nomad 12 – living spaces

How are living spaces defined and shaped by society, design and architecture? We travelled from Munich to Berlin, crossed the Italian Alps and jumped from the UK to the US – interviewing visionaries, pioneers and designers around the globe by asking: how do they define and shape living spaces? How does architecture interact with nature, with leisure design, with working environments? Which is the most sustainable way in all of this? And what needs will people have?

Our tour started in Munich’s city centre, interviewing Axel Meise on how he went about shaping “a new culture of light”. Heading west of the city to Neuhausen, Professor Markus Allmann spoke to Oliver Herwig about the quality of a dialectical approach. Up near the River Rhine, Frank Wagner talked to Dr Marc Brunner and Steffen Kehrle about the nate collection. Sigurd Larsen and Georg von Hausen outlined their inspiring philosophy of sustainable products, as designers of the first piece of furniture that comes to mind when talking about living spaces: sofas. Sophie Dries delves into the challenges of designing those private spaces.

Former startup founder Frederik Fischer aims to reinterpret rural living with a new community mindset and has developed the KoDorf (co-village) concept. We spoke to Markus Bader, architect, professor at Berlin University of the Arts and co-founder of raumlabor in Berlin, and read about his excitement of the unexpected – be it in the form of people, events or experiences. From Berlin to the Italian Alps, we met up with Tobias Luthe at MonViso Institute – a real-world lab for trialling sustainable living spaces.

The changes wrought in our living environment by the advance of digital technologies are a long-standing preoccupation of London-based architect and UX designer Keiichi Matsuda, who examines what they means for our daily routines and how fiction can enhance our understanding of our possible futures. Karianne Fogelberg held a transatlantic Zoom interview with Rania Ghosn and El Hadi, and Kimberly Bradley portrayed Lisbon-dwelling curator and architect Mariana Pestana.

American Bauhaus

American Bauhaus creates a space for the history of Black Mountain College, which provided a new creative home for many World War II refugees in Europe from 1933 to 1957 and allowed the Bauhaus to live on in the United States. A unique place of freedom and creativity that became home to some of the most important artists of the 20th century!

In 1992, the Partner and Creative Director at studio1500 Erik Schmitt attended the reunion of Black Mountain College in San Francisco. The school is credited with shaping some of the greatest artists in American history: Willem de Kooning, John Cage, Merce Cunningham, Buckminster Fuller, Franz Kline, and Robert Rauschenberg among them. Schmitt was invited because his two aunts and their family friend Ruth Asawa attended BMC. He took extensive notes that day and took photographs at the cocktail party after the event at Ruth Asawa’s home. Those quotes and photographs are the foundation of the book American Bauhaus.

Each quote has a page devoted to it. The quote is presented in its entirety along with the time it was uttered. A fragment of the quote is also reproduced at a large scale bleeding off the edge of the page and traveling onto the following spread. In essence, it is an evocation of the interplay of the conversation that took place on that day. The name of the book, American Bauhaus was inspired by a quote Erik Schmitt recorded on the day of the reunion by Peter Oberlander who remembered Joseph Albers saying “Black Mountain is a minimal version of the Bauhaus … Go there.”

Ich und die Welt

“Ich und die Welt” explains our world to children and young people with the help of infographics. How do people live on the other side of the world? What is the most popular sport in South Korea? What does an Icelandic breakfast look like? And where do children have the most homework?
“Ich und die Welt” answers all these questions and more, introducing children to different cultures around the world, with their differences and similarities.
The book makes use of colorful, visually stimulating infographics on a variety of topics-from types of homes, pets, and homework to languages, sports, and first names-to show children how diverse and rich their world is. Me and the World is aimed at a global generation that is increasingly digitally connected and data-driven.

