Helvetica Illustrated Riso Print – Michael Kiener

Twelve illustrations were made for the track “Fontname(s) Illustrated” in the Slanted Magazine, two of them in form no. 253, ten in the Slanted Magazine # 23—Suisse Issue were mapped. Raban Ruddigkeit, who has been curating this category for many years, has invited illustrators from Switzerland to do so. For the first time, the default was a single font name for everyone—Helvetica. The font names were visualized by the invited illustrators according to their ideas in an illustration.

A limited edition of the illustrations will be available in the Slanted Shop, produced on a Risograph in A3 format. The limited to 10 pieces each prints are numbered and personally signed by the respective illustrator.

From now on, the limited edition prints can be preordered exclusively at the Slanted Shop.

Michael Kiener has completed the graphic specialist class in Biel. After his education he went on an adventure trip from New York to Buenos Aires and sketched the country and people. After an illustration internship at Blackyard GmbH, he now works part-time as a graphic intern at the Tatort GmbH.

Helvetica Illustrated Riso Print – Julien Gapany

Twelve illustrations were made for the track “Fontname(s) Illustrated” in the Slanted Magazine, two of them in form no. 253, ten in the Slanted Magazine # 23—Suisse Issue were mapped. Raban Ruddigkeit, who has been curating this category for many years, has invited illustrators from Switzerland to do so. For the first time, the default was a single font name for everyone—Helvetica. The font names were visualized by the invited illustrators according to their ideas in an illustration.

A limited edition of the illustrations will be available in the Slanted Shop, produced on a Risograph in A3 format. The limited to 10 pieces each prints are numbered and personally signed by the respective illustrator.

From now on, the limited edition prints can be preordered exclusively at the Slanted Shop.

Born in Geneva in 1990, Julien Gapany was always passionate by art in its various forms. In 2011 he entered the CFPAA in Geneva where he is currently a 3rd year graphic design student. He tries to focus his personal work on abstract and figurative geometrical compositions, the simplification of a subject and the relation Typography/image. His main goal is to experiment and to learn a new way of thinking and working.

Helvetica Illustrated Riso Print – Julia Marti

Twelve illustrations were made for the track “Fontname(s) Illustrated” in the Slanted Magazine, two of them in form no. 253, ten in the Slanted Magazine # 23—Suisse Issue were mapped. Raban Ruddigkeit, who has been curating this category for many years, has invited illustrators from Switzerland to do so. For the first time, the default was a single font name for everyone—Helvetica. The font names were visualized by the invited illustrators according to their ideas in an illustration.

A limited edition of the illustrations will be available in the Slanted Shop, produced on a Risograph in A3 format. The limited to 10 pieces each prints are numbered and personally signed by the respective illustrator.

From now on, the limited edition prints can be preordered exclusively at the Slanted Shop.

Julia Marti, born 1984, works as artist, illustrator and graphic designer in Zurich and is a co-publisher of the comic magazine “Strapazin.” Her graphical work is characterized by her strong interest for typography, while the focus of her artistic work is the drawing: as series or separately, in linear or loose narration.

Helvetica Illustrated Riso Print – Daniel Ruckstuhl

Twelve illustrations were made for the track “Fontname(s) Illustrated” in the Slanted Magazine, two of them in form no. 253, ten in the Slanted Magazine # 23—Suisse Issue were mapped. Raban Ruddigkeit, who has been curating this category for many years, has invited illustrators from Switzerland to do so. For the first time, the default was a single font name for everyone—Helvetica. The font names were visualized by the invited illustrators according to their ideas in an illustration.

A limited edition of the illustrations will be available in the Slanted Shop, produced on a Risograph in A3 format. The limited to 10 pieces each prints are numbered and personally signed by the respective illustrator.

From now on, the limited edition prints can be preordered exclusively at the Slanted Shop.

Daniel Ruckstuhl studied Fashion Design and Industrial Design at the Zurich University of the Arts and worked as an art driector for various agencies before he founded his own studio bartók.

Helvetica Illustrated Riso Print – Christian Grossert

Twelve illustrations were made for the track “Fontname(s) Illustrated” in the Slanted Magazine, two of them in form no. 253, ten in the Slanted Magazine # 23—Suisse Issue were mapped. Raban Ruddigkeit, who has been curating this category for many years, has invited illustrators from Switzerland to do so. For the first time, the default was a single font name for everyone—Helvetica. The font names were visualized by the invited illustrators according to their ideas in an illustration.

A limited edition of the illustrations will be available in the Slanted Shop, produced on a Risograph in A3 format. The limited to 10 pieces each prints are numbered and personally signed by the respective illustrator.

From now on, the limited edition prints can be preordered exclusively at the Slanted Shop.

Christian Grossert was born in 1970 in Zurich. From 1994 to 1998 he studied Art Education at the College of Art and Design Zurich and then studied Theory of Art and Design from 2001 to 2003. He lives and works in Zurich.

