REBEL PRINTS—The Poster Rex Manifesto

Posted on by Linus Haug

Lars Harmsen and Markus Lange, the visionary duo behind Poster Rex, know about the power of signs. Their posters combine contemporary aesthetics with uncomfortable images from our turbulent times, often in a political and/or socio-critical context. Poster Rex represents pop culture and the enduring strength of creativity and human resilience, the rebellious spirit of Poster Rex provokes and awakens hope.

This is evidenced not only by the screen-printed posters but also by the powerful statements of over 25 designers and artists they’ve collaborated and printed with on-site, including notable figures such as Peter Bankov (CZ), Edwin van Gelder (NL), Mirko Borsche (DE), Götz Grämlich (DE), Ariane Spanier (DE), Officina Arara (PT), Yetkin Başarır (TR), and many more …

REBEL PRINTS—The Poster Rex Manifesto is a selection of screen-printed posters created over the last 10 years in collaboration with Poster Rex and artists from around the world.

Unique original screenprints from the Poster Rex sessions will be offered exclusively in the Slanted Shop to accompany the book. More info here.

REBEL PRINTS—The Poster Rex Manifesto

Publisher: Slanted Publishers
Editors, Design & Concept: Lars Harmsen, Markus Lange
Release: September 2024
Format: 21 × 27 cm
Volume: 288 pages
Language: English
Printing: full-color offset printing with fluorescent and silver spot colors, Offizin Scheufele, Germany
Paper: Changing uncoated papers by Metapaper
Workmanship: Softcover with flaps, open thread-stitching
ISBN: 978-3-948440-80-0
Price: €42.– (DE)

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The Complete Work in Progress

Posted on by spaconandx

Spacon & X, the Copenhagen-based design and architecture studio renowned for their interdisciplinary approach, is excited to announce the launch of The Complete Work in Progress, an experimental in-house publication marking the studio’s 10th anniversary. This one-of-a-kind exploratory publication embodies the studio’s ethos, merging different disciplines to create spatial experiences that defy traditional design norms.

The Complete Work in Progress is more than just a retrospective; it is an open invitation to explore Spacon & X’s journey over the past decade. Arranged in an office-core inspired binder with removable chapters, the publication aims to reflect the studio’s commitment to fluidity and experimentation in design. Giving a second life to undesired office ring binders, the work challenges the conventional architecture publication and presentation format, offering readers an honest experience of the studio’s triumphs, beliefs, values, and insights.

Ultimately, the “book” mirrors the studio’s at-home creative process, radically questioning the lifeline of the design industry and shaping it to fit a fluid, interdisciplinary approach that embraces continuous evolution and authentic storytelling. Too often, architects complete projects and move on without revisiting them, but in this new age of circularity, Spacon & X seeks to create a space where every element can be re-evaluated and celebrated. The publication stands as a testament to a new era of design thinking, where the lifecycle of ideas is accounted for, and sustainability is integral to every project, value, and iteration. Collaboration is key in this process, celebrating the studio’s individual contributions over the past decade while also highlighting the collective achievements of the team.

“The Complete Work in Progress reflects our more responsible and dynamic practice, where designs can evolve with their contexts and ongoing dialog is encouraged between creatives at every scale. The ringbinder is a vulnerable invitation in a rather traditional industry to rethink the ways in which we present, celebrate, and think about our designs, together.” — Nour Fakharany, Creative Strategist, Spacon & X.

The publication is a celebration of Spacon & X’s distinctive approach to design—one that integrates various creative fields, fosters collaboration, and continually challenges industry standards. The experimental format and content highlight the studio’s commitment to authenticity, creativity, and ongoing innovation. In truth, it is a letter of love to 10 years of design: learning, making, celebrating, failing, and sharing that in every way.

FC Sans Pauli

Posted on by Linus Haug

FC St. Pauli, known for its unconventional approach both on and off the field, has introduced its new custom typeface, FC Sans Pauli. Created by contemporary branding agency Karl Anders in collaboration with Christoph Koeberlin, this typeface replaces the previous Futura font. It reflects the club’s unique identity and rebellious spirit.

FC Sans Pauli stands out with its characteristic leftward slant, visually representing the club’s commitment to being “different.” More than just a font, it’s a statement and attitude that embodies FC St. Pauli’s unwavering character and deeply ingrained convictions. Left-leaning and inclusive, the typeface offers 13 styles, including a Copy variant that ranges from Light to Bold. It includes jersey numbers, a tape style, OpenType features, and alternative glyphs. This provides a dynamic typographic toolbox for a vibrant club. The extensive Latin-S glyph set supports 100 additional languages, extending FC Sans Pauli’s reach to 200 million more speakers than typical glyph sets.

This typeface isn’t just a design—it reflects the indomitable spirit and core beliefs FC St. Pauli has always championed. “With FC Sans Pauli, we’ve created a typeface that is highly activist,” says Claudia Fischer-Appelt, founder and Executive Creative Director of Karl Anders. “It is an expression of the club’s deepest convictions and paves the way for further independence of the brand.”

Christoph Koeberlin, one of Europe’s leading type designers, collaborated on the development of FC Sans Pauli. Known for his work on the font FF Mark, Koeberlin designed a font that is technically precise and memorable. The typeface is being used immediately in all of the club’s communications, strengthening FC St. Pauli’s brand identity. This marks another step in the club’s mission to promote alternative football culture and make its values accessible to a wider audience. “This typeface doesn’t just reflect attitude—it is an attitude,” says FC St. Pauli’s Brand Director, Martin Drust. “It allows us to move from leasing to ownership, creating lasting brand value.”