Design ist mehr als schnell mal schön

The economy has a new contract to award: Creative consulting!
In volatile, uncertain, complex, and ambiguous times, design takes on a new meaning. Management consultancies have found the term design thinking for this. You as a designer have always practiced this. Time to use it for your success.
This book “Design ist mehr als schnell mal schön” is the first step towards a new design and self-image.
It paves the way for you to design consulting. To more satisfaction and participation.
As a designer, you have always placed the customers of your clients at the center of your creative work. You do not primarily design books, brochures, websites, and more, but rather the communication between brands and people. Only: So far you have not charged for this.
Instead, you discuss colors and favors–and the strategic positioning is communicated to you in the briefing.
You want to get to the table earlier? More responsibility? Also: more money?
Maren Martschenko advises medium-sized enterprises on how to build and manage their brands and companies. She involves design at an early stage–and with great success. And she wonders why designers and their skills are not involved much earlier and more intensively in processes that always end with visualization, i.e. design. She observes a design dilemma in which lack of appreciation and payment play a major role. This does not have to be the case, she is convinced of that.
Step by step, she will open up a new terrain in which you will feel at home–as new as it may seem to you–surprisingly quickly: design consulting.
Design is more than quickly beautiful (in german: Design ist mehr als schnell mal schön). Design is more than form and color.
Design is a designed corporate strategy! That is your expertise. And your chance. Seize it!

Corporate Language – das Praxisbuch

Corporate Language is the interface of the future!
Companies that successfully position themselves in the market have one thing in common: they speak a unique, distinctive and recognizable language as part of their corporate identity.
They talk to their customers and not about them. They speak recognizable and understandable, consistent and consistent across all brand contact points. And often in different national languages. They understand this language as an essential part of their corporate identity and culture. And they let this language live.
How do you create such a distinctive and independent corporate language for your company, your brand, your institution? Or for your clients?
Language can answer the question of what a brand stands for, language can highlight differences and extend the lead. Language can address specific target groups, values can be clasped. It can describe complex things in a simple way and thus create proximity. It can condense information, transform the abstract into tangible and thus understandable stories and narratives. Language conquers hearts when it hits the words and tone of voice of the target group. Then it wins hearts and inspires purchase decisions or triggers sympathy. People understand each other – in the truest sense of the word.
This book provides the answer. Practical and tried and tested.
Not with boring theory, but with real cases that led to success. And provide you with inspiration, know-how and arguments. Supported by tools that make your everyday corporate language work easier.
Guaranteeing you success and efficiency. And with numerous before-and-after examples that clearly and lastingly convey text competence.

Echtzeit. Die Kunst, intuitiv zu denken

Intuition is heart and motor of the creative process, intelligence beyond thinking.
Michael Matthiass presents a creative process that uses intuition for what it is in a targeted and, above all, conscious way: The central tool of our work- heart and motor of the ideas workshop.
Ideas come when we entrust ourselves to the creative process. In other words: In certain moments we need the absence of criticism, commentary and correction. Then, we experience the state of absolute presence, the blind trust in the creative side, the fearless letting go that we need for ideas to be able to come.
Every creative knows this inner voice, the one which knows exactly that it is not »it« yet. Or, on the contrary even: This intuitive knowledge of coherence and harmony, not yet ready to be put into words, let alone be argued away.
It is this quiet voice Michael Matthiass makes heard. Because it often doesn’t get a chance to speak in teams and brainstorming sessions. Because it is overpowered by arguments which are logical, yet don’t take the creative process forward.
Michael Matthiass has led teams in top agencies to top performance for many years. He held seminars and coachings for creatives- and, more and more, experienced the small, quiet signs of intuition which, in the form of deep sighs, a frown, melodious word creations or urgent gestures in the right moment, say what analytical thinking tends to overshadow through reasoned argument.
He began to listen, look, observe more closely.
This is where this book comes from. It choreographs the interplay of analytical and intuitive thinking. It displays the game of the associative network with the strict rationality of conscience. And it paves your way to the most precious state in creative work there is: the flow. The state of absolute presence- and of blind trust in your creative side.
»We will never control it, this process. It lies in creativity’s nature. No book in this world can make us more brilliant than we are… But we can do an awful lot so that our little bit of personal brilliance, our quiet possibility for gifted moments may be realized as often as possible… We don’t need much for that. And of the little we need, intuition the is most important one. «
Our Western civilization teaches us to think much of our analytical abilities, and it undermines trust in intuition. Yet, good ideas need both: a breeding ground prepared by analytical thinking, letting go in the right moment- and clever judgement that not always comes from the corner of the playing field we had anticipated.

