4 long-form in-depth interviews with photographers: James Barnor, Pixy Liao, Alex Dietrich, Leah Edelman-Brier.
Behind the scenes photo reportage of the worldwide oldest, still running cinema: Breitenseer Lichtspiele in Vienna.
In detail: a special, selected camera from the WestLicht camera museum
For artistic duo of typographer Jan Matoušek and photographer Vojtěch Veškrna, the gateway to the subject was its visual power. Through the creation of fonts and photographic images, they tried to mirror the themes in a new, personally conceived form. The font family and the photographic series, in harmony with the historical context, create an original work that allows the viewer to perceive the past and the present simultaneously. Squadron is a book—a tool really—for further intellectual searching and new interpretations, published by Biggboss. Within the rigid confines of the font patterns with carefully observed dimensions, that is, into a space where rules are paramount, the creators attempted to also imprint a living, organic content. Just like the pilot is part of the extremely technically-dominated world of his aircraft.
Two timelines intertwine in Squadron. On the photographic level, history is represented by the work of Ladislav Sitenský, whose photographs of British bases were digitalized specifically for this book. The present day is represented by Vojtěch Veškrna and his photo series from the air base of the tactical Air Force in Čáslav. Both photographers have in common a fascination with aviation, and therefore also with the symbiosis of man and machine.
A fundamental moment for the creators of the Squadron project was their meeting and interview with Brigadier General Miroslav Štandera. During his life, he managed to experience enough for at least two additional ones, despite which he withstood all of the dramas and somersaults of fate, and with elegance and humor at that. In response to the question of why, in 1939, he voluntarily left his, at the time, occupied homeland, he replied: “We took it as our duty. We were brought up a little differently than you’ve been. We were Masaryk’s guys, most of us simply thought that way.”
Those words helped Matoušek and Veškrnareason understand for why, despite the uncertainty and facing a dramatic fate, Czechoslovak airmen voluntarily left to fight for democratic ideals, freedom and human values. Not three weeks after their visit to Miroslav Štandera, this last fighter pilot and direct participant in the battles in France and Great Britain passed away, at the age of 95.
As representatives of the generation born at the end of the twentieth century, Matoušek and Veškrna were able to glimpse the last rays of light of a setting story. Czechoslovak airmen often paid twice for their courage—those who survived the war were jailed or otherwise persecuted. And even their children, due to the inconvenient reputations of their fathers as “western airmen” were not allowed to study, or were subjected to other hardships in their lives.
Since the end of the Second World War, the world has managed to change radically and accelerate. The world witnesses and participates in the shifting of human and technical possibilities, rapidly changing standards of behavior, social dogmas and rules. From this moment of the present, people constantly reflect on the past and create a vision of the future. Squadron is a tool designed to support this creative process, of which everyone is a co-creator. Hopefully, it also bears the torch of a story that should be remembered.
Graphic designers love music. This is shown not least by the great enthusiasm of the readers of the typography magazine Slanted for the category Typo Lyrics, in which designers reinterpret music with the help of writing. For the publication of the same name, renowned graphic designers and young talents from all over the world have been inspired by lyrics to innovative font designs. The result is a collection of fascinating visuals – “typefaces” that present contemporary fonts in a slightly different way.
The extraordinary combination of typeface design and music brings the fonts alive and makes them literally dance. In contrast to classic pattern books or fonts, a special, emotional approach to typography is created, which makes clear the great potential for expression of fonts. Analogous to the traditional classification of fonts, the book is divided into eleven chapters, each of which deals with a font family and song lyrics of a specific musical genre.