Lars Kreyenhagen, founder and Executive Strategy Director at Karl Anders, highlights the brand’s interactive potential. “Our brand thrives by being used by many people. We want to encourage that engagement,” he says. “The new typeface strengthens the brand’s identity and recognition while simplifying its use. This will make it easier for those involved to support the club’s sporting, social, and political mission.”

The team at Karl Anders responsible for this project includes Claudia Fischer-Appelt (ECD), Marcel Häusler (CD), Gregor Frotscher (CD), Henry Monse (AD), Anna Hilgenstöhler (Copy & Concept), and Lars Kreyenhagen (ESD). They worked closely with Christoph Koeberlin, who designed the typeface.

At FC St. Pauli, brand management is led by Martin Drust, Managing Director of Branding and Marketing.

Rid the Grid

Posted on by Linus Haug
As part of the AGI Open 2024 conference, the exhibition Rid the Grid: Women in Swiss Graphic Design: 1900–1980 will be on view from September 15th to October 6th in the exhibition space of the School of Design Basel on the Dreispitz Campus.

Since the late 19th century, numerous women have pursued careers in graphic design, contributing to a wide range of creative fields, including poster design, book illustration, advertising, packaging, toy design, and typography. Many of these women established their own studios and worked with renowned clients. However, despite their significant contributions, many female graphic designers have been overlooked in the history of design, and their biographies and works have largely faded into obscurity. The exhibition Rid the Grid seeks to bring these forgotten pioneers back into the spotlight. Rid the Grid showcases the diverse work of twelve female graphic designers who launched their careers in Switzerland between 1900 and 1980. Additionally, an outdoor poster exhibition highlights the work of twenty more female graphic designers.

Among the featured designers are Maja Allenbach, April Greiman, Helene Haasbauer-Wallrath, Dora Hauth-Trachsler, Ursula Hiestand, Anna Monika Jost, Lora Lamm, Warja Lavater, Thérèse Moll, Nelly Rudin, Rosmarie Tissi, Lill Tschudi, and many others.

Find more information here.

Fincker Font Cuisine

Posted on by Linus Haug

After about six years as a freelance type designer, Julien Fincker is launching his type foundry Fincker Font Cuisine. He is fully embracing his passion for letters and typefaces with a brand new website and online shop. From retail fonts to customized solutions, he offers everything a typographic enthusiast desires. Julien is also a fan of fine dining and sees many parallels between cooking and designing fonts. It’s the attention to detail in the preparation that makes all the difference—hence the name: Fincker Font Cuisine.

Especially interesting and touch is Julien’s idea for his foundry’s branding, which is inspired by his family history: since the early 20th century, his ancestors ran a delicatessen butcher shop with elaborate branding for the time. The branding was largely created by Alsatian artist “Hansi” (Jean-Jacques Waltz †1951). Hansi designed a lasting symbol featuring a silhouette of two butchers—Julien’s great-grandfather and his brother—in Colmar, France. Over the years, numerous advertising posters, packaging, and business stationery were created, some of which remain in the family’s possession, even though the butcher shop no longer exists.

Today, a large sign with the silhouette of the two butchers still adorns the façade of the former business, reading “Fincker Frères Colmar.” It has even become a tourist attraction. Fincker Font Cuisine’s logo pays homage to this symbol, updated and modernized for the new brand. The name Font Cuisine is also a nod to the butcher theme and retains the initials “F.F.C.” (Fincker Frères Colmar) becomes Fincker Font Cuisine. The simplified F.F.C. logo is used for particularly small applications. This marks the completion of a full circle for Julien, and it is a special honor for him to continue his family’s legacy in a new form, though in a more delicate craft. Fortunately, the butcher brothers will never know that one of their descendants has chosen to stop eating meat.

Find out more about Fincker Font Cuisine here.

Best German Book Design 2024

Posted on by Linus Haug

We warmly congratulate Kaj Lehmann, whose book Holy Smoke: Censers Across Cultures (published by Hirmer Verlag, Munich) has been honored with the Stiftung Buchkunst Prize, which comes with a € 10,000 award! Congratulations on this fantastic design and achievement!

Holy Smoke stands out for its innovative design, where packaging becomes a metaphor. The book is wrapped in carbon paper, encircled by a glowing orange band. As readers unwrap the band and remove the fluttering paper, their hands become smudged with black ink, leaving visible traces on the gray fabric cover, making each copy a one-of-a-kind piece. The book explores incense vessels and their roles in various religions and historical eras, emphasizing how ritual smoke serves as a medium for human communication with higher powers.

The award ceremony took place on Friday evening, September 6th, 2024, at the Museum Angewandte Kunst in Frankfurt. Birte Kreft, managing director of Stiftung Buchkunst, and Dr. Joachim Unseld, publisher of Frankfurter Verlagsanstalt and chairman of the foundation, presented the prize in a formal ceremony at the museum.

Jury member Markus Klose praised the book during his speech, saying, “This book is a delight, something that could have graced Louis XV’s famous desk at Versailles. It’s pure joy to flip through, to admire, and to dive into such an unfamiliar yet fascinating world. It’s a splendid, unique, bold work—Holy Smoke is the result of masterful craftsmanship.”

Birte Kreft, speaking on behalf of the Stiftung Buchkunst, highlighted the courage required in both design and production, stating, “The Stiftung Buchkunst Prize celebrates bold decisions in book design and manufacturing. Holy Smoke achieves this beautifully: the distinctive packaging for a book about religious incense engages readers right from the start, leaving them with ‘smoky hands’ as they discover its contents. It’s an inspiring example of what great ideas can accomplish in book production.”

