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 …

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

Preorder: Slanted Magazine #37—AI

Artificial Intelligence (AI) 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 AI 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 is 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 dominates us, we are deeply addicted to it. 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. 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.

Many generations grew up with art in private rooms and exhibition spaces, with telephone booths and postal letters. Bike messengers and fax machines were a game changer. Then, computation exploded. We now need to make decisions, Donna Haraway argues, as “we’re inside of what we make, and it’s inside of us. We’re living in a world of connections—and it matters which ones get made and unmade.”

Preorder: Ar/KATE Mannheim

Please note: The publication will be published earliest in April 2021. If you order it now, your parcel will be shipped directly when it comes from the printer. You will be notified about it.

Connecting Architecture and Skateboarding. An Architectural Skate Guide or a Skateable Architectural Guide.

Architecture impacts and shapes the way we skate. It is both a backdrop and an inherent part of the action. Skateboarding transforms and interprets the constructed environment and its architectural elements. The way skaters perceive the urban environment differs from the way non-skaters see it.

Skate parks attempt to imitate these urban architectural elements. More often than not, however, it stops at only an attempt. The true spirit of street skating can only take place in confrontation with constructed architecture in existing urban situations.

Each issue of Ar/KATE is dedicated to one city and tries to reflect its distinctive character–just as it presents itself in the respective architecture and skateboard culture.

The series begins in Mannheim, a medium-sized city in southwestern Germany. It is known for its square city layout, its baroque castle, and its Brutalist buildings–but also for its skate scene, which is based at the “Mezz”, the quintessential place to be. As an architectural skate guide–or skateable architectural guide–this book intends to bridge both disciplines, skateboarding and architecture.

A smart pocket guide about the famous skate spots of Mannheim and the architecture behind them!

PLASTIKCOMB MAGAZINE 1.0 – A Beautiful Mess

In the States, when it was picture day, you were handed a plastic comb, in which your current hairdo was styled to make you look “presentable,” and more than often you ended up looking like a completely different person. Like collage, you take an image, and make it something else, or perhaps give it a new purpose or meaning. PLASTIKCOMB—a metaphor for collage.

Starting with “PLASTIKCOMB MAGAZINE 1.0 – A Beautiful Mess,” PCM is a biannual, analog art publication that pays homage to the great magazines of the past, containing editorial content in a chaotic, abstract style.

“Digital is Dead,” says Dusty, the magazine’s intuitive mascot.

Kapsel 04 – Träume

Kapsel is the name of the magazine for science fiction literature from China. Each issue presents a short story that has never been published in Germany before. At the same time, the issue starts a conversation about the future, China and literature.
In “Kapsel 04 – Träume”, a special issue, new ideas of the future are sought and discussed. How do we want to live? What do people in China and Germany dream of? Baoshu, Anja Kümmel, Tim Holland and Anna Wu have each written their own positive vision of the future.

These are discussed and illustrated by: the authors Hendrik Otremba, Josefine Rieks and Ann Cotten, the researcher Jiang Zhenyu and the artists Ruohan Wang, Julia Krusch, Robert Löbel, Christoph Köster, Haojun Pan and Wang Yuan.

TYPEONE Magazine Issue 02

The Kinetic Type issue
Kinetic (moving) type has seen an abundance of exponential growth in the last 50 years as the possibilities of matching text and motion has grown in direct correlation to the equally exponential, if not more so, developments in technology. Having manifested itself and created a solid home in our design industry, in TYPEONE Magazine Issue 02, we explore the methods, the logic, and the creatives behind this exciting niche using QR code technology to translate static content to moving imagery.

 

Lenticular Cover:

To illustrate an illusion of motion, we incorporated a very special lenticular printed cover designed by Hamburg-based artist Gydient. Simply angle the cover from left to right to watch the number 2 untwist! — Implemented with QR code technology to translate static content to moving imagery

HUGE thanks to our partners and sponsors for making this happen.
Core Annual Sponsor — Indian Type Foundry

Partners
Rosetta Type, Slanted Publishers, Extraset, 205TF, Dinamo, Zetafonts, VJ Type, Typeland, Production Type.

