Products in Dialogue

Posted on by Slanted editors

The two-nation exhibition Products in Dialogue shows design from the partner countries Rhineland-Palatinate and Rwanda. The exhibition was first opened in September 2018 in Kigali, the capital of Rwanda, on the occasion of a delegation trip by Rhineland-Palatines Prime Minister Malu Dreyer. From August 2019, the dialogue will continue in Rhineland-Palatinate. In the Festung Ehrenbreitstein, Rhineland-Palatinate and Rwandan design products will once again meet at the same level and connect people and cultures through design as a common “language”. In addition to objects, photographs showing the designers and the development of their products will also be shown.

The exhibition “Products in Dialogue” caught our attention in 2018 and was the initial inspiration for the Slanted Special Issue Rwanda, in which our team took a look at Rwanda’s up-and-coming creative scene. The issue was presented by Julia Kahl during the opening of the exhibition in Koblenz.

Conceptualized by descom—Designforum Rheinland-Pfalz , the exhibition will be realized in cooperation with Partnerschaftsverein Rheinland-Pfalz/Ruanda e.V. and Generaldirektion Kulturelles Erbe Rheinland-Pfalz .

Designers exhibiting: Bag label Moi Dasch by Marina Furin. Shoe manufacturer Peter Kaiser. Carpentry Summer. Illustrator Annina Baeger, Communication Design Christiane Landgraf, Fashion label Simply Wear by Stefanie Wiebelhaus, Lamp manufacturer Looks, Jewellery by Claudia Adam and Jörg Stoffel, Fashion design by House of Tayo, Fashion and accessories by Haute Baso, Illustrator Dolph Banza, Jewellery by Inzuki Design, Footwear designed by Uzuri K&Y, Fashion design by Moshions, Results of research and prototypes by the African Design Center

Products in Dialogue. Design from Rwanda and Rhineland-Palatinate.

When?
From August 30th, 2019 until August 16th, 2020

Opening hours:
Monday-Friday: from 10 a.m. to 6 p.m.

Where?
Landesmuseum Koblenz
Haus des Genusses
Festung Ehrenbreitstein
56077 Koblenz

Slanted Special Issue – Rwanda

Publisher: Slanted Publishers
Release: August 2019
Photographer: Daniel Sommer
Volume: 128 pages
Format in cm: 16 × 24 cm
Price: 12,00 €

Press photos: GDKE und U. Pfeuffer.
Photographers at the exhibition: Katharina Dubno in Rhineland-Palatinate, Chris Schwagga in Rwanda.

1.768 birthday letters

Posted on by Slanted editors

In the Typography class at the Department of Design of the Hochschule Niederrhein, 68 typefaces were created on the anniversary of 100 years of Bauhaus! The students of the first semester intensively studied the basics of the Bauhaus and in the next step brought together the two subjects of Bauhaus and type design in an experimental way. For this purpose, one of the following six Bauhaus personalities was randomly assigned to them: Gunta Stölzl, Marianne Brandt, Anni Albers, László Moholy-Nagy, Marcel Breuer and Lyonel Feininger.

Orientated towards the style used by these Bauhaus-members, the students each developed an experimental typeface. Aim of the project was to design all 26 characters of the alphabet from A to Z. These should follow a conceptual idea and show a serial character. The result was a total of 68 × 26, i.e. “1.768 birthday letters.”

At the beginning of the 2019 summer semester, 23 out of 68 typefaces were selected. In the class Typography 2 students in small teams built the full character sets by adding numbers and other selected characters. Eventually, the typefaces were digitized using Glyphs and shown in use with different media. 

As a reminiscence of the Bauhaus and the personalities teaching there, the students decided to make these special fonts available for all who are interested—for free use. The font package “dkr-bh100” contains all 23 fonts of the project 1.768 birthday letters and can be downloaded here.

Tutors:
Prof. Nora Gummert-Hauser, Dipl.-Des. Guido Schneider und Dipl.-Des. Jens Könen.

Students:
Anni Albers: Mostafa Ashraf Mostafa, Kai Banasch, Stina Bick Fuertes, Lara Deissmann, Helin Erceylan, André Johanns, Jerome Kamp, Johanna Köstlin, Arabella Kuhn, Tra Mi Nguyen, Angelika Schittek, Nikolaos Theodoropoulos, Laura von Rebenstock, Kathrin Wenger and Jil Zander.

