A design ideation tool for brand strategists, designers, and creative teams to visualize and crystallize their ideas through mood boards and transform them into brand or design concepts.
Getting on the same page with your client or team when discussing the aesthetics of the brand or design project can be a challenge. Especially if you work remotely. What is modern and hip for a New Yorker is not necessarily the same for someone from Hong Kong or Johannesburg.
We’ve created the Brand Cards with a mission to create a simple and practical tool that would enable you and your client or team to quickly synchronize around the design direction for your project. This tool helps to avoid miscommunications and reduces the resulting back-and-forths.
The Brand Cards is also a celebration of the most interesting creative work out there. Have fun with this!
WHAT’S INCLUDED?
200 Style Cards
12 Brand Archetype Cards
40 Brand Personality Cards
20 Tone of Voice Cards
Lavender flowers No.1
The Lavender flowers No.1 Print with surreal surrounding comes as a DIN A1 digital print on 250g/qm photo paper.
The Print is sold unframed.
Palm leaf No.1
The Palm leaf No.1 Print with surreal surrounding comes as a DIN A1 digital print on 250g/qm photo paper.
The Print is sold unframed.
Olaf Unverzart—Walking Distance
Five continents, three decades: with Walking Distance, Olaf Unverzart presents his interpretation of a travel diary. Beyond tourist attractions, well-known places with supposedly typical folklore, his volume of photography opens our eyes to the things and creatures “in between”—this “in between” mainly takes place on the street.
The power of the images lies in the stillness and intimacy of the scenes. Unverzart’s photographs do not have a voyeuristic feel; they do not pretend to uncover essential insights and truths about places or their people, but appear as fleeting impressions. The individual photographs with their black-and-white composition and grainy texture have a strange quality that seems removed from time and place, lending them an almost universal character.
Unverzart explores the most diverse types of transition: we see cars, rails and streets as well as passers-by and pedestrians. Scenes of the old-fashioned and the obsolete point to the photographer’s search for a lost era and repeatedly allude to the extreme cultural, social and technological changes of the last three decades.
Yearbook of Type #6 2022/23 – Movie Edition
You know the scenario: You just want to find a fitting series or movie on your streaming platform—but you can’t find what you are looking for and keep doom-scrolling—until you turn off the computer.
The same often happens when looking for the perfect typeface for your design. You know, the one that not only conveys the mood you are longing for, but also needs to fulfill all necessary requirements. In a mess of countless open browser tabs, bookmarks, lists, and folders, the right typeface and foundry—characterized by smallest details—is hard to find.
The Yearbook of Type is a collection of the latest published typefaces that helps you find the one—from a browse through the book, or quick look in the index that neatly sorts typefaces by class, designers, and foundries. Each font and font family is presented on a double page. On the left page, the font is applied; inspired by this year’s theme of film and drama. To the right, the typeface is described in detail; with all its features, as well as information about the designers and foundries. A complementary online microsite features all fonts with direct links to respective foundries and purchasing options.
The publication is rounded off by a series of essays, interviews, and tutorials on the subject of type design and contemporary typography.
The Yearbook of Type provides clarity in a world of constant streaming, scrolling, and aimless browsing. Find the typefaces you’re looking for—and maybe even the right movie for the evening!
Awarded with German Design Award (Special Mention).
finding Forte
Forte, this lively and friendly typeface that everyone knows, has been used, misused, and overused for over six decades now, ever since it was published by The Monotype Corporation in 1962. Well-known figures in the typographic world like Stanley Morison and Vincent Connare have stood in the limelight of this typeface’s sprightly lifelines. But the typeface’s designer, Austrian graphic artist Karl Reißberger, remained little known. Until now.
finding Forte traverses the world in search of “findings” such as Reißberger’s early posters, original designs, and advertising materials to trace the origin story of the “typeface everyone knows.” Sixty years after Forte’s first appearance, it has found new life as Toshi Omagari’s revised typeface, Forte Forward. Its release accompanies this book.
Also finding its way into this book on Forte are the artistic visions of thirty-one contemporary artists who have examined Forte’s formal language in dialog with its historical outlines. The interpretations of these international creatives open up new approaches to typography.