Shipping Information
UK 1st Class — 2-3 working day shipping*
Europe Standard — 7-10 working day shipping*
Rest of the World Standard — 10-15 working day shipping*

*Due to COVID19, we are expecting domestic and international delays on all orders. Please allow an extra 7 days before you contact our team about the whereabouts of your order of TYPEONE Magazine Issue 02 is.
For any concerns, please contact our Customer Service line — [email protected]

Social matter, social design

‘When you start to deconstruct or question design, all sorts of questions emerge: How does design affect our behaviour, our use of resources, our choices and freedoms to participate in social, political or economic decision-making, and the extent to which we feel we have agency over our lives?’
— Jan Boelen in conversation with Michael Kaethler

“Social matter, social design” challenges the way we look at, think of, and interact with the social world by emphasising the role of materiality. This enlarged field for engagement demands that design incorporates a more nuanced and complex reading of how the social is intertwined with the material, which confronts the often reductive or simplistic notion of ‘social design’, and offers novel forms of critical and meaningful engagement at a time of mounting social contradictions.

The essays in this book explore and unveil uncanny, disconcerting or discordant connections, bricolages, assumptions or breaches at critical junctures for transformation. They are centred around four major themes: the body, earth, the political, and technology.

2020, Valiz | Research supported by Creative Industries Fund NL | In collaboration with Design Academy Eindhoven

Shame! and Masculinity

Since the Me Too movement, masculine exercise of power, and sexual abuse have been widely brought under close scrutiny. The focus on ‘toxic’ masculinity impacts our perception of male sexuality, which substantially influences the self-image and self-esteem of men. Men are being shamed by others for their transgressive and contemptuous attitudes; and they feel intrinsically ashamed of their own wrong-doings or of the virulent patterns and traditions of Western manhood.

This book explores both positions. It looks at the representation of male sexuality, nudity, fatherhood, male violence, rape, fascism and virility, men and war. It shows works of art that deal with the intricacies and contradictions of these socio-cultural constructs and realities. “Shame! and Masculinity” is hybrid in terms of genre, combining scholarly essays with short stories, personal testimonies, and provocative and intimate artist’s contributions. It stimulates reflection on shame in collusion with masculinity, from male as well as female perspectives. Thus it encourages us to reimagine these issues that simultaneously play a role in society, in our own experience, in history, and in our own bodies and being.

“Shame! and Masculinity” is the second volume in the PLURAL series. The PLURAL series focuses on how the intersections between identity, power, representation and emancipation play out in the arts and in cultural practices. The volumes in this series aim to do justice to the plurality of voices, experiences and perspectives in society and in the arts and to address the history and present and future meaning of these positions and their interrelations. PLURAL brings together new and critical insights from cultural and social researchers, theorists, artists, arts professionals and activists. Feminist Art Activisms and Artivisms (Valiz, 2020) is the first book in the PLURAL series.

Pinhole Shots 2000–2011

The extensive publication “Pinhole Shots 2000–2011” presents, for the first time, a collection of Chris Dreier’s various series of photographs taken during her travels throughout Europe. The shots taken by the artist with her self-made pinhole cameras seem like images from a bygone era. A certain blurriness and strong distortions characterize these pictures. Because of the long exposure times, moving things are simply not captured. Only stationary objects leave their image on the photographs and appear as architectural elements of the places.

Dreier developed her predilection for driving around and discovering places in the early 80s. At that time, she studied visual communication in Berlin. To finance her studies, she worked as a truck driver. Through this job she discovered remote places and industrial wastelands.

