Slanted Experimental Type 4.0

Following the success of the first three editions, Slanted Experimental Type 4.0 continues the series’ exploration of innovative approaches in typography and graphic design. The new edition was created in collaboration with students from Dortmund University of Applied Sciences and Arts, led by Prof. Lars Harmsen and Andreas Ruhe, and presents entirely new content that pushes creative boundaries.

The publication highlights design strategies that embrace accidents, imprecision, and unconventional methods. It showcases typefaces developed through unique concepts and systems, from AI-generated and experimental fonts to variable type design.

Slanted Experimental Type 4.0 invites readers to explore new territories, rethink familiar processes, and challenge the lines we draw—both in design and beyond.

Inter Human–All You Need to Know About Creativity

This is a preorder only, the book gets shipped once published January 2027.

Creativity is not an art. It follows simple principles that anyone can understand and use. And it needs only a few skills that are easy to learn.

Inter Human is the result of a forty-year journey that has successfully taken the author through many different fields of creativity. It has led him to the belief that, in the age of Industrial Creativity, we must return to the basics if we want to remain in control as we interact with artificial intelligence.

The book offers practical insights, clear principles, and real experience for anyone who wants to master Human Creativity.

→ www.inter.berlin Text in English and German.

Grafikmagazin 03.26

As the name indicates, Grafikmagazin is a print magazine focusing on all things graphic design. Primarily it’s aimed at professional creatives and design students from Germany, Austria, Switzerland, and beyond. Grafikmagazin presents outstanding work from graphic design, typography, illustration, photography, design theory, research, paper, and printing every two months. The editorial team of Grafikmagazin created a variety of sections and categories but selected focus themes for each issue, like “Branding for Tech.” The topics portray how imaginative, eclectic, and playful graphic design can be while featuring successful branding concepts and niche ideas.

The extensive “Showroom” section lets readers know other creatives and the stories behind design studios worldwide. The “Design and Research” category presents interdisciplinary projects that show how science and research can benefit from creative solutions and play an active role in graphic design. In the “Production and Publishing” section, everything revolves around print. You will find exquisite books, sophisticated annual reports, and high-quality embossed greeting cards. Also, the cover artists of each issue are interviewed or get to highlight their ideas.

Each cover is printed on a different paper, and the design interprets the particular Grafik+ theme more broadly or shares a fresh perspective on a unique design technique. The Grafikmagazin team, its correspondents, and freelancers are bound and driven by the firm belief that print is not dead. With the will to prove just how alive it is, and the motivation to start something fresh yet deeply traditional, they strive for nothing less than to create another print magazine that makes history.

Slanted Magazine #48—Seoul

Please note: This is a preorder only, the magazine gets shipped once published October 2026.

Slanted Magazine #48—Seoul offers a vivid insight into South Korea’s contemporary creative scene. The issue highlights the diversity and experimental spirit of design in Seoul—from graphic design, typography, and visual communication to architecture, product design, and digital media.

Featuring experimental approaches, innovative typographic work, and strong visual storytelling, the magazine presents outstanding projects by designers, illustrators, and artists from Seoul, across South Korea, and beyond. Essays and articles examine cultural influences such as K-pop, fashion, technology, and urban life.

A special highlight is a feature on fifteen studios visited by the Slanted team, providing insights into their workspaces, processes, and the people behind the designs. Additional 10 × 10 interviews and essays offer a broader perspective on the city’s creative ecosystem.

Slanted #48—Seoul presents a dynamic portrait of a design scene shaped by fresh perspectives.

gaze edition 01 — about exploring

Meet Liz, she finds things. Maybe they find her … With a growing archive of photographs—some humorous, some deeply impressive—her work follows moments that shape her artistic interests and ways of seeing. Together with the editor, she curated three stages of Exploring, accompanied by text contributions from previously unpublished writers.

Meet Gaze: a publishing series translating individual perspectives by students into print. Each edition is developed with one young collaborator, who becomes the starting point for an editorial theme and a collection of visual and written works. The project creates a space for personal ways of seeing that might otherwise remain unpublished.