Designprojekte gestalten

Graphic design still is the job of your dreams, studying it was a firework of inspiration- yet, after a few years in agencies, disillusionment has settled in? You begin to suspect: Whoever aims to make a living in the free economy with design will need more than just competence in designing. But no one has prepared you for this and project management sounds awful to you?
Don’t worry: Katrin Niesen is one of us.
She has worked as a designer for well-known agencies for many years. After her first personal disillusionment, she experienced that a bit of organization from the beginning leaves more room for the heart of her work: the creation. As superior, she has trained generations of young designers to manage design projects with ease.
After more than 20 successful years, she decided to break free from the structures of a big agency. With a small team, she started up her own business. Next to standard of quality and economical benchmarks, she set another goal: there should be time for side projects, further education, travels and drawing. That had to be possible. And all that without a project manager or planner. And lo and behold, it worked. Thanks to the organizational guardrails she passes on in her book and thanks to a clear orientation through setting the interim target of the presentation.
Because she understands the process of design itself as creational task.
For when we creatives realize that the design process itself is a creational task…
When we discern that it is up to us whether regular night and weekend shifts are necessary…
When we begin to navigate projects in such a confident and efficient way that it leaves enough room for the heart- the creation…
Then calculations will work out better, presentations will be more convincing, everyday design life will be more satisfying and relaxed- and respect, recognition, and working at eye level will be more likely.
Nothing less is promised- and delivered!- by this book and it answers questions such as:
• How do I start?
• How do I plan and calculate a project?
• How do I handle constant financial discussions?
• How do I approach a topic of which I cannot make anything in the beginning?
• What if I cannot think of anything and I cannot deliver?
• What if my team does not deliver?
• How and with which criteria do I make the right decisions in design?
• How do I convince clients from courageous solutions?
• What can I do when I am feeling stuck in a rut and the deadline approaches?
• Why do projects often start off so well and then become chaotic and strenuous- and what can be done about it?
• How do I motivate myself?
• Am I good enough as a creative- and who gets to decide that?

Slanted Magazine #39—Stockholm

If you just think of IKEA, Greta, Abba, Sylvia, and Björn Borg or red wooden horses when you think of Sweden, you’re far off. In the summer of 2021, the Slanted team travelled to Stockholm to take a close look at the contemporary design scene.

Slanted meets internationally renowned legends, including Stockholm graphic designer Björn Kusoffsky of Stockholm Design Lab, David Eriksson, founder of teenage engineering, Magnus Gustafsson, founder of Paul & friends, and award winning architect Andreas Martin-Löf and graphic designer Maja Kölqvist. In its 39th issue, Slanted gathers a selection of Stockholm’s most brilliant minds and provides deep insights into their work and values in numerous video interviews, which are available online for free. Illustrations, interviews, essays, and an extensive appendix with many useful tips and an overview with the best Swedish writings complete the issue thematically.

In addition, a special limited edition has been published: We’ve teamed up with fashion brand Reell again to produce a stylish bucket hat that’s perfect for summer. Join the slntd clb!

Limited Special Edition Stockholm / Bucket Hat + Magazine

On occasion of the release of Slanted Magazine #39—Stockholm, we have once again teamed up with fashion brand Reell to produce a stylish bucket hat that is perfect for summer!

The Slanted × Reell Bucket Hat Ice Green is cut from a 6-wale corduroy and features a lettering of Slanted Publishers and the logo of Reell to emphasize the connection between the two parties. It is available with a circumference of 58 cm and a material composition of 90% polyester and 10% cotton. Join the slntd clb!

Slanted × Reell—A perfect fit!

Founded in 1997 with a simple idea, functional, well-designed pants, Reell is a pan-European brand on a mission to innovate. Well beyond simply being a pants specialist, their backbone remains quality products at honest prices. A passion for aesthetic and clean design makes what they are. The Reell family has grown with athletes, artists, and free spirits who manage to pursue their passion and remain true to themselves. These individuals represent who they are.

Publisher: Slanted Publishers
Brand: Reell
Release: April 2022
Material: 90% polyester and 10% cotton
Size: one size
Edition: 100 pieces

Slanted Magazine #39—Stockholm
Spring/Summer 2022

If you just think of IKEA, Greta, Abba, Sylvia, and Björn Borg or red wooden horses when you think of Sweden, you’re far off. In the summer of 2021, the Slanted team travelled to Stockholm to take a close look at the contemporary design scene.