Marianne Brandt: Anne Clemens, Karoline Delger, Malina Hülsmann, Silvio Jedynak, Jan Kersten, Sofie Kienzle, Vanessa Pietzka, Maxim Schleicher, Helena von der Forst and Alex Zemelka.

Gunta Stölzl: Jessica Bayerlein, Melina Haase, Michaela Hommen, Hanna Marie Kaddik, Nele Konstanty, Kathrin Pastwa, Tanja Paulsen and Jacqueline Schneider.

László Moholy-Nagy: Maamon Alramadan, Linus Bock, Uljana Butusow, Joshua Ebel, Stephan Fabry, Viktor Gertken, Ann Christine Gierkes, Samuel Heinbach, Anita Krenn, Nils Knell, Christopher Linnemann, Atussah Lutze, Cherin Mohr, Ellen Müller, Annika Strehlau, Jana Tillmanns, Lena Ullrich and Laura Wilmsen.

Marcel Breuer: Antonia Diehlmann, Lisa Eppers, Alexander Fröhlich, Luisa Jansen, Lisa Kanyukova, Rabea Marquardt and Mitsuru Toki.

Lyonel Feininger: Nicole Bosquet, Linh Hoang, Birk Hoffmann, Yllka Hulaj, Lisa Kaysers, Annika Klumpen, Nadia Natale, Hans Seeger, Jessica Willner and Saif Zainalabdeen.

On the Road to Variable

Posted on by Slanted editors

On the 16th of September 2016, Adobe, Google, Apple, and Microsoft announced a new update to the OpenType specification that would allow for fonts to be variable. Through this update, designers will have the freedom and flexibility to explore a wide variety of styles, ranging in extremes to include everything in between.

Although the technology has yet to be fully implemented, variable typography is already becoming an unstoppable force in contemporary graphic design. “On the Road to Variable” explores an eclectic and exciting collection of work that experiments with the modification of existing typefaces as well as the creation of new ones for a fascinating glimpse into the future of type. It highlights an inspiring array of projects where designers explore endless possibilities with type. Also included are interviews with top design studios that continue to push creative boundaries in their work.

On the Road to Variable

Publisher: viction:ary
Designer & Editor: TwoPoints.Net
Extent: 264 pages
Format: 19 cm × 26.5 cm
Workmanship: Full-colour printing, soft cover in 2 color options
Language: English
ISBN: 978-988-78501-7-5
Price: 33.79 €
Buy

34th Poster Competition of the German National Association for Student Affairs

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For the winter semester 2019/2020, the Deutsches Studentenwerk (German National Association for Student Affairs) is launching its poster competition for the 34th time. The topic this time will be: “I study—why should I care about research?”. With its current poster competition for design students, the Deutsches Studentenwerk (DSW), together with the Deutsche Forschungsgemeinschaft (DFG, German Research Foundation,) is asking what research means for today’s students. What significance do science and research have in the studies and everyday life of students? What is research for them—duty, desire, everyday life or a distant goal? Would students like to do more research during their studies? What would they like to research and what for?

The new poster competition is part of the DFG campaign “DFG 2020-Deciding for Knowledge.” With this campaign, Germany’s largest research funding organisation aims to promote free and knowledge-driven research. The competition will be advertised nationwide at all state and state approved design universities starting in the winter semester 2019/2020.

A jury of five experts will distribute a total of 10,000 euros in prize money. In addition, the German Research Foundation awards a special prize of 3,000 euros. The 29 best posters will tour Germany for two years and will be exhibited in various locations. The competition is sponsored by the Federal Ministry of Education (Bundesministerium für Bildung und Forschung, BMBF) and the Museum for Communication Berlin (Museum für Kommunikation Berlin)—a long-standing cooperation partner.

The competition is open to students of graphic design, communication design and visual communication. The closing date for applications is November 3rd, 2019. The posters must be submitted by mid-January 2020.

Information on the competition and registration can be found here.

Typeface of the Month: Halvar

Posted on by Slanted editors

The Halvar family stands firm, serious, and self-confident on paper and impresses with its unobtrusive clarity. The total of 162 styles offer a wide selection, which allows the Halvar to be used in many areas. A stencil font emphasises the industrial character of the Halvar.

