The cities of Rome and Las Vegas commonly sit at opposite ends of what architecture represents: whereas the former capital of the Roman Empire is perceived as ancient, proper and eternal, Sin City is described as flashy, vulgar and fake. Yet, both find themselves historically and contemporarily at the intersection of power and play.
Released fifty years after Denise Scott Brown and Robert Venturi’s now canonical “Learning From Las Vegas” (1972), the images in this book capture the atmosphere of both cities from the sky to the ground, revealing unexpected similarities and rediscovering Las Vegas’s extravaganza on the streets of Rome. Iwan Baan’s photographs contrast and subvert common perceptions of authenticity and artificiality and ultimately question such bipolar distinctions. In their dialogue, the photographs follow Scott Brown and Venturi’s plea to first look, understand and only then judge.
Type Specimen | Typo Poster | Typo Ping Pong #1 | Riso Print | Misprint + Unikat
Typo-Poster Typo Ping Pong #1 | Riso Print | Misprint + Unikat from TypoGraphicDesign as a Riso Poster in DIN A3.
Each misprint is only available 1 time. Limited Special Edition.
Design: Typo Graphic Design ■ Manuel Viergutz
Typeface: Typo Ping Pong #1
Size: 29,7 cm B × 42 cm H (DIN A3)
Paper: Metapaper, warmwhite, extra rough 175 g/m2 (uncoated paper FSC + PEFC, 100 % made from wind energy)
Colors: Eco-friendly risography with spot colors Black, Orange and Medium Blue from drucken3000 in Berlin
Colors on the screen may differ from the original.
Type Specimen | Typo Poster | Typo Ping Pong #1 | Eyes | Riso Print
Typo-Poster Typo Ping Pong #1 Eyes rom TypoGraphicDesign as a Riso Poster in DIN A3.
Design: Typo Graphic Design ■ Manuel Viergutz
Typeface: Typo Ping Pong #1
Size: 29,7 cm B × 42 cm H (DIN A3)
Paper: Metapaper, warmwhite, extra rough 175 g/m2 (uncoated paper FSC + PEFC, 100 % made from wind energy)
Colors: Eco-friendly risography with spot colors Orange and Medium Blue from drucken3000 in Berlin
Colors on the screen may differ from the original.
Type Specimen | Typo Poster | Typo Ping Pong #1 | Mouse | Riso Print
Typo-Poster Typo Ping Pong #1 Mouse from TypoGraphicDesign as a Riso Poster in DIN A3.
Design: Typo Graphic Design ■ Manuel Viergutz
Typeface: Typo Ping Pong #1
Size: 29,7 cm B × 42 cm H (DIN A3)
Paper: Metapaper, warmwhite, extrarough 175 g/m2 (uncoated paper FSC + PEFC, 100 % made from wind energy)
Colors: Eco-friendly risography with spot colors Orange and Black from drucken3000 in Berlin
Colors on the screen may differ from the original.
Paul Hutchinson: B-Boys, Fly Girls & Horticulture
B-Boys, Fly Girls & Horticulture documents the photo project by Paul Hutchinson dedicated to the Hip Hop scene in Germany and India. The photographer grew up in a post fall-of-the-wall Berlin and used to be part of the Hip Hop circles in the 90s. Now he approaches this youth culture as an attentive observer.
In his work, Paul Hutchinson shows the subculture as a sensuous experience. Through his both sober and sensitive photographic look he provides the insights into the daily life, surroundings and individual stories of the young hip-hoppers. For his portraits, he keeps taking new perspectives showing the juveniles as immersed, almost isolated individuals. The rhythm and motion that are commonly associated with this music and dance culture are only indicated through their attributes while the real ambience is created by carefully chosen details. An overall image emerges from this nonlinear narrative and the fragmentary shots convey a genuine impression.
The young photographer develops his own style that combines documentary and poetics and expresses the inner motion through the aesthetics of color and form. The pictures from the Botanical Garden in Bangalore are presented alongside the pictures of the Hip Hop scene. They serve as a metaphorical imagery to explore the idea of “exoticism” that corresponds with the “foreignness” of the Hip Hop culture in India.