Slanted meets internationally renowned legends, including Stockholm graphic designer Björn Kusoffsky of Stockholm Design Lab, David Eriksson, founder of teenage engineering, Magnus Gustafsson, founder of Paul & friends, award winning architect Andreas Martin-Löf and graphic designer Maja Kölqvist. In its 39th issue, Slanted gathers a selection of Stockholm’s most brilliant minds and provides deep insights into their work and values in numerous video interviews, which are available online for free. Illustrations, interviews, essays, and an extensive appendix with many useful tips and an overview with the best Swedish writings complete the issue thematically.

Publisher: Slanted Publishers
Release: April 2022
Volume: 240 pages
Format: 16 × 24 × 2 cm
Language: English
Printing: Offset printing, Stober
Cardboard Cover: Invercote G, 280 g/sm by Iggesund
Paper: Holmen TRND 2.0, 80 g/sm by Holmen
Workmanship: Swiss brochure, thread stitching, fine linen lamination
ISSN: 1867-6510

Hibiscus No.1

The Hibiscus No.1 Print with surreal surrounding comes as DIN A1 digital print on 250g/qm photo paper.
The Print is sold unframed.

Cercle Magazine #10—Parade

Listen to me, look at me!
It’s an order, I impose myself on your eyes. I exist and I want you to know this. I’m dressed to the nines. I’ve filled out with a few extra pages, I give myself in several languages to parade through your hands, throughout this new layout. I want to seduce you, to reclaim my identity, to be your chosen one and experience a moment of jubilation with you.
Without your gaze, without the attention of others, parades have no meaning. I build cities, States, I dance, march, charm, draw and adorn myself, I show myself. Can you see my social status, my power, my capacities? What is the point of this decorum without a witness? If such outer signs can mark an individuality, they are also the bearings of collective belonging and creators of social links. It’s what makes the complexity and beauty of the thing. Let’s parade happy and proud of existing together.
Let’s parade for each one of us to have their rightful citizenship.

Grafikmagazin 02.22 – Wissenschaft & Kommunikation

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 »Wissenschaft & Kommunikation« (Science & Communication). 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 02.21 – »Wissenschaft & Kommunikation«, graphic design icon Otl Aicher was 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.

Monstera No.1

The Monstera No.1 Print with surreal surrounding comes as DIN A1 digital print on 250g/qm photo paper.
The Print is sold unframed.

WOCHENENDER – MECKLENBURG-SCHWERIN

Nordwestmecklenburg, Schwerin, Ludwigslust-Parchim: Dense forests, green meadows and lots of water! Between Hamburg and Berlin, between the Baltic Sea, Elbe and Müritz, there is a very special, somewhat forgotten region: Mecklenburg- Schwerin. Magnificent residences, manor houses and imposing avenues dominate the landscape around Schwerin. But nothing characterizes this region as much as water: In addition to all the small and large lakes, numerous rivers and canals meander through the partly unspoiled landscape. This has created a unique combination of nature and culture.
Whether on foot, by bike or on the water: Once you have been there, you will never forget Mecklenburg-Schwerin again!

ZUM BUNGALOWDORF 1 – A Nachtdigital Book

For 22 years, a far-flung corner in the heart of Saxony was the location of the Nachtdigital festival. It was one of the most internationally recognised festivals of the electronic music scene, but at the same time one of the smallest of its kind, with the number of tickets strictly limited to 3000. From 1988 to 2019, fans from all over the world assembled in the tiny Olganitz site – more specifically in Bungalowdorf 1 (Bungalow Village 1) – to dance, to lose themselves and to find a place of retreat.

This recently published collection captures the final four years of the festival in photographs and transports the viewer from the country lane and over stubbled fields to that province in Saxony, so colourfully and beautifully lit up.

Christian Rothe emphasises the suspense that these lights inspire not least by choosing to start the journey to Olganitz in black and white. Nicolas Oxen’s essay Region also provides a narration of the transit, reporting with great authority on the origins and unique features of the Nachtdigital. This is followed by first glimpses of the set-up weeks and the faces of the crew, then the high-spirited stage scenes and quiet peripheries of the party. In addition to these intimate portraits, the images that play with opacity/transparency are particularly striking. Will Lynch adds depth to these impressions with his sensitive reflection on the unique, “slightly surreal” summer days in Olganitz.

