Slanted Special Issue Georgia/Armenia

Welcome to a captivating journey through the vibrant landscapes of creativity, culture, and history in Slanted’s Special Issue Georgia/Armenia.

In August 2023, a team, including Lars Harmsen, Markus Lange, and Rene Wawrzkiewicz, embarked on a journey from Tbilisi, Georgia, to Yerevan, Armenia. Along the way, they delved into the studios of numerous designers and artists, unearthing the rich tapestry of talent that defines these two distinct yet interconnected nations. In the heart of the Caucasus, both Tbilisi and Yerevan emerge as beacons of creativity, diversity, and intelligence. Despite sharing a common border, each city resonates with its unique character, offering a kaleidoscope of experiences.

Wojciech Górecki, an analyst at the Centre for Eastern Studies in Warsaw, provides a brilliant introduction to Georgia, highlighting its geographical position in Asia while underscoring its historical ties to Europe. From independent principalities to a united Georgian kingdom, Górecki paints a vivid picture of a nation shaped by a rich history, autonomy in the Orthodox Church, and the influential role of women, exemplified by the remarkable Queen Tamara.

The stories of Tbilisi and Yerevan intertwine with geopolitical significance, shaping the South Caucasus region. Tbilisi, Georgia’s capital, stands as a geopolitical hub, its history marked by Russian influence and the 2008 war over South Ossetia and Abkhazia. Georgia’s aspirations for EU and NATO membership, coupled with ongoing territorial disputes with Russia, define Tbilisi’s resilience and quest for independence, making it a pivotal player in regional politics.

Turning our attention to Armenia, Krzysztof Strachota, Head of the Turkey, Caucasus, and Central Asia Department at the Centre for Eastern Studies, sheds light on the complexities of a country often overlooked on the map. Armenia, nestled between Russia, Iran, and Turkey, faces the enduring reality of a never-declared war with Azerbaijan over Nagorno-Karabakh, creating a tumultuous backdrop for its ongoing struggles and geopolitical dynamics.

Against the backdrop of Mount Ararat, Yerevan, Armenia’s capital, bears witness to the intricate dynamics of the South Caucasus. A testament to Armenia’s enduring struggle for independence and ongoing conflicts with Azerbaijan, Yerevan’s geopolitics are shaped by a Soviet past and the unresolved issues surrounding Nagorno-Karabakh.

Explore Slanted’s Special Issue Georgia/Armenia, uncovering the narratives, creativity, and resilience of these remarkable nations while discovering the beauty and passion of this captivating region on every page!

Hannah Höch: Lebensbild

Lebensbild is the last art work by Hannah Höch made between July 1972 and March 1973. The photographers Liselotte und Armin Orgel Köhne encouraged the artist to create the self-portrait in form of a collage and provided her with the original photographs.

Lebensbild, with the dimensions 130 x 150 cm, is the biggest collage Höch has ever made. It marks the final point in her full and active life that spanned almost 100 years. The viewer gains an insight into the story of the extraordinary and self-confident woman who went through all the highs and lows – and in the same time gets an impression of life during the last century.

Hannah Höch defined 38 sections of the image, gave detailed explanations on them and told about her personal experience in connection with these. These 38 parts are pictured in the book alongside the overview of the entire collage. The accompanying text, together with the original quotes, takes a closer look at Hannah Höch, her artistic work as well as at the political and social events of her time. Based on the stories and anecdotes, the text reflects the life of the artist and completes the collage with the additional biographical information.

The book covers a wide range of interest: art fans, scholars and historians as well as young people interested in art can get an insight into the life of the artist Hannah Höch.

Solomiya No. 3

The third issue of Solomiya is as desperate as it is full of love, beauty, courage, and an unsettling longing for “a journey, an escape, and freedom,” as Yevhen, a young soldier from Odesa, puts it in War Dreams, a poignant series of portraits by Italian photographers Caimi&Piccini.

