The story’s narrative of endurance and persistence mirrors the position of the printed book within contemporary media culture. This parallel informed the material and typographic decisions of the publication. Through its wide format, tactile materials, and deliberate interruptions within the text, the design slows the reading process and resists passive consumption.

The project also engages with the complexity of Hemingway’s literary legacy. While widely celebrated, his work has been the subject of ongoing critical debate. As his final major publication, The Old Man and the Sea reflects a quieter, more reflective moment in his writing. Typographic commentary embedded within the body text introduces moments of interruption and contextualisation, encouraging readers to reconsider the narrative voice and its cultural framing.

Materiality plays a central role in the design concept. The wide landscape format recalls the gesture of holding a fish, referencing the central image of the story. An embroidered cover introduces a sense of labour and tension, echoing the endurance at the heart of the narrative. Fold-outs and typographic interventions create multiple layers of reading, transforming the book into a physical object to be navigated rather than passively consumed.

By emphasising scale, tactility, and interruption, the edition positions the printed book as a space for reflection and experimentation—arguing for the continued relevance of print as a medium for critical reading and contemporary book design.

The book was printed at Whites Law Bindery in Melbourne and bound using Japanese stab binding. Red string threaded through hand-punched cover holes highlights the tactile, handcrafted nature of the edition. Fold-outs and a dust cover extend the reading experience beyond the standard page format.

The Old Man and the Sea

Author: Ernest Hemingway
Designer: Lachlan Stutt
Release: October 2025
Format: 42 × 21 cm
Volume: 108 pages
Language: English

Read more about the special edition here.

Recap: FEDRIGONI × NINO × SLANTED

Posted on by Franziska Müller

Our Get Together celebrating the collaboration between NINO Druck, Fedrigoni, and Slanted Publishers on the production of the latest Type Directors Club New York Yearbook was truly something special, and we are still buzzing from the inspiring conversations and the community that gathered there.

The evening kicked off in the best possible way: with great music, good drinks, and delicious food, creating the perfect warm and welcoming atmosphere for everyone to unwind, mingle, and celebrate. Drinks in hand, surrounded by the scent of fresh paper and printing ink, guests reconnected with familiar faces and met new ones. The relaxed setting inside the printing house set the tone for an open and lively exchange—complete with a singing pizza baker who added his own unforgettable touch to the night.

The program continued with short talks about the making of The World’s Best Typography, Typography 46, shedding light on the collaboration, the materials, and the craftsmanship behind its production. From paper choices to printing techniques, the insights offered a rare glimpse into the many thoughtful decisions that shape a publication like this.

A special highlight was the guided tour through the facilities, where guests could experience the production environment up close and gain a deeper understanding of the precision, care, and expertise involved in bringing the Yearbook to life.

Throughout the evening, conversations flowed between stacks of paper and printing machines—celebrating not only the finished book, but the collaboration and craft behind it.

Thank you to everyone who joined us and made the night so special. Your presence, curiosity, and enthusiasm made all the difference.
We’re already looking forward to the next gathering.
— The Fedrigoni × NINO Druck × Slanted Team ✨

30. Leipziger Typotage 2026

Posted on by Samira Niedermayer

You can see type, but can you also hear it? A sound can move, irritate, connect. Typography? Can do that as well!

For its 30th anniversary, Leipziger Typotage is dedicating itself to the exciting connection between writing and sound—the Sound of Type. Because typography is more than just form: it has rhythm, tempo, volume, and pauses. What does typography actually sound like? What acoustic, musical, or linguistic qualities are contained in letters, words, and writing? And how do sound, voice, and rhythm influence our perception of type?

This year’s speakers will approach this topic from very different perspectives and, together with the participants, take a look at the development and future of typography.

The event kicks off on Friday, April 17th, with a relaxed get-together. In an inspiring atmosphere, participants, speakers, and partners will come together for the first time to exchange ideas and get in the mood for the conference day. On Saturday, April 18th, the focus will shift to the content program. A diverse program of presentations will examine the Sound of Type from various perspectives. Opportunities for discussion and networking will make the day an intensive exchange on the present and future of typography. The 30th Typotage will conclude on Sunday, April 19th, with a workshop or a city tour along Leipzig’s Notenspur (music trail).