With contributions from:
123buero (GER)
Base (ES)
bauer (A)
Bureau Mario Lombardo (GER)
Bureau Mirko Borsche (GER)
Fons Hickmann m23 (GER)
Gavillet & Rust (CH)
L2M3 (GER)
Mainstudio (NL)
Matt W. Moore (USA)
Norm (CH)
Paula Troxler (CH)
Pixelgarten (GER)
Vier5 (FR)
und vielen anderen
The House of Common Affairs (HOCA) is a new, smashing journal about the Fourth Estate Utopias. It provides an opportunity to challenge the niche and yet popular field that exists in the overlap between the arts and journalism. HOCA invites a more diverse range of voices into the conversation with the aim to promote an international and interdisciplinary exchange of ideas, as well as knowledge. It seeks to offer a space for critical thinking with the aim of provoking further developments in this field.
The Fourth Estate Utopias is the first issue of HOCA, and as such addresses the project’s subtitle, “fancy discussions about Fourth Estate utopias,” and is about the role of visual communication in relation to journalism.
Contents
• Introduction by Noortje van Eekelen
• Forum 1: “An Artist, a Politician, and a Journalist Walk Into a Bar …” with Belle Phromchanya, Ruben Pater, Ken Hollings, Monika Parrinder, Noortje van Eekelen and participants; moderated by Paula Minelgaite
• “Form, function, content, payroll: micro and macro politics of design,” essay by Depatriarchise Design
• Interviews with Alina Negoita, Chourouk Zarkaoui and Latifah Al-Said
• Forum 2: “What Do We Want? Clickbait! When Do We Want It? The Answer Will Shock You!” with Olivier Kugler, Jessie Bond, Theo Inglis and participants; moderated by Paula Minelgaite
• “Parallel channels,” essay by Jaione Cerrato
Contributors
• Alina Negoita is an interdisciplinary artist
• Belle Phromchanya is a designer, visual researcher, and filmmaker
• Chourouk Zarkaoui is a multidisciplinary designer and communicator
• Depatriarchise Design (Anja Neidhardt and Maya Ober) is a research platform focusing on Design Patriarchy
• Jaione Cerrato is a graphic designer and artist
• Jessie Bond is a writer, researcher, and editor
• Ken Hollings is a writer, broadcaster, and cultural theorist
• Latifah Al-Said is an artist of British/Omani heritage
• Monika Parrinder is a design writer, consultant, and educator
• Noortje van Eekelen is the founder and director of ACED
• Olivier Kugler is a reportage illustrator
• Paula Minelgaite is a designer concerned with the politics of truth
• Ruben Pater is a designer and researcher
• Theo Inglis is a graphic designer and writer
This book is a tool kit to create new forms. It deals with grid-based design and gives the reader techniques to develop new forms, fonts, logos, and patterns. The concept represents a design process in which individual decisions follow much larger and deeper principles than immediate and spontaneous-intuitive actions.
Using a wide variety of examples, each chapter contains a detailed description of the procedure from form analysis to setting up design rules and their application. Both a workbook and a source of inspiration, this publication provides designers and architects with the tool they need to find analytical forms—analog, algorithm-based, exploratory but never of arbitrary origin.
The procedures described allow an almost infinite number of possibilities. The designer is thus transformed from inventor to interpreter or curator, who assesses individual forms for logos, fonts or patterns on the fly and ensures that the design process is always efficient and goal-oriented.
The photo book Will Feel Eyes on by Kai Jünemann, internationally renowned photographer, represents a colorful and spontaneous visual diary with 113 photographs taken during his first and intense stay in Teheran, Iran.
From the editorial by Dirk Gebhardt:
“On the street, patterns and signs shape a unique space of non-verbal communication. The Western gaze recognizes them in part by recalling familiar pictorial patterns. Porcelain horses, cheetah prints, and the last supper directly reference the sociological and symbolic significance of the Occident. In combination with the curved writing of Koran suras on pillows, covered hair, and colorful printed fabrics, they develop a new, unknown meaning. To confront Iran photographically, while remaining unaffected by its political dimension, is a challenge.
Kai Jünemann circumvents a personal statement through the coded, playful exploration of visual surfaces. The details, frames, and harsh exposures of his images, cut objects, people, and situations out of reality with the precision of a scalpel. Jünemann’s world is reduced to patterns and rhythms, thereby metaphorically representing the merging and cross-influencing of cultures.