Graphic Design Is (…) Not Innocent—Scrutinizing Visual Communication Today
Graphic Design Is (…) Not Innocent questions ingrained approaches, values and assumptions of graphic design in globalized societies. The publication aims to initiate a dialogue between designers, scholars, critics and commissioners, who investigate responsibilities, potentials, politics, limits and risks of designing visual communication. How innocent is graphic design? Whom is it addressing, whom is it in/excluding? What does it bring about? When defining the role and impact of visual communication, what future questions lie ahead?
Graphic Design Is (…) Not Innocent combines case studies and academic reflections, trying to sketch a common ground for basic research into the parameters and value systems of graphic design. It is a road trip between various possible conceptual challenges and praxis. It is a temporal inventory, without the claim of completeness. It is a question mark, as well as an exclamation mark. And it wants to stimulate critical thinking in graphic design.
Contributors:
Designers: Karo Akpokiere, David Bennewith, Sandra Doeller, Markus Dreßen, FDSC, Matthias Görlich, Klasse Grafik, Anna Lena von Helldorff, Jianping He, Christop Knoth & Konrad Renner, Flávia Nalon (ps.2), Ingo Offermanns, Isabel Seiffert (Offshore), Astrid Stavro, Markus Weisbeck
Scholars: Christian Bauer, Friedrich von Borries, Clémentine Deliss, Li Degeng, Annette Geiger Daniel Martin Feige, Jun Kay, Anoushka Khandwala, Eva Linhart, Sophia Prinz, Markus Rautzenberg, Alice Rawthorne, Pierre Smolarski
Critics & Commissioners: Salem Faissal Al-Qassimi, Sabrina Handler, Martin Ludwig Hofmann, Francisco Laranjo, Madoka Nishi, Adam Szymczyk, Michael Zöllner
Art and Solidarity Reader—Radical Actions, Politics and Friendships
Solidarity has re-entered the global zeitgeist with resounding force in the last decade, driving new thinking to counter the systemic failures and abuses of our society. The Art and Solidarity Reader considers the agency artists, collectives, and art institutions have in building the radical visions of care and solidarity needed to transform the conditions of our collective existence.
Presenting new and historical material, the Reader narrates various micro-histories of artistic solidarity globally from the 1970s to today, in relation to the multiple crises of migration, neo-colonialism, rising radicalization, inter-religious conflicts, class divisions, new technology, heteronormativity, and the environment. It emphasizes the centrality of artist-led empathy and personal connectivity in building networks of solidarity and concrete actions that generate profound transformation in society.
Whilst addressing the relevance of the Non-Aligned Movement of the Cold War in generating new forms of artistic solidarity globally, the Reader points towards its successors and, significantly, centres Indigenous perspectives rarely considered when discussing the history of artistic solidarity.
Editors: Katya García-Antón, OCA Norway
Contributors: Reem Abbas, Toufoul Abou-Hodeib, Noor Abuarafeh, Yasnaya Elena Aguilar Gil, Ali Hussein Al-Adawy, Salvador Allende, Defne Ayas, Wendy Carrig, Heather Dewey-Hagborg, Ntone Edjabe, Katya García-Antón, Soledad García, Natasha Ginwala, Irene Guzmán, Gavin Jantjes, Sholi Kanuga, Geeta Kapur, Lara Khaldi, Chelsea Manning, Olivier Marboeuf, Naeem Mohaiemen, Mário Pedrosa, Ram Rahman, Laura Raicovich, Aban Raza, ruangrupa, Devika Singh, Eszter Szakács, Alice Walker, and many others
Zukünfte gestalten
“By designing and conveying future scenarios, you shape the future ideas of your fellow human beings and can thus indirectly design the future itself.”
For this we have to say goodbye to the future in the singular. Because this singular suggests that there is only one seemingly inevitable future. If we consistently put the term in the plural, we recognize the designability of the world. Design futuring opens up a new business field for you. And a new role with more relevance. With the help of the methods and tools presented in the book, creative people can make different futures tangible and enable people to make smarter decisions in the present. This allows you to design more than surfaces and interfaces. Ideally, you will become a designer: in a better world.
