Makers Bible München – Handgemachte Qualität

Handmade quality in Munich.
A guide to makers & crafters, retailers and restaurants.
The Makers Bible Guide for Munich will be published in German language and contains a large number of real craftsmen and craftswomen who still produce in their city. Dedicated retailers with an assortment of products similar to that of makers & crafters will complete the experience, and restaurants, cafés and Delicatessen shops, whose offerings are handmade, fresh and with a high percentage of local ingredients, will also be part of the delights we personally curate.

Makers Bible Voralpen – Handgemachte Qualität

A guide about Maker & Crafter, retailers, restaurants and accommodations in the foothills of the Alps between Lake Constance and Berchtesgaden.

Join us along with Outville as we make our way to the foothills of the Alps between Lake Constance and Königssee, pausing at dazzling lakes, stopping by brewers and distilleries, artisans and merchants, serving up bread and dinners, and settling into our feathers with passionate hosts.

Servus, Mahlzeit, Prost and bon voyage!

Jeremiah Chiu – Ou(te)r Space

Ou(te)r Space: Course as Collective Manifesto contains the work of 21 high school students that participated in the (virtual) Graphic Design section at Otis College of Art & Design’s Summer of Art in July of 2020. The month-long course, led by Jeremiah Chiu, was proposed to the students as a 4-part experimental and collaborative workshop—activating the remote classroom as a space for self-reflection, critical inquiry, and expression through experimentation.

The course was structured into four, week-long topics: A Portrait Through Objects (image-making), Establishing a Voice (typography), A New Vision (research and writing), and Self-Publishing (authorship). In the final week, students collaborated with Chiu to compile a final volume documenting the results of their month-long study—seen here in this book.

As the world we live in continues to change, so should the approach to educating, collaborating, and communicating with students and practitioners. The book serves as a starting point—an inspiration—for educators and students alike to engage, question, and evolve Graphic Design Pedagogy and Curriculum towards a more diverse, equitable, and inclusive future.

From an educator’s perspective, it may seem obvious to teach as we have been taught. But too often, education is taught in binaries—right and wrong—and through biases—subjective “goodness” as a measure of quality. Beyond right and wrong, this book proposes that we re-establish the hierarchical balance between teacher and student, and that philosophical inquiry—ethical, political, and representational questioning—become integral to the practice of a contemporary designer. Instead of determining what is right or wrong, we may, alternatively, discover what is possible.

Preorder: Please Come: Shameless/Limitless—Selected Posters & Texts 2008–2020

Please note: This is a preorder-option, book will be shipped once released approximately mid of June 2021.

Please Come: Shameless/Limitless Selected Posters & Texts 2008–2020 is a 536-page brick of a book. It charts the history of Shameless/Limitless, a Berlin promoter whose trajectory has paralleled (is responsible for?) the establishment of the most recent iteration of the city’s DIY music scene.

The book includes:

  • 219 posters for shows, parties and events spread across 40 Berlin venues made by 130 designers, notable and newcomers alike.
  • 24 guest texts which celebrate and shed light on the ethos of the S/L spirit, from buds including musicians (Alex Cameron, Molly Nilsson, Sean Nicholas Savage, infinite bisous, Jane Penny of TOPS, Farao, Sam Vance-Law +++) designers (Aisha Franz, Tabitha Swanson, Jason Harvey and Natalia Portnoy to name a few), kindred spirits and more.
  • Over 100 original event promo texts.
  • Posters for first or early shows from now-established artists (Alex Cameron, Better Person, Erika de Casier, Fatima al Qadiri, Ultraflex +++) to memorable nights with artists passing through town (Metronomy, Crack Cloud, Project Pablo, Pender Street Steppers, Handsome Furs, Geneva Jacuzzi, Homeshake) to recurring shows and parties with heavy hitters (Molly Nilsson, Mac DeMarco, Win Butler of Arcade Fire, Kirin J Callinan, Sean Nicholas Savage, TOPS) and, of course, much more.
  • An interview between frequent contributor Norman Palm & S/L founder Kevin Halpin.

… and a couple more nice things, too.

Immerse yourself in the unique aesthetics of the Berlin DIY-club scene!

Slanted Magazine #37—AI

Artificial Intelligence (A.I.) has become—besides being an over-hyped buzzword across industries (that the design world is no exception to)—a reality. We debate about the impacts of A.I. and its subsets, machine and deep learning, and consider everything from virtual to augmented realities, and how these technologies may change our lives, jobs, and social relationships altogether. 

We live in times where decisions about what we want are no longer under our control. While we believe to be free (at least in our western world), algorithms dictate our lives, hopes, and dreams. We are the parents and children, gods and slaves of the technology we invented: although it’s a masterpiece, there is a great dependence. If “algorithms will liberate themselves entirely from us,” Peter Weibel proposes, dystopian science fictions may help us clarify what we desire and do not want. 