Gaze is an ongoing, self-initiated student publishing project interested in making personal artistic work public and accessible while maintaining a focus on thoughtful editorial and physical production. The first edition was printed on paper generously supplied by ICON Papers. Its warm tone and sprinkled texture make each copy subtly unique, adding a tactile and vivid quality to the reading experience.

Yearbook of Type #8—History Edition

Please note: This is a preorder only, the book gets shipped once published November 2026.

The eighth edition of the acclaimed Yearbook of Type series presents a curated overview of contemporary type design (2024–2026), with a focus on history and heritage. Building on the successful concept of previous volumes, it brings together high-quality typefaces from leading publishers, independent designers, and foundries worldwide—making it a valuable resource for type selection.

Each typeface is presented across three pages: a specimen spread showcasing its character, followed by a detailed profile with styles, weights, language support, OpenType features, and key information on designers and foundries. A comprehensive index ensures quick navigation.

An accompanying microsite provides access to all featured typefaces for browsing and purchasing, extending the book into a functional digital library.

For designers, agencies, and typographers, Yearbook of Type #8 is both an inspiring catalogue and a practical reference—supporting type selection while highlighting the evolution of typography.

GridType Vol. 1—Type & Tools

Exploring the relationship between type design and tools, GridType Vol. 1 presents an edition of ten typefaces created with the experimental type tool grid-type.com. With typefaces by Anna Cairns, Boom Promphan Suksumek & Anna Srikitkul, Charlotte Rohde, Hanna Boslau, Julie Werenskjold Sørensen, Miquel Hervás Gómez & César Rogers (fanfare), Studio HanLi, Svatopluk Ručka, Trang Hà and Özgür Deniz Koldaş. With interviews by Lena Weber, studio pointer* and Céline Hurka.

GridType is inspired by historical grid-based type design with stencils, such as the Plaque Découpée Universelle from the 1870s—a single stencil that allows you to draw all the letters of the alphabet. The experimental type tool allows you to create your own stencils by selecting a grid and adjusting various parameters, such as the number of rows, columns, or the level of complexity. There are nine different grid types available, providing insight into the research on grid construction. Some grids are geometric, based on rectangles, triangles, or circles. Others are inspired by how different display technologies, such as pixels and segments, have influenced type design. Additionally, there are references to historical grid-based type design, including Wim Crouwel, the Bauhaus, and the Plaque Découpée Universelle. The project explores how code can be incorporated into the design process, allowing for almost endless variations through different parameters and serendipitous discoveries.

The publication launches GridType Vol.1, an edition of typefaces drawn by 10 designers with the tool. The publication presents the type specimen for the typefaces, which are available for download via grid-type.com. Additionally, it also gives insight into type and tools. Through Q&As and interviews it discusses type design and technology—such as the relationship between type and tech development, or why we should build our own tools.

The World’s Best Typography, Typography 47

Please note: This is a preorder only, the book gets shipped once published November 2026.

The World’s Best Typography, Typography 47 presents the latest winners of the Type Directors Club competition, showcasing outstanding work in communication design, lettering, and typeface design from around the world. For over seventy years, the Type Directors Club has recognized excellence in typography through its annual awards.

This edition continues that tradition in a refreshed, more compact and user-friendly format, now published for the first time at a more accessible price, while offering expanded content and a broad, inspiring selection.

Curated by the Type Directors Club, the book features award-winning projects reflecting the creativity and diversity of today’s global design community. A Judges’ Choices section includes selected works with commentary from jurors and insights from designers, while a structured index of typefaces and designers adds practical reference value.

Typography 47 celebrates typographic excellence and the global community shaping contemporary visual communication.

FONS HICKMANN Posters—Now and Then

Please note: This is a preorder only, the book gets shipped once published October 2026.

This publication presents the first comprehensive survey of the poster work of Fons Hickmann—one of the most influential designers of our time. Published on the occasion of the exhibition in October 2026 at the Brandenburgisches Landesmuseum für moderne Kunst, it brings together a curated selection spanning more than three decades, offering insight into the conceptual and formal foundations of his work. Many of the featured posters have received international awards and have shaped the discourse of visual communication.

