Neue DIN Family

Posted on by Ivo

Is it possible to rethink THE German design icon? For the sake of its longevity, the Fontwerk team is convinced that you HAVE TO! Neue DIN Family by Hendrik Weber, Andreas Frohloff, and Olli Meier.

With a compact overall impression, extreme widths, a variable-first approach, and a touch of elegance, they have combined the requirements of the digital world with modern German engineering. The DIN typeface has been thoroughly reimagined in a way that their brand new flexible incarnation breathes life into the Normschrift standard. And just like 100 years ago … It’s 100% made in Berlin.

Neue DIN Family

Designers: Hendrik Weber, Andreas Frohloff, Olli Meier
Foundry: Fontwerk
Release: January 2023
Languages: European and African Latin
Weights: Thin, XLight, Light, Regular, Medium, SemiBold, Bold, XBold, Black
Widths: XXCondensed, XCondensed, Condensed, SemiCondensed, Normal, SemiWide, Wide, XWide, XXWide
File Formats: woff2, otf, Variable Fonts (ttf, woff2) included in the Family package at no extra cost (2 axes: weight, width), Trial fonts
Prices: € 50.– Single Style, € 500.– Family (Introductory price, later € 750)
Specimen PDF
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19th Pictoplasma Festival 2023

Posted on by Tessa Breuer

This May, the Pictoplasma Festival returns to Berlin to present an all-new selection of trailblazing, trendsetting character design, and art. Now in its 19th edition, the festival expands on giving its community opportunities to actively participate and introduces a brand new section, the Games and Media Lab in collaboration with A MAZE., Berlin’s International Games and Playful Media Festival.

Slanted raffles a ticket for the Pictoplasma Festival! To participate, simply write an email to [email protected] with the subject “19th Pictoplasma Festival 2023” until 02/27/2023, 11 a.m. (UTC +1). The winner will be drawn after the deadline and contacted by email. Who participates in the raffle, agrees to receive news from Slanted and accepts the privacy policy. Legal recourse is excluded. We wish you good luck!

Central to the Pictoplasma Festival, the conference provides a platform for 20+ international artists from illustration and animation, design and interactive, urban and graphic arts. In focused artist lectures, they will present personal strategies for the future of figurative aesthetics, sharing ideation processes and working methodologies. With its Character Lab, the conference is building on last year’s success and provides manifold opportunities for attendees to shape and participate in the programme. Daily creative workshops allow them to channel inspiration and get hands-on with a multitude of materials and analogue media; panel discussions and portfolio reviews will enhance networking with peers and the industry; collective art activities and a bustling marketplace atmosphere will encourage the sharing of projects; and PechaKucha sessions will give many of the attendees the chance to present their projects themselves. The conference will also host four programmes of Character in Motion, screening seventy selected short films. This will include the latest works by Felix Colgrave, Eoin Duffy, and Britt Raes, with many of the film makers in attendance to discuss their work in Q&A sessions.

The 19th Pictoplasma Festival reaches out to the broader audience with two exhibitions in the central Mitte district, presenting works by some of the conference speakers. Further art installations at the main venue, Silent Green, will make this an attraction for everyone to attend. Here, the adjacent transmediale studio will present the special Games and Media Lab, a collaboration between A MAZE., Berlin’s International Games and Playful Media Festival, and Pictoplasma. An arcade will showcase recent playable projects and display information and material on how they stand out in terms of concept and character design.

For the glorious finale, everyone’s welcome at the special Character Market on Sunday—when the conference’s artists and attendees trade all things character, from editions, prints and originals, sculptures, multiples and garments, zines, publications, and games! The Character Market will open up the contemporary landscape of illustration and graphic arts to our Berlin audience. This public visitors’ day will also feature panel discussions and conversations, performances, and a replay of all the animated shorts featured in Character in Motion.

The festival’s main location is Silent Green, a former crematorium now turned vibrant cultural centre. Its fascinating architecture includes the historic cupola building, which will host the participatory formats of the character lab and visitors’ day. The conference presentations and screenings will happen in the vast underground hall, which will also open its doors for the character market. Also underground, the transmediale studio with the Games and Media Lab connects both areas, and further art installations will be placed throughout the venue, including the outside green.

In Mitte, the former caretaker building in the central cemetery provides a special atmosphere for a dense group show, further enhancing the immersive and world building qualities of the characters on display. A second show takes place at the bright showroom of design agency Rainbow Unicorn.

19th Pictoplasma Festival 2023

When?
May 3rd–7th, 2023, daily from 12–8 p.m.

Where?
Silent Green
Gerichtstraße 35
13347 Berlin
Germany

Registration:
Participation in the three-day Pictoplasma Conference requires prior online registration, available for € 320.– here!

More information on the speakers, artists, and the schedule can be found here!

Stiftung Buchkunst: Call for Entries 2023

Posted on by Tessa Breuer

The Stiftung Buchkunst: Call for Entries 2023 has started! The Stiftung Buchkunst (German Foundation for Book Design) invites you to participate in two of their competitions Die Schönsten Deutschen Bücher 2023 (The Best German Book Design 2023) and Förderpreis für junge Buchgestaltung 2023 (Sponsorship Prize for Young Book Design 2023). The deadline for both competitions is March 31st, 2023.