At Slanted, we are “hands on.” We love the human spark, provoke happy accidents (scratches and glitches), explore edges, and consistently enter unknown terrain. So yes, although this is a printed issue, it could very well have been transported to a neural chip. And we definitely figured out some ways to bring the issue to another dimension: A unique motif by CROSSLUCID has been printed for each cover of the entire edition—the aesthetics between portrait, still life, and expressionist topography, alien to our comprehension of what is human, natural, artificial, and digital.

More than ever this issue made us adventurers: looking with doubtful eyes at this new world of computation, numbers, and transhumanism, where (OMG!) machines are in many areas smarter than us and, occasionally, even encoded with higher ethical and moral standards than we will ever have.

Alongside the issue, a limited Special Edition has been released, a high-quality and 100% recycled bag by LOQI with a design by artist Sofia Crespo. 

The impact of Artificial Intelligence on design and how these technologies can change our lives in one comprehensive publication!

Limited Special Edition A.I. / LOQI Bag + Magazine

On the occasion of the release of Slanted Magazine #37—AI a limited LOQI bag with an artwork by neural artist Sofia Crespo has been released. It is limited to 200 pieces and available exclusively in the Slanted Shop.

Neural Zoo

Neural Zoo is an exploration of the ways creativity works: the recombination of known elements into novel ones. These images resemble nature, but it is an imagined nature that has been rearranged. Our visual cortex recognizes the textures, but the brain is simultaneously aware that those elements don’t belong to any arrangement of reality that it has access to.

Computer vision and machine learning could offer a bridge between us and a speculative “natures” that can only be accessed through high levels of parallel computation. Starting from the level of our known reality, we could ultimately be digitizing cognitive processes and utilizing them to feed new inputs into the biological world, which feeds back into a cycle. Routines in artificial neural networks become a tool for creation, one that allows for new experiences of the familiar.

Can art be reduced to the remapping of data absorbed through sensory processes?

Production: LOQI
Artist: Sofia Crespo

The bag is water resistant and made of polyester. Of course it is STANDARD 100 by OEKO-TEX® certified.

Slanted Magazine #37—AI

Artificial Intelligence (A.I.) has become—besides being an over-hyped buzzword across industries (that the design world is no exception to)—a reality. We debate about the impacts of A.I. and its subsets, machine and deep learning, and consider everything from virtual to augmented realities, and how these technologies may change our lives, jobs, and social relationships altogether. 

We live in times where decisions about what we want are no longer under our control. While we believe to be free (at least in our western world), algorithms dictate our lives, hopes, and dreams. We are the parents and children, gods and slaves of the technology we invented: although it’s a masterpiece, there is a great dependence. If “algorithms will liberate themselves entirely from us,” Peter Weibel proposes, dystopian science fictions may help us clarify what we desire and do not want. 

At Slanted, we are “hands on.” We love the human spark, provoke happy accidents (scratches and glitches), explore edges, and consistently enter unknown terrain. So yes, although this is a printed issue, it could very well have been transported to a neural chip. And we definitely figured out some ways to bring the issue to another dimension: A unique motif by CROSSLUCID has been printed for each cover of the entire edition—the aesthetics between portrait, still life, and expressionist topography, alien to our comprehension of what is human, natural, artificial, and digital.

More than ever this issue made us adventurers: looking with doubtful eyes at this new world of computation, numbers, and transhumanism, where (OMG!) machines are in many areas smarter than us and, occasionally, even encoded with higher ethical and moral standards than we will ever have.

Publisher: Slanted Publishers
Cover Images: CROSSLUCID
Volume: 288 Pages
Format: 16 × 24 × 2,3 cm
Language: English
Offset Printing (Inside): Stober Medien
Digital Printing (Cover): Limego
Cardboard Cover: CONSTELLATION Snow E/E06 Tela for HP Indigo, 280 g/sm by Fedrigoni
Paper: ARENA Smooth Extra White, ARENA Rough Natural, 120 g/sm by Fedrigoni
Bookbinding: Swiss brochure
Introduction texts: Tom Barbereau & Jack Dignam
ISSN: 1867-6510
Price: € 18.–

Limited Special Edition A.I. / LOQI Bag

On the occasion of the release of Slanted Magazine #37—AI a limited LOQI bag with an artwork by neural artist Sofia Crespo has been published. It is limited to 200 pieces and available exclusively in the Slanted Shop.