Hickmann’s posters go beyond conveying information, functioning as spaces of reflection where typography, image, and meaning intersect. Oscillating between clarity and disruption, system and rupture, they form a distinctive visual language that resists straightforward interpretation—positioning the poster as a poetic and political medium. Accompanying texts frame the works and provide perspectives on Hickmann’s design practice and approach to visual communication.

dog days

dog days brings together fourteen literary miniatures in which authors tell stories from the perspective of dogs.
Inspired by historical photographs, the texts allow our most loyal companions to speak for themselves, offering surprising, touching, and sometimes humorous insights into the coexistence of humans and animals.
The stories deal with loyalty and freedom, closeness and dependence, and explore the special relationship between humans and dogs from an unusual perspective.

Authors:
Josephine Apraku, Julia Meyer-Brehm, Swan Collective, Carl Ensom, Tabea Sunna Hertzog, Ozan Zakariya Keskinkılıç, Anika Landsteiner, Yelizaveta Landenberger, Julie Legouez, Anika Meier, Lisa Tracy Michalik, Sophie-Charlotte Opitz, Linda Peitz, Maria-Christina Piwowarski, Erica Zingher

Cihan Çakmak. Like a warrior.

The first monographic publication by Cihan Çakmak is released on the occasion of her first institutional solo exhibition at Museum Morsbroich. Through photography, drawing, text, as well as video and sound works, Çakmak explores questions of identity, origin, transgenerational trauma, and self-empowerment.

At the core of the publication is the self-portrait as an artistic strategy through which social role models and familial imprints are made visible and critically examined. The publication brings together key bodies of work and, through contributions by Şeyda Kurt, Maike Salazar Kämpf, and Thekla Zell, alongside a conversation with the artist, offers a multifaceted insight into her practice.

»Mountains«

Risograph Print

Each Risograph print is one of a kind. Vibrant colours and the characteristic slight misalignments and imperfections of the printing process make every print unique.

Printed by hand at Risoclub Leipzig.

»Solid Fruit«

Risograph Print

Each Risograph print is one of a kind. Vibrant colours and the characteristic slight misalignments and imperfections of the printing process make every print unique.

Printed by hand at Risoclub Leipzig.

»Collected Stones«

A3 Risograph Print

This illustration was created with lots of love and patience during my first summer in Leipzig. I collected inspiration from sunny days by the lakes, where I sketched these little stones directly into my sketchbook before digitally arranging them into the final composition.

Each Risograph print is one of a kind. Vibrant colours, along with the characteristic slight misalignments and imperfections of the printing process, make every print unique.

»Happy Office Day«

A4 Risograph Print

Bad mood at the office? Having a bad day working from home? This little friend is here to put a smile on your face. :•)

Each Risograph print is one of a kind. Vibrant colours, along with the characteristic slight misalignments and imperfections of the printing process, make every print unique.

Printed at Risoclub Leipzig.

»Bold Horse«

Risograph Print

My very first Risograph print. It was exciting to transform one of my digital illustrations into a tactile, analogue print for the first time – a process that made me fall in love with Risography.

Each Risograph print is one of a kind. Vibrant colours, along with the characteristic slight misalignments and imperfections of the printing process, make every print unique.

Printed at Risoclub Leipzig on Enviro 190 g/m² paper.

»Stretching Beast«

Risograph Print

Some people see a crocodile, others a dragon. Whatever creature you discover, this Stretching Beast was created with lots of patience and care.

Every tiny scale was illustrated on an iPad during long train journeys, and I’m excited for it to find a new home with you.

Each Risograph print is one of a kind. Vibrant colours and the characteristic slight misalignments and imperfections of the printing process make every print unique.

Printed by hand at Risoclub Leipzig on Enviro paper.

