Some Magazine #17—Look

For over one hundred years, we humans of the post-postmodern times have turned ourselves into outstanding visual athletes. We made visuality our superpower. Now we are about to change the rules of the game right in the middle of it. Will all this result in some new weird kind of blindness?

With contributions by Blatant Space, Catelijne van Middelkoop, David Horvitz, Eleonora Marton, Melody “LeMoon” Bossan and Rob Lowe.

This issue of Some Magazine is dedicated to the skill, the craft and the pure joy of looking!

Since 2010, changing editorial teams of young design students research, write, and layout the bi-annual Some Magazine. It is a part of the experimental design course of Prof. Sven Völker at the University of Applied Sciences Potsdam.

Some Magazine #17—Look

Publisher: Slanted Publishers
Editors: University of Applied Sciences Potsdam, Prof. Sven Völker
Editor in chief & design: Prof. Sven Völker
Publishing Direction: Lars Harmsen, Julia Kahl
Release: November 2023
Format: 17 × 24 cm
Volume: 80 pages
Language: English
Printer: Stober Medien, Germany
Paper: lona®offset 110 g/sm and 250 g/sm, distributed by Inapa
Workmanship: saddle-stitched softcover with hot foil embossing
ISBN: 978-3-948440-67-1
Price: € 12.– (DE)

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Tÿpo St. Gallen—Recap

The three-day typography symposium Tÿpo St. Gallen 2023 took place for the 7th time at GBS St. Gallen, focusing on the conference theme What nobody talks about. From November 10th to 12th, 2023, distinguished speakers gave an insight into their day-to-day work and talked about everything we don’t usually talk about. In lectures, we learned about fails and fuck-ups, criticism and shitstorms, doubts, money, and also got the chance to get creative in workshops. 

The Tÿpo St. Gallen program this year offered a diverse lineup with around 20 expert speakers from Switzerland, Germany, Austria, France, the Netherlands, and Korea. With their moderation, Anne Treichel and Clemens Schedler guided us through the conference. Friday kicked off with engaging presentations from the graphic design duo Balmer Hählen from Lausanne, who gave insights into their high-quality produced print products, and Alexandre Dimos, publisher of Editions B42, from France. Ulrike Rausch then shared her insights into the technical reproduction of handwriting in her presentation. This was followed by four very inspiring short lectures by Christine Rudi, Sabrina Öttl, Data-Orbit, and Madeleine Stahel, Maike Hamacher from Büro 146. Finally, the two communication designers Matthias Frey and Tim Siegert from the German agency Q gave an honest insight into the lows of their agency history: devastating feedback and alleged plagiarism—things that agencies don’t like to talk about. The first day ended with the Typobiography book launch and Jost Hochuli’s 90th birthday party.

Saturday opened with Ladina Ingold and Katharina Scheller diving into the field of sustainable design and the influence designers can have on sustainable print production through their decision-making and well-considered choice of materials. Following this insightful session, Tÿpo attendees had the chance to choose from 13 diverse workshops presented through elevator pitches. Covering topics as wide ranging as clay modeling, poster and type design, short coaching, typeknitting … a good opportunity to exchange ideas and get creative with the other participants.

In the afternoon, Jianping He gave insights into his work as a designer and showed, how his Chinese background and culture influence him. This lecture was followed by Korean design journalist Kay Jun and graphic designer and artist Guido de Boer from the Netherlands. Sarah Owens, professor at the Zurich University of Applied Sciences, gave an expert look into her research on everyday design, a presentation that was engaging without any visual slides. Lilia Glanzmann, co-director of the Zeughaus Teufen, also impressed with her lecture program. The grand finale was a captivating presentation by Liza Enebeis, partner and creative director at Studio Dumbar/DEPT, who presented a collection of captivating motion design projects from the internationally recognized agency.

On Sunday, the finissage of the most beautiful books from Switzerland, Germany, and Austria concluded the event at the Hauspost library.

Thank you for having us—we had a highly inspiring time at Tÿpo St. Gallen and are already looking forward to the next round in 2025.

Mid-Century Type

Mid-Century Type offers a captivating visual exploration into how, during the middle decades of the previous century, typographers emerged as independent and influential contributors to a rapidly evolving technological landscape of communication. In the aftermath of the Second World War, designers gained recognition for their pivotal role in rebuilding economies, infrastructure, and public morale. Despite this acknowledgment, typography remained a largely unacknowledged profession. This perception underwent a profound transformation between 1945 and 1965, a period marked by extraordinary creativity. Eventually, the cultural significance of a typographer’s work could be equated with that of an artist, poet, author, or film director.