As motifs, Dreier prefers empty streets, derelict factories, depopulated areas, and neglected new buildings. These remnants of a fragmented history are highly fascinating to her. Thus, her photo series show workers’ clubs in northern England, bunker ruins of the Wolf’s Lair in Poland, battlefields of World War I near Verdun, secluded landscapes in the Oderbruch region on the German-Polish border, Ceaucescu’s palace in Bucharest, and the former Iraqi embassy, an abandoned building, in Berlin. The pinhole photography series are supplemented by found photographs Dreier discovered during her forays through the “Forbidden City”, a deserted Russian barracks town in Wünsdorf near Berlin.

Im Nahbereich

In “Im Nahbereich” (English: the immediate vicinity) explored by Andreas Seltzer with an endoscope with an attached light projector, there are the things that surround him: a wallet, his mother’s sewing box, the pocket of his girlfriend’s jacket, a bag of toys … Seltzer’s endoscopies lead us into the small world of household goods, clothing, and all the things we feel at home with.

The search for new perspectives on the familiar, the playful gesture, and the joy of discovery are key elements of Andreas Seltzer’s work. At a flea market, he noticed, by a lucky coincidence, that the size of the round, centrally placed cut-outs of traditional record dust sleeves was an almost perfect fit for his centered endoscopic photographs. Thus, he discovered a relation and a plethora of possible combinations of these respective items of domestic intimacy.

A kind of introspection emerged in “Im Nahbereich”– the afterglow of dialogues between things, of dialogues framed in the pitch black of mythical tales.

Cihan Tamti — Breakout–100 Posters Book

Cihan Tamti started treating Instagram like a graphic design gym, and worked on designing a poster every day. Without constraints, he was able to experiment, often creating work that no normal agency would approve. Such freedom of approach allowed him to develop designs with strong, experimental typography and complex compositions. Unexpectedly, these daily designs ended up winning some competitions and attracting some cool clients along the way, which now gave him the last necessary push to publish a book that combines all his ideas and creations.

Cihan’s “Breakout–100 Posters Book” summarizes 100 selected posters from the past few years. These posters include free and personal ones, real commission work, exhibition posters, and award-winning posters. But what it makes even more important is that it encourages and inspires to breakout oneself and to start spreading one’s own visual messages.

Aesthetics of Sustainability

This volume summarizes the results of “The Aesthetics of Sustainability”, a research project led by ECAL/Ecole cantonale d’art de Lausanne. It brought together master’s students of product design, established materials specialists, manufacturers and researchers with the aim of exploring and defining the aesthetic potential of a new generation of sustainable materials.

The result of this research-through-design project is a series of fourteen case studies involving the development of materials made from textile waste, recycled paper, rubber granulate or vegetable fibers such as algae, rice husks, hemp, flax and wood. The resulting new materials can be shaped, pressed, woven or welded. A selection of these materials will be presented through experiments and prototypes of products.

The aim of “The Aesthetics of Sustainability” is to offer future designers a range of practical tools and applied knowledge about the methods of analyzing and processing seminal materials, utilizing their advantageous qualities and developing functional, yet aesthetically intriguing objects. The materials further aim to provide proof that sustainable materials are a great market opportunity for manufacturers and consumers alike.

With contributions from: Christophe Guberan, Chris Lefteri, Ala Tannir and graduates of the Master’s Program Product Design of École cantonale d’art de Lausanne (ECAL).

• New and sustainable materials for product design

• Transfer of knowledge on how new materials are tested and used

• Printed on resource-saving paper made from algae and kiwi peels

 

Design Struggles

“Design Struggles–Intersecting Histories, Pedagogies, and Perspectives” critically assesses the ways in which the design field is involved in creating, perpetuating, promoting and reinforcing injustice and inequality in social, political, economic, cultural and ecological systems. This book shows how this entanglement arose from Eurocentric and neoliberal thinking. The voices and practices represented here propose to question and disrupt the discipline of design from within, by problematizing the very notions of design. They aim to do so by generating new, anti-racist, post-capitalist, queer-feminist, environmentally conscious and community-based ideas on how to transform design. In this way, Design Struggles strives to forge sustainable, new practices within the design field that challenge the status quo and amplify underrepresented voices, both in the world of design, as well as beyond.