The Leipziger Typotage is an event organized by the Gesellschaft zur Förderung der Druckkunst Leipzig e.V. and takes place in the Museum of Printing Arts. The Typotage sees itself as a platform for students and those interested in typography, graphic design, or art.

More information about the program here.

When?
April 17th–19th 2026,

Where?
Museum für Druckkunst Leipzig
Nonnenstraße 38
04229 Leipzig

Tickets can be booked here. The number of participants is limited.

Arch Type

Posted on by averach

Arch Type is a sans-serif typeface inspired by the enduring forms of ancient European architecture. Its design draws from the structural elegance of arches—shapes that have defined buildings and public spaces for centuries.

From the monumental curves of ancient Roman and Greek architecture to modern landmarks such as the Gateway Arch in St. Louis, the arch serves as both a structural and symbolic reference. Yaheng Li translates this architectural idea into typography through balanced proportions and subtle curvature.

The letterforms combine geometric clarity with careful optical adjustments, resulting in a clean and contemporary typeface with a distinct structural rhythm. The forms echo the tension and stability of stone arches while remaining highly functional in modern typographic contexts.

Suitable for editorial design, branding, and signage, Arch Type bridges historical inspiration with contemporary application. Like the architectural structures it references, the typeface balances strength, clarity, and openness.

Take a look at Arch Type here.

Fol 10th Year Anniversary Typeface

Posted on by volkanolmez

Check out the new Typeface: FOL 10!

Fol 10 is an experimental typeface family that celebrates Fol’s 10th anniversary by rethinking pixel aesthetics through a refined system of lines and dots. Built from a disciplined grid, its forms feel systematic and intentional—yet never static.

A decade of typographic exploration informs the project. Its construction reinterprets classic bitmap logic through contemporary minimalism, translating square pixels into expressive structural components. Across four distinct styles—Square, Line, Thin, and Dot—and a total of 112 characters, the family offers a digital, modular, and systematic typographic structure.

Learn more about FOL10 here.

DOWNLOAD IT HERE FOR FREE

Call for Entries Yearbook of Type #8

Posted on by Samira Niedermayer

🚀 The Yearbook of Type is back—call for entries #8 is officially open! Submit your typeface and be part of a global showcase of fresh, standout designs.

Building on the proven concept of previous editions, we continue what has successfully shaped the publication so far. Yearbook of Type #8, set to be published in autumn 2026, will once again showcase a carefully curated selection of contemporary typefaces. It brings together releases from both established typeface publishers and independent designers and foundries, offering a clear and comprehensive overview of current trends in type design.

As in previous editions, each typeface is presented across three pages: a visually distinctive specimen designed to reflect its character, alongside a detailed overview covering technical specifications, language support, available styles, OpenType features, and background information on the designer and foundry.

The typeface catalog is followed by an index of all featured designers and typefaces, as well as an explanation of all key OpenType features.

The Yearbook’s dedicated microsite showcases all the typefaces featured in the book, making it easy to browse and purchase fonts directly. Freely accessible online, it serves as a well-organized library of the latest high-quality typefaces from around the world.

The informative presentation of the typefaces—in the book as well as online—serves graphic designers and agencies as a source of inspiration and can be a big help with selecting the right typeface. As a catalog and reference work the Yearbook of Type is also of interest to all those who are interested in the contemporary world of typography and the latest in typeface design.

We are looking forward to another great edition with you!

Conditions for Participation

It is possible to submit several typefaces as well as custom fonts. Latin and non-Latin typefaces are most welcome! Every submitted typeface must have been published within the years 2024 to 2026. Typefaces can be submitted via our website until April 20th, 2026.

Producing a book like this requires significant resources. We believe it is sustainable and offers real value, so the Yearbook of Type 8 will cost approximately € 39.– gross—an affordable price for as many people as possible. To help maintain this quality, we ask participants to contribute a small production fee when submitting their typefaces. This contribution is intentionally kept low to allow as many designers as possible to take part. Please note that submission does not guarantee inclusion—selection will still apply. As a thank-you, for each typeface you submit, you’ll receive a 100% discount code before the release of Yearbook of Type 8. This allows you to order one free copy per font from the Slanted Online Shop. Books will not be sent automatically at release, and shipping costs apply.