Art-Based (Un)Learning – Unexpected Dialogues with Artworks

Since long many educators, artists, and academics have drawn attention to education as an open discipline, needing to be a creative space that ‘advocates agency over intention and whose trade is critical intimacy’ (Mieke Bal, 2012). Instead of a place for intimidation, conventions, and rules, it should be a place where friendship is the motor for response. It should look at hegemonic structures in society, pedagogy itself, and art, and be able to question these. Open, reversible, respectful pedagogies should lead to creative thinking, to open minds, to building critical and communicative citizenship.
This volume of essays includes the fields of cinema studies, dance, fine arts, fashion, literature, design, music, theatre, photography, storytelling, technology studies, pedagogy, politics, sociology, psychology, medicine, media, and contemporary cultural studies. It looks at art and its objects and how these become teaching objects that trigger our imagination and knowledge. ‘Unlearning’ is a subjective process that values organic, unexpected experiences over objective, scripted learning itineraries.
The book attempts to bring together the many possible prisms of this kaleidoscope of how art and imagination can teach us about ourselves, living together, and the world. Structure (each containing an introduction and about 5 essays):
Part 1: Why (Un)Learning? Urgency, Conflicts and Epistemic Struggles
Part 2: Teaching Objects: Dialogues with Artworks
Part 3: Re-Designing Futures and Possible Worlds
Part 4: Storytelling: Embodiment, Affect, and Care
Contributors (tbc):
– Marcio Aquiles (University of São Paulo, BR)
– Dennis Atkinson (Goldsmiths, University of London, UK)
– Mieke Bal (University of Amsterdam, NL)
– John Baldacchino (University of Wisconsin, Madison; USA)
– Marc Boumeester (ArtEZ University of the Arts, NL)
– Daniëlle Bruggeman (ArtEZ University of the Arts, NL)
– Fabiola Camuti (HKU University of the Arts Utrecht, NL)
– Nirav Christophe (HKU University of the Arts Utrecht, NL)
– Yra van Dijk (Leiden University, NL)
– Els Draaisma (NL)
– Jeroen van den Eijnde (ArtEZ University of the Arts, NL)
– Rahul K. Gairola (Digital Narratives Studio, HK, and Indo-Pacific Research Centre, Murdoch University, AU)
– Pascal Gielen (University of Antwerp, BE)
– Anthony Heidweiller (Amsterdam University of the Arts, NL)
– John Johnston (ArtEZ University of the Arts, NL)
– Christa-Maria Lerm Hayes (University of Amsterdam, NL)
– Hanneke van Laarhoven (Radboud University/HKU, NL)
– Annie Loui (University of California, Irvine; USA)
– Jeroen Lutters (ArtEZ University of the Arts, NL)
– Daniela Moosmann (HKU University of the Arts, NL)
– Emmanuel Ngue (Higher Teacher Training College of Bertoua, University of Ngaoundéré, CM)
– Tunde Ope-Davis (University of Lagos, NG)
– Patricia Pisters (Amsterdam University, NL)
– Niels van Poecke (Amsterdam University, NL)
– Venka Purushothaman (Lasalle College of the Arts, SG)
– Michael Scherer-Rath (Radboud University, NL)
– Nishant Shah (The Chinese University of Hong Kong, HK and Harvard University, US)
– Elisabeth Silva Lopes (University of Sao Paulo, BR)
– Lisbet Skregelid (University of Agder, NO)
– Michael (Mike) Slade (Independent Artist, Western AU)
– Daniel Tucker (Independent Artist, Philadelphia, US)
Partners: ArtEZ Arnhem; HKU Utrecht

Keeping Culture – The Architecture of Storage

Museums and archives are repositories for our cultural heritage, besides having many other tasks. These collections are often vast, and only a fraction can be shown at one time. The majority of stored objects will never or very seldomly be presented to a wider audience. This is not only an issue of workforce, but also of the collection’s architecture or spatial structure and the institute’s mission and ambitions. In recent years, visible and visitable storage strategies have gained traction with museums, promising to increase the accessibility of reserve collections, while also announcing newfound institutional transparency and public accountability for those objects in their care.
Keeping Culture explores the scope, scale, and significance of contemporary cultural storage facilities, providing new insights into their implications for collecting, conservation, and for our broader understanding of cultural heritage. It also brings this current interest in visible and open storage design into dialogue with the spatial evolution and programmatic disruptions that have defined the history of museums, and the architectural experiments that have accompanied the cultural work of keeping things.
Contributors: Wouter Davidts, Carroll Go-Sam, Susan Holden, Owen Hopkins, Valerie November, Marina Otero-Verzier, Ashley Paine, Scott W. Perkins, Deyan Sudjic, Julian Worrall, Albena Yaneva
Partner: University of Queensland, School of Architecture, Design and Planning