“But it is this spirit of negating all pragmatic circumstances, of pushing on and on, affirming life, that I found so inspiring while working amongst the youngsters in east and west.” (Paul Hutchinson in B-Boys, Fly Girls & Horticulture, 2015)
Paul Hutchinson: Wildlife Photography
In his second monograph, Paul Hutchinson looks at an underground station in the Neukölln district of Berlin. Wildlife Photography is a playful journey into an every-day appearance of exoticism.
In 2014 the interior design of the U-Bahnhof Hermannstraße had suddenly been overhauled: aiming to avoid further potential spaces for graffiti, the train station was redesigned into a lively jungle scape. The columns, walls, doors, the tiles and floors, were filled with colorful illustrations, merging into large frescos that cover the inside of the station. Hutchinson has taken this as starting point for a conversation with the mindset behind the illustrations and to hint at the socio-urban context in which this jungle has been placed: originally a laborers’ stronghold, the immediate environment of the train station is still quite far from being gentrified, the inhabitants by now mainly of non-German descent.
As an eager customer of Berlin’s public transport system and part of the local community Hutchinson, as most of his neighbors, at some point was unable to stop asking himself what this jungle was all about. Where do the monkeys, tigers and parrots come from, and what are they looking for here, underground?
In this publication images from the U-Bahnhof are juxtaposed with seemingly “real exotic” pictures. A fake jungle is placed next to a real one: we see a real butterfly next to a fake anteater, an illustrated bird meeting his live counterfeit, observe a girl in a leopard suit dancing. All this while the architecture of a public space merges with depictions of animals that radiate their own photo-ethnographic feel – and with graffiti.
While Paul Hutchinson’s first publication with The Green Box mainly looked at something familiar to him within a foreign setting – Hip Hop culture in India –, this artist book investigates something utterly foreign within an environment he feels only natural about – a Berlin underground station.
With a postface by Shahin Zarinbal.
Paul Hutchinson: Schmetterlinge
Following up on Wildlife Photography, Schmetterlinge is the second volume of a series of small-scale publications which Paul Hutchinson conceived in collaboration with The Green Box. In these books Hutchinson looks at seemingly banal situations and circumstances that, however disregarded, carry a deeper meaning and noteworthiness to the artist.
Inspired by the butterflies’ magical realism in-midst of the grey structures of east Asian cityscapes, Hutchinson creates images of a seemingly absurd beauty which question the conventional borders of fiction and reality. We see butterflies surrounded by plants and abstract shapes, collaged with manga-themes and QR-codes, next to cigarettes, iPhones and plastic bottles. By applying a playful thought to the act of image-making, Hutchinson opens up a space in which this well known subject can be interpreted fully anew. These images, created through performative actions, evoke their very own sense of aesthetics and bare witness to the urban-poetic feel which is inherent to Hutchinson’s work.
Type Specimen | FCK AFD | Sticker Set | 148×210mm
Sticker-Set as Type-Specimen for the icon typeface FCKAFD Icon Font. Also as Mini-Poster in DIN A5 with 20 stickers.
Design: Manuel Viergutz, TypoGraphicDesign.de
Typeface: FCKAFD Icon Font
Size: DIN A5 | 148 × 210 mm (B×H)
Sheets: 1 1 sheet as sticker set (free-form) with 20 stickers 😍
Paper: 90 g/m² Recycled adhesive paper, white
Colors: 4/0 c
Colors on the screen may differ from the original.
Yearbook of Type #7—Plant Edition
Building on the success of its predecessors, the Yearbook of Type #7 presents an updated design concept that features new interfaces and fresh features for an enhanced reading experience on 608 (!) pages. With a thematic focus on plants, this edition offers a unique perspective on typography and presents a wide range of new and high-quality fonts, where there is something for every purpose and taste.