… und dann? Wie Kinderbücher Gestalt annehmen
Do you love children and like to tell stories? Would you then like to know for yourself how to proceed? Do you draw and illustrate with passion and imagination? And at some point you would like to have your name on the cover of a children’s book? Then Annabelle von Sperber and Michale Wrede have written this book for you!
Step by step, it illuminates how children’s books take shape, how stories gather momentum, characters come to life and illustrations create a pull. The world of children’s books thrives on new stories and characters. Publishers scout new talent. Young readers devour stories, fall in love with characters and demand more. This book will pave your way onto the children’s book shelf. And in the hearts!
A Second Beating Heart
The birth of a child is also the birth of a mother. Her body carries a second beating heart. When that second heart suddenly beats outside the body, everything changes. The return to a new normal starts slowly.
A Second Beating Heart tells the story of Martha, a newborn mother, using documentary and autofictional strategies. A few days after giving birth to her first child, Martha no longer leaves the house. What begins insidiously becomes a new reality. For almost three years the house becomes a shelter, a prison and a cocoon at the same time.
What many people experienced these years as a compulsion or an external necessity, the isolation at home, becomes a vital strategy for Martha: Inner spaces become outer spaces and vice versa.
A photo art book about the many sides of motherhood, about love and postpartum depression, a topic that is too often kept silent. With a literary essay by Rabea Edel. Shortlist Belfast Photo Festival 2022
Work Better. Live Smarter. Be Happier.
New attitudes to work are dynamically changing conventional habits. The formulaic 9-to-5 routine is not a one-size-fits-all structure, which is why individuals from across the globe are establishing their own terms — putting personal fulfillment first while leaving the corporate world behind. Work Better. Live Smarter. Be Happier. profiles 25 entrepreneurs, exploring how they live and work and offers practical advice, insight, and inspiration on how to follow in their footsteps.
Human-based skills are becoming increasingly important for the modern founder to thrive and Work Better. Live Smarter. Be Happier. looks at stories of success from health food companies, streetwear labels, ethical jewellery lines, and so much more. This truly international book acts as a start-up manual for people with a dream, no matter the scale and champions a generation of dynamic, driven decision makers.
Let Me Draw You a Bath
The bathtub as a stage for all kinds of actions—artist Bianca Kennedy presents the bathtub in four work series and presents existential themes such as birth, sexuality and death. Personal hygiene becomes a secondary matter here.
Isn’t the bathtub an auspicious symbol? For the offline mode of life? For leisure time and hygiene? But anyone who associates the bathtub only with naked bodies and relaxation should take a deeper look at Let me draw you a bath. In her monograph, the artist Bianca Kennedy shows that an entire life can take place in the bathtub. It’s where people read, write, drink, smoke pot, kiss, laugh, sing, cry, mourn, argue, sleep, shoot, kill and love.
Kennedy has been exploring the bathtub in various video works and drawings since 2016. She has created a silent film, a series of 200 drawings with digitally augmented con- tent, a 3-channel video installation, and a Virtual Reality experience. Bianca Kennedy uses the bathtub as a culturally and art-historically charged symbol to explore the boundaries between cinema and video art and to question visual traditions.
Each work complex is preceded by an interview excerpt conducted by the artist together with art historian Darja Zub. General insights into bathing are provided by Anna Mayr’s essay Zurück in die Wanne (Back to the Bathtub), published in ZEIT Magazin in 2019, and the poem In the Bath by Jo Shapcott with a German translation by poet Jan Wagner. The book is supplemented with texts by Philipp Bollmann (curator, Wemhöner Collection) and Dr Thomas Girst (art historian and cultural manager).
My Work Is My Personal Theatre
Photography merges with painting—In her works, Russian artist Katerina Belkina uniquely combines visual art forms with digital image processing. An illustrated book with art historical discourse.
When looking at the pictures of Katerina Belkina, it is not clear which medium you are looking at—a photograph or a painting? In her works, the Russian artist uniquely combines techniques of photography with forms of representation of the visual arts. Using a digital brush, she imbues her photographic works with a weightless, dreamlike atmosphere, elevating the reality of the snapshot to an expanded and enhanced reality. In doing so, she creates her very own genre.