Mid-Century Type chronicles the rapid ascent of typographers in the early post-war decades. Each chapter focuses on a specific design activity where typography played a crucial role, ranging from type design and corporate identity to advertising, film, and television. David Jury’s narrative provides fresh insights into the groundbreaking work of various European and American typographers, complemented by over 500 illustrations.

This book gives its readers the perfect overview over the typographic movement during the middle decades of the last century and presents a wide range of innovative work by European and American typographers. A must-read for everyone who is interested in the history of typography!

Mid-Century Type

Publisher: Merrell Publishers
Volume: 240 pages with 500 illustrations
Workmanship: Hardcover
Format: 27.8 × 20.4 cm
Volume: 240 pages
ISBN: 978-1-8589-4707-5

Find out more here.

High Noon #72 Special with Ruben Pater

High Noon #72 Special with Ruben Pater will take place on November 23rd, 2023, at the Faculty of Design in Darmstadt. At 7 p.m. you are invited to meet up in the auditorium!

Ruben Pater (1977, NL) works between journalism and graphic design. Under the name of Untold Stories he creates visual narratives that support solidarity, justice, and equality. He is a designer at a moment in time, when more design is about the last thing the world needs. In search for ethical alternatives he designs, writes, and teaches (currently at Elisava in Barcelona). ‘The Politics of Design’ (2016) is his first book about cultural bias in graphic design. His second book ‘Caps Lock’ (2021) looks at the role of graphic design in capitalism.
 High Noon are lunchtime & special evening talks since 2008 at the Faculty of Design at Hochschule Darmstadt.

@high_noon_fbg

Internship at Slanted Publishers—apply now!

Du liebst Typografie und Editorial Design und möchtest in einem internationalen Verlag arbeiten? Dann bist du bei uns genau richtig! Wir vergeben ein 6-monatiges Praktikum im Bereich Redaktion/Grafik ab Ende Februar 2024 und suchen eine(n) engagierte(n) Studierende(n), der/die Lust hat zu erfahren, wie wir arbeiten und für 6 Monate Teil des Slanted-Teams wird.

Wir bieten:

  • Redaktionelle und grafische Mitarbeit am Slanted Magazin, insbesondere Ausgabe #44—Fashion
  • Redaktionelle Mitarbeit am Slanted Blog und den Social Media Channels
  • Einblicke in unsere Verlagstätigkeit (Konzeption, Redaktion, Organisation, Vertrieb, PR etc.)
  • Grafische Mitarbeit an unseren Publikationen
  • Studiofotografie, Bildbearbeitung
  • Verantwortungsvolle, selbstständige Arbeit und unter Anleitung
  • Mögliche Teilnahme an Designkonferenzen im Rahmen unserer Medienpartnerschaften

Das sollte der/die BewerberIn mitbringen:

  • Abgeschlossenes Grundstudium im Bereich Grafikdesign (o. Ä.)
  • Sichere Anwendungskenntnisse in InDesign und Photoshop
  • Großes Interesse an neuen Strömungen in den Bereichen Typografie, Type Design, Design und Kultur
  • Redaktionelles Interesse
  • Selbstständigkeit, Weitblick, Flexibilität, Kreativität und Ideenreichtum
  • Sehr gute Deutsch- und Englischkenntnisse
  • Organisationstalent und Kommunikationsstärke
  • Gewissenhaftes und genaues Arbeiten
  • Das Praktikum erfolgt im Rahmen eines studienbegleitenden Pflichtpraktikums

Das Praktikum bei Slanted Publishers findet vom 26.02.–31.08.2024 in Karlsruhe statt und wird vergütet. Bewerber*innen sollten erklären, warum sie ihr Praktikum bei uns machen möchten. Bitte richtet Eure vollständige Bewerbung als aussagefähiges PDF-Portfolio (Anschreiben, Lebenslauf, Arbeitsproben) ab sofort bis spätestens 03.12.2023 an Julia Kahl, [email protected]. Die Bewerbungsgespräche finden nach Sichtung aller Bewerbungen statt.

Wir freuen uns sehr auf Eure Bewerbung!