Each typeface is now showcased on three pages and offers a comprehensive overview of its properties and characteristics: A double page spread with an appealing visual sample of the font emphasizes the character of the font. The third page offers a detailed overview of the font and its special features, information on language support, styles, weights and widths, OpenType features, and detailed background information about the designer and the foundry.
A comprehensive index allows for quick reference, while the online microsite enables easy browsing and direct purchases. The book is accompanied by a freely accessible online microsite, which allows easy browsing and direct purchase of all the fonts presented.
- Detailed presentation of 180 recent typefaces
- Ample background information
- Index of all 206 type designers and 108 foundries from 29 countries
- Explanation of all OpenType features
- An online microsite that directly links the typefaces to the foundries’ websites (from this edition, as well as editions 3 through 6)
Presented type foundries: 205TF, AG Typography Institute, AinsiFont, Alex Slobzheninov, Ampersand Type Foundry, Antipixel Type Studio, Apex Type Foundry, Azuliq Type, Bastarda Type, Binnenland, Black[Foundry], Blast Foundry, Blaze Type, Bleifrei Type, Bureau Sebastian Moock, BVH Type, Cadson Demak, Cape Arcona, CRU Brand Consultancy, CSTM Fonts, Darden Studio, Detail Type Foundry, Displaay Type Foundry, DSType Foundry, edition.studio Type Foundry, Fabio Haag Type, Fable, Face2Face, Faire Type, Fatype, Fincker Font Cuisine, Fontwerk, Formula Type, Frere-Jones Type, Friederike Wagner, Frost, Fuenfwerken Design AG, Gradient Type, Hanken Design Co.®, Hoftype, Huy! Fonts, It’s Just Letters, Jeremy Tankard Typography, Kobu™ Foundry, Kontour Type, LA BOLDE VITA, Latinotype, Lazydogs Typefoundry, Le Laïc: Type Foundry, Lian Olsen, Lift Type, Mark van Leeuwen, Monolith, Morisawa.Inc, Mostardesign Type Foundry, NEW LETTERS, nice to type, Nonspace, Nouvelle Noire, Nova Type Foundry, Ntsal, OPS Type, Paratype, Peter Schmidt Group, phosphorus, Playtype, Posterizer KG, Range Left Shop, RazziaType, Retype, Revolver Type, Rosetta Type Foundry, Sacha Rein, Schriftlabor, Sharp Type, Stan Hema, Studio Bollo, Studio Principle, Studio Rene Bieder, sugargliderz, Text Field Office, The Northern Block, Thomas Hirter, tictactype, TIGHTYPE, André Toet, Tour de Force Font Foundry, TYPE FIRM, TypeMates, Typerepublic, TypeTogether, Typogama, Typonym, Typotheque, Ultra Kuhl, Viktor Nübel Type Design, VJ Type, W Type Foundry, Wannatype, WELTKERN® Typefaces, XYZ Type, Zakznak, Zetafonts
The Yearbook of Type #7 is a must-have for typography enthusiasts—a go-to source for finding the perfect typeface or a spark of inspiration!
“The overall design of the book is a real pleasure, not only stimulating but also informative.”
Rudolf Paulus Gorbach, tgm-Blog
Type Specimen | Chalk Hand Marker | Postcard Set | Zodiac Sign Letter
Postcard-Set as Type-Specimen for the handwritten typeface Chalk Hand Marker. Also as Mini-Calendar in DIN A6 with illustrated Zodiac Sign Letter.
Design: Manuel Viergutz, TypoGraphicDesign.de
Typeface: Chalk Hand Marker
Vector Icon-Set: Zodiac Sign Letter – Chalk Hand Marker
Size: DIN A6 | 148 × 105 mm (B × H)
Sheets: 13× Postcards as a Set with 12 Zodiac-Sign Typo-Illustrations (+ Cover) 😍
Paper: 300 g/m² strong & stable postcard cardboard
Colors: Colorful 4/1 c
Colors on the screen may differ from the original.