Thinking Back, Making Forward – Artistic Research in Practice

In the last three decades, creative practice disciplines, such as art, design, architecture, creative writing, fashion, and others, have undergone a ‘research turn’, strongly stimulated by doctoral programmes to deepen artists’ reflections on the roots, relevance and urgencies of their work. There are many reasons why an individual practitioner might decide to undertake a PhD: a desire to uplift one’s practice, to contribute to the intellectual artistic climate, to teach, to pursue an academic career, or some combination of these, or other reasons.
The rise of artistic research or practice-based research is subtly transforming these disciplines. The integration of research into practice, however, has not always been smooth, and the transformations not unequivocally positive.
For this book an open call was issued to ask artists how PhD research has influenced their making and thinking. The questions were: What are the impacts, urgency, and significance of the PhD for creative practitioners? How are these understood, captured, communicated? How did it change your practice? They were even asked: should creative practitioners undertake a PhD in the first place?
Through its thirty contributions Thinking Back, Making Forward tackles these questions in an open way, to acknowledge, equally, the advantages and disadvantages of the creep of the PhD into artistic practice. At the same time, this book shows a wide range of possibilities of what research in artistic practice can entail.
Contributors: Annie Bellamy; Nicholas Boyarsky; Jeremie Brugidou; Jessica Bugg; Carla Cruz and Nina Hoechtl; Lionel T Dean; Anne Douglas; David Gates; Ismini Gatou; Joost Grootens; Graeme Harper; Andrew Hodgson; Alexander Hunter; Jessyca Hutchens, Naomi Vogt and Nina Wakeford; Åsa Johannesson; Eduardo Kairuz; Roger Kemp and Anthony Fryatt; Ilona Krawczyk; Victoria Lynn; Clare McCracken & Pia Johnson; Fraser Muggeridge; Yogan Muller; Libby Myers; Gerrie van Noord; Kateřina Olivová; Alvin Pang; Cecilie Sachs Olsen and Matthew Dalziel; Benjamin Sheppard; Alice Twemlow with Anja Groten, Maya Rasker and Andrea Stultiens; Chanda VanderHart
Partner: RMIT University, Melbourne

Queer Flora, Fauna, and Funga – A Radical Forage Through Arts and Writing

Queer Flora, Fauna, and Funga is an eclectic, transdisciplinary and versatile anthology, highlighting the sexual and gender diversity in nature. Queer theory and natural history intersect through visual art and creative writing.
This publication gives attention to roughly forty case studies, which inspire us to reimagine the world and our place in it. Each contribution dives into questions such as: How does acknowledging the queerness of nature inspire us to compose the world otherwise? How can we rewrite history to make a place for ourselves in the story? And what is the role of an individual in a symbiotic community? The arts, poetry, scientific and speculative writing spark this imagination, and give readers tools to shape the world differently.
Queer Flora, Fauna, and Funga asks to expand our knowledge about sexual and gender diversity, and to reconsider our relationships with each other and our more-than-human companions in the natural world.
Contributors: Clover Ajamie, Eve Alexandra, Giovanni Aloi, Céline Baumann, Suzette Bousema & Ingeborg Klarenberg, Nickole Brown, Connor Butler, Frances Cannon, CAConrad, Sam Cohen, Anna Colin & Rob Crosse, Tom Comitta, Kat Consler, Isa DeMarco, Joost Emmerik, Astro Escudero & César Jumpa (Zooa Creativa), Melissa Faliveno, Ros Gray & Carle Gent, Donna Haraway, Daisy Hildyard, Lars Horn, Sabrina Imbler, Jonah King, Johanna Koen, Gary A. Krupnick & Frances Cannon & Sarah Prager, Marjolein van der Loo & Zheng Bo, Jessica Maccaro, Andrés Ordorica, Siôn Parkinson, Anna Phaidra, Erik Peters, Alyssa Quinn, Catriona Sandilands, Nina Scott, Sophie Seita & Naomi Woo, Amy Beth Sisson, Lorena Solis Bravo, Emily Strasser, Orchid Tierney, Jonmar van Vlijmen & Samar Nasrullah Khan, Charlotte Woolf, Sixto-Juan Zavala
Valiz supported by Creative Industries Fund NL