Die Schönsten Deutschen Bücher 2023

Once again, Die Schönsten Deutschen Bücher 2023 (The Best German Book Design 2023) were creatively captured in a catalog and introduced to the public for the first time at the award ceremony by Stiftung Buchkunst. The team from PARAT.cc in Munich was responsible for the concept of the new publication this time.

Each year, the competition for the The Best German Book Design 2023 brings together the most talented designers and the most refined production ideas. This year’s catalog aims to take a step back and be quite simple in the process. Simple and practical—much like a phone book, when it still had significance. All information about an award-winning work is presented together, with each book receiving as much space as possible, being shown from several angles. A thumb index provides an overview and optimal usability.

The catalog also poses the following question: How do we standardize beauty? Quite provocatively on the cover; gold stamped on pink. And then somewhat challenging on the inside with maximum simplicity: printed on grayish work paper, set in an oversized, plain Arial font, along with very straightforward scans and a pragmatic index.

The catalog is a great source of inspiration and a must-have for all book lovers out there! It invites everyone to browse and discover this year’s most beautiful German books!

Die Schönsten Deutschen Bücher 2023

Concept and Design: PARAT.cc, München
Scans: Duarte Pinto / PARAT.cc
Editorial Team: Carolin Blöink, Natalia Klaus, Franziska Herbert, Franziska Holly Geiß / Stiftung Buchkunst, Frankfurt am Main
Texts Jury Statements: Elmar Lixenfeld, Text Gestaltung Publikation, Frankfurt am Main
Translation: Iain Reynolds, Translation & Copy Editing, Lancaster
Fonts: Arial (Monotype)
Printing / Binding / Lithography: DZA Druckerei zu Altenburg
Paper: Holmen TRND 2.0, 80 g/m², supplied by IGEPA group:
Cover: Cryluxe gazelle rosa, by peyer graphic
ISBN: 978-3-9822108-2-7
Price: € 20.–

Find more information here.

Lametta 2023

For twelve years now, every second weekend of Advent, you can buy handmade one-of-a-kind items in the areas of fashion, jewelry, design, art, photography, and much more at Lametta—a Christmas market in Karlsruhe. Surrounded by artistic acts, live performances, small concerts, a diverse culinary offering, children’s activities, and many surprises, over 70 exhibitors from all over Germany will showcase art and design. They mostly present their products themselves, and these products are anything but industrially manufactured, boring mass-produced goods.

The first Lametta took place in the smaller adjacent Fleischmarkthalle in 2010 and had already moved to the Tollhaus after two years. This shows how well the concept is received. By now, it’s no longer a secret that you can find the most alternative, creative, and unique Christmas gifts at Lametta.

It’s definitely worth a visit!

Lametta 2023

Where?
Tollhaus Karlsruhe

When?
December 8th, 3 p.m. to 10 p.m.
December 9th, 12 p.m. to 8 p.m.

Admission: €5.– (valid for both days), free for children under 16

Latent Figures

Three years after Shape Grammars (2020), Jannis Maroscheck returns with an updated look on machine-generated graphics and the core motif of mass produced ideas: Latent Figures. Looking for forms of expression hidden between ancient runes and y2k logos, medieval monograms and clip art illustrations, hieroglyphs and stock icons, Maroscheck developed AI-based systems to merge the shared visual vocabulary designed by humans across eras, continents, and cultures. The underlying process simulates human inspiration, but it is an analytical, objective process. The systems consider form as pure form. They draw no reference to real-world things. In doing so, they have a stubborn intensity to them, that seems less like human creativity and more like a strange, unstoppable force of nature.

The resulting catalog is a dive into the inner workings of an AI that has seen nothing but graphic shapes and symbols. With this sort-of-dictionary, Maroscheck creates a visual language that blends pragmatic graphic design aesthetics with elusive imagery. A collection of shapes that often approximate something we know or can understand, but their meaning doesn’t quite want to resolve, they revolve around themselves, somewhere between meaning and nonsense. Offering a space to project ones own imagination and come across new ideas. 

“When I think about it, something like a graphic form, black and white, defined only by its outline, feels quite limited in what it can express, what it can communicate. Then I look at it, like a blob of ink, continuously reshaping itself, in flux, automatic, and open in all directions.” — Jannis Maroscheck

Latent Figures

Publisher: Slanted Publishers
Author & Design: Jannis Maroscheck
Publishing Direction: Lars Harmsen, Julia Kahl
Release: November 2023

Format: 21 × 26.5 cm
Volume: 224 pages
Language: English
Printer: Stober Medien, Germany
Workmanship: Softcover with flaps, thread-stitching, offset printing with silver spot color
ISBN: 978-3-948440-66-4
Price: € 34.–

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Slanted Magazine #42—Books

Slanted Magazine #42—Books is a magazine about books. Every day, people ponder whether the future of the (printed) book is tied to its sensual quality. How can beautiful books secure their place in the media and society? How are content, medium, and form interconnected? Is manufacturing and design quality, in addition to its functionality, simply to be understood as a marketing argument?