Neural Zoo

Neural Zoo is an exploration of the ways creativity works: the recombination of known elements into novel ones. These images resemble nature, but it is an imagined nature that has been rearranged. Our visual cortex recognizes the textures, but the brain is simultaneously aware that those elements don’t belong to any arrangement of reality that it has access to.

Computer vision and machine learning could offer a bridge between us and a speculative “natures” that can only be accessed through high levels of parallel computation. Starting from the level of our known reality, we could ultimately be digitizing cognitive processes and utilizing them to feed new inputs into the biological world, which feeds back into a cycle. Routines in artificial neural networks become a tool for creation, one that allows for new experiences of the familiar.

Can art be reduced to the remapping of data absorbed through sensory processes?

Production: LOQI
Artist: Sofia Crespo

The bag is water resistant and made of polyester. Of course it is STANDARD 100 by OEKO-TEX® certified.

If you want to own Slanted Magazine #37–AI as well, choose this package containing the bag + magazine!

Slanted ASCII Poster – Artificial Intelligence

On the occasion of Slanted Magazine #37—AI, Lars Harmsen designed a poster with a collage of ASCII quotes, inspired by the works of Douglas Coupland.

“ASCII art is a graphic design technique that uses computers for presentation and consists of pictures pieced together from the 95 printable (from a total of 128) characters defined by the ASCII Standard from 1963 and ASCII compliant character sets with proprietary extended characters (beyond the 128 characters of standard 7-bit ASCII).” Wikipedia

 

Preorder: Büro Destruct 4

Please note: This is a preorder-option, book will be shipped once released approximately in June 2021.

The new book Büro Destruct 4 not only presents the best of realized projects of the past 12 years, but also intermediate steps, discards, experiments & inspiration of the Bern-based and internationally renowned design studio Büro Destruct. The Swiss, who see themselves and their studio as a kind of band, again present a skilfully composed album with this new book.

In contrast to the strict and somewhat restrained Swiss Style of the 1960s, Büro Destruct stands for design without the handbrake on. Apparently everything is possible. It can be humorous, loud, colorful and zeitgeisty. At the same time, minimalism, precision and craftsmanship are present in all their work.

The layout of “Büro Destruct 4” presents various works in detail—in progress and finalized. It is always left open which of the variants shown was realized. Although the illustrations are only minimally explained, this principle allows for a particularly intensive look over the shoulder and reveals much about the working methods of Büro Destruct.

Their vector-heavy graphics have always conformed to “think global, act local.” Often against the grain of public conception: they were among the few to ignore the temporary, yet intense flirt of Swiss graphic design with fledgling neo-conservatism.

Over the past 27 years, Büro Destruct have successfully avoided being pinned down or getting too comfortable in a defined area. At the same time, of course, it is there: that special Destruct eerie feeling. An independent handwriting, for which many words could be found, but which even after more than two decades is best conveyed by looking at their work …

Angels of Disguise (The Abstract Aesthetics of Digital Flaneurism)

Can ‘Khan’ Oral’s book “Angels of Disguise (The Abstract Aesthetics of Digital Flaneurism)” presents 84 digital prints of found internet imagery categorized in four thematic cabinets.
Logging onto a sex-dating page is like a promise, an overwhelming sea of imagery and data. Next to each other one finds fetish-addicts and ordinaries, “tops” and “bottoms,” “trannies” and “sissies.” Here, everybody can find a sweetheart. Digital flaneurism, an ongoing desire of searching and finding.
Angels of Disguise (The Abstract Aesthetics of Digital Flaneurism)” is a collection of found images from these virtual sex-dating pages that formulates a poetry of teasing. The images show particulars of the human, but the character or identity is obscured: A shape of a chest might count more than what’s written on a driver’s license. Nobody knows for sure which personality is hidden beyond the image: Is it a constructed identity or an authentic one, a bourgeois or a pervert?
Hierarchies of bodily forms, of beauty or nationality do not make the categories by which the collection is organized, but the various formal disguising, masking, blurring, or highlighting techniques that obliterate the notion of the natural and the real. Hiding is showing.

Khan is a professional in the fields of music, arts, and creative producing. Khan moves at the interface of the digital and the real. His creative way of expression is music, photography, and art itself. He is interested in new subcultural behaviors that result from our digital interaction and real life together. In his art, he overcomes this dichotomy.
“I’m interested in ideas, emotions, and bodily fluids.”
Khan has collaborated with Diamanda Galas, Julee Cruise, Kim Gordon, Brigitte Fontaine, Kid Congo Powers, J Mascis, Little Annie, Jon Spencer, Andre Williams, Jimi Tenor, Francoise Cactus, Alexander Kowalski, Dr. Walker, DJ Kaos, Rodion, Tiefschwarz, Adana Twins, Captain Comatose, International Pony, Air Liquide, Stereo Total, Terranova, Baba Zula, a.m.m.