It is especially important to us to give a young generation of type designers access to participation. We therefore offer students (proof required) a 50% discount on the regular price. The quality of the submitted typefaces will be reviewed by a curational board of professional, independent type designers. This year we receive support from the team of Blaze Type again.

Please note that we reserve the right to reject submissions if they do not meet our quality standards (coherence within the glyphs, technical aspects, originality, extension, context, etc.). We want to ensure a constant quality of content. Therefore we check every application carefully and get back to you with personal feedback.

Early Bird rate (EB) (+ VAT) available until March 24th, 2026
Regular rate (R) (+ VAT) available until April 20th, 2026
1 typeface: € 249.– (EB) / € 269.– (R)
1 typeface + 1 Instagram story: € 279.– (EB) / € 299.– (R)
2 typeface + 1 Instagram story : € 499.– (EB) / € 539.– (R)
3 typefaces + 2 Instagram stories: € 729.– (EB) / € 789.– (R)
4 typefaces + 2 Instagram stories: € 949.– (EB) / € 1,090.– (R)
5 typefaces + 2 Instagram stories: € 1,149.– (EB) / € 1,239.– (R)
6+ typefaces + 3 Instagram stories: 20% discount at a unit price of € 279.– (EB) / 20% discount at a unit price of € 299.– (R)

25% discount on additional Instagram (138 K followers) features:
– additional booking of 1 Instagram post = € 400.– (instead of € 500.–)

HOW TO reserve and book a space:
1. Send an email to [email protected] with the number of typefaces you would like to submit and links or samples of each, so we can review them and get back to you.
2. Receive a purchase link for your typeface spot(s).
3. Now your space is booked. We’ll get in touch with more information about the upload.
4. Upload the requested files and information until April 20th, 2026 (latest!) and you will be guided step-by-step through the process.

PARTICIPATE

PLOP #01

Posted on by Franziska Müller

Is Polish design polished—or is polish the design? PLOP—Polish Design Revue explores the tension between Polish identity, global aesthetics, and the endless act of polishing. Through sharp questions and critical perspectives, this quarterly revue investigates what happens when Polish design becomes polished, overpolished, depolished—or something entirely new.

Published by Slanted Publishers in collaboration with Three Dots Type Foundry and the Polish Graphic Design Foundation, PLOP invites readers to rethink authorship, style, quality, and cultural context in contemporary Polish graphic design. The first issue features works by Martyna Wędzicka, Kuki Iwański, and Paweł Mildner, an essay by Aleksandra Tulibacka, and edgy forms of the Radius typeface.

PLOP is a thought-provoking snapshot of current debates in Polish visual culture—questioning whether polish enhances identity or erases it.

PLOP #01—Polish Design Revue

Publisher: Slanted Publishers
Editors: Lars Harmsen, Marian Misiak, Rene Wawrzkiewicz
Design: Lars Harmsen, Marian Misiak
Release: March 2026
Volume: 24 pages
Format: 21 × 29.7 cm
Language: English
Printing: full color offset printing
Workmanship: Saddle-stitched brochure
ISBN: 978-3-69202–007-5
Price: € 12.–

BUY HERE!

Maleficium / Sycorax

Posted on by Tessa Krieger

There are memories that are not articulated through language but carried within the body.

They do not inscribe themselves in texts, but in posture and reaction—in what is passed on silently between generations. My body, too, knows things I have never lived through. It remembers flight and loss, the fine line between adaptation and resistance. Perhaps this memory originates with my grandmother—my Vieja Bruja—who moved through her life with determination and contradiction.