What comes next as the narrative reaches 2018 is nothing less than an enrapturing and superbly arranged ecstasy of images. Broken up with short quotations and testimonials, it is not least the sense of loving togetherness and hedonistic enthusiasm of the Nachtdigital actually materialising on the page that inspires the reader to look and to keep turning the page. The rapture of the rave is contagious! In his piece of the same name, Gabriel Geffert reflects on this theme from a culture-theoretical perspective, supplemented with historical knowledge. This ecstasy bridges the gap to 2019, recording in photographs the intensity of the previous summer. Ultimately, this would be the last Nachtdigital – the last technosummer in Bungalowdorf 1. Christian Rothe manages to capture the emotions of this huge farewell party in moving and euphoric images of moments. There is nothing monumental about them, instead they are sensitive and captivating. People are arm-in-arm, enjoying in their own varied ways the final sounds on the packed dancefloor. These images convey the fact that for many people, this was the end of something major. Shortly before the journey home, which wends its way back through the villages and fields in photographs, Franziska Winter’s essay again highlights What Remains once the echoes of the last set have faded away.

This volume is an analogue and emotional storage disc. The photos on its 268 pages contain a remembrance of the singular days and nights of the festival, the euphoria, the dust and lustre of midsummer Olganitz. It reflects the Nachtdigital not just in content but also in form by staying loyal to the festival’s noncommercial credo. “I always felt that for the aeendees and the crew, Nachtdigital was this one weekend a year – a place they longed for, the memories of which they carried with them all year, drawing them back. Friendship, ecstasy, freedom, musical infatuation… I am both overjoyed and grateful that we have been able to realise this book project together, and above all, to do so in such an uncompromising way,“ says Christian Rothe. – Christian Rothe, born in 1986, studied Visual Communication at the Bauhaus-Universität Weimar, graduating in 2014 with his thesis, Weil er er war, weil ich ich war (Because he was him, because I was me). Since then, he has been working as a photographer and graphic designer on independent and commercial projects. In 2015, the book version of his thesis was included in the Stiiung Buchkunst’s “best German book design” list. ZUM BUNGALOWDORF 1 is his second book to be published as a photographer.

Slow Reader – A Source for Design Thinking and Practice

Slow Reader consists of a collection of theoretical reflections and practical perspectives that offer a holistic vision of human activity in enduring, dynamic interaction with other living systems. Positioned as a ‘resource for design thinking and practice’, this book challenges the paths through which contemporary design practitioners operate, offering alternative perspectives and an expanded palette of tools for addressing the complex web of interdependencies.
The book is intended to inspire well beyond design fields, serving as a vehicle for reflection (re-)imagination and further investigation of ‘Slower’ approaches of living, individually and collectively, now and into the future.
Contributors: Yochai Benkler, Maria Blaisse, Chet Bowers, Siobhán K. Cronin, Olafur Eliasson, Eric Ellingsen, Emilio Fantin, Fernando Garcia-Dory, Lotte van Gelder, Jeanne van Heeswijk, the nanopolitics group, Jogi Panghaal, Eva Pfannes (Ooze Architects), Ana Paula Pais, Ann Pendleton-Julian, Alessandra Pomarico, Marjetica Potrč, Julian Raxworthy, Uzma Rizvi, Niels Schrader, Carolyn F. Strauss, Christina Werner.