The unusual is so mundane that the familiar astonishes the viewer, who is immediately confronted with the question of his own clichés and habits of seeing. Symbols of status and pride, elegance and banality, power and eroticism collide with each other in a colorful and mixed way, thus forming a cosmos of humanity—comprehensible and emphatic. What was once foreign ground is transformed into home territory, despite or maybe even because of the exoticism of many pictures in Jünemann’s visual Iranian diary.”
hinzkunst Poster designed by burkhardthauke, a multidisciplinary design studio founded in 2009 by Ralph Burkhardt and Daniel Hauke. The office has since been honored with numerous national and international awards.
Founded in London in 2007, Monocle magazine is at home all over the world. Thanks to its network of international offices (London, New York, Toronto, Zurich, Istanbul, Tokyo, Singapore) and more than 30 correspondents worldwide, the team always delivers valuable first-hand information.
The Monocle Travel Guide Series is aimed at travellers who do not see themselves as tourists, but want to move around in a foreign city like locals. With an in-depth understanding of the dynamics of the metropolises, the Monocle team puts together the best insider addresses that are indispensable for a city trip off the beaten track.
If Berlin is Germany’s clubbing capital then Hamburg is the dinner party that’s as raucous as it is refined—and the guests are a varied bunch too. Stroll around this port city and you’ll brush shoulders with local fishermen on the banks of the River Elbe, world-renowned gallerists hosting cutting-edge exhibitions, and independent retailers flaunting wares that are either “Made in Hamburg” or exotic. Pull up a chair and meet the lot of them.
Founded in London in 2007, Monocle magazine is at home all over the world. Thanks to its network of international offices (London, New York, Toronto, Zurich, Istanbul, Tokyo, Singapore) and more than 30 correspondents worldwide, the team always delivers valuable first-hand information.
The Monocle Travel Guide Series is aimed at travellers who do not see themselves as tourists, but want to move around in a foreign city like locals. With an in-depth understanding of the dynamics of the metropolises, the Monocle team puts together the best insider addresses that are indispensable for a city trip off the beaten track.
Think of Athens and the first things that spring to mind are ancient ruins and camera-toting crowds. But there’s much more to the Greek capital than temples and tourists. We’ve looked beyond the admittedly awe-inspiring Parthenon and explored the city’s modernist marvels. For now, though, strap up your sandals and allow us to introduce you to this chaotic but ever-so-charismatic city.
Founded in London in 2007, Monocle magazine is at home all over the world. Thanks to its network of international offices (London, New York, Toronto, Zurich, Istanbul, Tokyo, Singapore) and more than 30 correspondents worldwide, the team always delivers valuable first-hand information.
The Monocle Travel Guide Series is aimed at travellers who do not see themselves as tourists, but want to move around in a foreign city like locals. With an in-depth understanding of the dynamics of the metropolises, the Monocle team puts together the best insider addresses that are indispensable for a city trip off the beaten track.
In this guide we delve into three Swiss cities and uncover what makes them tick. We tour the spotless streets of Zürich, highlighting its distinguished commercial-gallery scene, glistening lake, inviting swimming spots and burgeoning set of top-notch restaurants and bars. Next, we head west to explore Geneva, with its luxury retailers, independent chocolatiers and curious collection of architecture. Finally, we finish with a jaunt around petite Basel and admire its robust offering of contemporary structures and world-class museums. The Monocle Travel Guide to Zürich, Geneva + Basel celebrates the richness of these three cities and dives beneath the surface to bring an unexpected mix of creativity, entrepreneurialism and design.
In visual communication, contents are arranged, organized, and presented. Design laws and principles that are inherent to every medium ensure that from a distance a novel looks like a novel, an art catalog like an art catalog, and a magazine like a magazine. This publication offers a compact mix of explanations, practical tips, and background information on the topic.