The book was selected by a five-member jury from the 25 titles shortlisted as “Best German Book Design,” chosen from 600 submissions earlier in June. In addition to Holy Smoke, the Stiftung Buchkunst also honored the winners of the Sponsorship Prize for Young Book Design during the Friday evening ceremony. The € 2,000 prizes were awarded to three innovative titles that rethink the book as a medium: Umsatzübersicht by Anja Dietmann and Jonas Beuchert, A Book about Hair by Elfi Handina Murandu, and Wölfinnen by Johanna Behrens.

Forward Festival Berlin 2024

Posted on by Slanted editors

The Forward Festival 2024 in Berlin concluded as a significant success, leaving attendees inspired and buzzing with creative energy. Held at Haus der Kulturen der Welt on August 29th and 30th, the sold-out event attracted a large crowd of designers, artists, and creatives from around the world. It featured a diverse range of speakers, workshops, and interactive sessions, offering a mix of innovative and hands-on experiences.

One of the festival’s main highlights was its focus on AI in creative processes, which sparked both excitement and debate. CGI artist Ariel Lu delivered a memorable talk, exploring how she uses the AI tool Houdini to inject vulnerability and emotion into her work. Another standout presentation came from Shane Griffin of GRIF Studio, who shared his approach to merging graphic and interior design with technological innovation, offering valuable insights for those eager to explore the intersection of art and technology. Gavin Strange shared his tips on how to unleash creativity in his presentation on Friday evening, reminding us to view the world through the eyes of a child.

In addition to the captivating talks, the exhibition space of the Forward Festival 2024 was a hub of interaction, with attendees engaging in hands-on workshops, discussing future trends, and experimenting with the latest design technology. The active exchange among attendees allowed people from various design fields to connect, leading to interesting and engaging conversations.

The Forward Festival’s creative and collaborative atmosphere enabled participants to connect, exchange ideas, and immerse themselves in Berlin’s vibrant creative scene while also surprising its international audience. With the festival’s diverse offerings—from tufting rugs and printing to browsing through books and exploring data visualization and experience design—it provided something for everyone, solidifying its status as a must-attend event for professionals in the creative industries. We’re excited for many more years of Forward Festival!

Text and images by: Greta Landmann

Forbes Ukraine

Posted on by Linus Haug

On the cover of this edition of Forbes Ukraine, neurotypical artist Anna Sapon represents the atelienormalno workshop, a space where artists, including those with Down syndrome, collaborate. Anna has reimagined the Forbes logo, symbolizing how in a society that values extraordinary ideas, freedom, and acceptance of differences, the unreal becomes achievable. This year, her embroidered artwork, adorned with insightful text, represents Ukraine at the Venice Biennale. In Forbes’ 107-year history, its logo has evolved 18 times, but never before in such a groundbreaking and liberated form. Anna is among 10 artists whose works grace the pages of this printed magazine.

The issue’s theme, “Growing Up,” reflects societal transformation—from youthful maximalism to maturity and self-awareness. Delving into this edition of Forbes Ukraine demands your time, attention, and openness to new perspectives, promising an invaluable experience. Highlighted within are works by prominent artists Zhanna Kadyrova, Oleksiy Say, Tiberiy Silvashi, Vlada Ralko, Yaroslav Futymsky, Inha Levi, Pavlo Makov, Alevtina Kakhidze, Sasha Kurmaz, and atelienormalno. Each has pushed the boundaries of imagination, offering a unique artistic lens for readers.

Creative Director: Maksym Zoloiedov
Art Director: Oleksandr Skorychenko
Illustration: Anna Sapon

Timewarp

Posted on by Linus Haug

Lorenzo Petrantoni, graphic artist, illustrator, designer, and artist from Milan, Italy, known for his reinterpretations of historical figures from the 19th and 20th century, presents his particular personal aesthetic in Timewarp. His works are created by using 19th-century engravings from old books he finds in bookshops, libraries, markets and fairs around the world. Using hand-made collages, Petrantoni combines and assembles these engravings to create unique and striking images.

His compositions have become iconic, used by renowned brands like Coca Cola, Nespresso, New York Times, Newsweek, Samsonite, Vogue, Vanity Fair, and many more, as well as museums, publishers, and galleries worldwide. Thanks to his extraordinary creativity and technical mastery, Petrantoni gives vintage images new life and meaning, transforming them into works of contemporary art.

Timewarp presents these works from recent years and is a fascinating journey through time, where the past merges with the present through the creative genius of Lorenzo Petrantoni.

Timewarp

Publisher: Slanted Publishers
Design & Concept: Lorenzo Petrantoni
Translation: Jennifer Coe
Release: September 2024
Format: 21.6 × 29.3 cm
Volume: 192 pages
Language: English
Printing: full-color offset printing with silver spot color, Stober Medien, Germany
Workmanship: 6-page cover, no binding, black rubber band, silver hot-foil embossing
ISBN: 978-3-948440-74-9
Price: €35.– (DE)

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ISType 2024

Posted on by Linus Haug

The ninth edition of the Istanbul Type Conference (ISType) is set to return on November 2nd, focusing on the graphic applications of typography—both static and dynamic. This year’s event continues to explore various aspects of typography, type design, and diverse scripts essential to typographic content. The theme for the ninth ISType conference is “Text-ure,” emphasizing the textural qualities of typography and its graphic applications across different scales.