Type Specimen | Headline Poster | Sticker Set | 148×210mm
Sticker-Set as Type-Specimen for the variable Sans-Serif typeface Headline Poster. Also as Mini-Poster in DIN A5.
Design: Manuel Viergutz, TypoGraphicDesign.de
Typeface: Headline Poster
Size: DIN A5 | 148 × 210 mm (B × H)
Sheets: 1 Sheet as Sticker-Set with 25 stickers 😍
Paper: 90 g/m² Recycled adhesive paper, white
Colors: 4/0 c
Colors on the screen may differ from the original.
Dennis Fuchs – Becher
The publication Becher by Dennis Fuchs presents works from the series of small porcelain and ceramic sculptures. The objects move (often literally swaying) along the line between sculpture and drinking vessel. Fuchs mugs play with classics of design history such as the German onion pattern and break up the seemingly familiar with aspects of contemporary consumer culture. No two mugs are the same; their diversity takes the relationship between form and function ad absurdum. As Julia Meyer-Brehm notes, the “mugs combine painting, drawing and sculpture, appearing naive and at the same time incredibly smart.”
In the exhibition context, visitors can choose and drink from the multitude of different cups. The selection creates a connection between art and the visitors’ idiosyncrasies, but also between the drinkers themselves. A special detail is the cover of the book, which contains an integrated beer mat – a useful gimmick that recalls the origins of Fuchs’ cups in pubs and project space bars.
About the artist
Dennis Fuchs (*1992 in Berlin) lives and works in Berlin. He studied teaching art and philosophy/ethics and fine art (Meisterschüler) with Ina Weber at the UdK Berlin and as an exchange student in London and Tokyo. He has exhibited in Berlin, Zurich, Milan and Tokyo.
He worked as a guest lecturer for sculpture and multimedia at the UdK Berlin and as a lecturer in cooperation with the Bauhaus Archive Berlin. His works were awarded with the Special Jury Prize of the Takifuji Art Awards Japan and the Audience Award of the Kunstverein Ebersberg.
Dennis Fuchs – Die Materie freut sich, Happy Matter 2
Die Materie freut sich, Happy Matter 2 is a perpetual monthly calendar by Berlin artist Dennis Fuchs. In addition to new works, the calendar is supplemented by important national and international anniversaries such as Chocolate Day, World Cheese Day, Christmas and many more.
Dennis Fuchs’ small sculptures attribute an emotionality and the ability to act autonomously to the material. The exhibited objects oscillate between snack bar and restaurant, work and leisure, “high and low”. Since a stay in Japan, the artist has been working with replicas of food, which originally served to overcome language barriers when ordering in restaurants. Aesthetic and culinary decisions overlap in the production process of the small sculptures. They are given arms and legs and come to life. Arranged in scenes on bistro tables, they pass the time either lethargically or productively. They include both standardized foods and unconventional vegetables.
About the artist
Dennis Fuchs (*1992 in Berlin) lives and works in Berlin. He studied art education and philosophy/ethics and fine arts (master student) with Ina Weber at the UdK Berlin and as an exchange student in London and Tokyo. He has exhibited in Berlin, Zurich, Milan and Tokyo. He worked as a guest lecturer for sculpture and multimedia at the UdK Berlin and as a lecturer in cooperation with the Bauhaus Archive Berlin. His works were awarded with the Special Jury Prize of the Takifuji Art Awards Japan and the Audience Award of the Kunstverein Ebersberg.
Some Magazine #19—Ready
Some Magazine #19—Ready deals with the phenomenon and the beauty of finishing things.
When is a piece of creative work ready, when have we finally reached the end of the process? Or is there no such thing as “ready” in our world permanent intermediate state? The Some team talks to artists and designers from very different fields and cultures about their methods, their thoughts, sometimes their despair and then also about final results.
A magazine full of inspiring examples that takes the reader on a journey to and through very different creative practices in art and design.
A Magazine for Visual Inventors!
