Please note: This is a preorder only, the magazine gets shipped once published December 2026.
What can graphic design actually do? Can it make a difference beyond communicating a message, selling an idea, or making something look good? We don’t have a single answer. Instead, for PLOP #03, we brought together different stories, approaches, and forms of wrażliwość — a Polish word that comes close to sensitivity, but also suggests an openness to what happens around us.
Some of these stories begin close to home. Sonia Góral looks at family and the personal images through which we understand ourselves. Poster Rex works with collectives and screen printing, where making things together becomes part of the message. Podpunkt Studio takes us to a much larger scale: 16.8 million copies of a safety booklet, designed to reach every household in Poland. A reminder that graphic design can be more than a poster on a wall or a post on a screen. Sometimes it becomes part of a country’s response to uncertainty.
Elsewhere, Jakub Jezierski finds humor and new forms of craft in the face of difficult realities. Other contributions ask how money, manners, and the conditions of our work shape what we make — and what we are able to say.
These projects don’t share one style, one politics, or one idea of what a designer should be. That’s precisely the point. Social and political design isn’t a visual genre. It’s a way of paying attention, taking a position, or making space for others to do so.
Say hello to PLOP #03.
PLOP is published by Slanted Publishers in collaboration with Three Dots Type Foundry and the Polish Graphic Design Foundation.
For more than a decade, Monty Richthofen’s tattoo practice Maison Hefner has lived as an evolving art form of sketchy handwriting and broken poetry. In 2024, the project committed social media seppuku: At 110,000 followers, the Instagram account was deleted as a deliberate artistic act, killing the internet persona and marking the work’s completion within that medium.
The Life and Death of Maison Hefner departs from that point of closure. It stages the tension between ephemerality and permanence, translating a digital stream into a physical archive. The shift is not neutral: it moves from algorithm-driven visibility to an afterlife in a controlled environment, avoiding further proliferation of images online.
Therefore the book becomes a reclamation of narrative and context—elements flattened by social media–and archiving is understood as an act of authorship, not preservation alone. The Life and Death of Maison Hefner gathers this body (!) of work as raw material. Imperfections remain visible. Fragments resist resolution. The book invites a slower engagement: to read non-linearly, to return, to linger. It retrieves narrative from the speed of the feed and restores context to what was once consumed in noise.
At the same time, it fractures singular authorship. Through collaborations with artists, writers, poets, and musicians, the work is opened up—extended, translated, reinterpreted. What began as an individual practice becomes a shared field.
Tattooing persists alongside this shift: a parallel archive, carried on bodies, aging with time, resisting reproduction. In contrast to the disembodied digital image, it remains physical, intimate, irreversible.
The title suggests both an ending and a myth. Maison Hefner as persona, as construct, as projection—separated from the person behind it. Its “death” is not disappearance, but transformation. A refusal of perpetual visibility. A move toward autonomy. What remains is the work, re-situated. Positioned within a broader conversation about digital legacy, authorship, and control, The Life and Death of Maison Hefner asks what it means to end something on your own terms—and what can begin in its place.
Under the theme Turn ideas into action, we trace the creative process from start to finish: coming up with the idea, shaping it, and bringing it into the world.
To follow that arc, we have structured the issue in three chapters – each one comes with its own interviews and texts, and its own paper and typeface, chosen to match the respective step.
Including interviews with:
– Mirko Borsche
– Porto Rocha
– Pablo Tomek
– Studio Feixen
– Gab Bois
– niceaunties
– Bráulio Amado
– Daniel Gebhart de Koekkoek
– Florian Kaps
– ABC Dinamo
– Healthy Boyband
– Public Possession
Slanted Magazine #48—Seoul offers a vivid insight into South Korea’s contemporary creative scene. The issue highlights the diversity and experimental spirit of design in Seoul—from graphic design, typography, and visual communication to architecture, product design, and digital media.