With bulky proportions and constructed forms, Halvar is a pragmatic grotesk with the raw charm of an engineer. A type system ready to explore, Halvar has 81 styles, wide to condensed, hairline to black, roman to oblique and then to superslanted, structured into three subfamilies: the wide Breitschrift, regular Mittelschrift and condensed Engschrift. Designed to be as adaptable in application as it is steady in appearance, this spectrum makes Halvar as ideal for complex corporate identity solutions as it is for particular ones. For industrial duties, a stencil display version is also available.

The typeface’s universe is supplemented by a solid stencil and like all TypeMates fonts, this superfamily is available for print + web, embedding and server licensing. As always, you can use a a free Desktop-Demo-Version to test all styles of the typeface.

Halvar Stencil expands on the Halvar universe by building on its industrial attitude: this German-engineered Schablonenschrift is a typeface for construction sites, power stations, data plates and anything that demands visual impact.

Cutting stencils into the letters of Halvar reveals that the typeface is an engineer. With letters parted into circles and rectangles, Halvar Stencil is a practical typeface whose raw character is stabilised with consistency and solid workmanship. With bold weights well-suited to immense and brute uses and light weights that are airy and chic, it has flexibility to match its scale.

Please, max the Gap! Havar Stencil is not only available in three widths, it’s shipped with three sizes of stencilling. From the tight MinGap to the loose Maxgap, this ensures that whether Halvar Stencil is applied to a shipping container or the plaque of a hard carry case, it has the right amount of stencilling for the job.

Complementing all this, Halvar’s multi-plexed functionality means that designers can lighten and darken text in complex settings without worrying about reflowing text or distorted interfaces. Like Halvar, Halvar Stencil has an absolutely consistent character width across all its weights.

With a character set that includes extended Latin, Greek and Cyrillic and supports more than 190 languages, Halvar’s styles have German names and multilingual ambitions. Perfect for cross-market branding. To ensure TypeMates’ usual high standards throughout all glyphs, the Cyrillic and Greek letterforms were developed in consultation with native readers.

Halvar

Foundry: TypeMates
Designer: Lisa Fischbach, Jakob Runge, Nils Thomsen plus, with the extra mile on the Stencil, Paul Eslage
Consulting on Cyrillic: Maria Doreuli, Ilya Ruderman and Yury Ostromentsky
Consulting on Greek: Kostas Bartsokas
Improving the screen performance: Anke Bonk of Alphabet Type
Release: 2019
Format: OTF and TTF for desktop and apps, plus WOFF, WOFF2 and EOT for web
Weights: 162 styles in total, 9 weights from Hairline to Black in 3 widths from Condensed to Extended, multiplied by 2 Slants for Halvar, multiplied by 3 gap sizes for the Stencil
Price: Weight 39.– up to 49.– € (net), complete family 199.– up to 299.– € (net)
The hole type system with 162 weights for 799.– € (net).

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Walz-Stipendium 2020—Scholarship

Posted on by Slanted editors

In 2018, the Verein für die Schwarze Kunst Dresden e.V. announced a “Walz-Stipendium” (a typesetting scholarship) for the first time. The aim of the association is to preserve and promote the craftsmanship and traditional professions of typesetter and printer and to support the transfer of knowledge to future generations. The association is committed to providing young people in the relevant professions or during their studies with access to traditional printing workshops in order to achieve a deeper understanding of writing and typography through the practical use of the comprehensible, three-dimensional medium.

Now, under the slogan “Handsatz und Buchdruck wandernd lernen—Walz für Handsatz und Buchdruck 2020” (Learning handset and printing by traveling—letterpress and book printing 2020,) the association is awarding ten “Travels” for two months each in changing workshops. Of these, five are reserved as scholarships for participants under the age of 30, which the association supports with 1,000.– Euros each.

The association can provide typesetters and printers for teaching in schools where lead typesetting and printing presses are still available. Finally, it is also possible for the association to support students’ semester works or final theses with specialist knowledge, workplaces in the workshops of the association members or possibly financially.

With the scholarship, the Verein für die Schwarze Kunst Dresden e.V. enables friends of artistic trades to learn the basics of letterpress printing in up to 17 different workshops and to implement their own projects. The deadline for applications is October 10th, 2019. If a sufficient number of participants have not yet been selected, further applications will be accepted without a time limit.

Further information on the call and details on the participating workshops can be found here.

From 0 to 100!