At its center is the grid as the most important design principle, whose function and application are thoroughly discussed. The grid allows a consolidated approach to a structured design like a blueprint that supports not only faster and easier reading but also better comprehension of information. In a second part, the author discusses the design process itself with answers to seemingly simple questions of what to observe when designing and the sequence of steps. Another chapter focuses on relevant theoretical aspects such as how method and intuition are correlated. The final section contains an extensive glossary.
In 1949, the competition “Die besten Plakate des Jahres” (The Best Posters of the Year) took place for the first time in the newly founded Federal Republic of Germany. Designers could enter poster designs from the past year, a jury of experts awarded prizes for the best works. From 1966 onwards, there was such an annual competition in the GDR too. Many of the commended works from that time are today amongst the canon of German and international design history.
The book tells the eventful history of the competitions and their changing shape over the decades. The picture section shows over 250 posters from 1949 to 2000 from a total of almost 4,000 award-winning works. An all-German poster history, which visualizes lasting changes as well as transient design trends and shows many of the best German posters, including works by Hellmut Brade, cyan, Michael Engelmann, Frieder Grindler, Erhard Grüttner, Rudolf Grüttner, Hans Hillmann, Günther Kieser, Uwe Loesch, Holder Matthies, Pierre Mendell, Rolf Felix Müller, Volker Pfüller, Ott+Stein, Gunter Rambow and many others.
After the end of the Second World War, it becomes clear that the victorious powers cannot agree on a joint future for Germany. The Cold War begins. Germany is divided into two separate states. In Berlin, the division is carried out on a small scale. In 1961, the East builds a wall and turns the western part of the city into an island behind the Iron Curtain. Until the fall of the Berlin Wall in 1989, West Berlin remains a special political construct, with its own cultural scene, its own press sector, and its own graphic design.
This book tells, for the first time, the exciting design history of West Berlin. The posters of SFB, using modernist graphics to announce concerts of new music. The “Berlin Layout” by Anton Stankowski, which is considered the first modern corporate identity system for a city. The serial book covers by Christian Chruxin, who designed the publications of left-wing publishers with the aesthetics of Swiss Style. The graphic design for cultural institutions by Jürgen Spohn, Volker Noth, and Ott+Stein, which set new standards far beyond the borders of the city. The logos of West Berlin from more than three decades. The information design developed under the direction of Erik Spiekermann for Berlin’s public transportation system. The works of Jack N. Mohr, who created corporate design solutions for many local companies. Including more than 500 illustrations, numerous interviews, and in part unpublished works, this book embarks on a journey to a city that no longer exists.
The European Union with its 28 (status 2019) member states today is facing difficult times: financial crisis, refugees, loss of allies, and exit scenarios—as implemented in the United Kingdom—lead to fear and insecurity. Above all, we are also witnessing how the digital revolution is creating a new image of mankind. The technical possibilities are about to go beyond what is politically and morally imperative.
So far, Slanted has devoted its editions to individual countries or metropolises in order to take a look at the design scenes. This time we are reacting towards the need of getting together and showing the importance of the voice we have and should use, to protect the freedom others have reached for us.
Slanted Magazine #34—Europe is a plea for a multi-faceted and vibrant Europe, against the backdrop of an Europe of nations, right-wing populism, and selfish politics. It is an inventory of Europe, showing a comment, a perspective, a feeling of illustrators, photographers, writers and graphic designers from all around Europe.
On occasion of the release of Slanted Magazine #34—Europe, a limited Europe special edition has been published and was exclusively available in the Slanted shop. It contains a tote bag with the European flag motif and a collection of 9 zines, printed with 2 colors on a risograph, that take a closer look at the values of Europe.
On occasion of the release of Slanted Magazine #34—Europe, a limited Europe special edition has been published and is exclusively available in the Slanted shop. It contains a tote bag with the European flag motif and a collection of 9 zines, printed with 2 colours on a risograph, that take a closer look at the values of Europe.