Slanted #23 – Swiss Issue

The Editors of Slanted magazine embarked on a two week “Tour de Suisse” and talked to some of the most innovative and interesting Swiss designers about tradition, transgression and progression. The resulting photos, text and video interviews with the 23 designers and studios give insight to contemporary design work in Switzerland and a glance behind the scenes.

The 23rd issue of Slanted magazine contains numerous essays reflecting Swiss graphic design, an illustrated section “Helvetica Illustrated”, a photo series of the former Bond-girl, Ursula Andress, interviews and a Carte Blanche in cooperation with form magazine. Also, included is a special “work and life” of typographer and graphic designer Hans Rudolf Lutz, edited and designed by students of the Karlsruhe University of Arts and Design under the Direction of Prof. Urs Lehni.

Furthermore, this 336-page issue utilizes materials to interpreted the opposing sides of Switzerland: A very shiny and structured surface against the raw and rough. This juxtaposition is represented in this issue with the use of the Chromolux-material. On the high glossy side, readers can follow the Tour de Suisse and the uncoated side features content of the Suisse Issue.

Thanks to Augmented Reality and the Junaio app, readers can easily watch embedded videos of the Tour de Suisse on mobile devices.

Tour de Suisse
Eric Andersen, Ludovic Balland, Angela Thomas (über Max Bill), Jacques Borel, Bringolf Irion Vögeli, Büro Destruct, Claudiabasel, Heyday, Hi, Hochparterre, Jost Hochuli, Matthias Hofmann, IDPURE, Komet, Matrix, Norm, Feixen, François Rappo, Rawcut, Aurèle Sack, Niklaus Troxler, Von B und C, Wolfgang Weingart

Suisse Issue
Essays, Helvetica Illustrated, Ursi National, Interviews, Carte Blanche / form, Lutz Special / HfG KA

The booklet “Contemporary Typefaces” presents fourteen recently published typefaces we think are important and interesting: Allegra (Jost Hochuli / abc litera), Apeloig Type Library (Philippe Apeloig / Nouvelle Noire), Austin Text (Paul Barnes / Commercial Type), Balto (Tal Leming / Type Supply), Camingo Mono (Jan Fromm), Coperto (Alexander Colby / Milieu Grotesque), DF Rika (Ko Sliggers / Dutchfonts), Duplicate Collection (Christian Schwartz, Miguel Reyes / Commercial Type), FS Maja (Jason Smith / Fontsmith), Karloff (Peter Bi’lak, Pieter van Rosmalen / Typotheque), Lalola (Laura Meseguer / Type-Ø-Tones), Odesta (Ondrej Jób / Urtd), Shameless (Neil Summerour / Positype), Voyage (Emil Bertell / Fenotype)

VolcanoType – Education Font Poster #1

In order to counteract the drab font everyday life at colleges, the font publisher VolcanoType now offers students the opportunity to download four complete font families free of charge and to use them for student projects and privately. More information here.

For this, a fancy DIN A1 poster was designed by the Visiotypen (Stuttgart) and Peter Brugger (Istanbul) and completely printed in special colors, which presents the currently available fonts in a short profile.

Please note: The poster will be shipped folded to A4.

Slanted Magazine #22—Art Type

Slanted Art Type brings together texts and works from the art world. The magazine presents a large number of art works and installation shots that explore language and typography by internationally renowned artists. It features a Q/A section with design studios developing visual identities in the field of culture production and numerous essays and interviews focussing on art, design and type.

Thanks to Augmented Reality and Junaio app Slanted readers can explore lots of interactive extras by moving their smartphone over the magazine’s pages.

Participants: Mirko Borsche, Lars Breuer, Stefan Brüggemann, Sico Carlier, Rosson Crow, Shannon Ebner, Paul Elliman, Experimental Jetset, Hannes Famira, Edward Fella, Lutz Fezer, Luca Frei, Gilbert & George, Liam Gillick, James Goggin, Tommy Grace, Karl Haendel, Alex Hanimann, Helmo, Dennis Hopper, Jeffery Keedy, Astrid Klein, Zak Kyes, Carolina Laudon, Lola, Chris Lozos, Ian Lynam, Michel M., Michel Majerus, Stefan Marx, Metahaven, David Millhouse, Kate Moross, Neasden Control Centre, Alexander Negrelli, Navid Nuur, Ruben Pater, David Peacock, Daniel Pflumm, Project Projects, Allen Ruppersberg, Ed Ruscha, Stefan Sagmeister and Jessica Walsh, Stefan Sandner, Paula Scher, Aurel Schmidt, Pamela C. Scorzin, Jeffrey Shaw, David Spiller, Manuel Raeder, The Entente, Thonik, Mark Titchner, Christian Vetter, Johannes Wohnseifer, Michael Worthington

Inside the magazine you will find again the booklet “Contemporary Typefaces” showcasing the best ones from 2012 and 2013.