The focus of her works is always the human being, mostly the woman. In the process, Belkina herself takes on a triple cast of characters: she is motif, director, and visual artist all at once. Based on feminist principles, the Russian artist shows everyday life from a female perspective, where the woman is not presented as an object, but is above all energy. In her picture series “Not a Man’s World” she presents herself self-confidently smoking a pipe and with a raised forefinger. However, Belkina does not want to denounce, but rather seeks answers to the question: who is she as a woman, an artist, a mother, or a member of a society?
Silver award winner (shortlist) at the German Photo Book Award 21/22 in the category Conceptual-Artistic Photo Book.
Power Plants
The book POWER PLANTS by artist collective kennedy+swan finally puts an end to the anthropocentric world view. Why should humans feel superior to the evolution of plants and animals?
The duo asks questions without pretending to deliver moral answers. What will the world look like in 1000 years? What will happen when our bodies merge with different species of flora and fauna? And what do insects have to say about the idea of making them humanity’s main protein source?
The bilingual publication (German and English) gives access to the complex narratives with numerous texts, an essay by Kimberly Bradley and an interview with the artists. Using a self-programmed app, some of the illustrations can be augmented. Since 2013, kennedy+swan try to create empathy with fungi, insects, and hybrid beings in their films, virtual reality and augmented reality works, as well as in their drawings and installations, spinning a dense narrative web under their label L I F E 3. 0. The book POWER PLANTS gathers all the duo’s previous work cycles and tells of a world where nature regains its deserved upper hand.
Longlist in the 2022 competition of the Stiftung Buchkunst The Most Beautiful German Books in the category Art Books, Photo Books, Exhibition Catalogs.
Branded Interactions
Branded Interaction Design (BIxD) – the brand-appropriate design of interactive applications – goes far beyond the visual design. Digital touchpoints are an integral part of current brand communication. The number and form of these brand touchpoints is growing rapidly. Complex user experience designs can only be created in a workflow that closely interlocks conception, design and IT and integrates consistent prototyping and testing. That changes everyday agency life. And the professional profile of the designer.
Katja Wenger and Marco Spies accompany companies on their way through the digital transformation. They know how to make brands credible in the digital space and how to plan and design the user experience in line with the brand. They know the company side from their own start-up experience and pass this knowledge on.
Profound and practical. Structured and understandable. With checklists, tools and valuable practical tips.
This book is a guide and inspiration for anyone involved in designing interactive applications for businesses and brands. It is aimed at beginners and professionals, at creative people and those responsible for brands, at lone fighters and designers in large agencies. It imparts practical knowledge and gives food for thought for a new era.
The Nest—The CalArts Poster Archive Print
The Nest is a book, conceived and designed by Scott Massey, about process—the process of designing, and how it changes both what we make and who we are. The Nest is also a book about memory—how memory builds up in layers and influences our experiences, as well as the things we make. The focus of The Nest is a series of posters created in celebration of the exhibition Inside Out & Upside Down: Posters from CalArts 1970–2019. The Nest documents Scott Massey’s use of appropriation, collage, layering and re-working to generate 200 unique and vibrant compositions that each tell a different story about creative discovery.
The Nest was born when Massey, a CalArts alum, was commissioned by curator Michael Worthington to design and print a poster for the Inside Out & Upside Down exhibition. Due to the outbreak of COVID-19, the exhibition at the Redcat in Los Angeles, CA had been postponed. With the world still in the throes of the global pandemic, this was seen as a time to dig deeper, to reflect on what makes each of us unique and what inspires our lives. At the heart of The Nest is an interest in the way form-making can be influenced by not just the circumstances of the present moment, but just as much by history—from the Bauhaus to Swiss Modernism to the variants of Postmodernism that stemmed from CalArtsand Cranbrook.
Using elements that represent the history and range of the storied CalArts poster archive, this project is an exploration of aesthetic strategies brought to life by blending both digital and analog processes. Layer by layer, step by step, The Nest closely examines each phase of designing those 200 posters. It is a celebration of process and a deep dive into the ever-evolving design values that guide one along the creative process. The Nest is full of personal narratives, conversations about process, the always difficult journey of making, and how memories can guide and inspire. Through interviews, essays, and conversations among designers, The Nest looks to illuminate what it truly takes to start something and to keep going no matter the resistance, until you find your way out.