Featuring experimental approaches, innovative typographic work, and strong visual storytelling, the magazine presents outstanding projects by designers, illustrators, and artists from Seoul, across South Korea, and beyond. Essays and articles examine cultural influences such as K-pop, fashion, technology, and urban life.
A special highlight is a feature on fifteen studios visited by the Slanted team, providing insights into their workspaces, processes, and the people behind the designs. Additional 10 × 10 interviews and essays offer a broader perspective on the city’s creative ecosystem.
Slanted #48—Seoul presents a dynamic portrait of a design scene shaped by fresh perspectives.
On occasion of the release of this magazine issue, we created a limited special edition in collaboration with nuuna by brandbook, available exclusively in the Slanted Shop: a high-quality notebook.
Please note: This is the notebook only, not the magazine!
On occasion of the release of Slanted Magazine #48—Seoul, we created a limited special edition in collaboration with nuuna by brandbook, available exclusively in the Slanted Shop. At its heart: a high-quality notebook made for collecting ideas, making plans, sketching things out, and filling the pages with whatever comes to mind.
With its high-gloss silver cover, compact format, and bold look, this notebook is definitely here to make a statement—not ask questions. Inside, 176 pages of premium Munken Polar paper feature a subtle dot grid, giving you just the right amount of structure while leaving plenty of room to think outside the lines. A black bookmark helps you jump back in wherever you left off.
Please note: This is a preorder only, the book gets shipped once published November 2026.
GraphicDesign.zip explores almost a century of Swiss postage stamp design, revealing how graphic designers have communicated complex events, identities, and messages within the tiniest of formats. From standard rectangles to unusual shapes like rhombuses and triangles, stamps are more than just functional objects—they are miniature canvases of cultural expression.
The publication examines eight key aspects of stamp design: format, shape, sheet layout, materiality, image cropping, recurring symbols, typography, and the integration of external image material. Each category highlights how designers creatively manipulate constraints to enhance visual storytelling. Examples include stamps with embossed Braille for accessibility, ones printed on fabric, and others incorporating metallic foils and textures to create unique tactile and visual experiences.
Through detailed case studies, the book demonstrates the interplay between content and form. It combines historical research, archival material from the Swiss Post, and contemporary design analysis, making it an essential resource for graphic designers, philatelists, and anyone interested in the art of communication on a micro scale.
Pavlidis explores an abandoned, former major arterial road in Northern Greece. The project documents the path’s remnants, which are decaying due to neglect and the impact of the new, parallel highway. The familiar landmarks are now covered in dust and being forgotten.
Sunny Days, A True Story documents unsettling spaces and artifacts that belong to a strange, mysterious world. The portraits show people living off-grid in this area — hermits, runaways, and artists. Their self-contained lives and the landscape’s transformation are contrasted with local development schemes and exclusion policies.
Green Archiving explores the intersection of archival practice and environmental sustainability, offering a radical reimagination of archives as ecological entities. It critiques conventional recordkeeping methods, which often perpetuate resource-intensive and preservationist paradigms, and introduces the concept of ‘green archiving’— a framework that integrates sustainable technologies, practices, and philosophies into the curation, preservation, and dissemination of knowledge. It draws on speculative theory, eco-criticism, software studies, decolonial and feminist studies, to propose new imaginaries for the future of archiving in the face of climate crisis. Through case studies, critical essays, interviews and speculative designs, Green Archiving fosters a dialogue that balances memory and preservation with ecological stewardship for future generations.
Green Archiving will be included in the ‘Making Public’ series that investigates ‘the public’, the civil domain where space, knowledge, values and commodities are shared.
Contributors (tbc): Kristina Andersen, Chiara Borognovo, Brian Castriota, Ofri Cnaani, Annet Dekker, Judith van der Elst, Flaminia Fortunado, Kristoffer Gansing, Olga Goriunova, Linda Hilfling, Aymeric Mansoux, Ekaterina Maslova, Nancy Mauro-Flude, George Oates, Asti Sherring, Marloes de Valk, Frouke Wiarda.
Valiz supported by Creative Industries Fund NL.