This Is Europe
The great importance we attach to the fundamental values of Europe shows that these are more than ever the essence of European identity. In the seminar This Is Europe at Karlsruhe University of Art and Design (HfG), 9 students asked themselves the following questions: What about freedom, democracy, equality, tolerance, rule of law? What values does Europe stand for today, and what are the common achievements of which we as Europeans are proud of?
The results are now visible in this collection of zines that are a personal plea for a multifaceted Europe.
Concept and supervision: Julia Kahl
Design Zines: Adrian Dickhoff (DE), Bob Reinert (LU), Cara Kollmann (DE), Emma Lilo Keller (DE), Gisela Chueca de Bruijn (ES), Julia Ihls (DE), Juliane Schmitt (DE), Laura Kluge (DE), Miriam Hörig (DE), Zhang Xinyi (CN)
Volume: 9 × 16 pages
Format: 14.8 × 21 cm
Paper: Holmen Trnd 2.0. 80 g/sm
Printing: Risograph, orange and medium blue
Binding: staple binding + banderole and sticker
Europe Tote Bag
Show your colors with this tote bag!
Design: Slanted Publishers
Size: 38 × 42 cm
Material: 100% heavy cotton
Version: long handles (70 cm)
Print: Silkscreen
Slanted Magazine #34—Europe
The European Union with its 28 member states today is facing difficult times: financial crisis, refugees, loss of allies, and exit scenarios—as implemented in the United Kingdom—lead to fear and insecurity. Above all, we are also witnessing how the digital revolution is creating a new image of mankind. The technical possibilities are about to go beyond what is politically and morally imperative.
So far, Slanted has devoted its editions to individual countries or metropolises in order to take a look at the design scenes. This time we are reacting towards the need of getting together and showing the importance of the voice we have and should use, to protect the freedom others have reached for us.
Slanted Magazine #34—Europe is a plea for a multi-faceted and vibrant Europe, against the backdrop of an Europe of nations, right-wing populism, and selfish politics. It is an inventory of Europe, showing a comment, a perspective, a feeling of illustrators, photographers, writers and graphic designers from all around Europe.
Publisher and Design: Slanted Publishers
Volume: 256 pages
Format: 16 × 24 × 2 cm
Language: English
Printing: Stober
Paper: Holmen TRND Vintage 1.6 by Holmen Paper, MultiArt Gloss by Papyrus Deutschland
Cardboard Cover: Atelier by Papyrus Deutschland
ISSN: 1867-6510
On occasion of the release of Slanted Magazine #34—Europe, a limited Europe special edition has been published and is exclusively available in the Slanted shop. It contains a tote bag with the European flag motif and a collection of 9 zines, printed with 2 colors on a risograph, that take a closer look at the values of Europe.
This Is Europe
The great importance we attach to the fundamental values of Europe shows that these are more than ever the essence of European identity. In the seminar This Is Europe at Karlsruhe University of Art and Design (HfG), 9 students asked themselves the following questions: What about freedom, democracy, equality, tolerance, rule of law? What values does Europe stand for today, and what are the common achievements of which we as Europeans are proud of?
The results are now visible in this collection of zines that are a personal plea for a multifaceted Europe.
Concept and supervision: Julia Kahl
Design Zines: Adrian Dickhoff (DE), Bob Reinert (LU), Cara Kollmann (DE), Emma Lilo Keller (DE), Gisela Chueca de Bruijn (ES), Julia Ihls (DE), Juliane Schmitt (DE), Laura Kluge (DE), Miriam Hörig (DE), Zhang Xinyi (CN)
Volume: 9 × 16 pages
Format: 14.8 × 21 cm
Paper: Holmen Trnd 2.0. 80 g/sm
Printing: Risograph, orange and medium blue
Binding: staple binding + banderole and sticker
Europe Tote Bag
Show your colors with this tote bag!
Design: Slanted Publishers
Size: 38 × 42 cm
Material: 100% heavy cotton
Version: long handles (70 cm)
Print: Silkscreen
hinzkunst Poster designed by burkhardthauke, a multidisciplinary design studio founded in 2009 by Ralph Burkhardt and Daniel Hauke. The office has since been honored with numerous national and international awards.