Today, I photograph with her old analog camera: a small time machine made of metal and glass. When I look through it, I do not see only the present; I see traces, fractures, superimpositions; something that exists yet resists visibility. In the darkroom, these images slowly emerge from nothingness: silhouettes, light and shadow, past and present. Photography here does not function as representation, but as a mode of inquiry—perhaps even of invocation: a form of remembrance magic.
From these images, a book takes shape. A book that does not merely document, but interrogates. It weaves my personal history together with feminist theory and an awareness of historical violence, persecution, resistance, and the disciplining of female bodies. The camera becomes an instrument of investigation and disclosure; the book a site where image and text, present and past, the intimate and the political, femininity and strength intertwine.

I do not tell a linear story. What matters are fragments, traces, the persistence of what has never entirely disappeared. The witches of history—those who were excluded, condemned, burned—appear here not as distant figures, but as part of a collective memory that extends into my own family and consciousness.
And perhaps, upon opening the book, one encounters an intuition: that what was labeled as weakness was often resistance; that what was defined as deviation was another way of seeing the world. And that something of it—quiet, tenacious, unwavering—continues to burn.

It is both resonance and beginning: a space in which the witches of history and the present, the Vieja Bruja of my family, and my own very personal witches meet.

Maleficium / Sycorax

Tessa Krieger, Masterthesis 2025 at Technical University of Applied Sciences Mannheim
Supervised by: Dr. Deborah Enzmann, Prof. Dr. Thomas Friedrich
Typefaces used: Caslon by Scott Vander Zee, Avara by Velvetyne Type Foundry, Falling Script by Masahiro Naruse
Paper: Munken Print Cream 1.5 — FSC® 90 g/m², Gmund Colors Matt 06, 12, 25 & 27 — 100 g/m²
Printing and Binding: Self-printed and hand-bound

© Tessa Krieger, 2025

Se Macro

Posted on by Gallery Type

Se Macro is not just another sans—it’s a blend of functional versatility for global use and subtle French elegance. Spanning 10 weights and 3 widths, from a feather-light Hairline to a bold and powerful Ultra, it delivers architectural clarity paired with expressive warmth. This typeface balances clarity and elegance while capturing the spirit of minimalist design, navigating the space between modernism and postmodernism. Its monolinear structure combined with a high-contrast model creates a distinctive voice, visible in the junctions where straight and round shapes meet. Letters like “s” show a dynamic distribution of contrast, and the gracefully sculpted Italics add an extra layer of refinement.

Se Macro is designed for the visual language of contemporary brands, fashion labels, cultural platforms, and design-driven products. More than just function, it offers identity—making it the perfect tool for designers who demand both structural integrity and stylistic impact. Part of the Se Collection, Se Macro will be accompanied by Se Micro, Se Mono, Se Soft, and Se Rounded, all scheduled for release between 2026 and 2027, providing a versatile and cohesive toolkit for designers worldwide.

Gallery Type is a new type foundry built for modern brands—by designers for designers. Founded by designer Daniel Perraudin and built with an international network of type designers and engineers, Gallery Type offers a curated library of retail fonts plus custom type services.

Learn more about Gallery Type here.

Se Macro

Foundry: Gallery Type
Designer: Daniel Perraudin
Engineer: Noe Blanco
Visual Designer: Vincent Schwenk
Release: December 2025
File Formats: OTF. WOFF2.
Styles / widths / weights: 30 Styles (10 Weights, 3 Widths, incl. Italics)

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forms of peering 2025/26

Posted on by Jacob Tessmann

Around the time I began my internship at Slanted, I also joined forms of peering, a program initiated by the open book society e.V. that invited participants to rethink publishing through exchange and shared inquiry. In this text, I want to outline the framework of forms of peering and then reflect on how our peer group approached collaboration, writing, and questions of authorship.

The open book society has expanded the former Walter Tiemann Prize into a broader format titled forms of publication. It now includes three categories: printed publications, digital publications, and forms of peering. The first two continue to recognize outstanding work in print and digital publishing. Forms of peering takes a different direction. It centers on learning structures and collective exploration. The initiators wanted to create a place where people with shared interests in publishing and artistic research could gather and work through questions together.

Participants were selected by lottery from 104 applications and matched into small constellations based on proposed questions. Over several months, the program combined self-organized peer meetings with shared public lectures. Inputs came from KUNCI in Indonesia, who work with collective knowledge production; from Roman Gornitsky, whose practice encompasses type design and critical research; and from Bebe Books in Belgium, who approach publishing as a social and communal activity.