The program kicks off with Tobias Frere-Jones sharing insights from his personal journey in type design. Ulrike Rausch will then delve into crafting and programming handwriting fonts. Marc Schütz will focus on the creative aspects of digital toolmaking for his studio’s design tasks. Astrid Stavro will explore both well-known and lesser-known qualities of type as an image. Eben Sorkin will guide us through the meticulous process of designing type for various dimensions, both macro and micro. Bartu Başaran will share his experiences in tracing the textures of the monumental inscriptions of Perge. Albert Jan Pool will reveal stories about how his encounter with DIN 1451 lettering models led to surprising discoveries. Kostas Bartsokas will invite the audience to explore the textural qualities of type-making from various scripts while highlighting retaining creative expression without compromising balance. Lastly, Liza Enebeis will explore the performance of typographic textures in sound and motion.

Following the full-day conference, there will be a hands-on type design workshop on November 3rd led by Georg Stiefert, the creator of the Glyphs app.

More information and ticket purchases here.

Act Now!

Posted on by Linus Haug

Act Now! is a poster workshop for beginners and experts with one of our founders Lars Harmsen (Slanted, FH Dortmund) and Markus Lange (TH Nürnberg), hosted by bayern design.

In this workshop, you’ll learn how to transform an idea into a powerful headline and visual concept. Then, you’ll move on to execution and design. You will dive deep into the professionals’ toolbox, ensuring every participant can create a compelling poster. All materials will be provided.

The workshop Act Now! is part of the Social Design Days Nuremberg, supported and sponsored by the Nuremberg Chamber of Commerce and Industry for Middle Franconia.

Get your tickets here.

ADC Digital Conference 2024

Posted on by ArtDirectorsClub

Discover the latest trends shaping brands in 2025 and how technology will revolutionize creative processes at the ADC Digital Conference 2024 on November 4th at Kunstpalast Düsseldorf. This event features 50 international experts delving into the future of marketing, covering AI, AR, VR, and digital transformation’s impact on brands, creatives, and society. Gain unique insights from top creatives and decision-makers from leading companies to understand future demands.

Speakers include:
• Christina von Messling, Future Today Institute
• Sevda Albers, fashion photographer and AI-expert
• Vincent Lammers, Partner at BUCK
• Toygun Yilmazer, TBWA/Istanbul
• David Sheldon-Hicks, Territory Studio
• Franziska von Lewinski, digital strategist
• James Gerde, AI artist
• Florian Wögerer, BoraBora Studios
• Cedric Kiefer, onformative
• Ivana Radovanovic, Mutabor.AI

Burkhard Müller, ADC Digital Board Member and conference curator, explains: “The ADC Digital Conference is the platform for topics that will matter to creatives, brands, and businesses in 2025.”

Since its relaunch in 2022, the event has consistently sold out, establishing itself as a key event for the creative and marketing community. Get your tickets now and join us to explore the crucial topics that will define the landscape of 2025!

Between Books 2024

Posted on by Linus Haug

After the great success of the premiere in 2023 with around 4,500 visitors, Between Books will take place again at Kunsthalle Düsseldorf from 20th to 22nd September 2024!

Independent art book publishers, artists, independent publishing/DIY collectives, organisations, associations, zines and magazines will present themselves to a broad audience in the exhibition spaces of Kunsthalle Düsseldorf and show how versatile, exciting and contemporary the medium of books can be. The art book fair will be accompanied by an exciting and interactive supporting program where visitors can create zines, learn Risograph printing, bind notebooks, and more. Performances, talks, and lectures will cover topics like bookmaking, starting a publishing house, and the connection between sparkling wine, cheese, and artist books. At Café Weird Space’s Bar, attendees can browse new finds and connect with fellow enthusiasts over music and coffee.

Between Books

Where?
Kunsthalle Düsseldorf

When?
September 20th, 3 to 10 p.m.
September 21st, 12 to 8 p.m.
September 22nd, 11 a.m. to 5 p.m.

Further information here.

Type of Feeling

Posted on by Linus Haug

Renowned creative director Jessica Walsh has unveiled her latest venture, Type of Feeling, a new type foundry that introduces a unique approach to typography by combining design with emotion. This innovative foundry offers a curated collection of typefaces, each meticulously crafted to evoke specific feelings, along with bespoke typography services.

Type of Feeling represents a significant step in Walsh’s mission to transcend traditional design boundaries. Drawing from her extensive experience in brand identity, Walsh and her team have developed fonts that not only serve functional purposes but also resonate emotionally with audiences. Each typeface in the collection, such as Jubel, Onsra, Conforto, and Serein, is named to reflect the emotions it aims to convey, integrating these sentiments into every aspect of the design.

“We believe typography has the power to convey emotions beyond the actual words they represent,” said Walsh. “Our goal with Type of Feeling is to create typefaces that evoke an emotional response, adding depth and meaning to visual communication.” Available now on the Type of Feeling website, the retail collection offers fonts with distinctive personalities and unexpected design elements, such as alternate sets, weights, and glyphs. In addition to retail offerings, the foundry provides custom typography services, helping brands and design teams create unique visual identities that stand out in a competitive market. Type of Feeling is poised to redefine how brands communicate through typography, offering fonts that are not only visually striking but also emotionally impactful.

Jessica Walsh, founder of &Walsh, is a renowned creative director recognized by Forbes’ “30 Under 30” and Ad Week’s “Top 10 Visual Creatives.” Her work, featured in galleries, books, and magazines, includes branding for major companies like Netflix, Google, and Apple. Walsh also founded Ladies, Wine & Design, a global initiative supporting creative women, and Let’s Talk About Mental Health, a platform for mental health dialogue. Her project, 40 Days of Dating, garnered over 30 million readers and inspired a book, with film rights acquired by Warner Brothers.

