Experimental Type Special / Mag + Type Stencils

We love typography and experiments! On occasion of the release of Slanted Magazine #40—Experimental Type, a set of three type stencils has been published as a limited special edition that is exclusively available in the Slanted Shop.

Draw your own experimental font with the three stencils included in the set. Each stencil contains a different set of shapes that can be combined with each other—the creativity is limitless! The colorful stencils are made of a durable, recyclable material that is perfect for die cutting. Let’s go!

Set of 3 type stencils
Die Cutting & Printing: Stober Medien
Material: PRIPLAK OPALINE, 500μ, Himbeere, Limone, Zitrone, distributed by Inapa Deutschland

Also available without magazine here.

Slanted Magazine #40—Experimental Type

Mum probably told us, “The oven is a danger zone.” Still, we had to experiment our first burn to know how hot fire is. Our parents covered us with millions of kisses, long before we fell in love with somebody and experimented our first kiss. Even if we saw it before, nobody could really tell us how beautiful it is. Everyone must experience it by him- or herself. In other words: by making experiments we gain experience and knowledge. Experiments open our horizon, let us enter the undiscovered, and feed our lust for more.

With Slanted Magazine #40—Experimental Type we open eight doors, each one offering a glimpse into spaces that were explored by pushing conventions, limitations, and thoughts to the next level. We all know though, that the game is never over. The discovery of new areas, technologies, and thoughts are a constant source of inspiration, research, and experimentation for those that follow.

Tactile Realism shows works with tactile character, adding material properties to the typeface. The Anti-Reader-Friendly typography becomes the “readymade” of the type world—and in doing so, a form of denying the possibility of defining art. In the Deliberate Imperfection & Serendipity space, disassembly, and assembly of type leads to great discoveries. While Coincidence & Intention brings the accident into the design process and explores works based on mistakes and inaccuracy. The Ever-Changing room showcases experiments of kinetic typography breaking away from its static state by adding movement and a three-dimensional stereoscopy, and the fourth dimension: time. Cutting Edge drives the attention to state-of-the-art technologies and their impact on design experiments. Off the Screen explores physical space in which writing becomes material, object, and sculpture. Last but not least, Push to the Limits engages to think finitude differently, breaking boundaries of learned symbolisms and triggering new stimuli.