Posted on by Slanted editors

From October 11th to October 20th, 2019, the Karlsruhe University of Arts and Design invites you to the “100 beste Plakate 18 Germany Austria Switzerland” exhibition, that each year rewards graphic designers from German-speaking countries for their posters. In 2018, the jury awarded the 100 most outstanding works amongst more than 2000 submissions from a total of 646 designers.

“From 0 to 100” is the motto not only of the exhibition but also of the off-program in the atriums of the HfG Karlsruhe. Award winners of the competition—among them some (former) students of the HfG Karlsruhe—have been invited to give lectures, lead two-day workshops and propose a new design of the HfG’s large exhibition wall. This off-program is intended to open up a dialogue on everyday creative practice in graphic and communication design in various contexts.

On the 11th and 12th of October, Karlsruhe will be hosting a small graphic design festival, during which the exhibition of the “100 Best Plakate” will be officially opened on Friday, October 11th, at 6 p.m. The exhibition can still be visited until October 20th, 2019.

When?
Opening: October 11th, 2019, 6 p.m.
Graphic design festival: October 11th until 12th, 2019
Exhibition: October 12th until 20th, 2019, 10 a.m. until 8 p.m.
Admission free

Where?
Staatliche Hochschule für Gestaltung Karlsruhe
Lorenzstraße 15
76135 Karlsruhe

Contact & registration here.

Femme Type

Posted on by Slanted editors

Femme Type  is an all-female publication conceptualised by ex UAL Chelsea graphic design communication student Amber Weaver aiming to celebrate over 40 skilled, international women exercising their talents in the type industry. Femme Type’s purpose is to create a valuable stage and platform for designers to showcase their brilliant typographic achievements wrapped up in a wonderful printed format. To create a valuable source of inspiration and education for future and established designers across the globe.

Femme Type is separated into three sections:

Essays
Featuring a series of Latin-Kanji pairing studies titled “Bilingual Lettering” by New York-based designer and type designer, Tienmin Liao. A discussion about typewriter typefaces and their Influence on new digital fonts by Alphabettes.org contributor & co-founder of Kinetic, María Ramos. And finally, an essay talking about alphabettes.org typographic headers by co-founder Amy Papaelias.

Type Design
This section is donated to showcasing typeface projects by the likes of Johanne Lian Oslen, Andrea Tinnes, Sibylle Hangmann, Pooja Saxena, Maria Doreuli, Mobel Type Foundry and more.

Typography
Featuring typographic projects by London-based studio Yarza Twins, Marta Gawin, Shanti Sparrow, Mynameiswendy, Marta Cerda, Rita Matos, and many moree.

We teamed up with Leeds-based creative printers and finishers Pressision Ltd to make this exciting project a reality. Published by People of Print (in perpetuum).

Femme Type

Publisher: People of Print (in perpetuum)
Designer & Author: Amber Weaver
Volume: 272 pages + 8-pages cover
Format: 25 × 21 cm
Workmanship: Litho printed CYMK plus a special Pantone Spot color onto high-quality Fedrigoni Arcoprint paper, PUR bound
Language: English
ISBN: 917-1-5272-4222-7
Price: 30.– €
Buy

Spring #16 – Sex

Posted on by Slanted editors

The Spring-collective presents the 16th issue of the Spring Magazine on the topic of sex. In the stories of this issue, the artists take up the challenge of illustrating something that is omnipresent as a subject and yet extremely private, intimate and unique for all of us. In the rooms of the Frappant, drawings, prints, paintings, and objects will be presented beyond the works of the magazine. On the opening evening every buyer of a magazine will take part in a raffle to win originals of the artists!

How do you illustrate something that is extremely private, intimate and unique for all of us? Sex is inherently inscribed in people’s minds—yet culturally one of life’s most heavily worked on topics. It connects and separates us, evokes the most intense emotions, creates identities and decides destinies. In sex, all aspects of existence merge in a variety of individual ways. Sex is an omnipresent subject, but still a great challenge for an illustration magazine.

In the current issue of SPRING, 14 women artists take up this challenge. In their comics, illustrations, and texts, they describe the evolutionary history of sexuality, allow us to participate in personal experiences from puberty, report on everyday sexism, ask what the absence of physicality actually does to us, and deal with female identity across generations. Entertainingly and openly, they stroll visually through the subject, telling us about digital vulvas, about the fusion in painting and about the Japanese festival of love.