In order to reimagine design as an unbound, ambiguous, and unfinished practice, this publication gathers a diverse array of perspectives, ranging from social and cultural theory, design history, design activism, sociology, anthropology, critical and political studies, with a focus on looking at design through the intersections of gender, race, ethnicity, culture, class, and beyond. The book combines the latest comprehensive insights (rooted in design practices) with engaging and accessible storytelling. In doing so, Design Struggles brings together an urgent and expansive array of voices and views, representing those engaged in struggles with, against or around the design field.

“Design Struggles–Intersecting Histories, Pedagogies, and Perspectives” is the third volume in the Valiz PLURAL series. This series focuses on how the intersections between identity, power, representation and emancipation play out in the arts and in cultural practices. The volumes in this series aim to do justice to the plurality of voices, experiences and perspectives in society and in arts and design. The volumes address historical, present and future meanings of these positions and their interrelations, layering and diversity. PLURAL brings together new and critical insights from cultural and social researchers, theorists, artists, arts professionals and activists.
2021, Valiz, with Swiss Design Network SDN | with support of the Swiss National Science Foundation.

Teasing Typography

How does typography behave under extreme conditions? What visual phenomenons, patterns, artifacts, and graphic elements can be provoked by pushing type through extreme grids and using extreme typographic parameters? At what point does a text step back to its original purpose of informing the reader? When does text become something else: a graphic element, a gray surface, a static noise, or a haptic pattern?

To investigate these questions, graphic designer Juliane Nöst systematically pushed text through various grids in the framework of a typographic study. Starting with the InDesign default-settings, a range of font-sizes and columns were used to generate a broad spectrum of diverse typographic outcomes.

In a further step, existing results were layered and collaged, aiming to create additional sets of unexpected forms and graphics. The outcome of this research leads to a variety of visual peculiarities, creating absorbing patterns, interacting with the grids, sometimes making them visible while disappearing under other parameters.

The 500-page book is a glimpse into the endless possibilities that may emerge when teasing typography.

Kapsel 03 – Die perfekte Diagnose

“Kapsel” is dedicated to science fiction from China. Each issue presents a short story that has never before been published in Germany. At the same time, the issue starts a conversation about the future, China and literature.
The story in the third issue is entitled “绝对诊断” (German: “Kapsel 03 – Die perfekte Diagnose”) and was written by Jiang Bo from Shanghai. In it, the computer scientist shows the limits of Big Data and artificial intelligence. Nothing is as it first seems in this short narrative, which was first published in China in 2018.

With contributions by Ken Liu, Chen Qiufan, A Que, Josefine Rieks, Wolfgang M. Schmitt, Tim Holland, and Nathaniel Isaacson. Illustrated by Martha Burger, Malte Euler, Robert Löbel, Jul Quanouai, Katharina Reinsbach, Christoph Köster, and Julius Wagner.

Das Moabiter Duo–“recovered”

Sven-Åke Johansson and Thomas Kapielski’s vinyl LP “recovered,” released under the project name Das Moabiter Duo, was published by Fantôme on the occasion of a joint exhibition by Johansson and Kapielski at Berlin’s Laura Mars Gallery.

The LP from Das Moabiter Duo–“recovered,” mixed and mastered by Frieder Butzmann, features a previously unreleased concert recording from 1983. In addition to a download code, the album contains an extensive, format-filling 16-page booklet with drawings by Sven-Åke Johansson, liner notes by Heiner Goebbels, a letter by Thomas Kapielski, and concert photographs by Gerald Domenig.

Das Moabiter Duo performed back then at Berlin clubs like Korrekt—and at the experimental concert series “Materialausgabe”, organized by Heiner Goebbels and Christoph Anders, at Frankfurt’s Batschkapp.