Angels of Disguise (The Abstract Aesthetics of Digital Flaneurism)” is also available as box set (containing the book, a CD, and a DVD), published in a limited and numbered edition of 100.

Ursula Bogner – Sonne = Black Box [Box set: book & CD]

Since 2008, when the public first heard of Ursula Bogner’s work, many rumors have been circulating about her as a person. Bogner’s graphic work has been featured in exhibitions, and her compositions have been performed in public (by Mo Loschelder, Andrew Pekler, Kassian Troyer, Jan Jelinek, and others). “Sonne = Black Box” combines all these aspects as a CD-and-book release.

The CD, released on Jan Jelinek’s label Faitiche and compiled by Andrew Pekler, presents Bogner’s early voice and tape experiments–a hitherto unknown emotional side is revealed here through her singing.
The 126-page book accompanying the CD contains drawings, photos, and other curiosities documenting Bogner’s life, an introduction by Jan Jelinek, texts by Momus, Andrew Pekler, Tim Tetzner, Bettina Klein, and interviews with the orgone researcher Jürgen Fischer and the ethnologist Kiwi Menrath.

“Sonne = Black Box” attempts to culturally and historically situate the work of the sound explorer Ursula Bogner. Special emphasis is given to the phenomenon of fake: How did the suspicion of fake in Ursula Bogner’s case come about, and what is a post-fake? Answers can be found in the book.

The book is also available separately.

Angels of Disguise (The Abstract Aesthetics of Digital Flaneurism) [Box set: book, CD, DVD]

Can ‘Khan’ Oral’s box set “Angels of Disguise (The Abstract Aesthetics of Digital Flaneurism)” has been published by Fantôme in a limited and numbered edition of 100 copies. It contains the book of the same name, the CD “Audiopornography”, and the DVD “Audio Porno Megamix (Come Into My Light).

The book “Angels of Disguise (The Abstract Aesthetics of Digital Flaneurism)” presents 84 digital prints of found internet imagery categorized in four thematic cabinets.
Logging onto a sex-dating page is like a promise, an overwhelming sea of imagery and data. Next to each other one finds fetish-addicts and ordinaries, “tops” and “bottoms,” “trannies” and “sissies.” Here, everybody can find a sweetheart. Digital flaneurism, an ongoing desire of searching and finding.
Angels of Disguise (The Abstract Aesthetics of Digital Flaneurism)” is a collection of found images from these virtual sex-dating pages that formulates a poetry of teasing. The images show particulars of the human, but the character or identity is obscured: A shape of a chest might count more than what’s written on a driver’s license. Nobody knows for sure which personality is hidden beyond the image: Is it a constructed identity or an authentic one, a bourgeois or a pervert?
Hierarchies of bodily forms, of beauty or nationality do not make the categories by which the collection is organized, but the various formal disguising, masking, blurring, or highlighting techniques that obliterate the notion of the natural and the real. Hiding is showing.

The DVD “Audio Porno Megamix (Come Into My Light)” contains a sound collage of found amateur audio from internet porn sites accompanied by video. The audio material is also featured, in alphabetical order, on the CD “Audiopornography.
The investigation took its starting point with the question: Why is pornography mainly visual and rarely audio? The examination that followed ranged from professional and theatrically staged to nowadays predominant amateur porn videos, in which the visual and aural setting and the sexualized atmosphere has become as important as the actual sexual act itself.
The material for the “Audio Porno Megamix (Come Into My Light)” sound collage was collected during seemingly endless walks through cyberspace and in the same manner of flaneurism as in “Angels of Disguise.
Video sex portals provide any fetishes and sounds imaginable. From outdoors to body sounds to electronic machinery or simply the next-door neighbours’ blaring television set. A major part of the sound mix are corrupted files, damaged by faulty up- or downloading or by improper use of recording equipment. Similar to the “Angels of Disguise” prints, the digital corruption becomes a mask that disguises or highlights the original document.
The “Audio Porno Megamix (Come Into My Light)” is accompanied by a silent and hardly moving short video recording of the moon, which digitally has been time stretched to a 42 minutes slow motion movement. The moon, earth’s face to face eternal companion, becomes a cosmic metaphor for the infinite and perpetual potentiality and quality of what man has created: the computer and the internet; the digital age as a symbol of a global and maybe even cosmic human interconnectedness?
Can ‘Khan’ Oral in his own words: “The idea for ‘Audio Porno Megamix’ started with a question: ‘Why is pornography mainly visual and rarely audio?’ I started looking for examples and only found some 60s flexi disc that was some kind of a phone-sex recording accompanied by a ye-ye lounge soundtrack. I came across ‘Porno for The Blind,’ a rather unexcited narration by someone watching porn, transcribing to the blind what he sees without using any porno slang nor much emotion. I’m not sure if that was just bad casting or on purpose. My next step was collecting audio off of pornographic video material I was looking up on the internet. I realized that the “old school theatrical actors porn” had almost been replaced by massive uploads of amateur video or that what pretends to be amateur. I found interesting that some clips are publicized mute, some original sound was replaced by music, most of the time Top-40, others were corrupted video up- or downloads, in and out of the internet, or simply malfunctioning recording equipment. My attention went towards video in which the erotic self-portrait managed without much moaning, growling, or talking. The room and the sexualized atmosphere became the main attraction. The street sounds, people next door, or the camera hum itself under my headphones opened a 3-dimensional room of showing and not showing, intimacy or in your face, corruption and innocence, a room in the room in the room, endless flaneurism.”