Die Schönsten Deutschen Bücher 2023 (The Best German Book Design 2023)

In the competition of Die Schönsten Deutschen Bücher by Stiftung Buchkunst, 25 books are selected for award by an independent interdisciplinary jury of editorial design experts. The books chosen are outstanding examples of design, concept, and finish. There are five prize winners in each of the five categories: General Literature, Academic Works/Educational Textbooks, Guides/Non-Fiction, Art and Photography/Exhibition Catalogs, and Children’s and Young People’s Books. The selection also takes account of the more minimalistic, well-typed reading book.

All 25 books which gain an honorary award in the competition are automatically nominated for the Award of the Stiftung Buchkunst. Endowed by the German Government’s Representative for Culture and Media and with a total value of 10,000 Euros. This remunerative award is intended for books which show an exceptionally high degree of commitment on the part of their publishers and of all those involved in their production, and which through their overall design and finish provide new impulses to modern book design.

Förderpreis für junge Buchgestaltung 2023 (Sponsorship Prize for Young Book Design 2023)

Since 1989 the Stiftung Buchkunst has annually awarded the Sponsorship Prize for Young Book Design. Design Students, book designers, typographers, and those in production are invited to participate. The award is intended to promote innovative book design. The prize aims to recognize innovative ideas surrounding printed books as well as hybrid book forms. As a prize for innovation, it can thus provide a stimulative arena for the books of tomorrow. The prize is endowed by the German Government’s Representative for Culture and Media with a total value of 6,000 Euros and is divided equally between three up and-coming book designers, 2,000 Euros each.

In addition, the winning book projects will be honored with their own exhibition in Berlin’s einBuch.haus. The exhibition will run from July 13th to August 26th, 2023.

Stiftung Buchkunst: Call for Entries 2023

Die Schönsten Deutschen Bücher 2023
Deadline: March 31st, 2023
Prize: 10,000 Euros
Participate!

Förderpreis für junge Buchgestaltung 2023
Deadline: March 31st, 2023
Prize: 6,000 Euros in total (2,000 Euros for three up and-coming book designers)
Participate!

Stiftung Buchkunst: Website, Instagram, Facebook

FARANG

Posted on by Tessa Breuer

Each image tells a story of darkness and light. Abyss and beauty exist so close to each other. Poetry in images that can tell us so much about life.

Francesco Merlini writes about his project FARANG: “In the time span of three years I’ve taken pictures in Italy, France, Turkey, Thailand, and Kosovo. I took pictures of unfamiliar places, pictures of strangers. The flash of the camera has consecrated my epiphanies, impressing the shroud that lies on the subjects whose truth I’ve discarded. These images are relics of the invisible. Every picture has an undeniable subject, no space left to distraction. Every picture becomes a tarot card, a singular representation of a collective perception.”

FARANG

© Francesco Merlini
Website
Instagram

Kapitol

Posted on by Tessa Breuer

Kapitol is a sans serif type family characterized by robust practicality, clean utility and concrete geometry. Inspired by the unique materiality found in 1980s screen aesthetics, it expands on the memory of the single weight Chicago, re-imagining the style with more traditionally legible forms, while retaining much of the original unique contrast and feel. The Kapitol family utilizes robust geometry to create a practical and diverse set of types that can be used equally well for text and display purposes.

The first drawings for Kapitol began in pure gridded geometry and were then evolved to also utilize more balanced and organic forms. Where necessary it discards the grid and utilises letterforms that have strong connections to the history of grotesque typefaces, all the while maintaining a unique contrast and purely vertical stresses.

The fourteen style Kapitol family consists of a broad range of weights that vary progressively in their aesthetic, due to the strong contrast in combination with its vertical stress. At text sizes it feels utilitarian and sets in efficient, structural galleys. At larger sizes the finish is clean and strong, almost brutalist, making for combinations of crisp geometry and solid forms.

The range of Kapitol weights are dynamic exponents of the family’s geometry. As the type weights get lighter or heavier toward the family’s extremities, their structural requirements change, but the overall geometric tone is maintained. Ultimately, the weights at the lighter and bolder ends of the spectrum look less and less like their visual origins, but always feel like they are part of the greater family. The thin and black weights in particular stretch their inherent contrast to the limits, creating unique and characterful outcomes that are subtly familiar, yet always original.

To celebrate the release of this new typefamily, a limited edition box-set, the Kapitol Typeface Companion is available exclusively at formistfoundry.co. This special specimen box set, limited to 50 editions, comes complete with a Kapitol family pack font license. Designed by Mark Gowing, the Kapitol Typeface Companion is a visually expressive collector’s item created to playfully link the conceptual elements that underpin the design and creation of the typefamily.