Next Chapter — KLASS Kalender 2025
next chapter is a typographic-illustrative wall calendar for 2025 that deals with the topic of change. Each month takes up this theme in a different way. Topics: Mood swings & Climate change & Yes, and… & Transition & Different & Tides & Healing & Recycling & Turning pages & Cycle & Change & (R)evolution & Attitude-Behavior Gap & moving & …
The calendar is printed on 7 different paper colors in risography and can be flipped through and hung up.
About the designers: Büro KLASS, consisting of Ana Laura Campos Vollmer, Sonja Steven, Sarah Tolpeit, Kerstin Tolpeit & Anna Roidl, is a design studio in Hamburg and Brixen with a focus on typography. The KLASS calendar is now being published for the tenth time, with each calendar having a completely different concept.
Design als Haltung. Handlungsfelder jenseits des Kommerziellen
In recent decades, design has been strongly focussed on stimulating needs and boosting consumption. This concept of design stems from the spirit of the economic miracle and reached its peak in the era of exuberant stock markets and neoliberal economic systems.
Today, we look with horror at the environmental destruction, the division of society and the strengthening of the political right as consequences of this economic system. Time to break new ground! Design and society are closely interrelated. Design influences how people interact with each other and how they behave in the designed environment.
This book paves the way for a new understanding of design that focusses on the process in an open-ended and integrative way, is oriented towards togetherness and does not serve turbo capitalism. Because design can change the world for the better. And because design, understood in this way, gives life more meaning.
Macht Marke. Wie Kreative Zukunft gestalten
The digital transformation poses unprecedented challenges for brand makers and the creatives who accompany them. Excessive demands are becoming the default mode of our time. Certainties waver. Decisions have to be made in the face of great uncertainty.
More than almost anything else, brands are able to become a source of meaning, a binding factor and a shaper of a company. Because people are looking for orientation and meaning. Trust is the currency of our time. Regardless of whether it’s a large corporation or a small business, your own studio or an agency, organization or citizens’ initiative – brand is the compass in confusing times.
Lucas von Gwinner and Dirk von Gehlen provide in Macht Marke. Wie Kreative Zukunft gestalten an introduction to the powerful instrument of the brand that is suitable for everyday use. For creative people who shape the future.
Ich, Wir & Digitalität—Ethik in der Lehre
“I” represents personal reflection, “WE” represents collaboration, and “DIGITALITY” describes the cultural transformation driven by technological innovation.
ICH, WIR & DIGITALITÄT: Ethics in Teaching provides insights into ethical questions from five different perspectives. It can serve as a practical guide with instructions for tasks and learning modules or as a source of inspiration to create spaces for thought, actively engage in social discourses, and help shape the future of education and technology responsibly.
Edited by Dana Blume and Charlotte Axelsson.
Download the Open Access Document as EPUB or PDF for free below and print at home if you would like to own a printed copy!
Slanted Magazine #44—Type Fashion
Slanted Magazine #44—Type Fashion explores the intersection of typography and fashion. The issue explores the boundaries of conventional design, embracing cutting-edge typography as a dynamic canvas for fashion expression. It presents art pieces, conceptual works, unconventional positioning, bold messages, weird concepts, and off-road applications that challenge the status quo of fashion industries.
If Slanted were a fashion brand, our mission would be clear: to inform, provoke, and ignite the imagination—championing freedom, research, and creativity, where fantasy becomes reality, aspirations are achieved, and culture is constantly evolving.
In addition to showcasing outstanding works, this issue features insightful essays by Christina Donoghue, Ann Marie Wainscott, Graphéine, Jelena Drobac, Ian Lynam, Jimmy Henderson, Kylièn Bergh, and Karmen Samson. Furthermore, interviews with Golnar Kat-Rahmani, Mirko Borsche, Jochen Smuda and Martin Fussenegger (Ucon Acrobatics), as well as Jean-Baptiste Levée, provide valuable insights into the intersection of typography and fashion. The issue concludes with an extensive appendix, listing all participating contributors.