While raising thought-provoking questions about masculinity in war through the recent work of Vsevolod Kazarin, Alex Mashtaler’s yet unpublished photographs juxtapose the innocence of youth with the unforgiving harshness of reality – a reality shaped by Ukraine’s colonial past and a present challenged by ongoing militarization.

In interviews with the Solomiya Editors Andrii Ushytskyi, Ivanna Kozachenko and Sebastian Wells, Asia Bazdyrieva, Maxim Dondyuk, and Henrike Naumann further explore these complexities through their own perspectives and artistic practices. While Ivanna Kozachenko and the artist collective Commercial Public Art dissect the spatial strategies of the architecture built by Russian forces in the occupied territories of Ukraine, the writings of Lucy Zoria and Sebastian Wells offer diverse insights into the lived experiences of young Ukrainians abroad.

Das Plakat isst eine Fläche.

Are posters still surfaces that catch the eye? Can they tell a continuous story, a “Poster Novel,” as the original design working title was called?

Düsseldorf University of Applied Sciences looks back on a diverse and lively tradition of posters. Starting in 1968 with Uwe Loesch’s corrugated cardboard posters, through the typographic excellence of Helfried Hagenberg, Fons Hickmann, and Andreas Uebele, to contemporary works by talented students, that sometimes extend into digital space and augmented reality.

Some of the posters shown in this book have continued their lives beyond the university: they are part of collections such as the MoMA in New York, or the Museum für Gestaltung Zürich. Recognized for their exemplary design, many have received numerous awards.

Now these posters have been brought together: Das Plakat isst eine Fläche. (a German wordplay for “The poster eats/is a surface”). Like in a galley proof, texts and images are set on a continuous strip, to be later cut and bound into a book—a poster novel.

This book contains posters from Düsseldorf University of Applied Sciences since 1968. Featuring works by Inga Albers, Heribert Birnbach, Dieter Fuder, Wolf Erlbruch, Hilde Gahlen, Tino Graß, Fons Hickmann, Holger Jacobs, Wilfried Korfmacher, Anika Kunst, Laurent Lacour, Uwe Loesch, Alexander Mainusch, Jens Müller, Stephanie Passul, Charlotte Rohde, Lilo Schäfer, Thomas Spallek, Philipp Teufel, Andreas Uebele, Piotr Zapasnik, and many more.

 

“A homage to the creative freedom and tireless spirit of designers who have the knack for turning a simple surface into a work of art.” Grafikmagazin

 

Longlist Die Schönsten Deutschen Bücher 2024, Stiftung Buchkunst

Lise Harlev: This is not really me

Lise Harlev has long explored personal identity in relation to the public realm. Using the aesthetics of advertising, public information signage and political slogans, her text pieces are often too ambiguous to fit into any of those categories.

For This is not really me, Lise Harlev has invited people working within art, literature, advertising and journalism to write about one of the 12 pieces in the book. Rather than giving in-depth analyses of the works, the texts function as independent literary statements, which expand on the emotional aspect of Harlev‘s work and add new meaning to it.

With texts by Synne Rifbjerg, Andreas Brøgger, Katerina Gregos, Jan Verwoert, Sarah Quigley, Christian Yde Frostholm, Ana Teixeira Pinto, Leila El-Kayem, Tod Wodicka, Peio Aguirre, Geoffrey Garrison and Olof Olsson. Introduction by Lotte Møller.

Harriet Groß: White Rain / Weißer Regen

The logic of water is the initial point for Harriet Groß‘ linear spatial drawings and interventions on the polyphony of rain. Here she investigates boundaries as threshold zones regarding their permeability, out of which spaces of possibility open up.

White Rain is a sensory event and linear structure in one. Black and white. Presence and absence. Positive and negative. From the myriad of individual events, the rain writes its own notation of new transparent spaces. Each notation demands interpretation.