Čatnosat – Indigenous Art, Knowledge and Sovereignty: The Sámi Pavilion

For the first time Sámi artists will present their art and worldvies at the Biennale Arte in Venice, 2022, as a sovereign call representing Sápmi, (Sámi homeland that spans Scandinavia and the Kola Peninsula).
The Sámi Pavilion is a Čatnosat (= connections, networks) project that revolves around three key elements: trans-generational relations, holistic Sámi knowledge, and learning and Sámi spiritual perspectives. This book serves as a project in its own right, to provide further reflections on Sámi art and knowledge, considering Sámi notions of non-linear time and the centrality of story-telling, sound and the spoken word.
The core of Čatnosat features the artworks of The Sámi Pavillion’s artists Pauliina Feodoroff, Máret Ánne Sara and Anders Sunna. Around this are two sections, neither beginnings nor ends. In one, we find an experimental short play and poems, as well as stories bringing political, and Sámi spiritual and philosophical perspectives. The other section includes a dialogue with the artists; an essay highlighting the centrality and span of Sámi knowledge creation across the ages, and a glossary of Sámi words pivotal to Sámi ways of being, doing, seeing and thinking, also highlighting the Sámi philosophical relationship to their language. The book is an exercise in Sámification that highlights the importance of Indigenous holidstic perspectives today, and that centres Sámi Indigenous wisdom in all fields of art and living.
Following the Sámi custom of learning from elders of the community, the artists received guidance of the following Samí elders: Pauliina Feodoroff by Sámi educator and professor emerita Asta M. Balto; Máret Ánne Sara by reindeer herder and Sámi knowledge bearer Káren E. M. Utsi; and Anders Sunna by Sámi professor of law and juoigi (practitioner of joik, the Sámi musical practice) Ánde Somby.
Editors: Liisa-Rávná Finbog, Katya García-Antón, Beaska Niillas, assisted by Liv Brissach, Raisa Porsanger.
Advisors: Brook Andrew, Wanda Nanibush.
Contributors: Brook Garru Andrew, Asta Mitkijá Balto, Liv Brissach, Pauliina Feodoroff, Liisa-Rávná Finbog, Katya García-Antón, Harald Gaski, Timimie Gassko Märak, Wanda Nanibush, Beaska Niillas, Raisa Porsanger, Máret Ánne Sara, Sigbjørn Skåden, Ánde Somby, Anders Sunna, Káren E. M. Utsi.
Support: Fritt Ord Foundation, Nordic Council of Ministers.

Queer Tattoo

In recent years, having received a considerable boost by social media, a young and dynamic scene has emerged that is dedicated to what has become known as queer tattooing. This special community, which is growing steadily, has been born out of a desire to break with the hierarchies and patriarchal structures of traditional tattoo art. It aims to create safe, tolerant, and inclusive spaces where queer, nonbinary, and trans people can experiment away from the mainstream and develop their own individual styles and techniques.
In their work, many tattoo artists break free from the destructive, heteronormative, and capitalist ideals of beauty, creating a visual language that subverts the long tradition of cultural appropriation which characterizes the traditional tattoo scene. Their designs reveal a unique creative flair for queer iconography.
This book is the first comprehensive introduction to this vibrant and diverse queer tattoo community. It presents 50 international tattoo artists with the help of extensive portraits, texts, and series of images.

further 03

The Fotobus Society is a network of photographers founded by Christoph Bangert. Its more than 800 members are studying at universities and photography schools across Germany and Europe and benefit from the association’s broad cultural and social program. At the heart of this community is a 30-year-old bus that acts as a mobile photography school and regularly takes members to photography festivals, symposia, and professional events.
This book is the third volume of a series that introduces selected works of the association’s members and offers a fascinating glimpse into the contemporary scene of young European photography. Telling stories about everyday life and the boundless excesses of our time, it features pictures that are marked by violence: directed against oneself, against others, and against the planet.
Other positions include poignant snapshots that reveal personal stories of individuals, groups, or communities who are grappling with ever new challenges. The photos show freedom, hope, and love – as well as their absence. They are doing what photography does best: opening spectators’ eyes to a world that would otherwise remain hidden from them.

HOMEBOUND—New Wave

HOMEBOUND–New Wave shows the collaborative works of designers, artists, and authors, answering and visualizing the influence of the pandemic on their attitudes and projects!

The HOMEBOUND project was born when the pandemic began to cause lockdowns worldwide and many designers and artists had to cancel commissions. Cihan Tamti, author of the book Breakout, took the chance to act and decided to create a publication that would present the free projects of his Instagram community created during this period to use up the extra time. The result was an incredibly beautiful documentation of that time and of work that would never have been produced under normal circumstances.

With the second wave of the pandemic, Cihan Tamti wanted to repeat the same process, with great success: the outcome is HOMEBOUND–New Wave, a publication that features the excellent work of 75 designers from 50 cities and 12 countries! The new waves of the pandemic brought a new aesthetic, a new voice and a great progress in networking and cohesion within the community. The influence on the designers’ attitudes and projects has been questioned, answered, and visualized in this publication.

