Cyrillize it! A guide on Cyrillic typography for graphic designers

Cyrillic is a script applied by more than 250 million people across Europe and Asia using more than 100 languages. Within the last 15 years it has become increasingly more visible, popular, and utilized in the West.

The Ukrainian author reflects on the relevance of Cyrillic in today’s world, looks at its history and current design trends, provides an overview of the typographic rules and offers practical advice on designing with Cyrillic type. Cyrillize it! A guide on Cyrillic typography for graphic designers also includes interviews with graphic and type design professionals.

In our globalized world, in which multiscripturalism is increasingly important, “Cyrillize it!” offers designers a method for professionally and successfully handling a different script system. Featuring a playful and esthetically appealing design, and a number of outstanding examples of contemporary graphic design, the publication is also of interest to everybody generally curious about Cyrillic design and related cultures.

The Narrative Power of Illustrations and Drawings – Mind the Gap

Drawing is the earliest method of visualization and leaving a mark, an archetypical means of expression and communication that is rooted deeply within us as proof of our own existence and presence. It constitutes the base of not only illustrative and artistic visual expression, but of any form of creative work.

The author’s uses her experience as an illustrator and teacher to avoid template-like schemes. Instead, she focuses on the intrinsic logic of things, their connections and relations, and the link between presentation and design, using numerous illustrations, explanations, quotations, exercises, examples, tips. How can pictures be used to tell a story, how are they made, and how do the head and hand collaborate in the creative process? Just as each image is unique, so are the individual intentions of artists.

“The Narrative Power of Illustrations and Drawings – Mind the Gap has one primary goal: to urge you to question the world with open eyes, set conventions aside, and engage with different mindsets, new perspectives and approaches with an open mind. Dare to be crazy, playful, and willing to say yes to any experiment, essentially throw all rules overboard in order to find (and return to) your own understanding.”
Ute Helmbold

Mono is the new Black. Monospace Fontionary

Monospace is on the rise and the design scene is thrilled by it. Mono is the new Black addresses function, aesthetics, and originality of typefaces with fixed character widths, which have become an indispensable part of the visual landscape of digital and printed media.

Beginning with a cultural-historical outline, Robert Steinmüller explores the relevant aspects of type history and reveals how closely interwoven type, technical progress, and social development are. Valuable and practice-oriented application tips as well as selected examples from very different areas form the centerpiece of his examination of non-proportional typefaces.

The monograph is rounded off by a comprehensive, inspiring and in this form unique typeface compendium, in which both renowned classics and creative new creations are presented in a concise form.

The Graphic Artist and his Design Problems / Gestaltungsprobleme des Grafikers

Müller-Brockmann’s book The Graphic Artist and his Design Problems / Gestaltungsprobleme des Grafikers aimed to solve the graphic designer’s problem of finding the appropriate contemporary form. It became a standard work that still serves as a historic practical guide well beyond the boundaries of Switzerland.

This edition from 2023 is an unabbreviated reconstruction of the original edition of 1961, as a hardcover with jacket. It includes the additions made by Josef Müller-Brockmann himself for the paperback edition of 1983.

In the first part, the path from illustrative to functional graphic design is traced, as well as the meaning of design elements, their use and effect in every area of advertising: business printed matter, advertisements, brochures, books, posters, and exhibitions. The middle section of the book contains fundamental thoughts concerning the work of the graphic designer. The chapter “Science and Visual Communication” covers the area of semiotics and communications research. In the last part, the systematic education of the graphic designer is presented by means of a comprehensive documentation.

Thus, the book offers graphic designers a valuable survey of the fundamental tasks of design.

Armin Hofmann. Reduction. Ethics. Didactics.

Armin Hofmann has influenced generations of graphic designers around the world with his work and approaches. Far removed from doctrinaire views, he exemplified a professional attitude that was characterized by the idea of reduction, a pragmatic outlook, and a deep sense of responsibility. Armin Hofmann. Reduction. Ethics. Didactics. provides a comprehensive overview of his creative work, his professional ethics, and the principles he developed and applied in his teaching.