Join the SLW FSHN CLB and check our limited special edition with an exclusive bag in collaboration with Ucon Acrobatics!
Limited Special Edition Type Fashion: Bag + Slanted Magazine #44—Type Fashion
In collaboration with the Berlin-based brand Ucon Acrobatics, we’re excited to present a limited special edition on occasion of the release of Slanted Magazine #44—Type Fashion. It includes the magazine alongside an exclusive bag which draws inspiration from the bold design of the new issue, blending typography and fashion into a stylish and sustainable statement piece. At its core, it embraces bold design while reflecting Ucon Acrobatics’ commitment to slow fashion, with every material ethically and sustainably sourced.
The bag is available in three vibrant colors from the magazine’s palette—Red, Royal Blue, and Light Rose—and features a crisp white print, applied through high-quality screen printing. It’s the perfect accessory to elevate any outfit while making a statement: Join the SLW FSHN CLB!
Designed for versatility, the limited edition bag can be worn as a crossbody or hip bag, offering compact storage for your tech essentials and everyday items. With water-resistant features, a sleek silhouette, and streetwise flair, this bag combines practicality with a fashion-forward look.
Features:
— Wear it as a crossbody or hip bag
— Main compartment with water-repellent, two-way zipper
— Additional back compartment with water-repellent zipper
— Inside pocket for your phone
— Internal holder for pens
— Adjustable webbing straps
— Embossed Ucon Acrobatics label on the front
Specifications:
— Dimensions: 20 × 14 × 6 cm
— Capacity: 1 L
— Weight: 180 g
— Material: Polyurethane (PU) with polyester (PET), PVC & PFC-free
With its vivid colors, water-resistant construction, and soft, brushed polyester lining, the Jona Bag delivers style, comfort, and functionality. Whether for your weekend plans or everyday outings, it’s the perfect companion for the fashion-conscious and eco-friendly alike.
About Ucon Acrobatics
Ucon Acrobatics unites a passion for creative design with sustainable mindset. We stand for durable products that go beyond seasons. Instead of following fleeting trends, we focus on timeless silhouettes. We feel responsible, not only for what we do but also for what we don’t do. That is why we always stay true to our motto: “minimal design, minimal emission.” This approach is driven by the belief that less can actually be more, and that nothing should suffer for a quality product – not humans, not animals and not the environment. Find more information about the brand online here or in the interview with Martin Fussenegger and Jochen Smuda, the founders of Ucon Acrobatics, featured in Slanted Magazine #44—Type Fashion.
About Slanted Magazine #44—Type Fashion
Slanted Magazine #44—TYPE FASHION explores the intersection of typography and fashion. The issue explores the boundaries of conventional design, embracing cutting-edge typography as a dynamic canvas for fashion expression. It presents art pieces, conceptual works, unconventional positioning, bold messages, weird concepts, and off-road applications that challenge the status quo of fashion industries. Explore more photos and details about Slanted Magazine #44—Type Fashion here.
Altari
Enters the rural landscapes of Campania, Italy, where depopulation whispers of a fading past.
In Altari, Paolo Covino presents a photographic topology of bedrooms, each a sanctuary of tradition and heritage. As the elderly cling to their homes, customs, and superstitions, Covino captures the essence of a community in transition. These bedrooms, once revered as places of worship for a fading past, now stand as relics of a bygone era.
Each photograph, documents the intersection of social, cultural, and historical change, where the weight of history threatens to vanish into the ether.
Bury Me in the Back Forty
Bury Me in the Back Forty is the highly anticipated successor to the sold-out books Out West and Crown Ditch by Kyler Zeleny and the final chapter in his prairie trilogy.
For a decade now, Kyler Zeleny has been documenting his hometown, a rural community on the Canadian Prairies with deep Ukrainian roots, consisting of 915 people. Based on the idea that the story of any place evolves over time, Zeleny has been using his own photographs, collected objects, community archives, and hidden histories, to revise the community’s history book from the year 1980.