Kapitol

Designer: Mark Gowing & Dave Foster
Foundry: Formist
Price: Essentials Pack: $ 120.–
Family Pack: $ 360.–
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Kapitol Typeface Companion

Design: Mark Gowing
Dimensions: 245 × 325 × 60 mm
Workmanship: Magnetic-close box
Inside: Kapitol font family, 160 page paperback, Merino wool scarf, Kapitol pencil, 2 posters
Price: $ 400.–
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Graphic Design Lab

Posted on by Tessa Breuer
Graphic Design Lab is an online training platform for Ukrainian graphic designers and illustrators, which aims to help young creators develop their careers in the European design community.
 
The Graphic Design Lab platform provides a set of video courses featuring prominent male and female designers from various countries, including Ukraine, Poland, France, The Netherlands, and the United States. Experts answer questions on various aspects of design, beginning from style and inspiration, illustration history and copyright, to portfolio building, working with agencies, and working abroad.
 
Graphic Design Lab enables you to obtain support and professional knowledge from the best graphic designers and illustrators in Europe. Lecturers include the following: Agata Nowicka, Gosia Herba, Hedof, Ines Alpha, Krzysiek Iwanski, Marlena Torzecka from Marlena Agency, Ola Niepsuj, Anna Sarvira, Ola Szmid, Patrycja Podkoscielny, Patryk Hardziej, Romana Romanyshyn and Andriy Lesiv from Agrafka studio, Przemek Adamski from KijekAdamski studio, Dawid Gawel and Wojtek Siejak from Pigeon studio, Yonk Studio, Zosia Dzierzawska, and others.
 
Access to the platform is free of charge upon registration and the content is successively expanded with more courses and recordings.
 

The project has been implemented by Polish Graphic Design and the Pictoric Association with the support of the European Union under the House of Europe program.

Graphic Design Lab

Visit the Platform here

© Illustrations by Anna Sarvira

Posters Can Help

Posted on by Tessa Breuer

We are very pleased to announce the release of a heartfelt project, the importance of which was amplified by the start of the Ukraine war almost exactly a year ago: Posters Can Help. 

With a global call, we invited the design community to contribute with a piece of work and a donation. 434 people from all over the world participated in this project and almost 700 posters were submitted, which resulted in a colorful potpourri of posters, each one a compassionate outreach and act of charity—literally. 

All the proceeds gained through the submissions have been donated to two selected organizations that we appreciate for their work: ARTHELPS and MSF—Médecins Sans Frontières. Any profits beyond covering the costs of printing the book will also be donated to those organizations. So let’s hope that soon there will be no more books left!  

The thread-stitched softcover book is completed by a special section: Three interviews with the Ukrainian designers Olga Andrieieva, Jakub Stepień, and Anton Bukoros, where they tell something about their personal current situation. In 2017 they were part of the international poster project Poster Rex, which took place in Kyiv and also dealt with the war at that time. Their answers can be found in the book, along with a selection of the posters created back then. 

We would like to sincerely thank everyone who participated in this project and made it possible through their donations and contributions. A special thanks also to those who have worked cheaper or even volunteered their efforts.

We believe in the problem-solving power of design. We want to work every day towards a vision of the world that is sustainable, inclusive, equitable, and safe. This book is an effort to bring the global creative community together to take a small but valuable step towards solving the big problems of our time.

And to round it off with the words from Steven Heller’s introduction: “[…] The golden age of poster has long been considered the pioneering turn of the century, then the modern mid-century, then the psychedelic sixties, and so on through decades […] Today is another golden age. It is the digital golden age. Can posters help? They still help? They will help issues, causes, and most important they help people be aware of the world in its present state.”

Posters Can Help

Publisher: Slanted Publishers
Managing Editor: Vicky Blake
Preface: Steven Heller
Design: Lars Harmsen (CD), Viola Dessin (AD), Juliane Nöst
Publishing Direction: Lars Harmsen, Julia Kahl
Format: 17 × 24 cm
Volume: 256 pages
Language: English
Printer: KOPA, Lithuania
Workmanship: Softcover, thread-stitching, full-color
ISBN: 978-3-948440-43-5
Price: € 30.–
Release: February 2023
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European Design Awards 2023

Posted on by Tessa Breuer

Last chance to submit! It is the last week of submissions for the European Design Awards 2023. Designers from around Europe are invited to submit their projects by Friday, February 17th.

A European Community of Excellence

Since 2007 a group of people, consisting of publishers, journalists, editors and academics, come together on a yearly basis, to gather, evaluate and acknowledge the best examples of communication design in our continent.

It is a very special and unique set up, in the sense that it involves the people who curate similar content on an every day basis. As such it also provides participants with an opportunity to make their work visible to a wider audience (through the media that the jury members represent).

The European Design Awards wraps up with a festival in a different city every year, leading up to the awards ceremony. This creates an ideal opportunity for the most creative people of our community to come together, benchmark, be inspired and celebrate.

European Design Awards 2023

Submission deadline: Friday, February 17th
More information: How to submit work, Rules, Categories, Submission Fees

Jerusalem Design Week 2023

Posted on by trinawickenden

Jerusalem Design Week returns for its 12th edition from June 22nd to 29th 2023 at the historic Hansen House Center for Design, Media and Technology. The flagship event of Hansen House and Israel’s leading design event Jerusalem Design Week 2023 will build on its previous successful editions. Showcasing a wide range of unique exhibitions, installations, and projects, the event welcomes the participation of both Israeli and international designers.