As in her spatial drawings, the viewer in this book wanders through an imaginary space offering changing perspectives and references. If one follows the rhythm of the individual chapters, one is already immersed in the overall score of her drawings. There is analyzing, mirroring, repeating, superimposing and composing. And the line itself is materialized in its transition into real space. It dissects it and fans it out, only to reassemble in a new form. Minimal condensations and pauses triggered by repetition form the interstices in both temporal and spatial sequence. The lines of her notations can be read as notations of mental processes that follow their own rhythm.

In this way, the book White Rain can be read as an invitation to imagine infinite variations, like the hem in the surf of the sea writes a boundary line that redraws itself again and again.

With texts by Frizzi Krella and Hubertus von Amelunxen.

RUMI print

Elevate your space with our RUMI poster – a harmonious blend of art and wisdom. Let the timeless poetry of RUMI inspire and beautify your surroundings.
The poster size is A2 [420 x 594 mm].

Frederick Kiesler: Galaxies

Recognized as one of the important avant-garde artists of the 20th Century with roots in Europe and the United States of America, Frederick Kiesler (1890 – 1965, born in Austria-Hungary as Friedrich Kiesler) closely associated with key members of De Stijl, Dada, Surrealism, Abstract Expressionism and Pop-Art. He exhibited in the Museum of Modern Art, New York and The Solomon R. Guggenheim Museum; was represented by two of the most powerful American art dealers of the postwar era, Sidney Janis and Leo Castelli, and was subject of countless magazine and newspaper articles. As a pioneering multi-disciplinary artist, he never belonged to one movement and explored various art forms simultaneously.

Besides his well-known endeavors in the fields of architecture, theater and furniture design, he also worked extensively in sculpture, painting, and installation. Among these disciplines, all of which fueled each other, Kiesler’s painted compositions of the 1940s, 1950s, and 1960s, which he had coined Galaxies early on, have long remained the least studied. This publication provides the first in-depth analysis of this extensive body of work, which comprises both single unit compositions and multi-paneled constellations that blur the line between painting, sculpture, and installation when spanning walls, floor and ceiling.

By discussing their historic, intellectual, and visual context, Stephanie Buhmann’s well-illustrated text reveals that Kiesler’s Galaxies marked a crucial aspect of his lifelong exploration of space and form and therefore must be understood as one of his most significant achievements. Furthermore, they reflect an artistic vision whose underlying ambition could not be more current.

Having witnessed two world wars, Kiesler thought it crucial that his work should serve an enlightened society that was conscious of the threat of divisionism. He noted: “… we have to find ways and means to get together and live together. Separating boundaries must fall. Walls must give way to arches and portals. Hence, my paintings and sculptures and architectural units try to correlate in a continuous flow without being pinned down to a spot as if each lived in a separate prison cell.” (Frederick Kiesler, Inside the Endless House: Art, People and Architecture: A Journal, New York: Simon and Schuster, 1966, 262.)

The publication of this book has been aided by a grant from the Wyeth Foundation for American Art Publication Fund of CAA.

SPOD #9 Zur Dialektik des Social Design

In order to reconstruct the conceptual relationship between the aesthetic and the critical, the essay proposes that the idiosyncratic forms of art be understood as an aesthetic critique of social reality. Design, on the other hand, requires critical thematization, as it is always already inscribed in social practices. This thesis is developed in more detail with regard to social design, in which its procedural and normative sides cannot be reconciled.
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.

Jytte Høy: Hair Net Geometry

In her art work Hair Net Geometry Jytte Høy uses the ordinary, almost invisible object of the hairnet. Following a rectangular grid on the wall, the fine mesh hairnets are being stretched to maximum capacity. They result in a great variety of geometric shapes reminiscent of delicate drawings. Like many other works by Jytte Høy they combine sensitivity and humour in the use of everyday objects and play with ideas of the Concrete Art movement. Hair Net Geometry is the first publication dedicated to these filigree and unusual small sculptures, that have been exhibited as large wall installation in institutions such as ISCP New York.
The book is accompanied by a real hairnet and an instruction to create a Hair Net Geometry. With an essay by art critic and curator Maria Kjær Themsen.