On stage, Kapielski engaged “ingeniously-stockhausianistically” (as he himself puts it as ironically as conceitedly) in electronic manipulations of sounds from everyday objects. Meanwhile, Johansson explored the sonic possibilities of shoe trees, lashed out with towels, grabbed his accordion with its attached rear-view mirror, and, last but not least, played his astonishing drums.
Confusion arose—both during the live performances and, in a completely different way, decades later when Kapielski rediscovered the audiotape of a concert in an old cardboard box—because of one of Johansson’s unique ideas, which Heiner Goebbels describes as follows in the liner notes: “With a professional gesture, in the middle of the concert and while playing, Sven-Åke exchanged the cymbals, mounted on stands to the left and right of the bass drum, for large ‘cymbals’ made of thick foam pads. And he continued to play on them. We laughed—but we heard nothing. Or presumably even more. Each of us something different. That was enlightening—how else would this scene still be so present in my memory after 35 years.”
Obviously, listening to the original recording on which the album is based, one wouldn’t be able to see Johansson playing his foam cymbals, in order to, as it were, hear them before the inner eye. Moreover, little of Johansson’s actual drumming can be heard on the tape—due to, as Kapielski recalls in a letter to Johansson printed in the booklet, the way the recording microphones were placed at the time.

So, after decades, a special kind of improvisation emerges: Johansson has added new, “real” sounds with his drum kit, turning his collaboration with Kapielski into a, not only in a temporal sense, genuinely free-floating undertaking: “recovered.”

Sven-Åke Johansson is renowned as one of the style-defining drummers of the German free jazz era of the 60s and 70s. From the 80s onwards, he pursued an artistic path as a music performer, largely independent of institutions and groups and increasingly involved in visual-arts and new-music circles. His oeuvre includes more than fifty record releases, numerous music theatre pieces, radio plays, visual works, and a lively touring life.

Thomas Kapielski is known as an author (whose books have been published by Merve, Suhrkamp, etc.) and an artist. However, since the early 80s he has also been active as a musician. He collaborated with, among others, Frieder Butzmann.

nomad #9 — where to go?

Do we need a revolution? This question is asked by Thomas Stocker in his essay ‚Melting Ice‘ that is accompanied by a photo essay of expedition photographer Fridolin Walcher, showing spectacular photographs of Glaciers in Greenland and Switzerland. Geologist Andreas Sanders provides the broader picture and explains the history of climate change in the article ‚Climate Change in the Anthropocene‘.

In this context philosopher Mara Recklies reflects on the role of design in the current global situation – ‚Is good design still good for us? And was it ever?’. We embarked on dialogues with ground-breaking visionaries of a new form of design. We interviewed Futurefarmers in San Francisco, Wang & Söderström in Copenhagen, Sabine Marcelis in Rotterdam, Studio Formafantasma in Amsterdam, Natsai Audrey Chieza in London and Olivier Saillard in Paris. We also talked to Dom Bridges, founder of Haeckels, an English skincare brand based on natural ingredients from the Margate coast, to Joachim H. Blickhäuser in Munich on the transparency of the new BMW logo and the remarkable decision by the BMW Group to focus its corporate direction on sustainability and resource conservation in the future, to Andreas Murkudis in Berlin about sustainable quality and consumer behaviour and to the world-renowned visionary thinker and design curator Paola Antonelli from MoMA New York.

Italo Summer Dreams Postcard Box

ITALO SUMMER DREAMS

The “Italo Summer Dreams Postcard Box” is a series about loving and longing. Dreams of Capri, Sirmione, dreams of Bellini e bacione. A series for the ones you love. Per sempre.

KOEKKOEK is a director and photographer based in Berlin and Vienna.
KOEKKOEK was bird of the year 2008.
KOEKKOEK is dutch for cuckoo.