Inviting a range of creative interpretations from designers, architects, artists, and tech-savvy experts, the theme Lies and Falsehoods seeks to examine design’s manipulative tools and the realities they shape. During Jerusalem Design Week, the aim is to present a series of works that capture the meaning of illusion, works that knowingly conceal, deceive, or give rise to an alternative reality, and works that attempt to uncover and explore truth and authenticity, in the face of lies and falsehoods.

Nowadays it seems that both lies and indeed truth are engineered to play tricks on us. We experience reality through a multitude of translations, adaptations, and artificial phenomena. We navigate the built environment using GPS systems. On social media platforms we mask our appearance with filters and on Zoom calls we disguise our background with images of faraway locations. So much of what we do is impacted by cutting-edge technology, hidden in “black boxes” whose internal workings are not readily understood. The lie has its own appeal: the illusion is mesmerizing, satisfying, and comforting, allowing us to dream.

In the battle between truth and lies, between that which is aesthetically pleasing and that which is not, we ask is design, by its very essence, merely trickery? We wonder if the designer is no more than an illusionist?

As participating witnesses of the information revolution, the subversion of trust, authenticity, and truth is a daily occurrence. Fake news, deepfake videos, false images, and disinformation are prevalent in everyday life; moreover, they often prove to be beneficial financially, socially, and politically. While lies and falsehoods prevail in the digital sphere, they are also part of an analogue reality. Jerusalem Design Week’s theme, in a way, offers a meta look at society from a philosophical point of view, and will ask pertinent questions, including: Has the search for truth been abandoned and even if it is found, what is its actual worth? When/why do we take pleasure in the comforting beauty of well-designed illusions and when/why do we seek to uncover the truth?

The work of the designer oscillates between fiction (that which dazzles in a bid to maximize profit) and actuality (that which prioritizes transparency and taking responsibility). In either case, designers will harness their manipulative tools for the task, for example, with simulations and models that convincingly demonstrate messages and concepts. In a world where augmented reality, virtual reality, and artificial intelligence are in an increasingly dominant position, to what extent will designers succumb to the promise of hi-tech wizardry versus the continued practice of craftsmanship and artisanship? And in truth, are lies and falsehoods the new normal?

Jerusalem Design Week 2023

When?
June 22nd until June 29th, 2023

Where?
Hansen House
14 Gedalyahu Alon St
Jerusalem, Israel

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FZ

Posted on by Yannick Nuss

On the occasion of the exhibition Fetishizing the Future. Utopias of the Third Dimension at the Zeppelin Museum Friedrichshafen (December 16th, 2022 until April 16th, 2023), the museum published the artist book FZ. The exhibition as well as the publication examine the social mechanisms behind visions of the future based on the human striving for speed, freedom, peace, immortality, and sustainability.

Over the last 120 years, numerous ideas and visions of navigating the skies or traveling through space have emerged in response to focal points of earthly life. In our cosmos, characterized by fragile ecosystems, overpopulation, lack of space, scarcity of resources, and war, innovative technologies awaken promises of a better future, a world more worth living in. Can technology save the world and fulfill these human longings, or is it rather an instrument of power and marketing promise?

Conceived and designed by graphic designer Yannick Nuss, the 256-page publication unleashes a subjective approach to the exhibition themes. Readers move through the five chapters in the midst of an associative stream of images that challenge them to form their own opinions about the subject areas being discussed. The excessive image collages allow for ever new contexts of meaning and cross-references without losing sight of an overall narrative. Silver as an additional spot color allows individual elements to appear and disappear in light reflections in order to add a performative, three-dimensional level to the reading.

FZ

Concept & Design: Studio Yannick Nuss, Instagram 
Publisher: Zeppelin Museum Friedrichshafen GmbH
Printing: Druckhaus Köthen GmbH & Co. KG
Edition: 750 Copies
Volume: 256 pages
Size: 21 x 29.7 cm
Price: € 20.–
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Pedro

Posted on by Karsten Rohrbeck

Freshly served by Andreas Blindert and Karsten Rohrbeck, Pedro is your new friendly type for messages that ask for size. It’s ideal for wayfinding systems, posters, and magazine headlines. With lots of Stylistic Alternates, OpenType Features, and sunny Icons, it does not only meet modern demands in text setting but presents new and interesting options for typographic layouts. Along with its deep roots in universal geometry come simplicity, understatement, and clarity, while slightly rounded corners take the edges off and make Pedro very approachable.

Pedro is inspired by old weathered train station signs around Lisbon that Karsten discovered while travelling the portuguese shore in the summer. It reminds of Art Deco-ish Sans Serifs from the early 20th century paired with an obviously engineered backstory.