Risograph Print
Each Risograph print is one of a kind. Vibrant colours and the characteristic slight misalignments and imperfections of the printing process make every print unique.
Printed by hand at Risoclub Leipzig.
Risograph Print
Each Risograph print is one of a kind. Vibrant colours and the characteristic slight misalignments and imperfections of the printing process make every print unique.
Printed by hand at Risoclub Leipzig.
Risograph Print
Each Risograph print is one of a kind. Vibrant colours and the characteristic slight misalignments and imperfections of the printing process make every print unique.
Printed by hand at Risoclub Leipzig.
Across 20 pages in Grafikmagazin 04.26, we explore how to spark people’s curiosity and stay on their radar. How studios and designers can showcase what they are capable of. How companies can present themselves effectively and create excitement around their own events.
Often, it doesn’t take much. With good planning and by investing energy in the right places, you can achieve a powerful impact even with a limited budget. Our Grafik+ projects show what really matters — and why it can sometimes be worth going the extra mile.
The extensive “Showroom” section lets readers know other creatives and the stories behind design studios worldwide. The “Design and Research” category presents interdisciplinary projects that show how science and research can benefit from creative solutions and play an active role in graphic design. In the “Production and Publishing” section, everything revolves around print. You will find exquisite books, sophisticated annual reports, and high-quality embossed greeting cards. Also, the cover artists of each issue are interviewed or get to highlight their ideas.
Each cover is printed on a different paper, and the design interprets the particular Grafik+ theme more broadly or shares a fresh perspective on a unique design technique. The Grafikmagazin team, its correspondents, and freelancers are bound and driven by the firm belief that print is not dead. With the will to prove just how alive it is, and the motivation to start something fresh yet deeply traditional, they strive for nothing less than to create another print magazine that makes history.
As the name indicates, Grafikmagazin is a print magazine focusing on all things graphic design. Primarily it’s aimed at professional creatives and design students from Germany, Austria, Switzerland, and beyond. Grafikmagazin presents outstanding work from graphic design, typography, illustration, photography, design theory, research, paper, and printing every two months.
FONS HICKMANN: Posters Now and Then presents the first comprehensive survey of the poster work of Fons Hickmann—one of the most influential designers of our time. Published on the occasion of the exhibition in October 2026 at the Brandenburgisches Landesmuseum für moderne Kunst, it brings together a curated selection spanning more than three decades, offering insight into the conceptual and formal foundations of his work. Many of the featured posters have received international awards and have shaped the discourse of visual communication.
Hickmann’s posters go beyond conveying information, functioning as spaces of reflection where typography, image, and meaning intersect. Oscillating between clarity and disruption, system and rupture, they form a distinctive visual language that resists straightforward interpretation—positioning the poster as a poetic and political medium. Accompanying texts frame the works and provide perspectives on Hickmann’s design practice and approach to visual communication.
FONS HICKMANN: Posters Now and Then is a compelling contribution to contemporary poster culture and a lasting document of the poster as an independent artistic medium—where image, typography, and cultural discourse converge.
By rotating the six sides, each of which features one of six basic geometric shapes, an almost infinite variety of compositions can be created, combining forms, images, signs and shapes. The cube can inspire graphic artists, designers and architects, and teach children hand-eye coordination while they play, giving them an understanding of the construction of graphic motifs. Rather than presenting design theory in written form, the cube encourages hands-on discovery.
Construction, deconstruction and creativity challenge the user’s cognitive abilities. This creative object intelligently draws on diverse design influences. No matter how you rotate and turn it, the de-sign cube inspires greatness.
For over 25 years, artist Alex Fischer has been exploring the hidden beauty beneath our feet through his Drainspotting project. To date, he has created over 500 frottages of drain covers from 135 cities spanning 35 countries and 6 continents. Each imprint transforms a utilitarian object into art, exposing the industrial and cultural character of its origin and, collectively, reflecting a rich spectrum of cultures and eras.
The imperfections of the rubbings invite imagination and subjectivity, contrasting with the rigid precision of the originals. Alex‘s work celebrates diversity, discovery, and the overlooked artistry of urban design.