SPRING was founded in Hamburg in 2004. Since then, a new anthology volume has been published every summer, which brings together the various works from the fields of comics, illustration and free drawing on a single theme. Since the beginning the group consists exclusively of women and has become a solid and important network for draughtswomen in Germany.

Spring #16 includes illustrations, comics and texts by Larissa Bertonasco, Aisha Franz, Doris Freigofas, Jul Gordon, Katharina Gschwendtner, Carolin Löbbert, marialuisa, moki, Nina Pagalies, Nadine Redlich, Katharina Serles, Katrin Stangl, Kati Szilagyi, Birgit Wehye and Stephanie Wunderlich.

Spring #16 – Sex

Publisher: mairisch Verlag
Release: September 2019
Format: 20 × 24 cm
Volume: 256 pages
Language: English, German
ISBN: 978-3-938539-54-5
Buy

When?
Opening:
Thursday, September 26th, 2019

Opening hours:
Friday, September 27th, 2019 from 5 until 7 p.m.
Saturday, September 28th, 2019 from 5 until 7 p.m.
Sunday, September 29th, 2019 from 2 until 5 p.m.

Participating artists:
Larissa Bertonasco
Aisha Franz
Doris Freigofas
Jul Gordon
Katharina Gschwendtner
Carolin Löbbert
marialuisa
moki
Nina Pagalies
Nadine Redlich
Catherine Serles
Katrin Stangl
Kati Szilagyi
Birgit Wehye
Stephanie Wunderlich

Where?
Frappant Galerie in der Viktoria-Kaserne
Zeisweg 9 (access via the backyard in Bodenstedtstraße)
22765 Hamburg

Further information on the event can be found here.

 

11th Weltformat Graphic Design Festival

Posted on by Slanted editors

This autumn, the 11th edition of Weltformat Graphic Design Festival takes place in Lucerne. This year’s festival theme is Tools & Rules. Nine exhibitions, a symposium with more than ten international speakers as well as talks, guided tours, film screenings, and much more will give visitors an insight into the topic.

In addition to current trends, socio-economic tendencies and personal preferences, the tools graphic artists choose to work with ultimately shape their designs. Technical innovations are a driving force behind graphic design and have a significant influence on the form and function of visual solutions. This year’s festival edition examines the wide range of traditional and contemporary tools used today.

The exhibition Designing Tools for example explores the question of whether unique graphic solutions and an unmistakable visual language call for self-developed tools tailored to the individual needs of designers. The exhibition focuses on the tools used by graphic designers—from modified technical devices to strict sets of rules and complex algorithms.

Today, easy-to-use poster, layout or logo generators offer fast and inexpensive graphic solutions to the general public. In addition, new technologies such as machine learning, artificial intelligence and crowdsourcing are used to further optimise the market-dominating design programmes. Although there are many advantages to these developments, the question arises as to how standardised and generic design solutions can be avoided. Designing Tools highlights how the tools used by graphic designers significantly influence their design. For the exhibited projects, no conventional design instruments were used, but existing tools were converted, modified and misused. Some instruments were developed especially for the realisation of certain projects—in close connection with the content. These instruments range from technical devices and digital programmes to predefined rules and regulations. The use of these individual and new tools leads to surprising visual results beyond generic or decorative design.

On the other hand, the exhibition Pre-digital is dedicated to the era before the computer became designers’ most used device, presents original designs by graphic artists such as Werner Jeker, Bruno Monguzzi, Ralph Schraivogel or Niklaus Troxler and offers an insight into the world of analog working tools. A small grey box from the Californian Palo Alto stands for probably the most radical change in the history of graphic design. In 1984, the age of desktop publishing was heralded with the introduction of Apple Macintosh. Initially still modest in quality and smiled at by many, it didn’t take long for the new digital design process to establish itself across the industry. After a few years, drawing tables, gluing utensils or Letraset letters looked like relics from the past. Processes established over many decades were suddenly completely obsolete. The digitalisation that is still feared by many industries today—it took over the field of graphic design more than three decades ago.

At the Weltformat Graphic Design Festival symposium, designers from all over the world will examine the topic of Tools & Rules in three thematic blocks: Using and Misusing Tools, Type and Techniques and Professional (R)evolutions. They will also present their own work in relation to the topics discussed. The panel Type and Techniques highlights the relationship between type design and technology whereas Using and Misusing Tools examines the potential of specifically developed design tools and concepts. The job profile and professional environment of designers is constantly evolving. Technical innovations, design standards and socio-economic progresses have shaped the profession of graphic artists since the end of the 19th century. The thematic block Professional (R)evolutions discusses these developments with a focus on the current challenges in the context of digitalisation and new technologies.