Our group was formed around a cluster of related questions. We were interested in what forms publishing might take if shaped as an evolving collective act, where process, dialogue, and hybrid mediums alternate acts? How collective work can hold space for both structure and fluidity, balancing rigor, care, and looseness, across different forms of collaboration, and how shared design processes shape visual communication.

These questions brought together Rana Wassef, a designer, curator, and educator based in Cairo; Joanne Cesario, a lens-based artist from Manila; and myself.

We met regularly, navigating time zones and different working rhythms. In the beginning, our conversations moved in many directions. We spoke about collaboration, about the role of care in collective work. After each meeting, we tried to translate parts of the discussion into small experiments. We exchanged books that had shaped our thinking and discussed how we might republish or recontextualize each other’s practices within our own environments. We considered working with postcards as a way of circulating ideas physically—but figured that Joanne would never receive them. We explored the idea of collectively designing and hoisting flags as a shared form of publishing, translating fragments of our conversations into visible gestures. Gradually, however, the dialogue itself became the material we were working with.

At some point, we began writing together. The text developed from fragments: quotes from books we admired, notes from our conversations, open questions. We collected everything in a shared Google doc, commented on each other’s contributions, rearranged sections, and condensed the material into five thematic clusters. The doc remains live and is embedded on our shared platform An Attempt to Collaborate. Writing collectively expanded our understanding of authorship. The comment function became part of the text and the document now reads like an ongoing negotiation of fragments and a non-linear train of thought.

What made forms of peering particularly meaningful was its experimental nature. There was no clearly defined outcome, no pressure to produce something measurable. That openness created a different kind of intensity. The value lay in the connections that formed. Getting in touch with designers and practitioners from different contexts and stages in their careers, exchanging working methods, doubts, and unfinished ideas. Seeing how others navigate their practice, whether early in their path or with years of experience behind them, added perspectives that would not have emerged in a more goal-driven setting.

The fact that we could decide whether to create something—or not—felt liberating. The possibility of output was always there, but it was never the obligation. Instead, what remained was a network of conversations and potential collaborations that can continue beyond the program itself.

We are grateful to the open book society and to Marion, Helene, and Jasper for organizing and hosting us in this first edition. The open book society will be part of It’s a Book in Leipzig, end of March. Should forms of peering return, it is a format worth joining, especially for those interested in publishing as a global, open and collaborative practice.

© Graphics by Roman Gornitsky

see-Conference 2026

Posted on by Jacob Tessmann

What role does design play in shaping democracy? How does visual culture influence participation, public space, and the way we imagine our collective future? On April 25, 2026, the see-Conference returns to the Kulturzentrum Schlachthof Wiesbaden to explore these questions through a full day of interdisciplinary talks and exchange.

Now in its 20th year, the see-Conference has established itself as one of Germany’s most important platforms for cross-disciplinary design discourse. Designers, architects, artists, and thinkers come together to connect aesthetic practice with social and political realities—especially relevant in 2026, as the Frankfurt RheinMain region holds the title of World Design Capital under the motto Design for Democracy. Atmospheres for a better life.

The 2026 lineup reflects this focus with strong and distinct voices: Philosopher Eva von Redecker will open the conference with a keynote. Known for her widely discussed book Revolution für das Leben, she examines contemporary forms of protest and their shared demand for the preservation of life. Her new publication, Dieser Drang nach Härte, addresses the global rise of right-wing extremism—placing urgent political questions at the center of the design discourse.

From Tbilisi, the design studio Holy Motors, founded by Giorgi Avaliani and Nick Kumbari, brings a radically expressive approach to communication. Shaped by ongoing protests against autocratic tendencies in Georgia, their work is loud, confrontational, and unapologetically political—addressing topics ranging from war and icon painting to banking, fear, and even homemade spirits. We had the pleasure of interviewing Holy Motors two years ago for our Slanted Special Issue Georgia/Armenia, where they shared insights into their practice and the broader cultural and political landscape of the region.