SPOD #10 Entwerfen mit System

Systematic design methods played an important role in design discourses and practices around 1960. In movements such as the Design Methods Movement or the Creativity Movement, scientific and rational working methods were applied to the process of designing. Products, ideas and inventions were to be created systematically. At the same time, a shift towards systematic design methods can also be seen in the field of art.
Claudia Mareis and Michael Rottmann discuss this historical phenomenon in their publication. They ask to what extent the post-war discourse on creativity and methods in the United States equated creativity with (supposed) productivity and wether the conditions of systematic design methods have been criticized in the fields of design and art.
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.

Lisbon insiders Issue 2

Our guide section celebrates Lisbon’s institutions that managed to preserve the same quality for decades, cocktail and wine bars, emerging restaurants and the young chefs bringing us all back to the table. Our magazine section highlights Portuguese food connections with lusophone countries and the places and faces that represent this bond.

Lisbon Insiders is an independent magazine that celebrates the beauty and authenticity of Lisbon. The second edition is an ode to places, projects and people with vision and heart. Through this magazine the reader will discover the food scene and its gems from a different perspective. We shed light on amazing places and the hottest spots.

Article: A Port for Many Palates, the Lisbon food scene is strongly influenced by its former colonies.
Guide: A curated selection of some of the best 100 spots in Lisbon: Where to eat, drink, shop and stay.
Interview: With Yuko Fukuda, Japanese avant-garde who introduced traditional Japanese food to Portuguese people.
5 Chef Profiles: Sharing recipes of their favorite product and their favorite places to eat it.
Article: Cascais, Epicurean town and its blossoming food scene.
Illustration: An illustrated neighborhood map.
Article & Illustration: The Coffee Chart, the art of drinking coffee in Portugal.

Anna Ingerfurth: Wochen / Weeks

A drawing for every week of the year: The artwork of Anna Ingerfurth (*1969) is ever ongoing. Apart from her small acrylic paintings and large-scale architectural art projects, she also creates works of art on paper, always in A4 landscape format, one every week. In these weekly drawings, she records what moved her during the past seven days, and occasionally one is able to guess what this may have been.
Her drawings are not obvious or easy to perceive, nor are they intended to be. Instead, they provide different meanings for each individual. The comments on Instagram show how differently they are interpreted by their beholders. Ingerfurth’s weekly drawings vary in subject matter, technique and content. Isolated figures are surrounded by lines, planes, looping swirls or architectural elements. Her scenes are intelligently imaginative and quietly humorous. They imply without committing, neither in form nor content. They elicit a sense of wonder and quietly invite the viewer to reflect.
Anna Ingerfurth’s book: Weeks contains 52 drawings, one for every week of the year. They are varied and self-explanatory, and stand for themselves without further textual analysis.

SPOD #11 Lechts und Rinks. Eine Auseinandersetzung mit dem Design der Neuen Rechten

The rise of new right-wing movements is confronting the design disciplines in a previously unfamiliar way. This is because the political success of the New Right is largely based on the purposeful use of design: on efficient communication design in social media, the subversive aestheticization of protest actions, the creative coding of entire spaces and the depoliticization of design as a whole.
The 2019 DGTF conference took these developments as an opportunity to look at its own design practice: What does it mean for designers to work in a society in which an ethnic nationalism gains symbolic expression? In which cultural identities are invoked, ethnopluralism is celebrated and xenophobia becomes socially acceptable? This documentary examines the role of the media, the appropriation of spaces, the function of graphics and objects as well as the organization of interactions in order to discuss the relationship between design practices and new-right ideologies.
The open-ended publication series “Studienhefte Problemorientiertes Design” 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.

Umstrittene Methoden

Umstrittene Methoden. Architekturdiskurse der Verwissenschaftlichung, Politisierung und Partizipation im Umfeld des Design Methods Movement der 1960er Jahre

The Design Methods Movement was an unpopular movement—so unpopular that even its founders soon distanced themselves from it. Persistent disputes about the way of designing led to the conclusion that extensive participation and a political dimension of design were necessary. The design methodology questioned itself and the neutral expert role of designers in favour of more open and intensive relationships with social reality – a thoroughly destructive demand at the end of the movement.