Pedro

Foundry: Büro Gestalten, Köln
Designers: Andreas Blindert & Karsten Rohrbeck
Release date: August 2022
Weights: Regular
Styles: Regular, Slanted
File formats: OTF, TTF, WOFF, WOFF2
Price: starting from 25 € (per bundle), student discount possible
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Riccardo Miotto—Tents

Posted on by feder23

Riccardo Miotto (b. 1982 in Treviso; lives and works between Treviso and Venice) studied architecture at the Iuav University of Venice. He participated in the 15th Venice Architecture Biennale and his graphic work deals with built structures. Riccardo Miotto’s graphic gestures are overtly two-dimensional and emphasize how a form created in the mind’s eye is only possible and present when an imaginary tension is generated. His book Riccardo Miotto—Tents tell of a hypothetical land, imaginary yet plausible, one that viewers might fall into, like a sinkhole of unfathomable depths. A space in-between, full of matter. Tents is Miotto’s first artist book. The essay is written by Sara Marini.

Riccardo Miotto—Tents

Publisher: Distanz
Artist: Riccardo Miotto, Instagram
Design: Federico Barbon
Essay: Sara Marini
Release: September 2022
Language: English / Italian
Format: 23 × 27 cm
Volume / Workmanship: 64 pages, numerous color images, softcover
ISBN: 978-3-95476-505-8
PRICE: € 28.–
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Photos by Giulio Boem

Tag der Schrift 2023

Posted on by Tessa Breuer

The Tag der Schrift 2023 is an educational event that focuses on typeface design. Jointly organized by the School of Design Zurich and the union Syndicom it already takes place for the twentieth time. To celebrate the anniversary appropriately the event lasts two days this year. Therefore, the program is even more abundant than usual. The Swiss and German speakers offer exciting insights into their work and the topic of type design.

Slanted raffles a ticket for the whole day + workshops! To participate, simply write an email to [email protected] with the subject “Tag der Schrift 23” until 02/13/2023 (UTC +1). The winner will be drawn after the deadline and contacted by email. Who participates in the raffle, agrees to receive news from Slanted and accepts the privacy policy. Legal recourse is excluded. We wish you good luck!

In his lecture Renan Rosatti shows the ways variable fonts influence the creative process at Dinamo Typefaces. Mischa Senn discusses legal options for protecting fonts. Marco Ganz explains the difference between Veto Sans and Helvetica. Merle Michaelis offers insights into her search for perfection and spontaneity in lettering. Felix Pfäffli from Studio Feixen considers how to focus specifically on nothing in particular. At Miriam Reichensperger’s workshop we experiment with spatial implementation possibilities of 3D letters. A panel discussion on font licensing and various networking opportunities complement the two day event. In short, an interesting and instructive program is awaiting you.

Tag der Schrift 2023

When?
Friday, March 31st and Saturday, April 1st, 2023

Where?
Ausstellungsstrasse 104
8005 Zurich
Switzerland

Registration and information here!

UPGRADE

Posted on by Xuyen Dam

The incessant trend to throw away rather than to repair, demolish rather than refurbish has been a topic of discussion and criticism for years—at the same time, resource consumption, and the waste continue to increase. To counteract this trend, students at the University of Applied Sciences in Munich and ETH Zurich have been developing sustainable and imaginative concepts for repairing a wide variety of objects, applying them both manually and by using digital techniques such as 3D printing. Beyond restoration, many projects aim to further develop and improve the repaired objects constructively, materially, or even in terms of design, lending them new value. The publication UPGRADE presents a wide variety of approaches and projects, complemented by essays by notable personalities from the fields of architecture, preservation, design, manufacturing, and craftsmanship.

Silke Langenberg (*1974) is professor of Construction Heritage and Preservation at ETH Zurich. Previously, she was professor for Design and Construction in Existing Contexts, Conservation and Building Research at the University of Applied Sciences in Munich, where she initiated a Repair Class.

UPGRADE

Editor: Prof. Silke Langenberg
Text: Arno Brandlhuber, Felix Lehner, Freek Persyn, Eva Prats, Daniel Stockhammer, Thomas Will, Adam Caruso and Helen Thomas
Typography: Monument Grotesk @abcdinamo
Editorial: Hatje Cantz
Release: 2022
Volume: 512 pages
Format: 11 × 17 cm
Language: English
Workmanship: Hardcover
ISBN: 978-3-7757-5334-0
Price: € 44.–
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The Arizona Type Specimen

Posted on by Tessa Breuer

The Arizona Type Specimen is a five color, split-page, spiral-bound showcase of ABC Arizona.

Designed by Elias Hanzer, ABC Arizona is the first ever sans-to-serif Variable Font that packages its five looks — Serif, Text, Mix, Flare, and Sans—into one single file. This specimen celebrates Arizona’s countless combinations through its split structure. You can mix and match the half pages to discover the typeface family’s vast system. Just like monster picture books for kids.

The Arizona Type Specimen

Design: Hanzer Liccini
Typeface: ABC Arizona by Elias Hanzer
Illustrations: Célestin Krier
Essay: “Tools and Shapes” by Ferdinand Ulrich
Publisher: Dinamo Editions
Dimensions: 290 × 230 mm
Production: Offset printed on 580g arena white smooth (cover) and 250g arena white smooth paper (inside)
Printing: Druckhaus Sportflieger, Berlin
Price: € 28.–
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STUCK Magazine

Posted on by Tessa Breuer

In today’s ever digitized and often deceptive media landscape, there is an increasing need for a counterbalance: for an independent, high-gloss, low-circulation print magazine; one that uses art as an alternative communication channel to inform readers about contemporary social concerns that are usually ignored by mainstream media.