In this edition, Slanted Publishers delves deeper into books that are pushing boundaries, moving beyond traditional norms, and rediscovering their essence. The belief is that genuine reading encompasses more than mere skimming; it involves understanding, grasping, and engaging in creative thinking. The value placed on the tactile experience of holding a book, flipping through its pages, setting it aside, and seamlessly resuming the reading is immense. It’s an experience cherished by many, one that defines the true essence of books.

Slanted Publishers emphasizes the resurgence of book reading as a significant trend, especially for those seeking enduring experiences and embracing multi-dimensional thinking. This edition showcases books that venture off the beaten path, departing from traditional conventions, and advocates for timeless book designs where the content shapes the form.

To commemorate the magazine’s release, Slanted Publishers has introduced a limited special edition, which includes a set of pencils from Viarco, the oldest pencil factory in Portugal. Make a statement with this and become part of the BK LVRS!

The Essence and Beauty of Books in One Magazine!

Slanted Magazine #42—Books
Autumn/Winter 23/24

Publisher, Editor, Design: Slanted Publishers
Release: November 2023
Volume: 256 pages
Format: 16 × 24 × 2.3 cm
Language: English
Printing: Offset printing, Stober Medien
Bookbinding: Swiss brochure, thread stitching by Schaumann
Cardboard Cover: lona® offset, 350 g/sm
Paper Inside: lona® art, 115 g/sm, joly mittelblau, 120 g/sm, distributed by Inapa Deutschland
Finishing: Hot foil stamping
ISSN: 1867-6510
ISBN: 978-3-948440-55-8
Price: € 22.–

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The Archive of Ukrainian Design

The Archive of Ukrainian Design is a mix of an art zine and a solid encyclopedia about the history of Ukrainian design, its prominent figures, and their influential works. It is aimed at reducing the number of blank spots in Ukrainian design past and at preserving the contemporary one for future generations. Zine covers almost every aspect of Ukrainian design: from graphics to fonts, industrial to product, and games. And, it reveals the projects are still little known even among Ukrainians.

Capellini

Capellini is a fashion-inspired variable serif font with high contrast and extremely narrow widths, including corresponding Italics by the new Berlin type foundry Show Me Fonts. Capellini is perfect for elevating your logos, posters, branding, and packaging. Its design DNA is derived from one of the logo sketches that Bernd, the founder of Show Me Fonts, drew for the Berlin-based video artist Astrid Gleichmann. He saw the potential in that particular sketch and began to explore the extremes of condensed proportions in a compressed, high contrast serif typeface. Evoking the essence of the classic Didone genre, Capellini takes it up a notch with its expressive character and uncompromising style. It can perfectly fit into the format of a vertical Instagram story with its narrow proportions and variable width. Keep an eye on Capellini Numero1, where the vertical stems give it the appearance of noodles neatly arranged in a pasta box.

About Show Me Fonts:
The foundry proudly presents a curated collection of characterful and versatile typefaces, a labor of love crafted by founder, Bernd Volmer. With a background in Font Engineering, Type Design, and Project Management from renowned entities such as FontShop, Monotype, and HvD Fonts, Bernd is delighted to bring his long-held dream to fruition. Show Me Fonts emerges as not just a foundry, but a dynamic platform where he and his collaborators can channel their creative energies and provide a fresh source of fonts for designers.

Capellini

Have a closer look at Capellini here.
Free trial fonts with the complete character set can be downloaded here.

Typeface of the Month: Routine

Come take a look at out latest Typeface of the Month: Routine.

Routine is a friendly and playful Sans. With soft edges, joints, and curves, Routine blends seamlessly into a page. Routine is an original take on Sans Serifs found in French newspapers from the late 19th century. These Sans come in a range of styles—grabbing the readers attention with its inky, charming features. These characteristics are conveyed into Routines contemporary and versatile design, encapsulating the broad range of styles from that period.