Khan is a professional in the fields of music, arts, and creative producing. Khan moves at the interface of the digital and the real.
His creative way of expression is music, photography, and art itself. He is interested in new subcultural behaviors that result from our digital interaction and real life together. In his art, he overcomes this dichotomy. “I’m interested in ideas, emotions, and bodily fluids.”
Khan has collaborated with Diamanda Galas, Julee Cruise, Kim Gordon, Brigitte Fontaine, Kid Congo Powers, J Mascis, Little Annie, Jon Spencer, Andre Williams, Jimi Tenor, Francoise Cactus, Alexander Kowalski, Dr. Walker, DJ Kaos, Rodion, Tiefschwarz, Adana Twins, Captain Comatose, International Pony, Air Liquide, Stereo Total, Terranova, Baba Zula, a.m.m.

The book “Angels of Disguise (The Abstract Aesthetics of Digital Flaneurism)” is also available separately.

Typographic architectures

As a major figure in contemporary European graphic design, Wim Crouwel (1928-2019) has widely influenced the history of the discipline through his extensive practice of design, applied both to the cultural and commercial field. Over the course of his career, he has carried out simultaneously works in the range of typographic creation, visual identities, posters, book design, or scenography.

In the 1950s and for decades, Wim Crouwel, whose influence extends beyond borders of the Netherlands to a large extent, has managed to develop an approach to graphic design combining modernist heritage with pop fantasy.

Through two texts written by Catherine de Smet and Emmanuel Berard, and one by Wim Crouwel himself, this book testifies the diversity of his work and analyzes his wide range of production in diverse fields such as visual identities, publishing, or poster creation.

Abundantly illustrated, the book “ Typographic architectures” focuses on the layout of the catalogues made for museums such as the Stedelijk Museum of Amsterdam, as well as on the genesis and presentation of the New Alphabet, created between 1964 and 1967.

European Park

The catalog “European Park” is published on the occasion of Louise Bristow’s exhibition of the same name at Berlin’s Laura Mars Gallery.

Louise Bristow composes horizontal oil paintings based on self-made models as well as different pictorial sources. In trompe-l’œil-like table or stage settings, heterogeneous pictorial ‘personae’ come together: photographs and reproductions that function as stage sets in the background, as it were, patterned prints, and architectural models and imaginatively designed stereometric bodies. Scenic details of children’s playgrounds can often be recognized; the evocation of the sphere of carefree play is frequently juxtaposed with the motif of the working world of adults. In addition, there are cultural artifacts that have come down to us, ranging from prehistoric hand-axes to folkloristic-looking objects to postwar design, Soviet monumental sculpture, and modernist architecture.

In her visual worlds, Louise Bristow utilizes miniaturization in order to sharpen, by this quasi-inverted overwhelming gesture, the view of what constitutes contemporary society and culture at their core. Bristow’s paintings of stage sets examine the state of today’s seemingly pluralistic culture. The compilation of artifacts ‘neutralized’ in their disparate composition shows features of nostalgia and at the same time of alienation, because the different ‘actors’ appear on the same stage but are not sure if they do perform in the same play.

Astrid Busch – Le Havre. Brasilia. Mezamor. Wolfsburg

The catalog “Le Havre. Brasilia. Mezamor. Wolfsburg,” published by Fantôme, presents Astrid Busch’s artistic work, in which she deals with places and the experience of them. She examines architectural designs for their sensual perceptibility and their effect on people. The central object of investigation of her project is the treatment of space and architecture in four planned cities built between 1938 and 1969 with regard to the key design areas of light, sound, and material.