One and a half years later, after the Berlin-based STUCK Magazine launched its first-ever pilot print issue (000), now the second edition (001)—with the title subworld episodes—is launched: Since then the team has learned about new methods of journalistic, editorial, and design production: “We picked up new skills and broadened our network of friends and like-minded individuals. This improvement can certainly be seen in our latest issue. However, we’re still sticking to our original way of doing things—staying true to our mission, our style of curation, and our aesthetics.”

For the new issue STUCK has also teamed up with other independent creative projects—such as Solo Show, Siilk Gallery, and Guerrilla Bizarre—that contribute well to the ethos and energy of the magazine. Individual artists that come from various disciplines also have their place in the magazine—to adorn the outcome with their individual backgrounds, visions, and opinions. Artists and topics featured:

  • Tyler Cala Williams, When words fail, alternatives speak
  • Ingrato, We are all part of a global freak show
  • Lazygawd, An ode to nerds and passionate obsessives
  • Siilk Gallery, freedom of expression
  • BodySnatchers, the technosphere and its absurd impacts
  • Malte Bartsch, exploring electronic utopias
  • Solo Show, gothic pastoral
  • Guerrilla Bizarre feat. ISAbella, transformative future of underground clubbing

The new issue is divided into two episodes—modes of expression and imagined futures—that leads the reader through a subworld of eight impressive chapters that inspire by disclosing alternate modes of expression and stirring the imagination about worlds that are beyond ours, closing the book with a tasteful poem. Topics that are covered include the complexity and challenges of self-expression in today’s world, about the impact of hyper-used technologies and on future civilizations, about the transformative development of subcultures, and much more.

STUCK Magazine 

Price: € 25.–
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Stockist

More information on the website or on instagram!

Typeface of the Month: Marlide Display

Posted on by Tessa Breuer

This Typeface of the Month: Marlide Display is a flamboyant and vibrant typeface evocative of a transitional roman or Latin design with elegant roundly bracketed serifs and a considerable thick to thin contrast. The letterforms are condensed and embrace both, curves and pointed elements that create an interlocking rhythm with a lively texture. The letter inspiration goes back to a late nineteenth century type form, in turn derived from inscriptions of Roman Antiquity and the neo-Renaissance period. During the era of La Belle Époque and Art Nouveau, numerous variations of Latins with embellished details, such as letters and tails curling inward were in high demand. Traditionally only a few historic Latins had sloping companions, and with varying stroke contrast ranged in use from jobbing and headline to text faces. During the late 1970s and with phototype tools, typefaces in this genre became popular again for a few years before the onset of desktop publishing. Editorial and ad typographic tendencies during this era and in the US, manifested themselves in sleekness and lavish forms.

Marlide Display aims to exercise restraint by going all out on curves yet attempting to control excessiveness and amplification. It is a type that shines in large letter sizes with a suitable weight range, figures for titling and text integration in larger size type, unique arrow designs and a small set of charming ornaments for frames and repeat-patters. Most apt in display, integrated in applications such as logotypes, headlines and many more to make any design stand out and prominently convey messages for print and screen alike.

Typeface of the Month: Marlide Display

Foundry: Kontour
Designer: Sibylle Hagmann 
Release: 2022
File Formats: OTF, TTF, WOFF + WOFF2, VARIABLE
Weights: Light, Regular, Medium, Bold, Extra Bold, Heavy
Price: $ 50.– per style / $ 200.– per family
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Specimen Design: TheDesignGigCollectiveBand

PARCOURS 22|23

Posted on by Tessa Breuer

PARCOURS 22|23 invites you on behalf of all graduates to the exhibition of bachelor’s theses from the fields of illustration, communication, media, and product design as well as master’s theses from February 3rd to February 5th, 2023.

Parcours is a tribute to the graduates and their creativity. The exhibited bachelor’s and master’s theses put the complexity of social issues in a unique spotlight and at the same time direct our attention to the essentials. The results offer clever and creative approaches to solutions—sometimes clear and straightforward, sometimes intuitive, and lively.

Parcours is a concentrated load of creative energy—extremely rich in ideas, contrasts, and experiences. They are looking forward to welcoming all visitors to this special moment.

PARCOURS 22|23

When? 
Vernissage: Friday, February 3rd, 7:30 p.m. until 10 p.m.
Party: Friday, February 3rd, starting at 11 p.m.
Exhibition: Saturday, February 4th, 11 a.m. until 7 p.m.
Sunday, February 5th, 11 a.m. until 7 p.m.

Where?
Fachhochschule Münster
MSD / Münster School of Design
Leonardo-Campus 6
48149 Münster

Entrance is free

Cyberfeminism Index

Posted on by Tessa Breuer

In Cyberfeminism Index, hackers, scholars, artists, and activists of all regions, races, and sexual orientations consider how humans might reconstruct themselves by way of technology. When learning about internet history, we are taught to focus on engineering, the military-industrial complex and the grandfathers who created the architecture and protocol, but the internet is not only a network of cables, servers, and computers. It is an environment that shapes and is shaped by its inhabitants and their use.