Routine comes in 30 different styles across weight, width, and slant. Containing a wide variety of glyphs, supporting Extended Latin, Cyrillic and Greek, stylistic sets, and a handful of illustrations, Routine has something for everyone.

But this isn’t a one off typeface. As the name suggests, Routine is intended for everyday use. Conservative with its weights and widths this typeface has a legible and eye-catching design that is pared-down enough to work well at small sizes but contains enough character to stand out on a page at larger sizes.

From newspapers, magazines and posters to websites, animations and packaging, Routine radiates a sense of fun, warmth and charisma that will enrich any design.

Typeface of the Month: Routine

Foundry: Blaze Type
Designer: Blaze Type
Release: 2023
File Formats: OTF, TTF, WOFF, WOFF2
Styles: Display & Text,
Widths: Condensed, Normal, Extended
Weights: Thin Condensed, Thin Condensed Italic, ExtraLight Condensed, ExtraLight Condensed Italic, Regular Condensed, Regular Condensed Italic, Medium Condensed, Medium Condensed Italic, Bold Condensed, Bold Condensed Italic, Thin, Thin Italic, ExtraLight, ExtraLight Italic, Regular, Regular Italic, Medium, Medium Italic, Bold, Bold Italic, Thin Extended, Thin Extended Italic, ExtraLight Extended, ExtraLight Extended Italic, Regular Extended, Regular Extended Italic, Medium Extended, Medium Extended Italic, Bold Extended, Bold Extended Italic
Price: per style starting at 40€, family starting at 400€

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Surviving as a graphic designer in Ukraine

Born from personal reflection about experiences in Ukrainian agencies, the author was trying to find an answer on how to work and remain happy in the challenging Ukrainian conditions. Based on discussions with other designers and personal contemplation of the graphic design field in Ukraine, these posters were created. The visual language continues the reflection of being a graphic designer in Ukraine. It’s a mix of concerns, a bit overwhelming, hyperactive, and a lot to handle at once.

Beyond Artificial: The Touch’s

In my creative journey, I’ve explored AI through the Stable Diffusion tool, aiming to unleash its artistic potential. Using my earlier abstract images as a starting point, I endeavored to depict the sensation of a gentle touch visually, pushing artistic boundaries. This led me to adopt AI-powered techniques. Through precise experimentation and parameter adjustments, I blended photography and painting, yielding captivating and evocative results.

Fight for Kindness

In these tumultuous times, and in an even more self-centric world, genuine acts of kindness are becoming endangered, teetering on the brink of obsolescence. Recognizing this alarming trend, TypeCampus, in collaboration with Italy’s distinguished type foundry, Zetafonts, proudly presents Fight for Kindness.

This influential initiative is a clarion call to the design community worldwide to illuminate the power of kindness through the medium of typography. The project converges the worlds of art and empathy, capturing the essence of kindness, peace, mutual trust, courage, inclusiveness, and ethical integrity. In it’s first edition in 2022, Fight for Kindness has collected several recognitions and awards, including the Indigo Gold award in Integrated Graphic Design for Social Change, Best of the Best in Social Responsibility at the C2A, and it was shortlisted in the Design for Good category of the Art Directors Club 102nd Award.

The project, designed to mark World Kindness Day celebrated annually on November 13th, is now in its second edition: this year’s response was overwhelming: Over 300 contributions, using 11 different scripts and languages, from illustrators and visual artists from every corner of the globe that supported the cause, creating a typographical message that highlights the myriad dimensions and forms of kindness.

Fight for Kindness

This year, the global, multi-location, exhibition will showcase these typographic tributes from Milan to Los Angeles, Sofia, Rome, and Budapest.

Milan, Italy
Naba Milano Library
November 13th, 2023 to February 28th, 2024

Sofia, Bulgaria
Coffee Syndacate
November 2nd to 13th, 2023

Budapest, Hungary
House of Lucie Art Gallery
November 7th to 13th, 2023

Rome, Italy
Naba Rome Library
November 13th to December 31th, 2023

Los Angeles, US
Junior High Los Angeles
November 5th, 2023

Find detailed information here.

Space for Visual Research at HBKsaar

The HBKsaar cordially invites you to their exhibition Space for Visual Research, in which they show, for the first time, examples of works, bachelor theses, and extracurricular activities based on the experimental approach to image production in the field of visual research of the last 11.97 years. The Space for Visual Research (SfVR) was founded in 2013 at the Bauhaus University Weimar by Markus Weisbeck as part of the Chair of Graphic Design and combines the investigative approach of a think tank with practical creative production, empowering design students to develop innovative visuals.