Taking these aspects into consideration, the artist examined the cities of Metsamor (Armenia), Le Havre (France), Brasilia (Brazil), and Wolfsburg (Germany). The aesthetic experiences generated from the interaction of all the senses are incorporated into the works and are then transferred into site-specific installations. Astrid Busch uses the means that can also be found at the respective locations, such as lighting conditions, soundscapes, and materiality. In this way, her installations thematize the respective character of a place, while at the same time themselves creating new places.

Whereas visiting Astrid Busch’s exhibitions allows the direct spatial experience to become sensually tangible through the use of a wide variety of materials and ephemeral interventions, the catalog “Le Havre. Brasilia. Mezamor. Wolfsburg” opens up other possibilities of perceiving her collages and pictorial compositions. The sequence of images draws the eye to characteristic features of the four planned cities and their atmospheric differences.

Astrid Busch studied at the Academy of Fine Arts Nuremberg and the Weißensee Academy of Art Berlin, where she graduated as a master student of Prof. Katharina Grosse. She lives in Berlin and Düsseldorf.

Her works have been shown in national and international exhibitions. Astrid Busch has received numerous scholarships and awards, including the Pollock-Krasner Foundation Grant, New York City, USA (2021), a cultural exchange stipend for Brazil of the federal state of Berlin (2020), a project scholarship from the Kunststiftung NRW (2019), scholarships from the Association Fort! In Le Havre, France (2018) and the Künstlerdorf Schöppingen Foundation (2017), a work scholarship from the Stiftung Kunstfonds, Bonn (2016), a residency scholarship from Kunstdepot Göschenen, Switzerland (2020), from Museum Kunst der Westküste, Föhr, Germany (2021), and from La Forme Lieu d‘exposition Art Contemporain Architecture in Le Havre, France (2016), and a scholarship from the Künstlerhaus Schloss Balmoral in Bad Ems (2013).

Ursula Bogner – Sonne = Black Box

The book “Sonne = Black Box,” published by Fantôme, attempts to culturally and historically situate the work of the sound explorer Ursula Bogner. Special emphasis is given to the phenomenon of fake: How did the suspicion of fake in Ursula Bogner’s case come about, and what is a post-fake? Answers can be found in this book.

Since 2008, when the public first heard of Ursula Bogner’s work, many rumors have been circulating about her as a person. Bogner’s graphic work has been featured in exhibitions (Laura Mars Gallery, Berlin 2009; CEACC, Strasbourg, France, 2011; xhibit, Academy of Fine Arts Vienna, 2013; etc.), and her compositions have been performed in public (by Mo Loschelder, Andrew Pekler, Kassian Troyer, Jan Jelinek, and others).

“Sonne = Black Box” contains drawings, photos, and other curiosities documenting Bogner’s life, an introduction by Jan Jelinek, texts by Momus, Andrew Pekler, Tim Tetzner, Bettina Klein, and interviews with the orgone researcher Jürgen Fischer and the ethnologist Kiwi Menrath.

“Sonne = Black Box” is also available as special-edition box set (containing the book and a CD).

The season of home objects

“The Season of home objects” book comes from the project Oggetti Socievoli (Sociable Objects).
The project invited people to send photos with a short note of discovered, re-discovered and re-interpreted home objects during the months of the first lockdown due to Covid-19 pandemic.
Prisca Arosio and Vittoria Rossi are joined by artists, writers, designers, and academics in a social study of home objects in relation to people’s lockdown experiences. The book showcases the participatory project’s photos and texts as well as artisans’ production processes of household objects. It contains compared and inspiring ideas and design concepts to stimulate the next generation of home-made activities. The content of this book aims at creating a common ground where similarities and differences among countries as well as its contexts come together harmoniously.

With essays by: Bianca Stoppani, Bobby Born, Brendan Cormier, Lara Debie, Marco Trussardi, Matilde Vaghi
Project website: www.oggettisocievoli.club

Cloisterfck—House of Common Affairs #2

The House of Common Affairs (HOCA) is a new, smashing journal about the Fourth Estate Utopias. It provides an opportunity to challenge the niche and yet popular field that exists in the overlap between the arts and journalism. HOCA invites a more diverse range of voices into the conversation with the aim to promote an international and interdisciplinary exchange of ideas, as well as knowledge. It seeks to offer a space for critical thinking with the aim of provoking further developments in this field.

The Fourth Estate Utopias is the first issue of HOCA, and as such addresses the project’s subtitle, “fancy discussions about Fourth Estate utopias,” and is about the role of visual communication in relation to journalism.

Yearbook of Type 2021 / 22

It’s great to see that more people than ever understand how important typography is. The choice of a typeface and the design of a text can have a dramatic impact on its meaning. Typefaces don’t need words to convey a message. The responsibility for graphic designers in choosing the right typeface is therefore crucial. But how do you find the right typeface in the infinite universe of possibilities? The Yearbook of Type 2021 / 22 makes it easy to get an overview of recently published typefaces from around the world while understanding their visual language.