It is structured along three levels: the in-depth examination of Hofmann’s work, his biography, and original texts on various aspects of his work. Guest contributions from former students and later renowned graphic designers and typographers, as well as fellow colleagues, paint a very personal picture and illustrate the worldwide influence of his work based on their own pieces.

This book was compiled almost exclusively from original sources, in particular from the extensive private archive, enabling a very authentic, profound, and multifaceted immersion into the legacy of Armin Hofmann.

How Communication Design Works. Principles, Inspirations & Challenges

The professional field of communication design is undergoing radical changes: An excessive flood of information, artificial intelligence, social media, easily accessible graphics tools, efficiency and cost pressure – all of this is putting pressure on communication designers, as a result of which they hardly have any time to think about their own actions. But more than ever before, the circumstances warrant a broad education and require us to think beyond the confines of our own profession.

The manual How Communication Design Works responds to the current situation in order to reconcile the discipline’s societal relevance with professional practice. Using examples and implementable suggestions, the authors worked out what really matters in visual communication today. They describe the interlinking of a wide range of fields along with their far-reaching consequences and take a close look at the current challenges. In addition, they examine the criteria that make up good design in great detail.

The theme that runs through the entire book is as follows: Communication design is always the result of the mindset of the people who operate within it. They decide how their actions influence communication, what values it conveys, and how we experience the world around us.

ez fraktal

The photo book ez fraktal (me self-similar) by artist Cihan Çakmak is dedicated to the themes of self-determination, trauma and longing.

The publication contains self-portraits and photographs taken over a period of seven years. It is complemented by quotes from over 13 years of collected night dreams, which together form the visual and narrative language. This publication presents the story from the perspective of a Kurdish-German woman, offering a voice that has rarely been heard in this form in Germany.

Road Works

Road Works Zine is a typeface specimen for the “Road Works” typeface, an experimental and variable font inspired by road cracks. The zine also serves as a font license. Additionally, the back of each zine is a poster showcasing the “Road Works” typeface in use, with eight different design options available. The typeface is a visual exploration of our ever-changing environment, serving as a limitless source of inspiration. Road cracks, in particular, became the foundation for the design. The font includes five stylistic sets in both Cyrillic and Latin alphabets. While letter variations are randomized, you can control them manually by selecting specific glyphs.

– Each letter is a unique depiction of a road crack.
– Letter “O” variations inspired by road hatches.
– Including symbols based on road markings.

For the posters, designer Olga Kuzovkina collaborated with eight designers, each of whom created a unique poster using their own visual language and approach. The front side is designed to resemble a red and white crosswalk, inviting you to physically or metaphorically step across and begin experimenting.

Idea & Font Design: Olga Kuzovkina
Poster designers: Alex Babariko, Vika Hermanenko, Vlad Boyko, Zhenia Katashynska, Maryna Zevako, Oleksii Salnykov, Olga Kuzovkina, Svitlana Korniienko

Grafikmagazin 01.25

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 “Typography.” 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.

Slanted Experimental Type 3.0

Following the success of the first two editions, Slanted Experimental Type 3.0 has evolved into an ongoing series, each edition exploring groundbreaking approaches in typography and graphic design.

The third edition, developed in collaboration with students from Dortmund University of Applied Sciences and Arts under the direction of Prof.Lars Harmsen and Andreas Ruhe, introduces entirely new content, pushing the boundaries of creative experimentation. When borders are drawn arbitrarily, they often disregard geographical, ethnic, or historical realities, sparking tension and conflict. While these themes might seem distant from typography, applying such reflections to design offers intriguing challenges. Designers often grapple with their role in a consumer-driven system, questioning the purpose of their work. Yet, they hold the power to choose projects, cross boundaries, and explore uncharted paths.

This project delves into design strategies that embrace accidents, imprecision, and unconventional methods, showcasing fonts born from unique concepts or systems. From AI-generated typefaces to variable fonts, Slanted Experimental Type 3.0 challenges norms and redefines the design process. It’s an invitation to venture into uncharted territory, shift perspectives, and question the lines we draw—both in design and beyond.