For this magazine only texts & pictures from the World Wide Web were used, which Raban Ruddigkeit and Lars Harmsen now combine with the quality of print to show their radical power and their boundless freedom, to make new and unusual ideas more understandable and of course also to make the whole thing a bit more readable.-)
“We believe that there are countless voices out there that deserve to be heard. Also or especially because they challenge our habits, question our certainties & shake our minds. But when we take a closer look, we find that there is always more that unites us than that separates us. And also what we can really do new, different & better with it.”
With Mit Hatice Akyün, Melissa Akyıldız, Salomé Balthus, Ben de Biel, Dirk Büchsenschütz, Ina Busch, Thomas Chudalla, Esther Czaya, Yennifer Dallmann Villa, Finsterwalder, Bürgernetzwerk, Mirna Funk, Peter Glaser, Svetlana Gradetchieva, Katharina Großmann-Hensel, Esra Gülmen, Luetfiye Güzel, Lars Harmsen, Jessica Jurassica, Behzad Karim-Khani, Jürgen Kasek, Guillaume Kashima, Hasnain Kazim, Andrian Kreye, Markus Lange, Michael R. Ludwig, Christian Nürnberger, Alan Posener, Susann Rehlein, Raban Ruddigkeit, Mark Scheppert, Alexandra A Schulz, Kuku Schrapnell, Ralf Schwartz, Johannes Staemmler, Dasa Szekely, Chris Tille, Ingeborg Trampe, Justine Turbine & Ewald Wildtraut
At a time when it has never been easier to design, publish, and distribute typefaces, standing out as a designer is now evermore challenging. For typeface users in particular, staying up to date with the latest font trends and innovations and having to choose the right font for a project, has hardly been more difficult. The Yearbook of Type 2019/20 is a practical guide that helps users navigate the diverse, ocean-like, typographical landscape in order to choose a font that is right for them, and one that fits their project needs.
The reader is introduced to the world of typography through a series of articles showcasing sketches, background knowledge, technical information, instructions, and descriptions as well as the latest trends in contemporary typeface design.
Each individual typeface is presented on a double-page spread in the Yearbook of Type 2019/20. Featured on the left-hand side is a specimen page, whilst the right-hand page provides detailed information about the corresponding designer and foundry, in addition to an overview of the typefaces’ characteristics. This is supplemented by an extensive index which clearly displays the fonts according to classification, as well as presenting the font designers, publishers, and explanations of OpenType features. Thanks to an online microsite, the fonts presented in the book can be directly accessed in order to either download test versions or to buy them.
– Detailed presentation of 158 recent typefaces
– Ample background information
– Index of typeface classifications
– Index of all 176 type designers and 98 foundries from 36 countries
– Explanation of all OpenType features
– Essays, interviews, and tutorials by Pedro Amado, Massimiliano Audretsch, Bianca Berning, Ian Lynam, Lilo Schäfer, Rainer Erich Scheichelbauer, Mark van Wageningen, Amber Weaver, Stefan Willerstorfer, Anuthin Wongsunkakon, and Benjamin Wurster.