For this year’s festival poster of Weltformat Graphic Design Festival, the design studio Maximage has developed a digital tool; the Weltformat app with an integrated AR feature complements the festival poster designed by Maximage and turns the entire public space into a projection surface for typography.

Slanted is giving away 2 × 2 tickets for the Weltformat Graphic Design Festival including the symposium. To take part in the lottery, please send an email with the subject “Weltformat” to [email protected] until September 26th, 2019, 11 a.m. The winners will be drawn. Legal ways are excluded. By taking part you are accepting the privacy statement of Slanted. Good Luck.

When?
Festival:
Daily Exhibitions from September 28th, until October 6th, 2019
Symposium:
September 28th, 2019

Where?
Lucerne, Switzerland

More information here.

Tÿpo St. Gallen 2019

Posted on by Slanted editors

It is not easy to keep your balance in the turbulence of everyday work life. The fifth new edition of Tÿpo St. Gallen is dedicated to this topic in all its forms and facets—the industry meeting place for designers, which enjoys the highest reputation far beyond the borders of Eastern Switzerland. The three-day typography symposium is organized by Schule für Gestaltung St. Gallen and will take place from November 8th until 10th, 2019.

This year’s Tÿpo St. Gallen will focus on the topic of balance. What is a good balance anyway? How can it be achieved? Simple recipes, rigid rules or truisms usually prove useless. What proves itself in the stream of all those processes that thwart everyday life, projects, ideas and plans? These are the questions Tÿpo St. Gallen asks its speakers.

Among the 12 expert speakers from Switzerland, Germany, Austria and the Netherlands, visitors can look forward to the following names:

Andreas Uebele studied architecture and urban planning at the University of Stuttgart and free graphic design at the Kunstakademie Stuttgart. In 1996 he founded his own office for visual communication in Stuttgart, which he has been running together with Carolin Himmel since 2016. Büro Uebele works in all areas of visual communication, focusing on visual identity, information and orientation systems, corporate communication and web design.

Hans and Sabine Bockting live and work as freelance design consultants and graphic designers in Amsterdam. Sabine Bockting Reinhardt studied visual communication at the Bielefeld University of Applied Sciences. After working for agencies in Germany and the Netherlands, she ran the Bockting Ontwerpers office in Amsterdam together with Hans Bockting from 2007 to 2017. Hans Bockting studied at the Academie voor kunst en industrie (aki) in Enschede and then worked until 1970 as Art Director and co-founder in various agencies in The Hague and Amsterdam.

Anika Kunst and Lilo Schäfer talk about the transition from studies to the reality of design life. It will be a testimonial from the point of view of two ambitious and motivated designers who deal with the questions of life: How do I want to live? How can I work? When do I have a family? Anika Kunst studied communication design in Düsseldorf. She deals with visual text images, concrete poetry and typographic experiments. Lilo Schäfer studied communication design in Düsseldorf and did research on design history. She is currently working on the structuring and digitalisation of archives and on character recognition using artificial neural networks.

Tickets and registration
Professionals: 398.– CHF
Students: 199.– CHF
The price includes aperitif on Friday, lunch on Saturday and all refreshments during the breaks.

When?
November 8th until 10th, 2019

Where?
Gewerbliches Berufs- und Weiterbildungszentrum St. Gallen 
Schule für Gestaltung
Demutstrasse 115 
9012 St. Gallen
Schwitzerland

Monopol-Online Relaunch

Posted on by Studio Last

Immediately when accessing the home page the Monopol logo stretches high up, becomes indecipherable and energetically throws the visitor onto the overview of the website. It is the calculated use of movement—one moment surprisingly absurd, the next more subtly applied—that is used throughout the design as a leitmotif. It creates various rhythms and playfully draws the visitors’ attention towards the respective elements, such as the newsletter button. The accordion-effect that is specially designed for the overview highlights each image of the articles and allows a smooth navigation through the content.

The graphic design is characterized by the use of basic geometric shapes, a clear and simple structure, as well as the generous use of white space.