Conversations and writing by: Denise Gonzales Crisp & Gail Swanlund / Ed Fella & Martin Venezky / Bijan Berahimi, Stefano Giustiniani & Laura Bernstein / Ethan A. Stewart / Juliette Bellocq & Louise Sandhaus / Ian Lynam / Paul Sahre, George Bates & Scott Massey / David Karwan & Michael Worthington / Joseph Conway / Martin Venezky & Jon Sueda
“This book shows us design as dub. Using image instead of sound, where the process becomes the outcome. A set of predetermined graphic pieces that get manipulated, removed, amplified and echoed into endless variations of visual landscapes. By the end of the process the original is just a trace, an indexical mark; instead the echo, the altered, the invisible, is what becomes physical and real.”—Michael Worthington, Designer/educator/curator
Awarded with ADC Award Germany (Bronze), European Design Awards (Gold), German Design Award, and Type Directors Club New York.
Style Cards Vol. 1
Use this set of 135 design cards to explore visual trends, define a brand’s look and feel, gamify design workshops, and enhance moodboards. These cards contain works of modern designers and are curated into 10 themes that reflect the world’s visual trends.
How to use Style Cards?
https://youtu.be/otyWGzT4TXs?si=rncs-W1UwV43UR4l
This volume contains design cards curated into the following themes that reflect visual trends:
Minimal
Vintage
Classic
Ethnic Bohemian
High Tech
Natural
Feminine
Luxurious
Metropolitan Hip
Colorful & Bright
WHAT’S INCLUDED?
130 Style Cards
10 Styles
Print version
NOICE Nº.001
NOICE is a photography publication and community for photographers that have a meticulous eye for form, beauty, symmetry, novelty, and humour.
Featured artists:
Alex Blouin, André Alexandre, Andres Orozco, Andrew Nowacki, Balint Alovits, Berber Theunissen, Bogdan Mukha, Chun Yang, Collin Pollard, Curro Rodriguez, David Rothenberg, David Slegers, Dominic Rickicki, Ethan Roads, Francois Ollivier, Gideon de Kock, Guilherme Viñas, Hadrien Houdart, Jimi Drosinos, Jorge Villarreal, Lau Jespersen, Leonardo Magrelli, Linus Michael Bergman, Marcos Zegers, Flavio Pinto, Maximilian Virgili, Nick Korompilas, Olga Mai, Pablo Murillo, Paweł Jaśkiewicz, Peter Hammond, Peter Walde, Polina Washington, Ralph Steinegger, Roger Sieber, Sasha Naselenko, Skylar Guica, Thomas Wilson, Timothy Valshtein, Toshiki Yashiro, Tyler Matthias, Ulysses Lizarraga
Grafikmagazin 04.22 – Editorial 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. Every two months, Grafikmagazin presents outstanding work from the fields of graphic design, typography, illustration, photography, design theory, research, paper and printing.
The editorial team of Grafikmagazin created a variety of sections and categories, but selects focus themes for each issue like “Editorial Design”. The topics portray how imaginative, eclectic and playful many aspects of graphic design can be, while also featuring successful branding concepts and niche ideas.
In the extensive “Showroom” section, readers can get to know other creatives and the stories behind design studios from around the world. In this issue Grafikmagazin 04.22 – “Editorial Design”, the European Design Awards were featured amongst others.
The “Design & 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 & Publishing” section everything revolves around the topic of print. Here 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 in a broader way or shares a fresh perspective on an individual design technique.
The Grafikmagazin team, its correspondents and freelancers are bound and driven by the strong belief that print is not dead at all. With the will to prove just how alive it is, and the motivation to start something fresh and yet deeply traditional, they strive for nothing less than to create another print magazine that makes history.