The book traces the conflicts surrounding the justifiability of design – from the HfG Ulm, Horst Rittel and Christopher Alexander to the Design Methods Movement and the architects involved there, such as John Habraken and the S.A.R, Yona Friedman or the Architektur Machine Group. A repressed committed and (self-)critical design practice can be reconstructed there as well as within the german discourse on methods around 1968 shaped by Jürgen Joedicke and the newly founded Arch+ and the barely researched field of methodologically motivated advocacy planning—from the Architects’ Renewal Committee Harlem and Urban Planning Aid Boston to the Portuguese SAAL.
With a total of 658 illustrations

Design intersektional unter die Lupe nehmen

SPOD #12: Design intersektional unter die Lupe nehmen. Gestaltung als Komplize von Diskriminierung und als widerständiges Werkzeug
What do the design of body scanners at airports, crash test dummies and automatic soap dispensers have in common? These objects appear neutral and universal, but they (re)produce gender-binary, sexist and racist exclusions. Design thus repeatedly—consciously or unconsciously – becomes an accomplice in processes of discrimination.
In order to critically question one’s own position as a designer, an intersectional understanding of power is required, which is based on the theories of Black feminism of the 80s and 90s. Kimberlé Crenshaw’s concept of intersectionality refers to the overlap of “race/class/gender” in order to make the complex experiences of discrimination of Black women visible and to create an analytical framework for multi-discrimination.
This book provides an overview of where and by whom design and intersectionality are already being considered and practiced together. It presents alternative design practices, techniques and collectives, such as Respectful Design and Design Justice, which reinterpret design as an emancipatory tool. Practice-based interviews with intersectional feminist designers examine how different “designing otherwise” can look.

Attending [to] Futures. Matters of Politics in Design Education, Research, Practice

Acknowledging the ways in which design (as practices, forms of knowledge, and sets of objects) is accountable for ongoing social and environmental injustices, this anthology contains contributions that envision alternative ways of exploring and designing more livable futures. Attending to these futures requires a reckoning with a multiplicity of actors and contexts, from institutional norms and regulations, to pedagogies, curricula, programs, digital tools, infrastructures, and architectural environments. Last but not least, attention is drawn to the mechanisms and protocols by which these futures are imagined and shaped. This includes critically examining the ways in which design is talked about, taught, and learned in order to empower future designers to engage with the political issues, cultural conditions, and social and environmental implications of their work.
With contributions by Abigail Schreider, Adam DelMarcelle, Anastasiia Raina, Anke Haarmann, Ayako Takase, Becky Nasadowski, Bibiana Oliveira Serpa, Bonne Zabolotney, Carmem Saito, César Neri, Chris Hamamoto, Chris Lee, Dorsa Javaherian, Edith Lázár, Federico Pérez Villoro, Frederick M.C. van Amstel, Frieder Bohaumilitzky, Heather Snyder Quinn, Henrique Eira, Imad Gebrayel, Ina Scheffler, Isabella Brandalise, Jaione Cerato, Jon Halls, Juan de la Rosa, Lauren Williams, Lisa Baumgarten, Luiza Prado de O. Martins, Marius Förster, Mindy Seu, Mira Schmitz, ngọc triệu, Rafaela Angelon, Søren Rosenbak, Sven Quadflieg, Tom Bieling, Torben Körschkes, Zoë Rush.
attendingtofutures.de

Grafikmagazin 01.24 – Packaging Design

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 “Packaging Design”. 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. This particular cover was realized in six different versions from different studios and artists, each riso-printed. 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.

Tender Digitality

Tender Digitality introduces an aesthetically oriented concept that intricately intertwines binary systems in a complex manner, setting them in motion. The concept, which is developed at the Zurich University of the Arts, responds to the human desire for sensuality, interpersonal connection, intuition, and well-being in digital environments. It explores ways to (re)transmit these experiences into the analog world of a book, developing its own distinct vocabularies.