Presented type foundries: 205TF, 29Letters, AinsiFont, Antipixel, Binnenland, BLKBK Inc., Bonez Designz, Brownfox, Bureau Sebastian Moock, BVH Type, Cadson Demak, Calligrafiction, CAST Foundry, character type foundry, Connary Fagen, Inc., Darden Studio, Degarism Studio, Design is Culture, Detail Type Foundry, Dezcom, Dominique Kerber, FaceType, FAEL, Fatype, Fazan Fonts, FBAUP, Fontador, Fontfabric, Frere-Jones Type, FSdesign, FutureFonts, Hanken Design Co., Hoftype, Hurme Design, HvD Fonts, JAM Type, Jan Fromm, Jeremy Tankard Typography, Jonas Pelzer, Kimmy Design, Kontour, La Bolde Vita, Laïc: Type Foundry, Latinotype, Latinotype México, Lazydogs Typefoundry, LetterPalette, Los Andes Type, LUCRA Designstudio, Ludwig Type, Lux Typo, Mark Simonson Studio, Metis Foundry, Morisawa Inc., MOTORTYPE, NEW LETTERS, Nicolas Portnoï, Nouvelle Noire, Nova Type Foundry, Occupant Fonts, Our Polite Society Type, P22 type foundry, PampaType, Parachute, phospho, PintassilgoPrints, Playtype, Process Type Foundry, R-Typography, R9 Type+Design, Renegadefonts, Revolver Type Foundry, Sandoll, Inc., Schriftlabor, Sharp Type Corporation, stabenfonts, Stawix Foundry, Studio Buchanan, Studio René Bieder, sugargliderz, The Designers Foundry, The Northern Block, TipografiaRamis, Tipografies, Tour de Force Font Foundry, Typearture, typecuts, Typedepot, Typedifferent, TypeMates, Typerepublic, TypeTogether, typic, Typogama, Typonauten, übertype, URW Type Foundry, Velvetyne Type Foundry, and Wiescher-Design.
Reportagen send the best authors around the globe. For stories that stay.
In this issue:
– I’m a yellow vest. The symbol of social protest in France is also a product of globalisation. By Catherine Le Gall, Simon Leplâtre, Lena Mauger.
– Exploitation in opera. Hard-hitting cultural industry: Mona sings Verdi, Puccini and Strauss for dumping wages. By Corinne Holtz.
– Little Frau S. An East German feels strange in the West – how united is Germany 30 years after the fall of communism? By Juliane Schiemenz.
– Running shoes made in Kenya. A daring idea should help the nation with the world’s best runners to new pride. By Anja Bengelstorff.
– Crypto-Boys on the high seas. Men, models and Bitcoin: On the road with the pioneers of the digital currency. From Laurie Penny.
– The historical reportage: Hiroshima 1945 by John Hersey.
Reportagen send the best authors around the globe. For stories that stay.
In this issue:
– Sleeping over the ocean. Loud rock music, lots of coffee to keep you awake: What really happens in the cockpit while we’re flying. By Jan Pelczar.
– What happened in Harlow? The author follows a murder case in his hometown and looks into the mirror of English society. By Jason Cowley.
– The mountain as saviour. Jaroslav Doležal keeps running up the Czech Kahlberg: 6190 times. Why? By Richard Fraunberger.
– Atheists in danger. Anyone in India who questions Hindu gods and Jesus miracles becomes the target of deadly attacks. By Julia Lauter.
– The system filling station. British Petroleum exploits its tenants with gag contracts. One speaks plainly. By Richard Fuchs.
– The historical reportage: Tremor Eels 1807 by Alexander von Humboldt.
Students spent two semesters researching at the Faculty of Design of the Düsseldorf University of Applied Sciences under the direction of by Professor Irmgard Sonnen and Dr. Kathrin Tillmanns with a comprehensive research and redesign of “Ideen. Das Buch Le Grand” by Heinrich Heine. The phenomena of standstill and movement, the rapid change of style and language levels, the crossing of genre boundaries, the principle of collage, the pairs of opposites were examined by means of corresponding design elements for typography, layout and visual language. Pictorial concepts were developed in the form of photographs or photomontages, always with the aim of creating a dialogical function to Heine’s texts, which open up their own level of reflection for the viewer. Media-specific designs were developed for the book as an object, the medium poster and a light installation.