Designer Contemporary Typefaces: Sibylle Hagmann (Axia, Kontour), Hannes von Döhren (Brandon Text, HVD Fonts), Jonathan Abbott, Jonathan Barnbrook, Julián Moncada (Doctrine, VirusFonts), Elena Schneider (Eskorte, Rosetta Type Foundry), Phil Garnham (FS Emeric, Fontsmith Ltd), Marc Kappeler & Dominik Huber (GT Pressura, Grilli Type), James Todd (HWT Unit Gothic, P22/Hamilton Wood Type Foundry), Ramiro Espinoza (Medusa, ReType), Benoît Bodhuin (Mineral, bb-bureau/VolcanoType), Berton Hasebe (Portrait, Commercial Type), Zuzana Licko (Program, Emigre), Underware (Sauna Mono, Underware), Cyrus Highsmith (Serge, Font Bureau), Martina Flor (Supernova, Typotheque)

Slanted Non-Latin Special Issue – BABYLON

Slanted BABYLON deals with Non-Latin typefaces and be released at Granshan Non-Latin type conference in Bangkok (TH) in the end of July. Besides essays, interviews, a photographic science-fiction story and non-Latin typefaces which illuminate the theme, there is also a number of new Thai TypoLyrics in the magazine.

The magazines will only be available in a limited edition at Slanted shop, there will be no regular distribution in shops, at airports or stations.

Participants of the issue:

Essays by:
Boris Kochan, Gerry Leonidas, Eran Bacharach, Huda Smitshuijzen-AbiFarès

Interviews with: eps51, Nadine Chahine, Hrant Papazian

Photography by: Ian Lynam

Typefaces by: Alexandra Korlokova, Kunihiko Okano, Neelakash Kshetrimayum, Oded Ezer, Panos Vassiliou, Sammy Or, Satya Rajpurohit, Nadine Chahine

TypoLyrics by: Anuthin Wongsunkakon, Athip Nimthongkam, BenChalit Sagiamsak, Chatnarong Jingsuphatada, Ekaluck Peanpanawate, Jackkrit Anantakul, Jean Vatchara, Sansern Rianthong, Natthawit Tongprasert, Warit Chaiyakul, Opas Limpi-Angkanan, Parinya Rojarayanont, Santi Lawrachawee, Stawix Ruecha, Nattapol Rojjanarattanangkool, Sumpatha Jadee, Tanawat Sakdawisarak, TAP Kruavanichkit, Ukkrid Tosak

Slanted Magazine #20 – Slab Serif

SLAB! Slanted Magazine #20 – Slab Serif is entirely dedicated to the early 19th century born »serifenbetonte Linear-Antiqua,« broadly known as Egyptienne, Slab Serif, Square Serif or Mécanes outside German classification. Developing during Industrial Revolution in Great Britain, these typefaces fastly spread on advertising posters and flyers. Back in these days it was the main purpose of the slab serifs to attract attention by their strong visual expression. In this issue we want to bring back some of this (at least in Central Europe) rather gone attention to the often striking slab serifs.

We are pleased to present a number of essays and reports: Form folgt Architektur – Deutsche Egyptienne-Schriften des frühen 20. Jahrhunderts und ihre Schriftproben (Mathieu Lommen, Amsterdam, NL), Artistic Printing (Angela Voulangas & Doug Clouse, New York, NY, US), The Zeitgeist is always right! (Maurice van Brast, Weimar, DE), Über Gefühle (Frank Wiedemann, Berlin, DE), Candid Thoughts on the 2020 Olympic Logo (Ian Lynam, Tokyo, JP).

The photo collection “Come On, Come All!” (thanks to Ken Johnston, Historical Corbis NY) shows historical posters and photos during the time of the American Goldrush. The series “In a Window of Prestes Maia 911 Building” by Julio Bittencourt (São Paulo, BR) documents people who are living in poverty and are inhabiting a abandoned tower building.

In our interview format (10 x 10) 10 international type designers gave answers to 10 questions about slab serifs – Ray Larabie (Typodermic Fonts Inc., Nagoya, JP), Cyrus Highsmith (Font Bureau, Boston, MA, US), Michael Hagemann (FontMesa, Naperville, IL, USA), Jos Buivenga (exljbris Font Foundry, Neede, NL), Daniel Hernández (SudTipos, Buenos Aires, AR), Nina Stössinger (FontFont, Berlin, DE), Jonathan Hill (The Northern Block, Newcastle Upon-Tyne, UK), Jeremy Dooley (Insigne Design, Chattanooga, TN, US), Ryoichi Tsunekawa (Dharma Type, Nagoya, JP) and Jim Wasco (Monotype Imaging, Woburn, MA, US).

Furthermore, we spoke with Wim Crouwel (Amsterdam, NL), about his life as a designer, professor and director, with Ken Johnston (Brooklyn, NY, US) about his work in the historical archive of Corbis, with Bo Berndal (Stockholm, SE) and Dieter Hofrichter (Oberschleißheim, DE) about their life long experience in type design, with Morag Myerscough (London, UK) about her colorful and typographic work, and also with Sylvia Lerch (Munich, DE) about her passion for materials and production.