We had the opportunity to speak with Jessica Walsh and ask her about the new type foundry:

Why are you starting your own foundry?
At &Walsh we believe unique typography can be one of a brand’s most distinctive assets. When working with brands on custom type projects we always set out to create typography that is not only distinctive, but also full of emotion & feeling. For brand’s and designers that can’t afford custom typography we wanted to create a retail collection on Type of Feeling that was built on these same principles of distinction & emotion. So many foundries focus on creating typefaces for mass distribution. We decided to hone in on more niche typefaces that can still have broad appeal while really helping brands stand out through their uniqueness.

What is the profile of your foundry, what does it stand for?
Type of Feeling communicates exactly what we set out to do; create typefaces inspired by different types of feelings. Each typeface is inspired by a unique feeling or emotion. Our team explored feelings that are expressive and take you to a different place. Take Jubel for example: it is the expression of joy and celebration. The thick strokes and lively curves exude excitement, the “e” almost smiles at you, reflecting the jubilant mood and celebrative feeling of the word. We don’t focus on one particular style of typography but instead we aim to create distinct yet timeless typefaces that can help brands express their personality. 

How did you choose the first set of typefaces?
Narrowing in on these first 7 typefaces has been almost a 5 year process! We have more fonts in the making and a lot of scrapped ones, too. It was important to us to not just put more typefaces out into the world but to create ones we felt were very effective in evoking emotion & could allow for true distinctiveness when utilized by designers. We also wanted to take the time to learn from designers about their pain points with discovering fonts, testing them and licensing them so that we could build those learnings into Type of Feeling. Our goal was to make the whole process very simple as those details can be a very draining part of the design process for brands and designers.

What are your plans for the future?
We want to build a foundry known for distinctive type and bespoke services. We believe in the power of emotive typography and designing for that over scale. I would also love to see Type of Feeling become a space for new voices and designers to share their talents through collaborations. Historically, type design has been a predominantly male dominated industry in terms of ownership/leadership at top foundries. Because of this, it is easy to feel a sense of imposter syndrome when entering a space that I’m new to. I’m sure we won’t get everything right on this launch and I’m hoping to create an iterative space where we can grow overtime. With that being said, we are always looking for new people to collaborate with!

Find out more about Type of Feeling here.

AGI Open

Posted on by Greta Landmann

The AGI Open, an esteemed international design conference uniting members of the Alliance Graphique Internationale (AGI), is set to take place in Basel, Switzerland this year. Since its inception in 1951 by Basel-based designers Fritz Bühler, Donald Brun, and their French counterparts Jean Picard Le Douc, Jean Colin, and Jacques Nathan Garamond, AGI has been dedicated to advancing graphic design through talks, publications, and educational initiatives. A key feature of AGI Open is its not-for-profit nature. All participating AGI members cover their own expenses and contribute without compensation, emphasizing their dedication to promoting graphic design as a cultural force rather than a commercial endeavor. This commitment is reflected in AGI’s diverse membership of 534 professionals from 47 countries.

Under the leadership of Paula Scher since 2010, AGI Open has grown significantly, running alongside the annual AGI Congress in various cities worldwide. From Porto to Seoul, and most recently Auckland, these conferences have fostered a platform where AGI members freely exchange ideas and discuss industry trends. In Basel this year, designers from around the world will once again converge, eager to explore new ideas, debate the future of their craft, and immerse themselves in the vibrant cultural tapestry of the host city. AGI Open remains a beacon of creativity and collaboration, ensuring that graphic design continues to evolve and thrive in an ever-changing global landscape.

On October 3rd and 4th, 2024, visitors can look forward to two full days of inspiring talks and discussions featuring over 30 of the world’s most influential designers. Renowned speakers like Lisa Enebies, Peter Biľak, Lorraine Wild, and many others will share their expertise and insights through a series of lectures and conversations. These events will take place at the Stadtcasino Basel, a concert hall situated on the Steinenberg. Together with the nearby Basler Kunsthalle and Theater Basel, the Stadtcasino forms part of the city’s prominent cultural hub, commonly referred to as the “cultural mile.”

Find more information and tickets here.

Flow Festival 2024

Posted on by lars

We joined the legendary Flow Festival 2024, arriving on Friday, the 9th of August along with 32,000 others at the sold-out Suvilahti venue to celebrate the festival’s 20th anniversary. The three days were an absolute blast—thanks for having us!

Our festival highlights included Vince Staples, who commanded the stage with his powerful performance, followed by the unstoppable IDLES, who electrified the Silver Arena with their raw punk-rock energy. Fred again.. brought his unique vibe, and the French sensation L’Impératrice took the crowd on a feel-good journey through French space disco, keeping the energy sky-high (with nods to Nile Rodgers and Daft Punk). We were thrilled to see the British pop legend Pulp, and PJ Harvey, the alternative rock icon, did not disappoint. Janelle Monáe, who you might recognize from Glass Onion, delivered an unforgettable set, and James Blake’s intimate, heartfelt performance touched us deeply. The festival closed on a high note under the 360° Balloon with Grande Mahogany, a swirling mix of soulful rhythms, hypnotic psychedelia, and boundless energy.

Founded in 2004, Flow Festival has grown into Finland’s largest music festival. Since 2007, it has been held at the former energy production site in Suvilahti, in the Sörnäinen district. This year, the festival attracted 93,000 people, with numerous stages, lawns, cinemas, exhibition spaces, and top-notch food bars and trucks. Flow Festival is known for its carefully curated and innovative program, which blends popular culture with experimental arts. The festival features a broad music and arts lineup, a thoughtfully designed and decorated venue, and an extensive sustainability program. Flow Festival 2025 will return to Suvilahti, Helsinki, from August 8th to 10th, 2025. Hope we will make it again next summer!