Each typeface and -family is presented on a double-page spread. On the left side, a specimen gives an idea of possible applications and shows the beauty and character of each typeface. This year’s theme is music. As music conveys emotions through melodies and lyrics, typography does so through its form and balance of letters. The right page provides detailed information about the designers and foundries, as well as an overview of the typefaces’ features.

The Yearbook of Type is complemented by a series of essays that offer background information about typography, history, technical details and how-to guides, and the latest trends in current type design. An index sorts typefaces by classifications, besides listing designers, foundries, and OpenType features. Last but not least, an online microsite presents all featured fonts, so that users can test or purchase them.

Feel inspired and listen to type, the soundtrack of our lives!

The highlights in short:

  • Detailed presentation of 192 recent typefaces
  • Extensive background information
  • Index of typeface classifications
  • Index of all 201 type designers and 105 foundries from 33 countries
  • Explanation of all OpenType features
  • Introduction by Veronika Burian
  • Essays and tutorials by Murat Çil, Matthieu Cortat, and Eva Kubinyi
  • Online microsite, linking the typefaces to the foundries’ websites

Presented type foundries: 205TF, 29Letters / 29LT, 3type, A2-TYPE, Abstract Office, AG Typography, AinsiFont, Alexander Slobzheninov, Antipixel Type Studio, APK Type, ATS Type, Atypical, Binnenland Type Foundry, Blaze Type, Bonez Designz, BrassFonts, Bureau Roffa, Bureau Sebastian Moock, bvhtype, Canada Type, Cape Arcona Type Foundry, CAST, Cinetype, Collletttivo, CSTM Fonts, Degarism Studio, DSType, Due Studio, ECAL Typefaces, Fabio Haag Type, Floodfonts, Fontador, FontPeople Ltd, Fontwerk, FSdesign, Gradient Type, Gurup Stüdyo, HvD Fonts, In-House International, Jeremy Tankard Typography, Julien Fincker, Kanon Foundry, Kimmy Design, Kontour, La Bolde Vita, Laïc: Type Foundry, Latinotype, Lazydogs Typefoundry, Leo Colalillo, Letter Palette Foundry, lo-ol type, Los Andes Type, Lukas Diemling, Lux Typographic + Design, make type not war!, Manuel von Gebhardi, Mark Simonson Studio, Mark van Leeuwen, Michal Tornyai, Morisawa, NEW LETTERS, Nootype, Nort, Nova Type Foundry, Occupant Fonts, P22 Type Foundry, Pangram Pangram, Paratype, Peggo Fonts, Petra Wöhrmann, PSY/OPS, R9 Type+Design, Sacha Rein, Sandoll Inc., Schriftlabor, Sharp Type Co., Six, Stan Hema, Studio Rene Bieder, Sudtipos, sugargliderz, Superior Type, Synthview Type Design, The Foundry Types, The Ivy Foundry, TipografiaRamis, Tipografies, TipoType, Tour de Force Font Foundry, Typedifferent, TypeMates, Typerotation, Typetanic Fonts, TypeTogether, TypeType, Typogama, Typografische, Underscore, Vetterle Kommunikationdesign, Wannatype, WELTKERN, WiseType, Zetafonts Foundry

Architekturführer. Bauhaus–Welterbe Bernau

Far away from the city and hustle and bustle, the national school of the General German Trade Union Federation (ADGB) was to provide its members with education, recreation and a modern way of life.

Hannes Meyer and Hans Wittwer planned the building with their students from the Bauhaus workshops. No other building project documents the scientific design with a socio-pedagogical approach at the Bauhaus under Hannes Meyer as vividly as the Bundesschule. At the same time, the desired unity of teaching and practice in construction was fulfilled here. In Bernau, the Bauhaus became an experimental laboratory on a large scale. It is these qualities that convinced the UNESCO Commission in 2017 to declare the building ensemble a World Heritage Site. But the use and associated extensions and conversions of today’s UNESCO World Heritage Site are also part of the now more than 90-year history of this impressive modernist building. Federal school, Reichsführer school, military hospital, trade union college, boarding school for apprentices–today’s Meyer-Wittwer Building has had several functions since its opening in 1930.

The book ‘Architekturführer. Bauhaus–Welterbe Bernau’ offers insights into the eventful history of the construction and use of the former Bundesschule and accompanies visitors on their tour of the Bauhaus Campus Bernau.