 

second edition

Solomiya No. 4 – The Environmental Issue

The first monothematic issue of Solomiya-The Environmental Issue—brings together a collection of artists and researchers reflecting and advocating on behalf of Ukraine’s more-than-human communities and ecologies.

In collaboration with the Ukrainian Environmental Humanities Network (UEHN)—an international collective of curators, artists, and scholars—we’ve created an issue that celebrates the richness and complexity of Ukrainian landscapes. This issue offers a diverse range of perspectives, amplifying voices that challenge the colonial, imperial, and extractive narratives that have long shaped external perceptions of Ukraine’s environment.

Through written essays and visual works, the contributors take us on a journey across the country: from the Chornobyl Exclusion Zone in Polissya to the submerged ruins of the Kakhovka Dam in Kherson, from the vibrant wetlands of Odesa to the fertile yet threatened agricultural lands of Luhansk and Kropyvnytskyi. Shrinking rivers, displaced scientific collections, traditional ecological knowledge, nuclear legacies, and the scars of industrial agriculture are just a few of the urgent themes explored in this issue.

Postcard | Golden Poo with Neon Heart | Riso Print

Metallic-Gold shinny Poo-Emoji 💩 with Hearted Eyes 😍 in psychedelic neon colors.

Scope of delivery: Postcard
Idea & design: Typo Graphic Design ■ Manuel Viergutz
Format: 10,5 cm W × 14,8 cm H (DIN A6)
Paper: Sustainable Metapaper, warmwhite, extrarough 270 g/m2
Print: 5/1c ‼️ environmentally friendly risograph print (digital screen printing) with metallic gold + neon green + neon yellow, neon pink, neon orange 🌈 von www.drucken3000.de

Beautiful Madness – Art Writing as Art Curating

Curating exhibitions and “art writing” are closely related: both activities construct a meaningful narrative about artefacts and artists, both interact with a public, viewers/readers; both make space for the experience of art objects. For their work, curators and art writers tap the primary source: the living artist, their work and world. Both cherish a proximity to the maker, for it allows them to delve into artistic processes, consider things in a state of becoming. An essential tool for curators and art writers alike is the dialogue with the artist.

Mark Kremer has been writing, curating, teaching, and interacting with artists for decades. Beautiful Madness is an accumulation of his writings on contemporary art (1993–2023). The book gathers pieces along lines of affinity, themes, and attitudes, structured in five topics: Trace; Gesture; Rudiment; Polyphony; Fortitude. It mirrors his experiences with art curating, writing, thinking and is of value to anybody who wants to sharpen their pen, and rethink what curating might mean.

Mark Kremer (b. 1963, NL) is an independent curator and writer, based in Amsterdam. He studied art history, comparative literature, and film studies. Since 1987, he has been working in and with several art institutes, educational programs, and has curated numerous international exhibitions.

Featuring work by Absalon (Meir Eshel), Tiong Ang, Christiaan Bastiaans, Harmen Brethouwer, Hugo Canoilas, Lutz Driessen, Helmut Federle, Alicia Framis, Wineke Gartz, Rob Johannesma, Joan Jonas, Mike Kelley, Esther Kläs, Klaas Kloosterboer, Job Koelewijn, André Kruysen, Jos van Meerendonk, Almagul Menlibayeva, Aernout Mik, Pieter Laurens Mol, Astrid Nobel, Jan van de Pavert, Roee Rosen, Roland Schimmel, Rirkrit Tiravanija, Lorelinde Verhees, Jeff Wall, and many others.

The World’s Best Typography—The 45. Annual of the Type Directors Club 2024

The TDC competition organized by the Type Directors Club of NY is to graphic design what the Olympics is to sport and the World Cup is to football: for those who take part, it is the ultimate challenge, and for those who watch, the winning works are quality benchmarks, intensive inspiration and trend radar.

The award-winning works sparkle with creative energy, explore boundaries, play with breaking rules and visual habits and impress with their excellent craftsmanship. They magically attract a second glance and stay in the mind. A tribute to the power of visual communication!