Readers are guided through the various perspectives of this kaleidoscope, encouraging them to delve into different play-forms of “tender digitality” and develop their own approach. Assuming the role of researchers, they discover phenomena of extraordinary beauty or bizarreness within the spectrum spanning analogue and digital, social, and technological domains. Through exploration, learning, and the cultivation of “tender digitality,” readers can envision their own version of a community where individuals and artificial intelligences, avatars and cyborgs, humans and computers navigate digital landscapes with agency, intuition, and sensitivity.

With contributions by Charlotte Axelsson, Oliver Bendel, Dana Blume, Marisa Burn, Alexander Damianisch, Léa Ermuth, Hannah Eßler, Barbara Getto, Leoni Hof, Marcial Koch, Mela Kocher, Friederike Lampert, Gunter Lösel, Francis Müller, Marie-France Rafael, Oliver Ruf, Sascha Schneider, and Grit Wolany.

 

“The experimental chapters, pivoted on the methodologies of play, experiential learning, interrogative inquiry and visual prompts, excerpt suggestions and propositions for practicing tender digitality.”
Almas Sadique, stir world

 

Awarded with German Design Award (Gold).

The World’s Best Typography—The 44. Annual of the Type Directors Club 2023

While other competitions have become bogged down over the years, following a belief in growth, with ever new categories and, in the worst case, always the same work, the TDC has remained true to itself: Simply the best typography.

Here, cutting edge meets handcrafted perfection, experimental typography meets top-class classical composition. Books, brochures, magazines and posters meet digital applications and 3D work. Fireworks of color meet classic black and white. The range is wide. The competition encourages people to try something new themselves. The quality of the works presented is fantastic. The book shows where the bar is set and tickles your creative ambition.

The entry fees are low and the international reputation is high. That is why you will always discover work in the TDC book that will surprise and inspire you and bring new lust and passion into your everyday creative life. The Type Directors Club yearbook, now taken over by the One Show, is a creative kick and trend radar. A firework display of graphic design.

Nachhaltig drucken. Gestaltung umweltgerechter Druckprojekte

Sustainable printing begins long before the choice of substrate and printing company. Sustainable printing means more than just eco-certificates. Sustainability is not a state, but a process.

Nachhaltig Drucken lays the foundation for affordable, ecologically responsible and eye-catching print products that go beyond grey standards. It paves the way to greater environmental justice and job satisfaction. To attractive printed objects that inspire without us having to be ashamed of them to future generations. It contributes to shaping a sustainable working environment for creative people. And it provides food for thought beyond the conception and realisation of print projects.

TYPOBIOGRAPHY. JOST HOCHULI, THE WORK OF 60 YEARS

Typobiography looks back over the long and prolific career of the Swiss designer and typographer. Bringing together several texts by Jost Hochuli himself, contributions by well-known figures (including a preface by John Morgan and an interview with Robin Kinross) and a corpus of previously unpublished archival images, this monograph aims to raise interest in book design, and especially the inspirations and personalities that marked out the designer’s career.

The book is a visual monograph, which develops in several thematic sections the questions that have guided Jost Hochuli’s practice over his sixty-year career, and in particular his conception of design as an essential factor in the legibility of a text and the transmission of knowledge. Each part is abundantly illustrated with works specifically digitized and displayed in a layout designed by Jost Hochuli himself, to create a reference work on the designer’s work. The designer has just celebrated his 90th birthday in 2023, yet no monograph of his work has been published since Printed Matter, Mainly Books in 2002. This book will provide a much-needed update on the last twenty years of Jost Hochuli’s career, as well as on the renewed interest in his work, particularly as an author, among younger generations.

Grafikmagazin 06.23—Design im Raum

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 “Design im Raum” (Spatial Design). 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. This particular cover was realized in six different versions from different studios and artists, each riso-printed. 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.