The creation and use of the Cyberfeminism Index is a social and political act. It takes the name cyberfeminism as an umbrella, complicates it and pushes it into plain sight. Edited by designer, professor, and researcher Mindy Seu, it includes more than 1,000 short entries of radical techno-critical activism in a variety of media, including excerpts from academic articles and scholarly texts; descriptions of hackerspaces, digital rights activist groups, bio-hacktivism; and depictions of feminist net art and new media art.

Both a vital introduction for laypeople and a robust resource guide for educators, Cyberfeminism Index—an anti-canon, of sorts—celebrates the multiplicity of practices that fall under this imperfect categorization and makes visible cyberfeminism’s long-ignored origins and its expansive legacy.

Cyberfeminism Index

Design: Laura Coombs
Publisher: Inventory Press
Distribution: ARTBOOK I D.A.P.
Release: December 2022
Format: 6.75 × 9.5 in
Volume: 608 pages
Illustrations: 80
ISBN: 978-1-941753-51-4
Price: $ 34.95
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Werkschau School of Design Pforzheim

Posted on by Birgit Meyer

Glow in the Dark is the motto of this winter’s semester show Werkschau School of Design Pforzheim. The design students bring light into the dark season: a glow and radiance, an impetus not to lose faith in difficult times. Because creative work can be a ray of hope and inspiration at the same time. And there will be plenty of that for everyone at the Werkschau!

A warm invitation to the Werkschau on February 10th and 11th, 2023: six Bachelor’s and three Master’s programs, art, design, food, drink, music, and three fashion shows! Open from 11 a.m. until 8 p.m.

Werkschau School of Design Pforzheim

When?
February 10th & 11th, 2023
From 11 a.m. to 8 p.m.

Where?
Fakultät für Gestaltung—School of Design
Holzgartenstraße 36
75175 Pforzheim

More information here!
Online-Show
Instagram

Graphic Stories Vol09

Posted on by Tessa Breuer

This year’s Graphic Stories comes fresh and renewed, as it harbors the Power of Youth and brings new activities with it! The new program is subversive as the lectures will take place on Sunday, March 19th, while the workshops will precede and will take place on Friday, March 17th and Saturday, March 18th, 2023. More specifically, the three-day program hosts twelve [12] distinguished designers from Germany, England, Greece, and Cyprus. It includes nine lectures, six creative workshops, one animation film screening, one international poster exhibition with the participation of designers from Cyprus and abroad and one interactive installation for the public accompanied by youth groups with dance and music.

The 9th International Conference on Visual Communication, Graphic Stories, will take place during three days—March 17th to 19th, in Nicosia, on the topic of The Power of Youth. Young people are the most important and dynamic part of the population in every country. They are the driving force behind every change, social, economic, and cultural. Young people have the curiosity, the idealism, the enthusiasm, the courage, the strength, and the will to change the world. They are not just a part of the general population but the most important wealth of this world. They are the present and the future of humanity, and the hope for building a better future with more justice, more peace, more freedom, more flora, more sustainability, and more inclusivity.

Graphic Stories—Among the Best Festivals in Europe, by EFA
The Conference on Graphic Design & Visual Communication, Graphic Stories was chosen by the European Festivals Association (EFA) as one of the best festivals in Europe and was awarded the Europe’s quality stamp, EFFE Label, for the period 2022–2023. Furthermore, the conference was also awarded for innovation and ingenuity, with the special Badge of Invention, and received the special distinction of Remarkable Arts Festival for 2021, which ranks it among the top European events related to arts and culture.

Who is it for?
Graphic Stories is the only established, independent, annual, institutional conference in the field of visual communication and visual arts and is addressed to all creatives in the field of visual communication, applied and visual arts. It is for professionals, students or pupils, graphic designers, web designers, UX/UI designers, illustrators, photographers, animators, 2D/3D designers, printmakers, creative agencies, advertisers, marketers, their partners and anyone interested in learning about the profession of visual communication designers. Graphic Stories is the link between the creative, the commercial, and business worlds.

Graphic Stories Vol09

When?
March 17th–19th, 2023

Where?
European University,
Nicosia
Cyprus

Program: further information can be found here.
Talks, Workshops, Exhibition

The conference will be held in person, while there will be live streaming for online viewing of the lectures. It is clarified that all the workshops are exclusively held in person.

The scholarships & prizes of the poster contest are offered by: European University, Parachute Typefoundry
Media Sponsors: Politis Newspaper, Politis Radio 107.6FM, Parathyro, ΡΙΚ, Ergodotisi
With the support of: Cultural Services of the Ministry of Education and Culture
Under the Auspices of: Office of the Commissioner of the Citizen, Municipality of Nicosia

More information can be found here. 
Buy tickets here! (Tickets available at early bird prices until 19/02)

What Should I Say—About Seoul

Posted on by Tessa Breuer

How could visiting Seoul be described in a way that allows someone else to feel like they are right there? What to say? What perspectives to choose?