From kinetic typography to motion design, from packaging to magazines, from corporate design to spatial communication: the world’s most creative people compete against each other here and the winning works are breathtaking.

Molecular Typography Laboratory

Molecular Typography Laboratory by Kobi Franco is a speculative research project that delves into experimental typography, exploring the intersection of function versus aesthetics and content versus form. This profound study operates on the premise that Latin and Hebrew letters possess a molecular structure, examining how this assumption can be applied to alphabets and languages. It is an interdisciplinary endeavor that bridges the gap between design, science, and language.

The research is a deep and comprehensive exploration of the concept of “molecular typography.” It involves a series of over 150 tests, each designed as a structured “game” where Franco defines the rules, sets the stage, and selects the participants. These tests have led to the identification of 11 key themes: foundations, language, gender, formula, weight, 3D, gravitation, generative research, color, word play, and the relationship between type and image.

The book features four illuminating essays that provide historical, cultural, and academic insights into typographic research and is accompanied by the website themtlab.com with additional, animated materials.

A laboratory of pseudo-scientific Latin and Hebrew typography!

CONTENT

  • Inspiring visual representations of Latin and Hebrew letters.
  • Methods and rules enabling a rhizomatic exploration of experimental typography.
  • The project received the New York’s TDC awards.

ABOUT

Kobi Franco is a Tel Aviv based designer, researcher, curator, and the Head of the Master’s in Design Program at Shenkar College in Tel Aviv. He owns a leading studio specializing in design for culture and art. His work has been exhibited in a variety of exhibitions in Israel and around the world. The book Molecular Typography Laboratory is the result of five years of research in experimental typography. The project has been showcased in several exhibitions and has received numerous awards, including Typographic Excellence from New York’s Type Directors Club.

 

“The entire research project is very exciting if you enjoy systematically conceived experiments.”
Rudolf Paulus Gorbach
tgm-Blog

SPOD #2 Don’t do it yourself!

“With the ideal of self-empowerment on its banners, a plague is sweeping across our land, leaving behind neighborhoods disfigured by crappy home improvements, families devastated by poorly cooked gourmet meals, and piles of barely used tools, leftover consumables, and unfinished projects. This peculiar misery reaches us under the familiar initials D.I.Y., which means “Do it yourself.” The idea was well-intentioned, but its reality is uncanny.” — Lisa Anne Auerbach
The open-ended publication series Studienhefte Problemorientiertes Design SPOD makes historical and contemporary reflections on the social and political dimension of design accessible. It is a collection of irregularly appearing texts that critically examine the practical, cultural, methodological and everyday functions of Design. The problem-oriented approach aims to link design to the contradictions, potentials and circumstances of reality.
Based on a critical examination of the possibilities and limitations of Design, alternative models of Design are outlined that contradict the established market-based design practice.

A PASSION THING Issue No. 11

A PASSION THING is a magazine focused on people from around the world who are driven by this wonderful force we call passion.

A PASSION THING Issue No. 11 is a celebration of Austria’s unique charm and its entrepreneurs reflecting the passion for our home.

Featuring: Peter Phobia, Pauline Rochas, Helga Traxler, Julia Neumann, Peter Sommerer, Christian Schallert, Susi & Felix Schellhorn, Klaus Mühlbauer
From our neighborhood in Vienna: OTOTO

Think in Colour

This monograph Think in Colour, featuring the work of Hugo Puttaert and his studio visionandfactory, shows a tight selection of work over a period of 25 years and is arranged according to the colors of the spectrum.
The cover (in three versions) was printed with thermosensitive ink. When heated, the full colour palette and the full title appear: “Think in Colour, even if you prefer black and white.” An unmistakable credo.
Foreword by Rick Poynor, texts (based on interviews) by Steven Cleeren.

Grafikmagazin 06.24

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 “Illustration.” 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.