Super Early Bird tickets are available until August 23 here.
Photos by Lars Harmsen and Konstantin Kondrukho.

ARTCORE SKINWORKS—The Story of a Piercer

Posted on by Greta Landmann
In her Bachelor Thesis ARTCORE SKINWORKS—The Story of a Piercer, Tessa Rebecca Breuer delves into the life and legacy of “the one and only” Thomas Müller, a figure deeply entrenched in the world of punk and piercings. Her book offers a compelling exploration of Müller’s journey, tracing the evolution of a subculture through a unique blend of historical artifacts, personal narratives, and contemporary insights.

The book is divided into four distinct parts, each shedding light on different aspects of Müller’s life and the piercing community he has influenced. The first section serves as a visual time capsule, presenting a collection of old photographs, logos, flyers, and other materials from the past. These items are not just nostalgic remnants; they are carefully curated artworks that capture the raw energy and DIY spirit of the punk movement that Müller was part of.

The second part of ARTCORE SKINWORKS features an extensive interview with Thomas Müller. In this candid conversation, Müller reflects on his past, sharing stories from his days in the punk scene and offering insights into how he became a prominent figure in the piercing world. His reflections provide a personal and intimate view of his journey, bridging the gap between the rebellious youth he once was and the established professional he is today.

The narrative then shifts to the present, where Breuer explores the Artcore Piercing Studio through a mix of digital and analog photography. This section captures the essence of the studio as it stands today, highlighting the contrasts between the past and the present. Breuer also shares her own story, recounting how she unexpectedly became the shop manager of Artcore despite having no prior experience with piercings. Her perspective adds depth to the narrative, offering a glimpse into the challenges and rewards of navigating an unfamiliar world.

In addition to the main narrative, Tessa Breuer includes a supplementary booklet that offers a broader exploration of the world of piercing. This booklet covers the cultural background of piercings, different types of piercings, the piercing process, and the various variations and extremes within the practice. It serves as an informative companion to the personal stories and historical context presented in the main book.

Breuer’s creative vision extends beyond the book itself. She has created two colorful posters of the piercing chairs at Artcore, which also serve as the book’s dust jacket. These posters are vibrant, eye-catching pieces that reflect the unique aesthetic of the studio. Additionally, Breuer has curated an exhibition of analog photographs taken at Artcore, showcasing moments and details not included in the book. As a final touch, she has designed a sheet of temporary tattoos featuring designs inspired by old materials and her own drawings, offering readers a tangible connection to the world she has so carefully documented.

Through this multifaceted work, Tessa Rebecca Breuer not only chronicles the life of Thomas Müller but also celebrates the enduring spirit of punk and the art of piercing. Her book is a testament to the power of self-expression and the lasting impact of a subculture that continues to evolve and inspire.

ARTCORE SKINWORKS—The Story of a Piercer

Bachelor Thesis 2023/24
Mannheim University of Applied Sciences, Communication Design
Volume: 208 pages
Format: 18 x 24 cm
Print and binding: buch.one, Offsetdruckerei Karl Grammlich GmbH
Workmanship: Hardcover with open back stitching, hot foil stamping silver on leather imitate
Paper inside: Offset Paper Uncoated
Typefaces used: Editorial New Ultralight & Ultralight Italic by PangramPangram, Pierced by Otto Maurer

The Masters Series: Stefan Sagmeister

Posted on by Greta Landmann

This fall, the School of Visual Arts (SVA) will honor acclaimed designer Stefan Sagmeister with its 33rd Masters Series Award and Exhibition. This career retrospective, featuring highlights from Sagmeister’s exhibitions, books, design, and film work, will be on display from August 29 to October 12, 2024, at the SVA Chelsea Gallery. Admission is free and open to the public. An artist talk with Sagmeister will be held on September 18 at 7:00pm at the SVA Theatre.

Sagmeister, who has worked with clients ranging from the Rolling Stones to the Guggenheim Museum, expressed his gratitude: “It is a true pleasure to receive this award and see decades of my work exhibited at my favorite art school in New York City. Bringing together all the facets of my career for people to enjoy and interact with at SVA, where I had the privilege of teaching, is especially meaningful.”

Born in Austria, Sagmeister holds an MFA from the University of Applied Arts in Vienna and a master’s from Pratt Institute in New York as a Fulbright Scholar. His wide-ranging design work includes book jackets, album covers, brand identities, and even furniture and public space beautification. He also directed the documentary The Happy Film and authored several books, including Now is Better (Phaidon, 2023). Sagmeister has received numerous accolades, including two Grammy Awards and the National Design Award from Cooper-Hewitt.

The Masters Series: Stefan Sagmeister will feature over three decades of Sagmeister’s work, including sketchbooks, posters, interactive installations, and a miniature theatre showcasing his film. Visitors can also take home special posters from the exhibition.

Established in 1988 by SVA founder Silas H. Rhodes, the Masters Series honors groundbreaking visual communicators. Previous laureates include Saul Bass, Milton Glaser, and Paula Scher. The exhibition is open Tuesday through Saturday from 10:00am to 6:00pm, with Monday visits by appointment. Note special hours for Labor Day Weekend. The gallery is wheelchair accessible.