Auslöser Magazine Issue 4

Interview with Hanna Mattes, Arnold Odermatt, Fatemeh Behboudi, Myoung Ho Lee

Behind the scenes: Allan Porter’s “camera”

In detail: Kodachrome

Designmagazine MUTBOARD & VOGEL #6

2020 brought a second issue of MUTBOARD & VOGEL, issue six (consecutive). Published in November the focus was on design made in Austria. We used the time during the lock-downs to speak and listen to our readers. So this issue comes with totally new content and partners. It features more augmented reality content than in any publication before.
Issue six features the following topics: artificial intelligence, brutalism in Austria, city-guide Graz, service-design, mobility, the situation of Austrian designers during the first lock-downs and many more.

As every issue this edition is limited to 1.000 copies–hand numbered by our art-director.
MUTBOARD & VOGEL is available in German language only.

Das FRTZN Alphabet

In a playful and experimental way, Kriesel immerses the viewer in “Das FRTZN Alphabet” in a fairy-tale, almost fabulous world. At the same time, he confronts him with the absurd real world of data flow, stimulus, and information overload—a world full of violence and frustration, but also absurdities and humorous weirdness.
In his pictures the viewer can lose himself and often look at a multitude of different sceneries. These “hidden object pictures” cannot be deciphered at first glance—so the viewer can discover new themes and things again and again. With this visual excess, Peer Kriesel translates today’s flood of images, videos, expressions of opinion, and information that is created via television and, above all, the Internet. As in his “grimace carpets,” one work often simultaneously creates extremely gloomy worlds, but also witty absurd situations.

This clash, which Kriesel observes in real life and which influences him in his works, he himself calls defective (“defectivism”).
In the surreal representation of his grimaces, Kriesel wants to confront the defective and distorted state of the world.
Cranky figures, fearful facial expressions and destroyed existences, but also funny-looking, ridiculous caricatures are brought to the paper or canvas with a fine stroke and yet gestural painting style. “But these grimaces are also the grimaces you encounter on Facebook, Instagram, Tumblr and the other ‘communities’ as well as on TV. They grin at you from everywhere, whether it’s Big Brother, one of the many casting shows, or the jungle camp.”

In the merging grimaces, which Kriesel calls “grimace carpets,” these different grotesque grimaces become one. In the process, a grimace can appear deeply unhappy and at the same time, for example, laugh wickedly. According to the artist, this also reflects our society, which on the one hand functions “well”—offers good entertainment—and on the other hand creates suffering.
Peer Kriesel shows his state of shock about this crazy world and his inner struggle for its acceptance by almost restlessly painting, drawing or blotting his grimaces. He is in search of the perfect, perfect grimace, which—according to the artist—embodies “the total emotion, the absolute power”.

“Das FRTZN Alphabet” is what happens when hope, love, anger, and happiness merge into one face.

Lost Spring

2020 was a strange year. Starting off as self-therapy to cope with nameless solitude, this body of work evolved into a documentation of 10 odd weeks. 10 weeks that didn’t line up with any other weeks before. Like a “Lost Spring”.

Alexander Kilian lives and works as a still life and fashion photographer in Berlin. His photographic work is characterized by the precise combination between structures and colors captured together with the playful use of light and shadows. His photographs are always highly composed and arranged but still contain the feeling of a snapshot, almost like he’s stumbled across an immaculate plant or table already set up.

Abstract Characters Poster: “r”

Black and white Abstract Characters Poster with alluring “r” from Faune typeface designed by Alice Savoie. Its graphical form is relaxing and brings relief.

About Abstract Characters Poster series.
We know that font is not a group of beautiful letters but beautiful group of letters, but what will happen when one of the character leave its family and will gain new context? We took up a challenge and tried to answer this question with our posters.

Looking for an interesting font and going carefully through hundreds of glyphs from each of them took a lot of time but it is really worth it. We really like play with letters and each time discovering something new and share it with you. We hope you will interpret our poster on your own and give them another context.