Cercle Magazine #9 – Flowers

Insects are attracted to flowers because of their shape, color and smell. They gather pollen and then move it away from the reproductive organ. Beyond this evolutionary pattern, flowers fascinate another species: humankind.
Elevated to the rank of muse by science and the arts, they were dissected over the years, petal by petal, and remain an infinite subject for poets, researchers and lovers. Their beauty is only matched by their ephemerality, mankind continues to explore, categorise, preserve and reproduce the flower, or rather flowers. Because they express themselves in their diversity. Both as a universal language, symbol of revolts and passions or cautious diplomat of a protocol, they also bloom in the private sphere, and accompany life’s stages and events.
As spring begins, flowers blossom in the pages of this ninth edition, cultivated, ornamental, extracted and enjoyed for the pleasure of our senses. A pleasure to give, a joy to receive.

Interviews: Alain Baraton, Head gardener of the Jardins du château de Versailles, Charlotte Urbain, Maison de Parfums Fragonard, Sophie Rouart, heritage collections of Maison Pierre Frey, Sylvie Albrand Bolmont, edible flower producer
Portfolio: Alex MacLean (USA), Luiza Holub (United Kingdom), Akatre (France), Tristan Hollingsworth (USA), Phil Greenwood (United Kingdom), Johanna Rocard (France), Mike Willcox (USA), Mao Lizi (China), Santtu Mustonen (Finland)
Font design: Picaflor, Ariel Martín Pérez
Selection: Maison Lemarié, Lotus temple, William Morris, Thousands, Offrir des fleurs, Xavier Antin, Karl Blossfedt, Najia Mehadji, Macoto Murayama, Viv Lee…
Contributors : Stella Ammar, Sandra Bideau, Marion Cole, Louise von Cronenberger, Christopher Dessus, Christelle Dion, Emilie Fernandez, Simon Pages, Anna Philippi, Léo Puel

Jan Tschichold – Erfreuliche Drucksachen

Conceived by Tschichold himself for young typesetters, today ‘Jan Tschichold – Erfreuliche Drucksachen’ is an indispensable book for anyone involved in text design. A classic of typography. Facsimile of the edition whose printing Tschichold himself supervised.
Tschichold is one of the most important designers and typeface creators of the last century. Without being a member of the Bauhaus himself, Tschichold shaped Bauhaus typography theoretically with his famous works like no one else. Towards the end of his life, he reflected on the fundamentals of typography and wrote “Erfreuliche Drucksachen durch gute Typographie” as a handbook for young typesetters. His credo: “In a typographic masterpiece, the artist’s handwriting appears to be erased.”

Jan Tschichold, born in Leipzig in 1902, dedicated his life to the design of type and its legibility and to the craft of bookmaking. He sparked a revolution and shaped the typographic landscape of this century like hardly anyone else.

Peter Krüll – bilderschreiben

Writing or image? Handwriting as a central, significant and currently very topical stylistic device. Beautiful or outrageous – legible and enigmatic. This book ‘Peter Krüll – bilderschreiben’ presents more than 150 selected exhibits by artists and designers. The collection is fascinating to look at and shows how complex the topic of “handwriting” or the “written” image is.

“Writing is the painting of words,” Ben Vautier once said. Handwriting has long been, and is once again, a central stylistic device in art and design. Sometimes beautiful, sometimes outrageous – legible as well as enigmatic.
The book ‘Peter Krüll – bilderschreiben,’ which is in color throughout and of high quality, brings together more than 150 works by artists, designers and students on the subject of the “written” image. The professor of typography and graphic design has compiled a representative selection of works with great skill and extensive knowledge, and in doing so has unearthed treasures by well-known artists, among others, which are not necessarily widely known as famous works of the same.

Paul Klee, Joseph Beuys, Jean Tinguely or Antoni Tàpies used handwriting as an artistic element in works. Robert Rauschenberg wrote the logo for the “Moderna Museet” in Stockholm; the designer duo Vier5 from Paris surprised us at Documenta 12 with a handwritten signage system. Many posters by the designers Grapus, Niklaus Troxler, Stefan Sagmeister or Fons Hickmann, among others, have become famous through their handwriting. Exceptional and remarkable are also the projects of word drawings or word paintings of “Asemic Writing”. Calligraphy is not only an art with a long and varied tradition worldwide, but is also used in visual poetry or visual music, as the works of Gerhard Rühm or John Cage show. And of course there are plenty of magazines, books, CD’s or record covers that have been uniquely designed using handwritten words.

Phillipp Luidl – Die Schwabacher

Like every typeface, the Schwabacher has its history. The well-known typographer Philipp Luidl tells it with many pictorial examples, right up to the day when Hitler banned the Schwabacher Judenletter.

Philipp Luidl was a lecturer in typography at the Akademie für das Grafische Gewerbe in Munich and a board member of the Typografische Gesellschaft.