Speakers: Prof.in Irmgard Sonnen, Dr. Kathrin Tillmanns
Students: Adriana Bareikyte, Wibke Bramesfeld, Sara Cesari, Katti Dehdari, Jill Alisa Fingerhut, Anna Gepting, Melissa Kappel, Lisa Köhler, Alexandra Korschefsky, Janna Rosin, Stephan Schröder, Nicole Szklarek, Janice Vering, Kira Wenzel, Ruven Wiegert
Book-Design: Lisa Köhler
Many asked us: Why the hell did you go to Rwanda and how did you even get the idea? To answer these questions, a little segue into the past is necessary. Way back in 2012 Lars Harmsen was sitting in the jury of the Design Award Rhineland-Palatinate, awarded by the descom Design forum Rhineland-Palatinate. In 2018 Julia Kahl has been invited to be part of the jury and it was there that she found out about the project to showcase Rhineland-Palatinatean design in Rwanda–and the other way around. To this end, descom has conceived an exhibition that has been implemented in cooperation with the Partnership Association Rhineland-Palatinate/Rwanda (Jumelage) in Kigali and showed projects from both countries.
This project has gained our attention and we wanted to take a look at the up-and-coming creative scene in Rwanda ourselves. But the country also impressed us in other ways: Plastic bags? They are absolutely forbidden there since 2004. Environmental management is being decentralized from the political to the local level, leading to a widespread understanding on how to preserve the environment. On the last Saturday of the month, for example, every citizen is obliged to tidy up the streets. Since this year, no more old clothes from the West may be imported to Rwanda—this could create around 25,000 new jobs and the textile industry is flourishing.
To see a developing country implement and carry out such legislations is ground-breaking. It goes to show; anything can be possible if the political will really exists and true efforts are made. So, we have to say it again: Rwanda showed us how it’s done!
It’s now our honor to present a few outstanding personalities as well as many good stories besides some “design eye-candy” in this Slanted special issue.
Participants: Maggie Andresen, Timothy Wandulu / Concept Arts Studio, Mihir Bhatt / Creative Communications Rwanda, Abdi Latif Dahir, Carolin Dürrenberg und Silke Philipps-Deters / descom – Designforum Rheinland-Pfalz, Pierra Ntayombya / Haute Baso, Katharina Hey, Matthew Rugamba / House of Tayo, Innocent Nkurunziza / Inema Arts Center, Umuhire MweneMuntu Isaac, Judith Kaine / Kurema Kureba Kwiga, Jacques Nkinzingabo / Kigali Center for Photography, Niyunkuru Canda & Manzi Jackson / Kuuru Art Space, Moses Turahirwa / Moshions, Lynn Harles, Michael Nieden / Partnerschaftsverein Rheinland-Pfalz – Ruanda, Nelson Niyakire, Guillaume Sardin, Chris Schwagga, Daniel Sommer, The Economist
Supported by descom Designforum Rhineland-Palatinate and the Partnership Association Rhineland-Palatinate / Rwanda (Jumelage).
Awarded with ADC Award Germany (Gold), and ADC Award Europe.
100 years of Bauhaus
Typography from the 1920s
In 1929, ten years after the Bauhaus was founded, Berlin’s Martin-Gropius-Bau launched the exhibition “New Typography.” László Moholy-Nagy, who had left Dessau the previous year and had earned a reputation as a designer in Berlin, was invited to exhibit his work together with other artists. He designed a room—entitled “Wohin geht die typografische Entwicklung?” (“Where is typography headed?”)—where he presented 78 wall charts illustrating the development of the “New Typography” since the turn of the century and extrapolating its possible future. To create these charts, he not only used his own designs, but also included advertising prints by colleagues associated with the Bauhaus.
The functional graphic design, initiated by the “New Typography” movement in the 1920s, broke with tradition and established a new advertising design based on artistic criteria. It aimed to achieve a modern look with standardized typefaces, industrial DIN norms, and adherence to such ideals as legibility, lucidity, and straightforwardness, in line with the key principles of constructivist art.
For the first time, this comprehensive publication showcases Moholy-Nagy’s wall charts which have recently been rediscovered in Berlin’s Kunstbibliothek. Renowned authors provide insights into this treasure trove by each contributing to this alphabetized compilation starting with “A” for “Asymmetry” and ending with “Z” for “Zukunftsvision” (“vision of the future”). By perusing through the pages and allowing a free flow of association, the typographical world of ideas of the 1920s avant-garde is once again brought back to life.