The cover shows Hank Aaron in full batting position after his famous 714 career home run. The other pages of the fold-out cover are featuring other athletes and disciplines in American Sports. A popular choice and common to see on their jerseys and shirts: Slab Serifs.

Slanted Magazine #19 – Super-Families

Slanted Magazine #19 – Super Families hosts a great family party. In this issue we focus on large font families, and their family trees, displaying an amazing variety. They all have a large amount of weights that features an extreme range, giving a spectacle from Hairline to Ultra Black with Compressed to Extended. Relatives also come in Sans, Serif, Semi-Serif, Slab, Rounded etc.

We are pleased to present a number of readable essays and reports:
Unit Gothic & Uniform Set Gothic, wood type as precursor (David Shields Austin TX US), Über Koffer (Frank Wiedemann, Berlin, DE), Japanese Graphic Design: Not In Production (Ian Lynam, Tokyo, JP), On typographic superfamilies (Julia Sturm, Berlin, DE), Eine wie Keine, aber die für alle Fälle! (Maurice van Brast, Weimar, DE), Mr & Mrs Eaves: A Type Family (Emigre, Berkeley CA, US), Jenseits der Interpolation – Entwurf einer Schriftsippe mit Superpolator (Stefan Claudius, Essen, DE) as well as The Kegler Bros by Terry Wudenbachs (Buffalo, NY, US).

In this particular issue there are many wonderful family photographs:
Royal Families (thanks to Ken Johnston, Historical Corbis, Brooklyn NY, US), Princesses and Footbal Stars (Daniel Schumann, Erkrath, DE), Alison (Jack Radcliffe, Baltimore MD, US), Life on Both Sides of the Border (Joseph Rodriguez, Brooklyn, New York, US), Stranger Than Family (Matthew Avignone, Chicago IL, US), The Other Family (Nicola Lo Calzo, Paris, FR), A portrait of community life at Castle Tonndorf (Roger Hagmann, Blankenhain, DE), Salt & Truth (Shelby Lee Adams, Pittsfield MA, US), Caches (Sirin Simsek, Cologne, DE), Miner’s Families (Song Chao, Beijing City, CN), Portrait of a Family (Todd Danforth, Blackstone MA, US).

In the interview format 10 × 10, family experts gave answers to 10 questions – with Łukasz Dziedzic (Typoland, Warszawa, PL), Hannes von Döhren (HVD Fonts, Berlin), Peter Biľak (Typotheque, The Hague, NL), Christian Schwartz (Commercial Type, New York City NY, US), Nadine Chahine (Linotype, Bad Homburg, DE), Ian Party (swisstypefaces, Villette, CH), Erik van Blokland (LettError, The Hague, NL), Paul van der Laan (Bold Monday, The Hague, NL) and Yanone (Kromsdorf, DE).

Furthermore, we spoke with Albert-Jan Pool (Hamburg, DE) about the future of FF DIN and what he thinks about other DIN typefaces, Panos Vassiliou about his type foundry Parachute (Athens, GR), Andreas Frohloff and Ivo Gabrowitsch (fontfont, Berlin, DE) about the meaning of big type families for one of the most renowned international type foundries, Olaf Leu (Wiesbaden, DE) about the tasks of type systems, Thomas Marecki (Lodown, Berlin, DE / Blurb, San Francisco CA, US) about their publication “The Icons of Lodown,” Philippe Apeloig (Paris, FR) about his work and what inspires him.

Besides historic family portraits of Corbis, the eight page fold-out cover presents something really special: a family tree of the best type super families, compiled by Indra Kupferschmid.

Detailtypografie

Es gibt ein Buch, das mir auf Anhieb verrät, ob der kreative Besitzer Rechts- oder Linkshänder ist: Detailtypografie.

Ein Buch, das das Setzerwissen der Jahrhunderte für den täglichen Bedarf und Zugriff aufbereitet. Ein Buch, das alle Fragen beantwortet: Von Schriftwahl bis Schriftbearbeitung, von Auszeichnung und Absatz bis Zeilenumbruch und Zurichtung, vom Satzzeichen über die Satzarten bis zum fremdsprachigen und zum mathematischen Formelsatz.

Ein Nachschlagewerk, das Sie auch bei Fragen zum Umgang mit Brailleschrift nicht im Dunkeln tappen lässt.