Pictures: 1. Stefan Sagmeister and Jessica Walsh, Beauty, monograph, Phaidon Press (2018, 1st ed.), 280 pages, 6 ¾ x 9 ½ x 1 inches, 2. Stefan Sagmeister, Abstract 2010/2011 (book design), yearbook, Columbia GSAPP (2012, ltd ed.), 752 pages, 10 ¾ x 7 ½ inches, 3. Stefan Sagmeister, AIGA New Orleans, 1997, lithograph, 26 ½ x 37 ½ inches, 4. Stefan Sagmeister, AIGA Detroit, 1999, lithograph, 39 x 27 ½ inches, 5. Stefan Sagmeister, “Babies”, Historic canvas with contemporary inserts, 13 3/8 x 16 1/2”, 6. Stefan Sagmeister, Feelings by David Byrne (album booklet), 1997, print, 4 ¾ x 9 ½ inches,  7. Stefan Sagmeister, Chaumont, 2004, lithograph, 69 x 46 ¾ inches, 8. Stefan Sagmeister, Things I Have Learned So Far In My Life, monograph, Abrams (2008, 1st ed.), 256 pages, 9 ¾ x 7 x 1 inches, 9. Stefan Sagmeister, Darwin Chair, 2010, laminated Tyvek, stainless steel, epoxy, 38 x 19 ¾ x 36 ¼ inches, 10. Stefan Sagmeister, Lou Reed, 1996, print, 26 ¾ x 38 ¾ inches, 11. Stefan Sagmeister, Bridges to Babylon by The Rolling Stones (album booklet), print, 4 ¾ x 4 ¾ inches , 12. Sagmeister & Walsh, Take It On, 2013, print, 46 x 30 inches

Future Playgrounds 2024

Posted on by Greta Landmann

The Peter Schmidt Group is back with the third edition of its Design Festival Future Playgrounds, taking place on September 5th and 6th, 2024. After two successful events, this year’s festival promises to be even bigger, with more international speakers, interactive formats, and a larger venue: the Design Zentrum Hamburg.

Future Playgrounds is a gathering spot for global talent and industry-leading speakers to explore the latest trends, innovations, and concepts in the creative industry. This year’s theme, Life is a Prototype, will focus on new tech tools and forward-thinking ideas, shared through inspiring talks, discussions, and exhibitions. For the first time, the event will be held at the Design Zentrum Hamburg, located in HafenCity.

“Design processes are like life itself: we experiment, fail, stay curious, improve, and grow. Every step leads to innovation,” says Lukas Cottrell, Managing Partner at Peter Schmidt Group. “Our festival is a celebration of prototyping and fueling our ideas with the unseen.”

The two-day festival features renowned designers and artists showcasing innovative approaches to design and concept development. This year’s lineup includes London-based Creative Director Tina Touli, São Paulo sound artist Stefanie Egedy, deepfake artist Ethan Pope and his team from FH Salzburg, Victoria Young and Niels Van Der Donk from 3D Art Studio YONK in The Hague, and Hamburg’s Hyperfocus design studio. Peter Schmidt Group’s innovation unit, PSG Imagine, will also take the stage. Talks begin at 2:00 PM, with registration starting an hour earlier.

Thursday evening is all about networking, with snacks, drinks, and a Prompt Battle where attendees can watch live prompting by Peter Schmidt Group designers and Ninu Dramis, founder of the Hamburg collective Uber Nerd.

The Peter Schmidt Group, is one of Europe’s leading brand and design agencies, known for combining technological expertise with creative excellence for clients like Mercedes-Benz, E.ON, Henkel, and Deutsche Bank.

Day tickets, which include all talks, the networking event, and drinks, are available here. More information on speakers, topics, and tickets here.

TypoTease—A Suggestive Typeface

Posted on by Greta Landmann

Theresa Zettelmann’s bachelor thesis, TypoTease, from School of Design Pforzheim, explores the nuanced intersection between typography and sexualized themes, using pole dance as her focal point. By creating a typeface that captures the multifaceted nature of pole dance, Zettelmann challenges stereotypes and encourages a deeper understanding of this art form.

TypoTease began with a question: how can typography represent the tension between pole dance as both a seductive art form and an athletic discipline, without reinforcing stereotypes? Through extensive research into the history of pole dance, from its origins in ritualistic dances to its evolution through striptease and its current status as a competitive sport, Zettelmann created an alphabet where each letter embodies a different aspect of pole dance, from “A” for Artistik to “Z” for Zensur (Censorship).

Using the AI tool Midjourney, she generated each letter with a consistent visual style, emphasizing natural lighting and neutral backgrounds. The resulting typeface, characterized by elegant skin and metal tones, reflects the physicality and strength of pole dance. This typeface is showcased in a lexicon titled A-Z, der buchstäbliche Tanz an der Stange (“A-Z, the Literal Dance on the Pole”), blending aesthetic appeal with substantial informational content. Through the use of artificial intelligence, a typographic interpretation of the subject was created, challenging normative views on body, sexuality, and beauty. These visual prompts are compiled in a reimagined lexicon, linking them to all the terms associated with pole dancing. Initially perceived as a niche topic, this approach offers a narrow yet vivid entry point to broader concepts like morality, power dynamics, and freedom, while incorporating related areas such as dance theory, feminist perspectives, and sex work. The result is a medium that addresses the subject with both sensitivity and unfiltered directness. It presents a blend of deliberate aesthetic choices and seemingly random elements that reveal themselves as readable reflections of societal norms and ideals

Zettelmann’s work challenges societal norms and offers a fresh perspective on how sexualized expressions like pole dance can be visually represented. Her typography invites viewers to reconsider their perceptions and the broader cultural implications of such art forms. The accompanying lexicon provides a neutral space for exploring terms related to pole dance, treating practical and philosophical aspects with equal seriousness, and offering readers an unbiased look at the various dimensions of the dance.