Nature/Code/Drawing

“When I looked at ripples on water and cracks in the ground, the annual rings of trees and ridges on mountain ranges, I saw that beautiful shapes created by nature have a certain regularity – in much the same way that a repeated line drawn by an algorithm can become an artwork.”
Nature/Code/Drawing is a reimagining of nature, depicted through the lens of generative art. Showing a vast array of subjects – from rocks and tree stumps, to mountain crests and water – Hiromasa Fukaji takes Junichiro Horikawa’s algorithms and brings them into the physical world via the use of a plotter. The result is an expressive collection of artworks where nature and technology intersect.
The publication features an augmented reality application, making it possible to watch the generation process behind all of the graphics.

Pathways

Julien Gachadoat, a.k.a. v3ga, is at the forefront of the field of generative art. Instantly recognisable by his monochrome, line-based style, he has explored the interface between code and human creativity for many years; working with algorithms, playing with repetition and abstract forms, with a focus on plotters to produce physical artworks.

Some of his creations include pieces such as “Umwelt” (2021), curated for Feral File by Casey Reas, or for “Haze” (2022), part of the Tribute to Herbert W. Franke, the pioneering computer artist.

The time is right for a mid-career catalogue of Gachadoat’s groundbreaking oeuvre. With this in mind, he has teamed up with Luca Bendandi from Berlin’s Vetro Editions to devise a dynamic, paradigm-busting concept artwork titled Pathways.
This edition features a curated selection of the best plotter artworks of Gachadoat’s career to date (2018-2023), and offer a deep dive in his creative and coding processes, inspiration references, and much more.

Texts by: Julien Gachadoat, Mark Webster

Und die Fremde ist der Tod / As Estrangement is Death

The first edition of Und die Fremde ist der Tod / As Estrangement is Death with excerpts and drawings by Bruno Schleinstein was published in 2003. It was inspired by Miron Zownir’s “Die Fremde ist der Tod,” a film about and with Bruno S. The quotes – found aphorisms of sorts – are taken from the film itself. In addition, the book presents drawings by Bruno S., who created a Gesamtkunstwerk in his lifetime. Bruno S. was world-renowned for his leading roles in films by Werner Herzog: as the main character in 1974’s “The Enigma of Kaspar Hauser” and as the street musician in 1976’s “Stroszek.” The book contains accompanying texts by authors and artists who came to know Bruno S.’ life after the Herzog era: Nico Anfuso, Harry Hass, Thomas Kapielski, Mario Mentrup, Klaus Theuerkauf, and Philipp Virus. The texts were translated into English for the new edition.

About the artist:
Born near Berlin in 1932 as the illegitimate child of a German mother and a Polish father, Bruno Schleinstein spent his early years in children’s homes and sanatoriums. He repeatedly tried to escape but was recaptured every time. After finally being released in 1955, he lived in homeless shelters and halfway houses and earned his living as an unskilled worker. During this time he began to play the concertina and the accordion. In the mid-60s, he created his first drawings, illustrating the lyrics of his songs. Starting in 1963, he worked as a forklift driver for the next 28 years. In his spare time, he performed murder ballads in Berlin backyards. After a brief period of fame as an actor thanks to leading roles in films by Werner Herzog, Bruno Schleinstein returned to his previous life as a street musician and artist in Berlin. In the 90s, he made a name for himself among art collectors and fellow artists. Bruno S. died in Berlin on August 11, 2010.

Right Click Save

Since the NFT explosion of 2021, Right Click Save has become the leading online magazine for digital art around the world, documenting a new community of creators and collectors while driving critical conversations about emerging technology.

This physical anthology of essays, interviews, and roundtable discussions celebrates a new generation of digital creators together with pioneering artists historically ignored by the art world. It is the definitive portrait of a global movement at the moment when digital art went mainstream.

For this limited print edition, Right Click Save’s Editor-in-Chief Alex Estorick has curated a special collection of the magazine’s contributions to digital art history. With a foreword by ClubNFT CEO and leading digital art collector, Jason Bailey, this book is designed for both seasoned digital art enthusiasts as well as newcomers to the conversation. By highlighting the voices of a new “golden” generation of digital artists alongside vital voices from the recent past, Right Click Save documents the moment when digital art came of age through the voices of its global community.