Andreas Seltzer – Western Lines. Eine Geschichte des Stacheldrahts
Thorny obstacles can turn into an existential threat for everyone, cowboys and sons of kings alike. This transpires in Andreas Seltzer’s „Western Lines. Eine Geschichte des Stacheldrahts“ [“Western Lines. A History of the Barbed Wire”] – a picture book employing the style of a children’s primer to create an evocative artistic web: a kind of cartography comprising cultural-historical material, personal fascinations, playful elements of nostalgia, and pictures of stark reality.
The images presented cover a wide range of aspects, from romanticization (Western movie posters) to sheer horror (grim photographs of war scenes).
“Over a thousand different types of barbed wire were used in the American West,” Andreas Seltzer informs us in “Western Lines.” The barbed-wire lines imposed on the vast land are the product of minds shaped by European traditions of private property, i.e. come from a different “West,” as it were, soon to cross America and turn its Wild West into parcels.
However, not only dividing lines (such as the pasture fences that spread with the settlers towards the Pacific and limit the freedom of movement of cowboys and, more dramatically, Native Americans) but also barbed-wire entanglements (as a recurring feature of temporary barriers in cities all over the world) and entire fields of barbed wire (those of the Siegfried Line, or Westwall, in the Second World War) play a role in “Western Lines.” In war photography, Andreas Seltzer notes, barbed wire quickly becomes a new “rhythm provider in the pictorial space.”
Andreas Seltzer draws, collects, and writes, acting as artist, curator, archivist, and author. In the ’70s, together with Dieter Hacker, he edited the magazine “Volksfoto. Zeitung für Fotografie,” whose “unspoken statement” Christoph Bannat once put as follows: “everything is already in the world, it just has to be uncovered, properly arranged and connected to words, and made to resonate.” Over the years, Andreas Seltzer’s private archive has grown steadily: an idiosyncratic repository of images from all kinds of sources, a pool he draws upon in his art, his collages, exhibitions, and publications.
Simulation City
Dubai, in its newness, has redefined the notion of authenticity: city and spectacle have been intertwined. Mall culture, airports, and theme parks may seem strange and vacuous in other cities, but in Dubai, they are the essence of life.
Shortly before the outbreak of the global pandemic, Dirk Gebhardt and Lars Harmsen visited Dubai. Nowhere in the world had they seen drama and comedy so powerfully together as in Dubai’s theme parks. In the drive to bring more tourists to the UAE, develop the real estate industry, and retain a huge labor force of expatriate workers, Dubai itself resembles and operates in many ways like a theme park.
In his essay Simulation City: The Theming of Dubai Jason Carlow explores the uncanny atmosphere of spectacle, spatial control, and remarkable societal and cultural overlaps and adjacencies that have become an integral part of life for many residents of and visitors to contemporary Dubai.
The art book Simulation City lets the reader see Dubai with new eyes …
characters#03
characters#03 is the third specimag by Character Type — a blend of type magazine and a typeface specimen. Their archive of collected typeface specimens and type magazines has inspired them to marry the two into one creative space and share some recent type-related thoughts and insights, while introducing Character Type’s newest typeface family Tragic Grotesk.
characters#03 is a double issue: The “Tragic Part” introduces Tragic Grotesk a 16 style sans type family inspired by 19th century Grotesk as well as technical typefaces such as DIN. The “Boring Part” showcases designers, illustrators and artists and their view of boredom.
100 POSTER BATTLE 2 — Sharing Cultural Identities
100 Poster Battle 2 — Sharing Cultural Identities is an experimental, bilingual poster design project supervised by Lars Harmsen and Markus Lange, that brings together students from different universities to design posters.
In a first round, black and white basic motifs were created, consisting of typography / text, or image / illustration / photo, or background. Just like in screen printing, the various layers were to be brought together in such a way that they all use the previously created pool.
Symbolically, this is already the first step of sharing cultural identity: that everyone has formulated their idea and vision in advance, but then mixes it with the thoughts and images of others, combines—to then also see from others how their own work moves and acquires new meanings. In terms of content, they covered three topics: Fashion & Subculture, Food, and City.
With all these topics all participants learned a lot from each other. Not only then, but also in the aftermath. The creation of 100 POSTER BATTLE 2 — Sharing Cultural Identities gave rise to a very close relationship between some of them. The designers worked together for days and nights, appreciating each other over the countless online sessions and conversations. They became friends in the process.