Ein Buch, das Gestalter auch ihren liebsten Kollegen nicht und selbst den allerbesten Freunden nur im Notfall verleihen. Ein Buch, das seinen festen Platz im Regal hinter dem Schreibtisch in Griffhöhe hat. Ein Buch, dem man ansieht, dass es ständig konsultiert zum Begleiter für alle Fälle geworden ist. Ein Gestaltungs-»Duden«. Ein unverzichtbarer Begleiter, der Ihre Kreativität auf ein solides Fundament stellt. / Pressetext

Slanted #18 – Signage / Orientation

Slanted #18 – Signage / Orientation focuses on the ups and downs, the lefts and rights, the stops and go’s, the Kiss+Ride and many more. Featured are many extraordinary wayfinding and orientation systems with different levels of complexity and relevant Typefaces.

We are pleased to present a number of readable essays and reports: The NYCTA and Unimark International (Paul Shaw, New York City, US), Typografie & Architektur (Tim Loffing, Dortmund), U8 (Anton Koovit, Berlin), Einer für alle, alle für einen – Orientierung & Identit.t am neuen Campus der Wirtschaftsuniversität Wien (Erwin K. Bauer, Vienna, AT), iMapping – Visual Orientation in Personal Knowledge Space (Heiko Haller, Karlsruhe), Leserlichkeit von Schrift im öffentlichen Raum – eine Untersuchung (Florian Adler and Sven Neumann, Berlin), Letter and symbol misrecognition in highly legible typefaces for general, children, dyslexic, visually impaired and ageing readers (Thomas Bohm, Leicester, UK), Wo bin ich? – über Schrift und öffentliche Verkehrssysteme (Indra Kupferschmid, Bonn, Saarbrücken), Die Kunst der Desorientierung (Maurice van Brast, Weimar), Das Leid (Frank Wiedemann, Berlin) sowie Faith / Void Split (Ian Lynam, Tokyo, JP).

The photo collection Departure/Arrival (thanks to Ken Johnston, Historical Corbis NY) shows stars, such as the recently deceased Bee Gee Robin Gibb, in airports. Naturally, in the context of the wayfinding system. The Airport Series by Terence Chang (San Francisco, US) shows the take-off and landing distances traveled by planes, how they are seldom seen.

New in Slanted is the Format 10×10. 10 Agencies/Designers out of Germany, Austria, and Switzerland – all experts in orientation systems – with Frank Abele (Büro für Gestaltung Wangler & Abele, Munich), Erwin K. Bauer (bauer – konzept & gestaltung, Vienna, AT), Ruedi Baur (Intégral, Zurich, CH), Gourdin & Müller (Leipzig, Hamburg), Ingeborg Kumpfmüller (Vienna, AT), Sascha Lobe (L2M3, Stuttgart), Stefan Nowak (nowakteufelknyrim, Düsseldorf), Joachim Sauter (ART+COM, Berlin), Andreas Uebele (büro uebele, Stuttgart) and Atelier Weidner Händle (Stuttgart).

Furthermore, we spoke with Moniteurs (Berlin) on the wayfinding system of the new Berlin Airport, with Vier5 (Paris, F) on their current project as well as with Timo Gaessner (Berlin) on his typeface, Maison, which is used in the magazine.

The eight page fold-out cover of the new issue shines with traffic sign colors and reflective particles – thanks to elaborate screen printing with reflective paint – incident light. An info graphic from Steffen Mackert (Karlsruhe) provides an overview of the fonts used in International Airports, streets and railroads signs.

Slanted #17 – Cartoon / Comic

Comics consist of a sequence of images (strip) that tell a story. In cartoons, the narrative point is condensed into one image. The Slanted issue # 17 – Cartoon / Comic is packed cover to cover full of naratives and typographic explosion!

Along with the New Year, the first Slanted issue of 2012 has a new face. A new oversized format, 16 more pages, and a more tightening sequence in content and layout to create more space for projects and activities.

Ken Johnston of Corbis (New York) dipped into the archives and retrieved a grotesque photo story of the atomic bomb experiments in a patriotically charged world brought to light – Doom Town, a dark comic, the best stories are real life experiences. Patrick Tsai (Tokyo) leads a photographic diary – Talking Barnacles, is a story in image sequences combined with very personal lyrics.

We are pleased to present a number of readable essays and reports: Motorscream Landscapes – Über die Schrift in der grafischen Literatur by Alexander Negrelli (Berlin), Geliebt und gehasst: Comic Sans by Rieke C. Harmsen (Munich), Manga & Graphic Design, Hands On und Where The Wild Things Were by Ian Lynam (Tokyo), PAT! BON! DOKAAAN! – Schriftgewitter und Lautmalerei in asiatischen Bildgeschichten by Steffen Zillig and Sohyun Jung (Hamburg), Something like Max & Moritz – Vom Erfinder des Comic by Tim Eckhorst (Kiel), A very subjective and casual comics overview from Greenpoint, Brooklyn, NY 11222 by Paul Hoppe (Brooklyn NY), Survival is possible by Michael Schmidt (Munich) and Sans Comique by Frank Wiedemann (Berlin).