When?
24.10.-21.11.2023

Opening hours:
Tuesday 2–6 p.m., on opening days from 7 p.m.
Wednesday to Saturday 5–8 p.m.
Additional appointments upon request

Responsible parties: Prof. Indra Kupferschmid, Prof. Stefan Hauser, Prof. Markus Weisbeck
Collaborators: Eva Richter, Adrian Palko, Manuel Wesely
and numerous students of the Bauhaus University Weimar

More information here.

AR One Sans

Today, we introduce AR One Sans, an unprecedented typeface family meticulously designed exclusively for augmented reality (AR) environments and spatial user interfaces. In a world perpetually advancing technologically, the demand for fonts optimized for diverse digital environments has reached an all-time high. This innovative font merges aesthetic excellence with technical precision, elevating readability and meeting the demands of the most challenging and pioneering digital scenarios. AR One Sans represents the future of typeface design, with a special “AR Retinal Resolution” axis defined by Niteesh Yadav to ensure compatibility with all future AR glasses.

The AR One Sans Advantage

High Legibility: AR One Sans boasts a design crafted with an unwavering focus on maximum legibility. Its low contrast and generous spacing guarantee that content remains impeccably clear, even against busy backgrounds and from various reading angles.

Versatility Across Devices: This typeface is the product of extensive research and exhaustive testing across a wide array of devices, ranging from high-end AR headsets to low-resolution smartphone screens. This cross-device compatibility ensures that AR One Sans consistently maintains its visual integrity and readability, regardless of the platform or device.

Optical Weights for Seamless User Experience: Designed with the user in mind, AR One Sans offers optical weights tailored for both high and low-resolution displays. This duplexed design prevents text reflow, ensuring a seamless and uniform user experience across a multitude of platforms and devices.

Enhanced Reading Experience: AR One Sans goes beyond aesthetics; it is meticulously designed to enhance the reading experience, even for longer texts. Every detail has been scrutinized and refined to provide unparalleled readability, especially in immersive AR environments.

The Future of Typeface Design

AR One Sans harnesses the “Marionette formula,” a revolutionary design concept introduced by William A. Dwiggins. This innovative approach replaces straight lines with curves in specific letterforms, creating the illusion of graceful curvature. By leveraging the excess glow around the text to produce smooth curves, our typeface achieves a more traditional shape that is both visually captivating and exceptionally readable.

In low-resolution scenarios, AR One Sans excels with additional pixels at letter endings that counteract rounding effects. The typeface features distinct shapes to eliminate confusion between commonly misrecognized letters, such as zero with a dot, curved-bottom “l,” and “I” with horizontal strokes at the top and bottom. Its spacing and letter width are optimized for negative polarity (light text on a dark background) and angular distortion.

Additionally, AR One Sans is expertly crafted to mitigate halation and pixel loss in lower resolutions, ensuring that stroke ends remain sharp and well-defined.

Beyond AR and VR

While AR One Sans is tailored for augmented and virtual reality applications, its adaptability extends far beyond these realms. This versatile typeface can also enhance readability in contexts such as automobile dashboards, signage, and mobile applications.

AR One Sans is a cutting-edge typeface developed to revolutionize text readability in augmented reality and digital environments. With an unwavering commitment to design, legibility, and adaptability, AR One Sans is setting new standards for typefaces optimized for today’s diverse range of devices and applications.

AR One Sans

Typeface design by Niteesh Yadav.
Find the font here.

Frankfurter Buchmesse 2023

The annual Frankfurter Buchmesse took place from October 18th to 22th—this year for the 75th time. Once again, we had the pleasure to give it a visit and get inspired by beautiful books, interesting events, conferences, readings, talks, and performances, and to connect with plenty of people who are as passionate about books as we are.

This year’s guest of honor was Slovenia. With more than 70 events featuring Slovenian authors, poets, intellectuals, and the international literary scene, the Guest of Honor Pavilion drew huge crowds of fair-goers. Thanks to its two auditoriums and sustainable architecture, the pavilion brought not only the Guest of Honor motto “Honeycomb of Words” but also the Slovenian landscape to Frankfurt.

We were very happy to spot our own books, the Yearbook of Lettering #1, the latest issue of Slanted Magazine—#41 Amsterdam, Flexibel Visual Systems and the Typodarium—on display at the booth of our distributor Idea Books, one of our printers BALTO print, and at Verlag Hermann Schmidt.