PHOSPHORUS

These are not illustrations, but existential cries.
Everyone experiences moments in which a rupture becomes visible in what once felt like a unified perception of the world. This project of 80 works exists at exactly this threshold, between the self and the will of the world. Between long forgotten ideas, a sense of experimental responsibility, personal history, and an overarching void.
Through deliberately reduced means and strict formal constraints, the attempt is made to approach something that resists linguistic definition. Fragments of analogue film photography, shards of language, philosophical concepts and abstract patterns come together as a fractured portrait, quietly breathing within the overwhelming turbulence of the world.
What cannot be spoken remains in silence. And it is precisely this silence that the static image begins to approach.
This visual book is an attempt to capture a state that cannot be translated into language. Emotions are compressed to such an extent that they lose their recognizable form. Not a narrative, not a process, but a point of pressure where everything turns into electric current. Image and humanity cease to function. What remains is an inner scream transformed into silence. The residue. The distilled sediment of human experience.
Created at the lowest point of a life, this book becomes a form of self therapy, an attempt to survive and translate personal pain into visual language. Each work follows the real chronology of that period, tracing the slow movement from collapse towards reconstruction. What begins as a silent dialogue with despair gradually becomes an act of healing.
Not only a document of inner rupture, but also a trace of self redemption through image.

Photodarium 2027

The popular classic Photodarium is now appearing for the 15th time and will delight us again in 2027 with an instant photo and a little story of our own. The high—quality tear-off calendar shows artistic and intimate snapshots of 365 well-known photographers and newcomers, professionals, and Polaroid fans from all over the world

On the front of each calendar page there is an analog Polaroid photo, printed in its original size and finished with a special glossy finish that creates a real Polaroid feeling. On the back there is a small text with the often very personal story of the picture as well as information about the photographer and the Polaroid film used. And of course printed in the tried and tested quality and glued and bound by hand.

The Photodarium (formerly Poladarium) is a well-assorted gem and an eye—catcher for your desk, window sill, cake buffet, hat rack, shop window, bedside table … and of course the perfect Christmas present for all friends of analogue photography!

Limited Special Edition Digital Tools: Art Prints + Slanted Magazine #47

The first edition of the magazine is sold out, the second edition is expected to be released in late October!

In collaboration with Metapaper and Gallery Print, we are thrilled to present a special edition of Slanted Magazine #47—Digital Tools. In addition to the magazine, this edition includes ten art prints by various artists representing the theme of the issue by showcasing diverse digital tools.

The 23,5 × 15.5 cm art prints are each printed on a different high-quality Metapaper paper, using varied printing techniques such as foil, varnish or debossing.

The following prints are included:
Encrypted Archives by Lena Weber
Iso Drawing by Nahuel Gerth
Moon Cycles by Dounia Rebeiz
Introverted by Karl Sims
Superpower by Philipp van Laar
Dot to Dot to Dot to Dot by Matthew Clark
Typozone/6/Typo Biomimetics by Dora Balla
Root by Ana Maria van Dierendonck
The Warmth by Roselena Ramistella
Downtown Egg Fishing by Victor Verhelst

The set includes a poster—listing all prints, their artists and tools and techniques used—as well as a sleeve, both designed by Lars Harmsen.

About Slanted Magazine #47—Digital Tools
Spring/Summer 2026

Slanted Magazine #47–Digital Tools examines the instruments that shape contemporary creative practice. This issue offers a diverse insight into the global creative scene and uses numerous examples to show how digital tools are used to create, question, and rethink design itself. By introducing new workflows and technologies, Slanted Magazine #47—Digital Tools inspires both experienced designers and beginners to explore the creative potential of digital design. Find out more about the issue here.