Furthermore, interviews with Nora Krug (Brooklyn NY), Dirk Rehm (Berlin), Alessio Leonardi (Berlin), Fred Smijers (Antwerp) and Matthew Carter (Cambridge) with insights into their living and working environments. Also the appearance of the new magazine is marked throughout the comic book world. The eight-page fold-out cover glows in red and green on the outside, while the inside are comments of readers from our blog www.slanted.de, which were posted online last November.

Slanted Magazine #16 — Bold/Light

Slanted Magazine #16 — Bold/Light is contrast. The new issue deals with the loud and the silent, the eye-catching and the inconspicuous.

BOLD is the opposite of despondent. In typography it is a popular method of accentuation. LIGHT is the opposite of noisy and bigmouthed. For this theme of contrasts we initially had more loud and bold fonts, works and pictures in mind than quiet, restrained ones. We are impressed of a time – striking and epic in its occurrences – which rushes past and carries us off. The soft overtones only get little attention at this rapid speed.

So, how can we pause, set the LIGHT against the BOLD? The fluid, cinematic moment of presentation has an exceptional meaning for us also in this issue. We are bothered about a linear concept of narration. The rhythmic comparison encourages to stay and immerse. Creative decisions and the use of typography for this compilation were stretched far to specific borders, to underline the topic and to work out the character of the two extremes. This precipitates also in the production: By the use of different, metallic Chromolux papers and a two-colored finishing, issue #16 appears with six different covers. Furthermore a haptic surprise awaits the reader in the inner part.

We are glad having the chance to present two photo series, which interpret the terms BOLD and LIGHT on a special, distinctive way: The historical photography of the propably most significant heavyweight champion of all times, Muhammad Ali (UPI/Bettmann/Corbis), as well as a critical photographical counterdraft to the “soft-washed” and alleged airy aesthetics of David Hamilton, created by Mareike Foecking (Düsseldorf).

We feature type essays by Jean François Porchez (Clarmart), Horst Wöhrle (Esslingen), Reinhard Albers (Constanz) and Nanna Funke (Münster), furthermore interviews with Ian Party (Lausanne), Ludwig Übele (Berlin), Eric Gill, Michael Horsham (London), Doug Wilson (Springfield), Raffinerie AG für Gestaltung (Zurich), Jost Hochuli (St. Gall), Thomas Lupo (Weissach) and Mareike Foecking (Düsseldorf), as well as reports by Michael Schmidt (Munich), Ian Lynam (Tokyo) and a musical travel report by Frank Wiedemann (Berlin).

Slanted Magazine #15 – Experimental

Slanted Magazine #15 – Experimental deals with experimental design strategies in typography and graphic design. This issue presents projects incorporating the accident into the design process, works based on mistakes and inaccuracy, fonts that derive from a concept or a system – in the end work that experiments or goes unconventional ways in design.

The playful handling of tools, forms and concept is a popular procedure to broaden the consciousness in typography. It seems to be (regarding the huge amount of entries for this issue) a widespread phenomenon, very popular at design schools and universities. This is not a surprising fact – especially in interaction with a model, experimental results are the foundation of a theory. We placed a special experimental type section with 48 pages in this issue to be able to present a large collection of typographical experiments.

Inaccuracies sometimes lead to new precision – as in this issue’s text font. The typeface Korpus has been designed by Michael Mischler and Nik Thoenen of Swiss fontlabel Binnenland. It is based on a careful analysis of inaccuracy occuring in the print image of early 20th century fonts.

This issue’s cover is realized in an oldfashioned, experimental procedure, too: Its print sheet has been produced in rainbow printing using HKS colors.

We are proud to present the photo series of Matthias Hubert (Dortmund), who photographed fans of the current German soccer champion, and of Ken Rosenthal (Tucson, AZ), who opens the darkroom to the experiment. The type essays of Christine Hartmann (Leipzig), Will Hill (Cambridge) and Shelley Gruendler (Galiano Island) deal with strategies of the experiment in typography. Read interviews with Peter Bi’lak (The Hague), Michael Mischler and Nik Thoenen (Berne), Martin and Thomas Poschauko (Au near Bad Aibling), Oded Ezer (Givatayim), Donald Beekman and Liza Enebis (Amsterdam) and Neville Brody (London) as well as an essay about Japanese Modernism, the 5th part of the Tokyo Report, both by Ian Lynam (Tokyo), and the next sonic travelogue by Frank Wiedemann (Berlin).

Slanted Magazine #14 – Grotesque 2

While Slanted #13 dealt with contemporary and historical humanist grotesque fonts, Slanted Magazine #14 – Grotesque 2 focuses on current fonts that are in tradition of Lineal, Neo- or Geometric Grotesque.

They mainly have their origins in the time of the turn of 19th to 20th century. In 1880 Ferdinand Theinhardt designed the Royal Grotesque with four weights for the Königlich-Preußische Akademie zu Berlin, from which developed the Akzidenz Grotesque in 1918. Simultaneously, from 1905 to 1930, Morris Fuller Benton created fonts on the basis of Lineal Neogrotesque: the Lineal Grotesque. Nowadays there can be observed different procedures of designing fonts, which can be named as quotations. A variety of fonts bear on historical models.