As a way of keeping the Ukrainian book industry visible despite Russia’s war of aggression and demonstrating international solidarity, a 200-square-meter collective stand and a diverse program of events was organized for this year’s book fair. We were very happy about the opportunity to meet some of the Ukrainian creatives who support our upcoming issue of Slanted Magazin—#43 Ukraine in person, and to connect with more Ukrainians working in the creative field. We listened to an inspiring talk about book design by Anna Karnaukh (Telegraph Design), Carolin Blöink (Stiftung Buchkunst), and Oleg Gryshchenko (Pictoric), moderated by Yuliia Kozlovets (director of the Book Arsenal Festival).

The sheer mass of great, beautiful and inspiring books, possibilities and techniques was as always incredibly inspiring and we left the fair exhausted but happy with thousands of new impressions. We had a fantastic time at the Frankfurter Buchmesse 2023 and will definitely return next year! It will then take place from 16-20 October 2024, with Italy as the Guest of Honor.

Druck + Design Konferenz

On October 18th we were in Munich at the Druck + Design Konferenz (Print and Design Conference)—and it was a blast! The event, hosted by Grafikmagazin and Verband Druck- und Medien Bayern was filled with keynotes, work panels, and plenty of time to browse and exchange ideas—as well as snacking some fine pretzels.

A colorful mix of Germany’s creative community gathered at the beautiful location Die Macherei in Munich—students, enthusiasts, and experts from the print and design industry. It very quickly became very clear that the people present were united by a love of haptics and enthusiasm for quality print and design, all convinced of a future for print. At the same time, neither the attendees nor the speakers are naive when it comes to the question of whether print is dead and obsolete.

Keynote-Speakers were Dominik Wichmann, Co-Founder and Chief Creative Officer, Looping Group who spoke about the relevance of print in digital times and the urgency to accept the changes in the print industry and not to be defeated but to adapt to the new interplay of print and digitality. Following up was Kristin Janoschka, Executive Director Consulting at Peter Schmidt Group, who gave insights about her work as a consultant of brands, whose perception for printed products change and their appreciaction for them increases. Magnus Gebauer, Networking and trend expert from MedienNetzwerk Bayern gave us an overview oft he most important trends for the print and media industry, showcasing a yearning to move more away from digital and value the slowness and permanence of print. The day was closed by screen printing legend Lorenz Boegli, who kindly gave an entertaining insight into his unique RGB silkscreen printing technique, which turns the printing world upside down.

In between the keynotes, there were also many work panels where people could get additional inspiration and go deeper into exchange and discussion. You could also admire the exhibitors’ great products, which showcased an incredible variety of printing and refinement techniques and beautiful materials.

There were many times and places at the Druck + Design Konferenz where we discussed how the future of print and design is changing —what change can be foreseen, where the relevance of print might be and stay, how we need to adapt to changing circumstances and technologies like—of course—AI, what the opportunities are and will be. One thing is clear, however: the visitors as well as the speakers have no doubts about their passion for print and thus also about its future—even if the development will be suspenseful.

We are really looking forward to the next conference and the inspiration that awaits us there!

POSITIONS

At POSITIONS, the Conference on Visual Culture, you can find lectures and presentations from design, art, photography, architecture, and theory—curated by Philipp Neumann and Karen Laube. For a period of six years (2014 to 2019), the conference was part of the Leipzig design festival Designers’ Open, organized and curated by MZIN. This year, from 10 a.m. to 5 p.m., attendants can get to know a selection of positions from Munich, Frankfurt/M., Hamburg, Berlin, Stuttgart, Halle/S., and Leipzig in the space of MZIN—including a one hour break with support by Café Treff (lunch break, at the museum).