Pop meets formal stringency—that is how Matthias Last and his Berlin-based design practice Studio Last put their initial idea for the website’s redesign into words. Their aim was to create a news portal that brings together aesthetic playfulness with the objective approach of journalism.

Typeface: Ginto by DINAMO
Design + Art Direction: Studio Last
FB: facebook.com/studiolast.berlin
IG: studio.last

 

Druck und Design

Posted on by Slanted editors

Perfect print products are always the result of a skilful interaction between creative minds, printers and customers. The independent conference “Druck und Design” will take place on October 22nd, 2019 in the beautiful conference wing of the Literaturhaus Munich. Against the backdrop of the Theatinerkirche, printers, clients and designers will be able to talk to each other and benefit from practice-oriented work panels that focus on knowledge transfer. Inspiring keynote speeches set the guard rail and show where the print industry is heading. You can also expect paper innovations, high-quality print finishes and amazing print projects in our renowned exhibition area.

Tickets cost 159.– € and are available here.

When?
Oktober 22nd, 2019
9:30 a.m. until 5:30 p.m.

Where?
Literaturhaus München
Salvatorplatz 1
80333 Munich

A Little Daily Dose

Posted on by Linzy

Learning a new language at one’s leisure is never easy, A Little Daily Dose is designed to spark interest in the Chinese language and accompany the reader during the transition between the first step and taking it further. Through four bilingual short stories, readers are encouraged to read English stories and pick up color-coded Chinese characters—a little at a time—with the support of an online vocabulary handbook.

By learning the character for Fish (鱼), for example, readers will learn that Eel (鳗), Whale (鲸), Cuttlefish (鱿) and Shark (鲨) possess the Fish component and most characters bearing the same trait are associated with, or derived from, Fish. The creators share how 鱼 (yú) Fish has the same pronunciation as 余 (yú) Abundance and during Chinese New Year dinner gatherings, having fish is a must to start the year with abundance.

Linz is a Chinese Singaporean designer who is currently based in San Francisco. A Little Daily Dose began as a personal project to aid her husband, Jon, in learning Chinese. Over the last two years, they have been sharing and improving it with other people who are learning Chinese. This might not be the most conventional way to learn Chinese but for those who are not ready to take direct immersion trips to China, or to sign up for classes with local institutions, or even think it’s a mission impossible, this might just be the perfect summer read.

This documentation of their Chinese learning adventure is a platinum winner of Hermes Creative Awards 2019.

A Little Daily Dose

Authors / Designers: Linz Lim & Jon Robson
Language: English & Chinese
Pages: 256
Format: 12.5cm (Width) × 18cm (Height)
Production: 4C print with open spine binding
Release date: 2019
ISBN: 978-981-14-0348-4
Price: 28.80 US$ (26.06 €)
Buy

Typotable №3

Posted on by Slanted editors

Here we go again with Typotable №3. Under the motto Generate meets Corporate the TypeMates Nils Thomsen, Lisa Fischbach and Jakob Runge will show us two of their Custom Font Projects. Elias Hanzer, a graphic and type designer from Berlin, will give us insights in his typeface designs, which often transform into images instead of text.

Typotable is an independent lecture series, where current type design and typography positions are shown and discussed. The lectures will be held by established type and graphic designers as well as by young designers and students.

Typotable is initiated by four type lovers from Leipzig in cooperation with the Gesellschaft zur Förderung der Druckkunst Leipzig e.V.. It takes place quarterly in the Large Printing Hall of the Museum für Druckkunst.

Typotable №3

When?
26th of September 2019

Doors: 6.30 p.m.
Start: 7 p.m.
End: 9 p.m.

Afterwards get together in a bar in the west of Leipzig.

Where?
Großer Drucksaal im Museum für Druckkunst
Nonnenstraße 38
04229 Leipzig

Tickets: 9 € via tixforgigs

GIF me your best

Posted on by Slanted editors

The Fall of the Berlin Wall: November 9th, 2019 we’ll celebrate the 30th anniversary of the fall of the Berlin Wall, that divided Berlin for 28 years. This was made possible by the peaceful revolution of courageous people in the GDR who took to the streets to demonstrate for their freedom. When the wall fell, anything seemed possible. Wunderbar!