With great pleasure we present a huge number of these corresponding and related grotesque fonts, illustrations and projects. The type essays by Flo Gaertner (Karlsruhe), Robert Schumann (Berlin) and Anna Sinofzik (London) deal with them. Worth seeing photos stories are “Almost Europe” by Miguel Hahn and Jan-Christoph Hartung (Frankfurt am Main) who visualize the situation of refugees in the Spanish enclave Melilla, as well as »Ein Abend auf der Wiesn – Pictures taken during the great beer rush« by Volker Derlath (München). Numerous interviews with Lizá Defossez Ramalho and Artur Rebelo (Porto), Edwin van Gelder (Amsterdam), Marta Podkowinska and Karol Gadzala (Krakow) and Hans Gremmen (Amsterdam) as well as an article about Kiyoshi Awazu as well as the 4th part of the Tokyo Report, both by Ian Lynam (Tokyo) and a musical travelogue by Frank Wiedemann (Berlin) round up the stuff to read.

decodeunicode – Die Schriftzeichen der Welt

Prof. Johannes Bergerhausen und Siri Poarangan beschäftigen sich seit vielen Jahren mit dem Projekt decodeunicode, das versucht, über eine unabhängige Online-Plattform Basis für eine typografische Grundlagenforschung zu schaffen und dem Computer-Nutzer einen inhaltlichen Zugang zu den Zeichen dieser Welt zu ermöglichen.

In Slanted Magazin #6 (2008), präsentierten wir einen Bericht über die Keilschrift, die Bergerhausen damals als »Mega-Nische« bezeichnete. Und jetzt, 3 Jahre später, veröffentlicht er mit Siri Poarangan zusammen das erste Buch zum Thema, welches alle (bisher entdeckten) 109.242 Schriftzeichen abbildet und die einzelnen Schriftsysteme vorstellt. Sowohl aktuelle und auch ausgestorbene Zeichen finden ihren Platz.

In der Einleitung des Buches heißt es: »Versteckt in den Tiefen der Tastatur schlummern ungeahnte Zeichenschätze. Unicode setzt dem Turmbau zu Babel die vereinten typografischen Nationen entgegen und verweist jedes Zeichen auf seinen codierten Platz. decodeunicode erleichtert den Zugang zu allen 109.242 digitalen Schriftzeichen dieser Welt und macht sie auffindbar. Das Projekt lädt ein zum Entdecken unbekannter Zeichen und zum typografischen Experiment mit diesem alten und neuen Zeichenschatz. Alle existierenden Schriftsysteme der Menschheit werden vorgestellt: lebende wie ausgestorbene, häufig genutzte ebenso wie Nischenschriften.«

Vermutlich kann man das Buch besser nicht umschreiben. Es ist, für uns persönlich, eines der interessantesten Bücher der letzten Jahre und ein Muss für alle Schrift-Interessierten.

 

Slanted Magazine #13 – Grotesque 1

Slanted #13 – Grotesque 1 (To Create A More Graceful, Human Appearance) deals with contemporary and historic humanist grotesque fonts. Their origin goes back to the typeface for the signage system of London Underground in the early 20th century England, and to Gill Sans that followed London Underground. Depending on the cultural sphere or classification, the typeface is also called humanist sans, lineal humanist, semi-grotesque, younger grotesque, lineal sans-serif typefaces with dynamic form principle.

With great pleasure we present a huge number of corresponding and related grotesque fonts, illustrations and projects. Worth seeing photo stories are »Heterotopien« by Karsten Kronas (Bielefeld), “A Marriage With God” by Anusha S. Yadav (London) and “Power To The People” by Christian Minke (Hüttenberg), who was on the way in Egypt recently during the revolution. The type essays by Flo Gaertner (Karlsruhe, Alexander Negrelli (Berlin) and Dan Reynolds (Berlin) deal with humanist sans typefaces. Numerous interviews with Erik Kessels (Amsterdam), Jonathan Barnbrook (London), Don Karl aka Stone (Berlin) and Pascal Zoghbi (Beirut), Christian Minke (Hüttenberg), Eiko Nagase (Tokyo), Yosuke Yamaguchi (Tokyo) as well as the third part of the Tokyo report by Ian Lynam (Tokyo) and a musical travelogue by Frank Wiedemann (Berlin) round up the stuff to read.

By the way: Slanted #13 and #14 are conceived as a double-issue featuring the wide field of grotesque fonts. Issue #14 will explore newer font-concepts in the tradition of American, neo- or geometric grotesques.

Slanted Magazine #12 – Women, Typography, Graphic Design

Beat That If You Can! – Slanted #12 – Women, Typography, Graphic Design is a stage for extraordinary and intelligent projects by women. This is not a very special thing. For our focus on visual culture it’s all the same whether a (typo-) graphic work has been realized by a female or a male being. But it’s undeniable and strange that still only very few women are visible in graphic design (more) and typography (less). We want to contribute to more visibility for at least some female type and graphic designers – design by women is at least just as well. Beat That If You Can!