With articles by Rafael Bernardo, Hugo Suissas, Daan Rietbergen, Sophia Brinkgerd, Leonhard, Laupichler, Marvin Loschelders, Jonas Diefenbach, Alexandra Breitenstein, Julien Fincker, and Lars Harmsen.

WOCHENENDER – LIEBLINGSORTE UM MÜNCHEN

Day tours and short trips: Only few places in this world have such a natural combination of nature and city as in Munich. Sometimes it only takes a short train ride to stand in the midst of a beautiful landscape. This WOCHENENDER – LIEBLINGSORTE UM MÜNCHEN catches the exciting mix of tradition and modernity of Upper Bavaria and gives extraordinary recommendations – from hikes in the Alps and canoe trips on the Amper to traditionalist beer gardens and elegant boutique hotel. With proven classics and real insider tips to recharge our batteries.

Hallo Hamburg: Ein Blick in die Stadt

“Hallo Hamburg” invites you for a walk through the city – it presents special places and tells stories of founders and creatives. Over 200 pages introduce more than 50 urban spaces of encounter – like the Oberhafen or the Grindel high rises. Established cultural institutions find their place beside fist clenching niche ideas. Along the way are restaurants, record stores and book shops.
This book invites you to a solidarity specialty coffee, raises a toast (with fine grapes) to St. Pauli and to life and knows that the b-location is always worth a visit. It asks 6 illustrators what Hamburg means to them and prints their replies into Die Illustrierte – the zine to the book.
“Hallo Hamburg” is a book somewhere between picture book, interview collection, art project and city guide – never willing to fit into a category. Just like the city’s people.

Grafikmagazin 01.22 – Illustration

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 “Illustration”. 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 01.21 – “Illustration”, graphic design icon Félix Béltran was 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.

Mono Moment—Monospace Type Design

Monospaced fonts are fascinating! Mono Moment is aimed at type designers typographers and designers, but also at people who are dealing with type design for the first time. The publication thus becomes a reference book and source of inspiration!

Friedrich Nietzsche was probably one of the first to feel the aesthetic appeal of monospaced typefaces. Since he started writing with a typewriter, typefaces, and punctuation have been important to him. In the meantime, we encounter monospaced typefaces regularly in everyday life: in design and in art, in coding, on tax records, or on our ID. If you take a closer look, you will encounter non-proportional typefaces more often than expected.

Monospaced typefaces are defined by their fixed, equal width for all characters. Every character, letter, and number occupies horizontally and vertically the same space. Proportional typefaces, in turn, have harmoniously balanced spaces with variable widths between their characters. The widths are not set proportional. That is why monospaced typefaces are also named non-proportional. What exactly is the attraction of typefaces, whose letters and characters each occupy an equally large space?

Due to the increase in typeface production over the past few decades, almost every well-developed font family also has a mono or semi-mono cut. When searching for the word “monospace” on the World Wide Web, countless entries can be found in addition to the results such as “I am looking for a beautiful monospaced font,” “Top Ten Monospace Fonts,” or “Best Monospace Fonts for Coding.” At a time when it has never been easier to design and publish typefaces, this book provides a good orientation to monospace!

Featured typefaces: Airport Mono, Andal  Mono, Anonymus Pro, AO Mono, Aperçu Mono, Atlas Typewriter, Base Mono, Basier Mono, Blue Mono, Calico Mono, Cindie D, Consolas, Courier, Cygnito Mono, Eureka Mono, GT Pressura Mono, IBM Plex Mono, Input Mono, Kettler, Letter Gothic, LTC Remington, Maison Mono, Monaco, Monoela, MonoLisa, Orator, Pica 10 Pitch, Pitch, Plastic, Platelet, Roboto Mono, Simon Mono Light, Sneak Mono, Source Code Pro, Space Mono, Splendid 66, Sudo, Suisse Int’l Mono, SYNO MONO, The Future Mono, TheSans Mono, Typist Code, Typist Slab, Ubuntu Mono, and Vulf Mono.

 

“‘Mono Moment’ Is a Monospace Typography Bible”
PRINT, Chloe Gordon