The result is a pluralistic history of the community that embraces both official and unofficial accounts of events in the community’s past—a community album that contains not only the roses but also the numerous thorns attached to each stem. It encapsulates the collective virtues and vices found at the heart of any complex place on the verge of disappearing. More importantly, it is simply a story being recorded, recollected, and reconfigured—a layered portrait of small town living that is both unique and universal.
The result of which is the stoicism of place, a lived existence, which roars at times and suffers so quietly at others.
Yearbook of Lettering #2 / Participant Fee (Germany)
After the amazing response to Yearbook of Lettering #1—with 134 artists from 35 countries, rave press reviews, and tons of social media buzz—we’re back for round two! Yearbook of Lettering #2 is set to drop in autumn 2025, showcasing the very best in lettering from around the globe, from classic calligraphy to bold street art and graffiti. Ready to be part of it? Get your submissions in and help us make this edition even bigger and better!
In Yearbook of Lettering #2, each artist is given at least one full page, where only their artwork is featured, allowing the visuals to take center stage. The clean, open design ensures that the lettering speaks for itself, giving space for the unique styles and techniques to shine.
What truly sets this edition apart is the extensive index, which holds all the essential details—artist backgrounds, style descriptions, materials used, and contact information. Whether you’re looking for inspiration or searching for the perfect artist, the comprehensive, alphabetized index makes it easy to explore the talent behind each piece.
Designed as both a source of inspiration for graphic designers and agencies, and a practical guide for clients seeking the perfect artist or style, Yearbook of Lettering #2 will appeal to anyone interested in the vibrant world of contemporary lettering. We can’t wait to bring this second edition to life with your incredible work!
lt is possible to book one single page or up to three spreads! The presented artworks may not have been published earlier than 2020. Artworks can be submitted via our website until December 8th, 2024.
Producing a book like this requires significant resources. We believe in its sustainability and the real value it offers, which is why we aim to make it accessible to as many people as possible. To maintain high quality, we ask participants to contribute a small production fee to help cover costs (while still maintaining a selection process). This fee is intentionally kept low to encourage broad participation, especially from young artists, and covers only a small portion of the overall project costs. In return, each participant will receive a free printed copy of the book (plus shipping).
It is especially important to us to give the younger generation of lettering artists access to this opportunity. That’s why we offer students (with proof of enrollment) a 30% discount on the regular price. All submissions will be reviewed by a curatorial board of professional lettering artists to ensure quality. Please note, we reserve the right to reject submissions that do not meet our standards, which include technical aspects, originality, depth, context, and more. We strive to maintain a high level of quality throughout the content, so each submission is carefully reviewed, and we provide personal feedback on every application.
HOW TO reserve and book a space:
1. Send an email to [email protected] with the number of spreads you would like to book and links or samples of the artworks, so we can review them and get back to you.
2. Receive a link and pay the submission fee.
3. Now your space is booked. We’II get in touch with more information about the upload.
4. Upload the requested files and information until December 8th, 2024 (latest!) and you will be guided step-by-step through the process.
Early Bird rate (EB), excl. tax, available until November 20th, 2024
Regular rate (R), excl. tax, available until December 8th, 2024
1 page: € 99.– (EB) + Vat / € 119.– + Vat (R)
= 1 Artwork
2 pages / 1 spread: € 189.– (EB) + Vat / € 209.– + Vat (R)
= 2 Artworks (big) OR 1 Artwork big + up to 4 small ones
4 pages / 2 spreads + 1 IG Story: € 339.– (EB) + Vat / € 369.– + Vat (R)
= 4 Artworks (big) OR 2 Artworks big + up to 8 small ones
6 pages / 3 spreads + 2 IG Story: € 499.– (EB) + Vat / € 539.– + Vat(R)
= 6 Artworks (big) OR 3 Artworks big + up to 12 small ones
For those who book two double pages or more, we are pleased to offer a feature in the form of an Instagram Story on the Slanted Publishers channel, which currently has 127K followers. This is a great opportunity to share your work with a broader audience at no additional cost.