Tracing the Line – The Art of Drawing Machines and Pen Plotters

The use of pen plotters and other drawing machines has re-emerged as an important part of the contemporary generative and digital art scene.
Tracing the Line showcases the work of 11 pioneers of generative art, alongside more than 100 contemporary artists who use these machines in their creative practices. An incredible variety of different techniques and styles are shown, highlighting the diverse range of possibilities and approaches that pen plotters and drawing machines offer.
This book is a uniquely immersive art experience. By using a free app, you can access an extra dimension of the artworks, giving rise to a new experience – one in which the book becomes the vessel for a digital exhibition space.
Tracing the Line is a must-read for anyone interested in the contemporary generative and digital art world.
Pioneers: Manfred Mohr, Frieder Nake, Georg Nees, Herbert W Franke, Vera Molnar, Harold Cohen, Mark Wilson, Peter Beyls, Roman Verostko, Jean-Pierre Hébert, Casey Reas.
Contemporary artists: Acrylcode Berlin (Felipe Infantino), Algorigraph (Fabian Eck), Antigoon, Frank Aubry + Andreas Rau, Barbe Generative Diary (Peco), Martin Bauer, Arno Beck, Deniz Bicer, Chris Bly (machine.arm), Bondtruluv, Geoffrey Bradway (Chromatocosmos), Bustavo (Gustavo Muñoz), Joel Cammarata, Dan Catt (Revdancatt), CEK (Giorgio Cecatto), Michelle Chandra, Sougwen Chung (Studio Scilicet), Desmond Clarke , Andee Collard, Dirk Dallas (Dirka), Matt DesLauriers, DiDiffArt (Diana Becker), The Dot Is Black (David Mrugala), Kristine Erstad Vegard, Julien Espagnon, Allen F, Sven Björn Fi, Hiromasa Fukaji + Horikawa Junichiro, Julien Gachadoat (v3ga), Pablo Garcia , Generative Artworks, Kjetil Golid (Kgolid), Greweb, David Guerrero, Cory Haber, Licia He, Tyler Hobbs, Matthew Hughes, Jessica In (Shedrawswithcode), Ralf Jacobs, Jenslabs (Jens Clarholm), JMY (Jimmy Herdberg), Floris de Jonge, So Kanno + Takahiro Yamaguchi, Simon Kirby, Daniela Kröhnert, Guillaume Lagarde (Entropismes), Land Lines Art, Beatrice Lartigue (Lab212 Collective), Tom Lauerman, Sunjoo Lee + Ko de Beer, Jürg Lehni, LIA, Loackme, Lenia Mascha, Simone Mauer, Kyle McDonald + Matt Mets, Arjan van der Meij, Liz Melchor, Huw Messie, Emre Meydan (Thresfold), Mmachine, Cezar Mocan, Moodsoup (Stefan Reyniers), Ivan Murit, Sohan Murthy, Kris Northern (phidelity), Noumenal, Dimitri Otxa, Pierre Paslier, Pavlovpolus (Pablo Azóçar A.), Abe Pazos Solatie, Arnaud Pfeffer, Playmodes, Paul Prudence, Paul Rickards, Meg Rodger, Con Ryan, Catalin Sandu, Heliodoro Santos Sánchez, Lisa Schwalbe (Gridtheline), Marcel Schwittlick, Seohyo (Seo Hyojung), Sfd.Art (Andreas Schönfelder), Luke Shannon, Shih Wei-Chieh , Spatial Matters (Nicola Lorusso), Strano (Marcel Giannoccaro), Studio Joanie Lemercier , Studio Strauss , Alida Sun, Maksim Surguy, Targz, Tofa (Christopher Noelle), Patrick Tresset, Frederick Vanhoutte (Wblut), Benjamin Vedrenne, Lars Wander, Victor Wong, Zancan.
Texts by: Freya Marshall, Wolf Lieser, Pablo Garcia, Jürg Lehni
Media Partners: Generative Hut, Galerie DATA Paris, DAM Projects Berlin, Pen Plot Art