In TypoTease, Theresa Zettelmann demonstrates how typography can be a powerful tool in rethinking and re-contextualizing topics often marginalized or misunderstood, elevating the discourse around pole dance and encouraging a more nuanced engagement with the subject.

Supervised by Prof. Alice Chi & Julia Kahl

Creative Paper Conference 2024

Posted on by Greta Landmann

The Creative Paper Conference (CPC) is set to welcome designers, creatives, and industry experts from the DACH region to the historic Alte Kongresshalle in Munich on October 24th and 25th, 2024. Under the theme Print Shows Its True Strength, this year’s conference promises an inspiring and informative event, celebrating the enduring power of print media in an increasingly digital world.

In an era dominated by digital content, print remains a vital component of effective communication. The CPC has firmly established itself as a leading event in the realms of print and design, demonstrating how these industries can work together to amplify brand messages. Attendees will enjoy a rich program featuring lectures, exhibitions, and networking opportunities that provide deep insights into creative processes and emerging trends.

The Creative Paper Conference 2024 boasts an exciting lineup of presentations from renowned experts across various disciplines, such as Sirene Design Studio’s insights on human-centered design, Chrish Knigge’s exploration of tactile brand experiences at Studio Grau, and Grit Wolany’s discussion on AI’s role in creative design. Highlights also include a behind-the-scenes look at award-winning book designs from Stiftung Buchkunst and a deep dive into visual identities in the cultural sector by Florian Lamm of Lamm & Kirch, and many more.

In addition to the compelling talks, CPC 2024 features a 700-square-meter exhibition area where leading companies in paper, printing, and finishing will showcase their latest products and innovations. Attendees can experience materials and finishing techniques firsthand and engage with industry experts about their upcoming projects.

Phoenix Publishers, the publisher behind this event, is passionate about creating memorable, tangible experiences. Since 2021, they have published Grafikmagazin, a German-language magazine dedicated to communication design. The magazine, which features outstanding works in graphic design, typography, illustration, photography, and more, is available in our shop, and now also available as an English ePaper.

More information and ticket purchases here.

reify × nomo

Posted on by Helene Hohmann

For this year’s Rundgang at the Offenbach University of Art and Design, Helene Hohmann and Lea Johanna Becker designed an exhibition featuring two feminist typedesign projects. reify and nomo are the results of an in-depth engagement with feminist theory, applying theoretical concepts to the form of characters and typefaces. Although they were developed independently, both address similar questions, making it fitting to present them together.

A glitch refers to an unavoidable, unpredictable disruption in digital systems. Glitch feminism takes the idea of the glitch and acknowledges that in a social system dominated by exclusionary power structures and marginalization, a glitch might not be a mistake but a systematic error. reify is a variable typeface that glitches, that can avoid the responsibility of being useful, that can disrupt, that can be an error, but doesn’t have to be.

nomo is a monospace font with variable advance width. The narrowest style is 300, the widest 900 units wide, the whole spectrum possible. This translates to the font being of the same weight within a style (mono), but in total different along this width (nomo).
This characteristic makes it possible to pursue topics not only in terms of content, but also in their form, to examine different questions. In the design of the font, but also through designing with the font.

Both typefaces will be on display from July 20 to November 24, 2024 as part of the exhibition Same Bold Stories? Type Design by Women and Queers in the 20th and 21st Centuries at the Klingspor Museum in Offenbach.

reify × nomo–When Typedesign Meets Feminist Theory

Typeface: reify
Designer: Helene Hohmann 
Release: June, 2024

Typeface: nomo
Designer: Lea Johanna Becker
Release: December, 2023

REBEL PRINTS

Posted on by Julia Klose

Poster Rex was founded in 2014 by Markus Lange and Lars Harmsen after a screen printing workshop in Cuba. In the following years, the two designers conducted numerous printing sessions and workshops around the world, inviting local designers to create experimental posters. Each session focused on predetermined themes from politics, current events, and social issues, emphasizing one thing above all: attitude! What emerged is an impressive testament to the enduring power of creativity and the deeply human capacity for hope, often accompanied by a call to take concrete action.

The poster collection of the collective Poster Rex now includes over 3,000 unique pieces. All posters are hand-printed using the screen printing technique. The exhibition features a selection of around 100 pieces chosen by Markus Lange and Lars Harmsen.

“This exhibition is dedicated to all those who live in countries where the government restricts the right to protest. There, where art becomes the weapon of choice for the brave and the bold. These poster artists are agents of dissent, challenging the very foundations of the regime. Their art is a form of resistance, a weapon in the fight for freedom, and democracy.”

A collaboration between the Neues Museum, Poster Rex, and bayern design.

Very excitingly, there is also a publication coming up about the Poster Rex project: REBEL PRINTS—The Poster Rex Manifesto will be published very soon by Slanted Publishers, giving even more insights, visually as well as conceptually, into this huge project. Pre-order the book here!

REBEL PRINTS—The Poster Rex Manifesto

July 26th, to September 22nd, 2024
Neues Museum Nürnberg

August 22nd, 2024 
Workshop: Rebel Prints: Meet the Makers

September 12th, 2024
Workshop: Be A Rebel (Risoprint)

September 14th, 2024
Workshop: Be A Rebel (Risoprint)

More about the exhibition here.

Zeitgeist Coffee Factory Flavor Museum Packaging & Branding

Posted on by slanted-api

Zeitgeist is an independent coffee bean manufacturer. They adopted a vertical sales concept and directly packaged and mailed coffee beans from the place of origin to consumers’ homes through online sales. Since the flavor of coffee beans is inversely related to shelf life, the zeitgeist has shortened the time it takes coffee beans to get to consumers from every angle, and they hope to achieve this in packaging.