With great pleasure we present the work of Ariane Spanier (Berlin), Julia Born (Amsterdam) and Verena Gerlach (Berlin), the photographic essays “Brides of Krishna” by Kalpesh Lathigra (dmbmedia / London) and “Female Marines” from the archives of the U.S. Marine Corps as well as contemporary typefaces, illustrations and graphic projects by female designers. Type essays by Laure Boer (Berlin) and Gerda Breuer/Julia Meer (Wuppertal) are dealing with the role of women in graphic design and typography and outline a corresponding history. Numerous interviews with Verena Gerlach (Berlin), Ariane Spanier (Berlin, Nadine Chahine (Bad Homburg), Veronika Burian (Prag), Laura Worthington (Washington), Kapitza (London), Geneviève Gauckler (Paris), Esen Karol (Istanbul), Akiko Kanna (Tokyo) and Susanne Baer (Tokyo) as well as the second part of the Tokyo report by Ian Lynam (Tokyo), a musical travelogue and a paper report round up stuff to read.

Gift Subscription Slanted Magazine

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If the current issue is out of stock, we will send the latest available issue (unless otherwise stated in the order comment) after successful payment. Please note that we ship from Germany and the delivery times depend on your recipient address.

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Slanted Magazine #11 — Monospace, Typewriter

The Revolution won’t be set in Garamond – Slanted Magazine #11 — Monospace, Typewriter comes in revised structure and layout. Projects are confronted with each other, magazine sections overlap. The changes reflect our attitude towards contemporary editorial design in analogue and digital times. This “new order” is a homage to the visual and to design. Orientation, information and sections still have their own right and place within the magazine‘s structure, but the changing of perspectives, the relations and associations are definitely not an expression by the medium of information, rather of openness and examination. It‘s a concept that doesn’t come under the hegemony of function, a feast of the visual.

With great pleasure we present the work of studio Moiré (Zurich/CH), the photographic essays “Images from the Dark Side” by Martin Miller (Baltimore/USA) and “A Crude World” by Paolo Woods (Paris/FR) as well as contemporary typefaces, illustrations and projects related to monospace and typewriters. Type essays by Alexander Negrelli (Berlin/DE), Rieke Harmsen (Munich/DE) and Horst Wöhrle (Esslingen/DE) examine the aesthetics, history and connotations of typewriter fonts, interviews with Yves Peters (Sint-Denijs-Westrem/BE), Richard Kegler (Buffalo/USA), Georg Seifert (Berlin/DE) as well as a Tokyo report by Ian Lynam (Tokyo/JP) and a musical travelogue by DJ Frank Wiedemann (âme / INNERVISIONS, Berlin/DE) round up the stuff to read.

4-Issues-Subscription Slanted Magazine with Special Edition + Bonus

Subscribe to Slanted Magazine with special editions for 4 issues as well as the related special editions at a preferential price and receive them by mail on the publication date as fast as possible! The limited special editions are exclusively available at Slanted shop and consist of different parts depending on the main issue’s theme. If your delivery address is located within Germany, shipping is free of charge! Slanted is published 2 × per year (May, November).

Your subscription is based on a contract for 4 issues + 4 related special editions. You can cancel it at any time in your account (if logged in), otherwise it will be renewed after the release of the 4th issue (of 4 issues) + 4 special editions according to your chosen subscription. The subscription period 2 years depends on the purchase date of your subscription (just before the release of a new issue or between two issues). In case of automatic renewal, the current subscription prices and shipping costs of the selected subscription apply.

If not stated differently, the first issue will be delivered fastest possible with the current issue after successful payment of your order. If the current issue is sold out at the time of purchase, you will receive either the latest issue available or the upcoming one as the first issue of your subscription. Please note that we ship from Germany and the delivery time depends on the recipient’s address.

We wish you a good read!

4-Issues-Subscription Slanted Magazine

Subscribe to Slanted Magazine for 4 issues at a preferential price and receive them by mail on the publication date as fast as possible! If your delivery address is located within Germany, shipping is free of charge! Slanted is published 2 × per year (May, November).

Your subscription is based on a contract for 4 issues. You can cancel it at any time in your account (if logged in), otherwise it will be renewed after the release of the 4th issue (of 4 issues). The subscription period 2 years depends on the purchase date of your subscription (just before the release of a new issue or between two issues). In case of automatic renewal, the current subscription prices and shipping costs of the selected subscription apply.

If not stated differently, the first issue will be delivered fastest possible with the current issue after successful payment of your order. If the current issue is out of stock, we will send the latest available issue (unless otherwise stated in the order comment). Please note that we ship from Germany and the delivery time depends on the recipient’s address.

We wish you a good read!