Get detailed information about the book, special rates for multiple spreads in combination with all Slanted online features, and our media reach from this PDF.
© Visual: Xesta Studio
Yearbook of Lettering #2 / Participant Fee (World)
After the amazing response to Yearbook of Lettering #1—with 134 artists from 35 countries, rave press reviews, and tons of social media buzz—we’re back for round two! Yearbook of Lettering #2 is set to drop in autumn 2025, showcasing the very best in lettering from around the globe, from classic calligraphy to bold street art and graffiti. Ready to be part of it? Get your submissions in and help us make this edition even bigger and better!
In Yearbook of Lettering #2, each artist is given at least one full page, where only their artwork is featured, allowing the visuals to take center stage. The clean, open design ensures that the lettering speaks for itself, giving space for the unique styles and techniques to shine.
What truly sets this edition apart is the extensive index, which holds all the essential details—artist backgrounds, style descriptions, materials used, and contact information. Whether you’re looking for inspiration or searching for the perfect artist, the comprehensive, alphabetized index makes it easy to explore the talent behind each piece.
Designed as both a source of inspiration for graphic designers and agencies, and a practical guide for clients seeking the perfect artist or style, Yearbook of Lettering #2 will appeal to anyone interested in the vibrant world of contemporary lettering. We can’t wait to bring this second edition to life with your incredible work!
lt is possible to book one single page or up to three spreads! The presented artworks may not have been published earlier than 2020. Artworks can be submitted via our website until December 8th, 2024.
Producing a book like this requires significant resources. We believe in its sustainability and the real value it offers, which is why we aim to make it accessible to as many people as possible. To maintain high quality, we ask participants to contribute a small production fee to help cover costs (while still maintaining a selection process). This fee is intentionally kept low to encourage broad participation, especially from young artists, and covers only a small portion of the overall project costs. In return, each participant will receive a free printed copy of the book (plus shipping).
It is especially important to us to give the younger generation of lettering artists access to this opportunity. That’s why we offer students (with proof of enrollment) a 30% discount on the regular price. All submissions will be reviewed by a curatorial board of professional lettering artists to ensure quality. Please note, we reserve the right to reject submissions that do not meet our standards, which include technical aspects, originality, depth, context, and more. We strive to maintain a high level of quality throughout the content, so each submission is carefully reviewed, and we provide personal feedback on every application.
HOW TO reserve and book a space:
1. Send an email to [email protected] with the number of spreads you would like to book and links or samples of the artworks, so we can review them and get back to you.
2. Receive a link and pay the submission fee.
3. Now your space is booked. We’II get in touch with more information about the upload.
4. Upload the requested files and information until December 8th, 2024 (latest!) and you will be guided step-by-step through the process.
Early Bird rate (EB), excl. tax, available until November 20th, 2024
Regular rate (R), excl. tax, available until December 8th, 2024
1 page: € 99.– (EB) + Vat / € 119.– + Vat (R)
= 1 Artwork
2 pages / 1 spread: € 189.– (EB) + Vat / € 209.– + Vat (R)
= 2 Artworks (big) OR 1 Artwork big + up to 4 small ones
4 pages / 2 spreads + 1 IG Story: € 339.– (EB) + Vat / € 369.– + Vat (R)
= 4 Artworks (big) OR 2 Artworks big + up to 8 small ones
6 pages / 3 spreads + 2 IG Story: € 499.– (EB) + Vat / € 539.– + Vat(R)
= 6 Artworks (big) OR 3 Artworks big + up to 12 small ones
For those who book two double pages or more, we are pleased to offer a feature in the form of an Instagram Story on the Slanted Publishers channel, which currently has 127K followers. This is a great opportunity to share your work with a broader audience at no additional cost.
Get detailed information about the book, special rates for multiple spreads in combination with all Slanted online features, and our media reach from this PDF.
© Visual: Xesta Studio