How do the things that surround us influence our perception of the world? What impact does design have on our material world and our social relationships, and how do values change?
Marion Digel examines which design elements, concepts and phenomena define our experience of shape, space, material and color. Particularly in an increasingly complex and media-saturated world, this handbook shows which fundamental design principles provide orientation and enable lasting understanding.
Three-dimensional design as an open process of discovery, experimentation, and reflection lies at the core of this book. Numerous practical examples, precise texts, and extensive visual material make connections clear and easy to follow. This handbook is both an invitation and an inspiration to question design with a critical eye and to keep developing it further, on one‘s own term.
Choosing the right typeface is an aspect of visual composition that is often underestimated. Readers are often unaware of type design. It communicates subliminally. And powerfully.
Good designers are therefore always on the lookout for new typefaces that subtly lend expression to texts and secure readers’ fiercely contested attention. But where can you find new typefaces? How do you find your way through the jungle of typefaces? Who scouts out the best ones for you? Julia Uplegger, Raban Ruddigkeit, and Lars Harmsen collect, sort, analyze, and evaluate materials, and compile a selection of typefaces that are on-trend and of high quality.
Time and again, Sundays surprise us with meta-trends. In 2027, Sundays are marked by trendy monospace typefaces: typewriters are making a comeback at flea markets, and type designers from around the world are blending retro charm with contemporary aesthetics.
Following the success of the first three editions, Slanted Experimental Type 4.0 continues the series’ exploration of innovative approaches in typography and graphic design. The new edition was created in collaboration with students from Dortmund University of Applied Sciences and Arts, led by Prof. Lars Harmsen and Andreas Ruhe, and presents entirely new content that pushes creative boundaries.
The publication highlights design strategies that embrace accidents, imprecision, and unconventional methods. It showcases typefaces developed through unique concepts and systems, from AI-generated and experimental fonts to variable type design.
Slanted Experimental Type 4.0 invites readers to explore new territories, rethink familiar processes, and challenge the lines we draw—both in design and beyond.
This is a preorder only, the book gets shipped once published January 2027.
Creativity is not an art. It follows simple principles that anyone can understand and use. And it needs only a few skills that are easy to learn.
Inter Human is the result of a forty-year journey that has successfully taken the author through many different fields of creativity. It has led him to the belief that, in the age of Industrial Creativity, we must return to the basics if we want to remain in control as we interact with artificial intelligence.
The book offers practical insights, clear principles, and real experience for anyone who wants to master Human Creativity.
→ www.inter.berlin Text in English and German.
As the name indicates, Grafikmagazin is a print magazine focusing on all things graphic design. Primarily it’s aimed at professional creatives and design students from Germany, Austria, Switzerland, and beyond. Grafikmagazin presents outstanding work from graphic design, typography, illustration, photography, design theory, research, paper, and printing every two months. The editorial team of Grafikmagazin created a variety of sections and categories but selected focus themes for each issue, like “Branding for Tech.” The topics portray how imaginative, eclectic, and playful graphic design can be while featuring successful branding concepts and niche ideas.
The extensive “Showroom” section lets readers know other creatives and the stories behind design studios worldwide. The “Design and Research” category presents interdisciplinary projects that show how science and research can benefit from creative solutions and play an active role in graphic design. In the “Production and Publishing” section, everything revolves around print. You will find exquisite books, sophisticated annual reports, and high-quality embossed greeting cards. Also, the cover artists of each issue are interviewed or get to highlight their ideas.
Each cover is printed on a different paper, and the design interprets the particular Grafik+ theme more broadly or shares a fresh perspective on a unique design technique. The Grafikmagazin team, its correspondents, and freelancers are bound and driven by the firm belief that print is not dead. With the will to prove just how alive it is, and the motivation to start something fresh yet deeply traditional, they strive for nothing less than to create another print magazine that makes history.