Line-up 2023:

Patrick Thomas
The British designer works with print techniques, influenced by pop culture, signs, and symbols. His works in typography, poster design and other projects will be part of his presentation. The AGI-member teaches at ABK Stuttgart and is based in Berlin. (Lecture in English)

Sandra Doeller
The studio Bureau Sandra Doeller, based in Frankfurt/M., is working with corporate design, book design, editorial, and exhibition design for museums, clubs, and publishers. Sandra Doeller also teaches at Hochschule Mainz. (Lecture in German)

Lukas Feireiss
The Berlin-based curator, artist, and editor works in the broader field of research, art, design, urbanism, and architecture (books for publishers like Frame, Gestalten, Sternberg Press, Spector Books). He will ao. present the current publication Weak Signals. New Narratives in Art and Technology which was created with Florian Hadler and students of the UDK Berlin. (Lecture in German)

Anna Unterstab, Hân Lê
The latest part of the series Studienhefte Problemorientiertes Design by the Hamburg-based publisher adocs is titled Design Intersektional unter die Lupe nehmen (En: Looking at Design Through the Intersectional Lens)—a publication with research, strategies, and many voices that need to be heard. Anna Unterstab teaches information design at Burg Giebichenstein University of Arts and Design Halle and is based in Hamburg. Hân Lê runs a visual communication studio in Halle/S. (Lecture in German)

Fabian Reimann
The Leipzig-based artist is co-founder of the literature-magazine KRACHKULTUR and publisher of Another Earth Catalog and of the image-essay magazine freeman’s journal. He will talk about the latest co-edited book Buch Handlung Welt Bücher, which is about an important art book store in Hamburg. (Lecture in German)

Nicola Reiter, Verena Hägler
Verena Hägler is a photographer working with empirical urban research. Nicola Reiter works as a (book-) designer, while publishing her own projects. Their talk will be about RAND (a book they both edited, released by Spector Books), combined with readings, and joined by publisher Anne König. (Lecture in German)

The conference is supported by Museum der bildenden Künste (MdbK), the City of Leipzig, Café Treff, form and Slanted Publishers.

Free entry.
Please pre-register by sending an email to [email protected].

Positions

Where?
Museum der bildenden Künste, Leipzig

When?
November 5th, 2023
10 a.m. to 5 p.m.

More information here.

DynamicFontDay

The Typographische Gesellschaft München (Typographic Society Munich) is once again hosting the DynamicFontDay on November 18th, 2023, in Munich. International speakers will discuss innovative approaches and developments in typography beyond print. The conference serves as a gathering point for designers, typographers, and coders—offering insights into current trends and topics, including font design, 3D typography, accessibility, and generative design. The DynamicFontDay provides an opportunity to learn about the latest techniques, gain inspiration, and engage in exciting conversations. It is one of the most significant gatherings in the font and typography industry in Germany and allows for the exploration of opportunities and risks and the updating of one’s own positions.

International experts report on the latest trends:

  • Ann Bessemans (Universität Hasselt) presents visual emphasis patterns using type
  • Kimya Gandhi (Mota Italic) discusses opportunities for expanding typeface design, using Devanagari script as an example
  • Akiem Helmling and Bas Jacobs (Underware) offer inspiration for future typeface design based on past experiences
  • Philipp Koller (burrowlab) develops parametric fonts for real-time type design
  • Sabina Sieghart (READSEARCH) highlights how typography can assist people with reading difficulties
  • Tina Touli reflects on creative perspectives in daily life
  • Vincent Wagner discusses 3D typography beyond superficial effects
  • Daniel Wenzel (DIA Studio) explores the role of automation and AI in typography

The forward-looking International Conference on Typography in Digital Media will continue to take place in the premises of the Designschule/Meisterschule für Mode. Additionally, there will be an online broadcast of the lectures.

A full day dedicated to digital fonts, curated by Oliver Linke, Tim Ahrens, and Antje Dohmann. The conference language is English.

DynamicFontDay

Where?
Munich

When?
November 18th, 2023

komma 27

In the 27th edition of komma magazine, students from the FH Mannheim explore topics such as failure, competition among designers, capitalism, artificial intelligence, language, and other socially relevant subjects on 144 pages.

komma 27 is an attempt to highlight shortcomings and moments of failure, to acknowledge them, and to find solutions and ways of dealing with them, but not through toxic positivity. Not with a toxic positivity as often conveyed to us through social media, but rather close to reality, constructive, honest, and with a bit of fun. The Komma-team has examined various perspectives—by professors, design offices, -agencies, authors, photographers, and students.

komma 27

More information here.

Anthem of Ukraine

We will lay our soul and body for cherished freedom. Calligraphy and lettering.

In the 21st century, Ukrainians still have to fight and sacrifice their lives for their freedom and culture. The words from the anthem take on a direct meaning. This lettering is full of flourishes inspired by the historical Ukrainian cursive script and symbolizes Ukraine’s cultural prosperity and invincibility even in these challenging times.

The work has been awarded the TDC69 Certificate of Typographical Excelle