Industrial designer and architect Tobias Trübenbacher, awarded “Newcomer of the Year” at the German Design Awards, contributes a practice deeply rooted in sustainability and experimentation. As part of the World Design Capital Frankfurt RheinMain 2026, his project Main Light will illuminate a cycling path between Offenbach and Frankfurt using solar energy. His broader work ranges from edible worms as alternative nutrition to wind-powered streetlights and building with unbaked clay bricks. Additional speakers will be announced in the coming months.

We’re especially excited to join the see-Conference 2026 as an official media partner. Our team will be on-site with a curated selection of our publications and looks forward to engaging with the community throughout the day. If you’d like to revisit last year’s edition, you can read our recap.

More information and tickets are available here.

White Fungus to Release 18th Issue

Posted on by Ron Hanson

White Fungus is about to release its 18th print issue. The new edition contains an epic 80-page interview with poet and novelist Eileen Myles, accompanied by photographs from deep within their archive. The piece follows a tradition of visually immersive long-form interviews in White Fungus.

Spanning decades, the conversation traces key chapters of Myles’ life, from childhood memories to becoming a poet in 1970s New York, reading at CBGB, and writing the cult classic novel Chelsea Girls. Myles discusses their mainstream crossover in 2015, involvement in the hit television series Transparent, and travel to Palestine. They also reflect on overcoming alcoholism and their writing process.

The issue includes an in-depth exploration of the profound but long-suppressed role of occultism in modern art. It probes the centrality of esotericism to the work of Hilma af Klint, Wassily Kandinsky, and the often-overlooked semi-abstract paintings of 19th-century artist Georgiana Houghton—produced decades before the conventionally understood beginnings of abstraction. The article is co-written by Marina Alexandrova and Ron Hanson.

Taipei artist Yao Jui-Chung contributes a photo essay owf wide-angle Polaroids capturing Madou Daitian Temple’s animatronic religious display, alongside similar depictions of hell across Taiwan and Singapore. The images are accompanied by a text discussing the mythological Chinese concept of hell and its resonance in contemporary Taiwanese life.

Order White Fungus here.

Area JP

Posted on by Samira Niedermayer

Blaze Type expands the Area family to include Hiragana and Katakana, applying the same modular, geometric logic that defines the original design. Area is a variable geometric sans-serif inspired by architecture: it begins with a stable, modular structure that gradually unfolds into a calm, quiet neogrotesque form, offering a smooth, balanced reading experience. Area JP extends this system to Japanese characters, letting Latin, Hiragana, and Katakana coexist harmoniously in a single type family, and it works seamlessly in both horizontal and vertical writing systems.

The making of Area JP was a careful, step-by-step process. The team began with research into Japanese type styles to find a formal direction compatible with Area’s geometry. Skeleton forms for key Kana characters were drawn, and metrics were established to align them with Latin letters. Additional characters were then systematically developed, with proportions, stroke weights, and details refined through extensive testing. Unicode elements such as circled numbers were also included, ensuring practical usability across different applications. Each step focused on preserving the geometric clarity and calm, neutral tone that defines Area, while integrating the unique forms of Hiragana and Katakana.

Area JP unites Latin and Japanese scripts in a single, coherent system, maintaining the structural logic, clarity, and understated elegance of the original Area family.

Area JP

Foundry: Blaze Type
Designer: Matthieu Salvaggio, Caio Kondo
Release: 2025
File Formats: .OTF .WOFF .WOFF2 .TTF (Variable)
Weights: 11 (Hairline to Extrablack)
Scripts: Latin, Hiragana, Katakana

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Play the System

Posted on by Samira Niedermayer

In graphic design, the focus is rarely on the spontaneous stroke of genius—it’s rather about a process-oriented approach to design. Digital tools, algorithms, and systems increasingly shape not only the final outcome but also the process itself. As a result, the role of the designer is changing: instead of crafting every detail, they increasingly design the framework in which design emerges.

Over more than twenty years of teaching, Heike Grebin has developed an approach centered on this shift. Its main appeal lies in developing dynamic systems that both guide and inspire the design process. Design is generated by a set of specifications whose effects can be explored, varied, and used creatively—this is parametric design.