Meet Liz, she finds things. Maybe they find her … With a growing archive of photographs—some humorous, some deeply impressive—her work follows moments that shape her artistic interests and ways of seeing. Together with the editor, she curated three stages of Exploring, accompanied by text contributions from previously unpublished writers.
Meet Gaze: a publishing series translating individual perspectives by students into print. Each edition is developed with one young collaborator, who becomes the starting point for an editorial theme and a collection of visual and written works. The project creates a space for personal ways of seeing that might otherwise remain unpublished.
Gaze is an ongoing, self-initiated student publishing project interested in making personal artistic work public and accessible while maintaining a focus on thoughtful editorial and physical production. The first edition was printed on paper generously supplied by ICON Papers. Its warm tone and sprinkled texture make each copy subtly unique, adding a tactile and vivid quality to the reading experience.
Please note: This is a preorder only, the book gets shipped once published November 2026.
The eighth edition of the acclaimed Yearbook of Type series presents a curated overview of contemporary type design (2024–2026), with a focus on history and heritage. Building on the successful concept of previous volumes, it brings together high-quality typefaces from leading publishers, independent designers, and foundries worldwide—making it a valuable resource for type selection.
Each typeface is presented across three pages: a specimen spread showcasing its character, followed by a detailed profile with styles, weights, language support, OpenType features, and key information on designers and foundries. A comprehensive index ensures quick navigation.
An accompanying microsite provides access to all featured typefaces for browsing and purchasing, extending the book into a functional digital library.
For designers, agencies, and typographers, Yearbook of Type #8 is both an inspiring catalogue and a practical reference—supporting type selection while highlighting the evolution of typography.
Please note: This is a preorder only, the book gets shipped once published November 2026.
The World’s Best Typography, Typography 47 presents the latest winners of the Type Directors Club competition, showcasing outstanding work in communication design, lettering, and typeface design from around the world. For over seventy years, the Type Directors Club has recognized excellence in typography through its annual awards.
This edition continues that tradition in a refreshed, more compact and user-friendly format, now published for the first time at a more accessible price, while offering expanded content and a broad, inspiring selection.
Curated by the Type Directors Club, the book features award-winning projects reflecting the creativity and diversity of today’s global design community. A Judges’ Choices section includes selected works with commentary from jurors and insights from designers, while a structured index of typefaces and designers adds practical reference value.
Typography 47 celebrates typographic excellence and the global community shaping contemporary visual communication.
Last copies available until supplies last!
Exploring the relationship between type design and tools, GridType Vol.1 presents an edition of ten typefaces created with the experimental type tool grid-type.com. With typefaces by Anna Cairns, Boom Promphan Suksumek & Anna Srikitkul, Charlotte Rohde, Hanna Boslau, Julie Werenskjold Sørensen, Miquel Hervás Gómez & César Rogers (fanfare), Studio HanLi, Svatopluk Ručka, Trang Hà and Özgür Deniz Koldaş. With interviews by Lena Weber, studio pointer* and Céline Hurka.
GridType is inspired by historical grid-based type design with stencils, such as the Plaque Découpée Universelle from the 1870s—a single stencil that allows you to draw all the letters of the alphabet. The experimental type tool allows you to create your own stencils by selecting a grid and adjusting various parameters, such as the number of rows, columns, or the level of complexity. There are nine different grid types available, providing insight into the research on grid construction. Some grids are geometric, based on rectangles, triangles, or circles. Others are inspired by how different display technologies, such as pixels and segments, have influenced type design. Additionally, there are references to historical grid-based type design, including Wim Crouwel, the Bauhaus, and the Plaque Découpée Universelle. The project explores how code can be incorporated into the design process, allowing for almost endless variations through different parameters and serendipitous discoveries.
The publication launches GridType Vol.1, an edition of typefaces drawn by 10 designers with the tool. The publication presents the type specimen for the typefaces, which are available for download via grid-type.com. Additionally, it also gives insight into type and tools. Through Q&As and interviews it discusses type design and technology—such as the relationship between type and tech development, or why we should build our own tools.