What Should I Say—About Seoul takes the reader on a path less traveled: The work and daily-life of Korean designers; but not just as a spectator. The book gives a glimpse into South Korean society that is not so common after all: Some of the insights into the Seoul work experience appear grim at places, colored by the ongoing pandemic that forced people to cut down on social interactions.

The experiences of Korean-German designers are also included in the book, and as a result, one could see that there is really no reason to think of Germany as a country that “has it all figured out.” The modern workplace can be a very mixed bag at times and bad working conditions plague the creative industry worldwide. Speaking about these experiences allows us to feel less isolated and work towards change—so it is not all doom and gloom.

What Should I Say—About Seoul

Publisher: Slanted Publishers
Editorial & artistic lead: Omid Fröhlich, Youjin Kim, David Wiesner
Photography: Omid Fröhlich
Layout & Editing: David Wiesner
Publishing Direction: Lars Harmsen, Julia Kahl
Format: 16.5 × 23.7 cm
Volume: 192 pages
Language: English
Workmanship: Softcover, thread-stiching, full color
ISBN: 978-3-948440-45-9
Price: € 19.–
Release: January 2023
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On the occasion of the publication a multi-media exhibition with partly unpublished material and exciting insights of the authors takes place at Noplace, Cologne (DE). Join us at the opening on Friday, Feb. 10th, 4 p.m., and on February 11th, 2023 starting at 1 p.m. Next to the additional insight on the interviewees the exhibition also gives you the chance to get to know the writers of the book.

Exhibition

When?
February 10th, 2023, starting at 4 p.m.
February 11th, 2023, starting at 1 p.m.

Where?
Noplace
Follerstr. 82
50676 Cologne
Germany

The Future of Gestaltung

Posted on by Tessa Breuer

To mark the end of its 30th anniversary year, the Staatliche Hochschule für Gestaltung Karlsruhe will be hosting The Future of Gestaltung (The Future of Design) symposium on February 9th and 10th, 2023. Designed as an open discussion format, in addition to the members and guests of the HfG, the city’s public should also actively participate and enrich the numerous offerings in the form of roundtables, presentations, debates or pop-up events with their contributions and thought experiments.

In keeping with the title, the focus will be on the future of the university and its contribution to society. The aim is to question today’s artistic and design practice and to sketch out scenarios of collaboration and coexistence. The focus will be on the term Gestaltung (Design), which was used a good 100 years ago at German-speaking art colleges to emphasize the holistic claim of their own work. Today, under political slogans such as Die Zukunft gestalten (Shaping the Future), it is once again in vogue, since it affects all areas of society, from education and the economy to administration, health care, and the environment. What usually remains unclear, however, is who is actually in a position to shape this future.

Society is confronted with a variety of social, political, ecological, and economic challenges. The symposium will focus on the role of the pioneering possibilities of art and design in this context, the special role of a university in this context and how the HfG can make use of its unique combination of art, theory, and design in this situation.

These and other questions are addressed in contributions such as The Death of Shopping Malls. The Future of Social Meeting Places in Public Space, The Future of Urban Design, The Value of Making and the Making of Values, or Gender, Design, and Their Influence on Teaching.

The Future of Gestaltung

When?
February 9th, 2023, from 3 p.m. to 6 p.m.
February 10th, 2023, from 11 a.m. to 7 p.m., panel discussions from 5 p.m. to 7 p.m.

Where?
Staatliche Hochschule für Gestaltung Karlsruhe
Lorenzstr. 15
76135 Karlsruhe

More information and the full program schedule can be found here!

HEX

Posted on by acostaab

In 2016, MIT Professor Neri Oxman published an article in which she stated the link between the following disciples: science, design, engineering and art. This so-called creative energy was coined by Professor Oxman as “The Krebs Cycle of Creativity.” The underlying idea of it states that knowledge can’t be produced or created but rather that the aforementioned disciplines can be intertwined.

In this way, Professor Oxman attempts to create a genealogy of the interrelationship between science, design, engineering an art in which one discipline can transform the other, and in which a single entity or project can reside in multiple domains.

The aforementioned genealogy was the main inspiration source of HEX—an edible and immersive experience. HEX attempts to stage a symbiosis out of the realm of these disciplines as to provide an insight on future foods speculation.

This multidisciplinary project aims to augment pleasure digitally and to reflect on how our current eating patterns may have an effect on what we will possibly eat in the future. HEX marries different media fields such as 3D-Printing and 3D-Animation, Augmented Reality, and Food Design. This both immersive and edible experience is divided into six immersive moments which are personified by so-called edibles which were designed based on nature patterns and food forecasts by British food futurologist Dr. Morgaine Gaye.

HEX—an edible and immersive experience was mainly influenced by the founding fathers of speculative design Anthony Dunne and Fiona Raby (Parsons School of Design) and Professor Neri Oxman (MIT Media Lab). This speculative project had as a main goal the stimulation of debates that question our behaviour patterns and the future societies.

The six different edibles made out of Agar-Agar (Seaweed) range from Wakame to Crickets and can be scanned with a self-made iOS Augmented Reality App. The App allows testers understand the food forecasts by proving them with properties, nutritional information and 3D visualizations of them.