Play the System demonstrates, through selected examples from design history and academic teaching, how even minimal changes to individual parameters such as size, color, spacing, or movement—driven by input values, chance, or external influences—lead to different outcomes and open up space for variation, experimentation, and surprise.

Conversations with designers, programmers, and researchers such as Luna Maurer, Anja Groten, Frieder Nake, and Tom Bieling address key questions: How do systems foster—or limit—creativity? How do tools influence aesthetic decisions? And how can design respond to the structures of society itself?

As a hybrid publication, Play the System operates systemically itself. The website complements the book with additional content and serves as the central data source for all projects published through an automated web-to-print process.

Play the System is a reader, an introduction, and a richly illustrated archive—all in one. Bringing together theory, education, and practice, it makes system-based and parametric design accessible to readers beyond the design discipline.

Play the System—Parametric Approaches in Graphic Design

Publisher: Slanted Publishers
Editor: Heike Grebin
Assistance: Katharina Wanke
Design: Finn Reduhn, Andreas Trogisch (Troppo Design), Lukas Siemoneit
Release: February 2026
Format: 16.4 × 24 cm
Volume: 320 pages
Language: English
Printing: full color offset printing with spot colors
Paper: Munken Print White, 90 g/sm, 300 g/sm
Workmanship: Softcover with flaps, open thread stitching, poster as dust-jacket
ISBN: 978-3-948440-97-8
Price: €37.– (DE)

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CXI Conference 2026

Posted on by Samira Niedermayer

It’s that time again. On June 12, 2026, CXI returns with new perspectives, clear positions, and a program that makes projects, decisions, and attitudes visible in their full development.

The 16th edition of Europe’s largest conference for Corporate and Brand Identity will take place at the Rudolf-Oetker-Halle in Bielefeld. Organized by Hochschule Bielefeld, CXI has stood for a unique format since its founding in 2009: companies and agencies present their projects together, offering insights into strategy, organization, and design from both sides. With around 1,400 attendees, CXI is widely regarded as Europe’s largest professional conference dedicated exclusively to corporate and brand identity.

The 2026 edition brings together international companies and leading agencies to share real brand processes and the strategic and creative decisions behind complex transformation projects. This year’s cases range from global corporate brands and cultural institutions to digital platforms and nationwide networks. The focus is on structural realignment, precise design systems, and brand work with measurable impact. All selected projects follow clear criteria: traceable transformation, strategic depth, and visible market effect.

Program 2026–First Confirmed Cases

Lufthansa Group × MetaDesign – “Shaping the Future of Aviation”
One of Europe’s most complex brand architectures is being reorganized to create a consistent, future-ready brand system that makes the group’s strategic strength visible.

KW Institute for Contemporary Art × Correspondence – “Everything Begins with a Sketch”
A new visual identity connects systematic structure with process, archive, and intervention—making institutional development tangible through design.

Katholino × EIGA – “525 Daycare Centers. One Brand.”
A nationwide network receives a flexible identity system that creates unity while allowing individual expression across 525 locations.

Coinbase × DIA – “From Technology to Trust”
A global financial platform repositions itself between technology, mainstream adoption, and long-term credibility.

fraenk × Make Studio – “From Low-Interest to Love Brand”
Telekom’s digital mobile plan evolves from a commodity product into a distinctive, community-driven brand.

Volkstheater Wien × Karl Anders – “Still Feeling It?”
A historic theater adopts a radically contemporary identity and repositions itself as a cultural space for societal resonance.

Zalando × Kurppa Hosk – “A Platform Becomes a Brand.”
From a highly dynamic digital ecosystem to a coherent brand system: this case explores stronger positioning, cultural clarity, and long-term strategic direction.

When?
June 12th 2026,
10 AM – 6 PM

Where?
Rudolf-Oetker-Halle
Bühnen und Orchester der Stadt Bielefeld
Brunnenstraße 3-9
33602 Bielefeld

Tickets go fast—don’t miss out! Sales start February 18 at 11 AM. Grab yours here.