Today, 30 years later, we find ourselves in a situation that we thought we had already overcome. Political leaders and populists want to convince us that the Wall is an effective political tool to master our global challenges. But as the philosopher Noam Chomsky already says: walls that separate people from one another are the architecture of violence. Tell Stories with GIFs! The GIF ME YOUR BEST #ZEROWALLS GIF Competition 2019 aims to collect the best animated GIF stories that show how to tear down walls. The visible ones that separate us from other people, the invisible ones that keep us away from important information, and the self-made ones in our heads that block our clear view of life. Invited are international graphic and animation designers, typographers, illustrators, photographers and artists. Participation is worth it! Out of all entries an international jury will award 5 GIFs. Each of the 5 winners will receive a high-quality collection of 9 books about Berlin, the Berlin Wall, the development of cities, and cross-border communication tools.

The jury consists of Markus Beeko (Secretary General of the German section of Amnesty International, Berlin), Tim O’Brien (Illustrator, New York, United States), Melinda Beck (Illustrator, Animator, and Graphic Designer, New York, United States), Benito Cabañas Aguilera (Graphic Designer, Puebla, Mexico)and Lahav Halevy (Graphic Designer, Tel Aviv, Israel.)

Participants may submit up to five GIFs.
The closing date for entries is November 4th, 2019.
The full terms and conditions can be found here.

The Templates

Posted on by Slanted editors

THE TEMPLATES is a collection of customisable imagery created to showcase artwork in a realistic environment. The project is a close and ongoing collaboration between Maurice Másson and The Brand Identity. Maurice Másson is a German art director operating across mediums within Art and Industry. The Brand Identity is a resource for the creativity community, sharing contemporary design works online, this time also being involved in creation and distribution. The collaboration was born out of a shared desire to offer a new take on photographic mockups that feel both curated and like on-the-fly photography that just happen to contain a poster frame or shop sign.

The first drop consists of 20 templates and includes billboards, posters and signs, and are available individually, in a package by type, or as a complete collection. The collaboration will continue to grow, with future additions set to include flags, shop windows and stationery.

Further information at the The Brand Identity shop.

Typeface used: FK Screamer by Florian Karsten

Augmented Conspiracy

Posted on by stllfrdnbrgr

50 years ago, on July 20th, 1969, the first humans set foot on the moon—was it all fake? Since then, numerous conspiracy theories have accompanied the mission of Apollo 11. The bachelor project Augmented Conspiracy by Stella Friedenberger uses Augmented Reality to show a reversible figure between original and counterfeit and plays with possibilities of manipulation.

In 1976 the previously unsuccessful author Bill Kaysing published his book We Never Went to the Moon: America’s Thirty Billion Dollar Swindle and thus founded the conspiracy theory about the Apollo moon landings. In former times supporters of alternative facts rather stayed among their own kind but since the 1990s they are forming global networks on the internet.

During the past decades an entirely new infrastructure of perception, communication and coordination emerged. Our life increasingly translocates into the digital. We are frequently watching the world surrounding us through smartphones, tablets and other technical devices; one could almost say we are continuously developing a new sense—some kind of daily extension of our awareness. What effects does digitization have on the organization of our lives but also on social realities as well as the shaping of public opinion? How do perceptual habits change in times of the Internet of Things and which challenges come along with it?

When we say “There it is in black and white!” than it is not only about printer’s ink but principally about the plausibility of a classical printed medium like a book. When something is literally printed “in black and white” we have a naturally tendency to rely on it. But when it happens that a digital image is displayed into our analogue environment it triggers the very reverse. Just imagine it would be exactly the opposite—when the digital layer would supplement reality or would even have the potential to provide more truth than the analogue reality. In Augmented Reality the analogue and the digital world go hand in hand and this picture is not only an interdisciplinary niche but most of all it is a romantic vision within an current spirit of time. How much technology can reality bear? How much reality can technology bear? Is there some kind of balance between digital and analogue? Perhaps the digital future will not immediately replace the analogue past but what if, for now, it takes it on a journey? Yesterday and tomorrow are one.

This Augmented-Reality-book-installation emerged as a bachelor project in Communication Design/Editorial Design at Burg Giebichenstein University of Art and Design Halle and just got nominated for Giebichenstein Design Award in the category “Best Communication.” As an installation it was primary seen in exhibitions but could also be issued in libraries and book stores. An intended release would require a mobile app version, to be able to experience the interaction between analogue and digital also at home through your smartphone or tablet.

Augmented Conspiracy

Design: Stella Friedenberger
Publikation:
Volume: 164 Pages
Format: 17,5 × 24,5 cm
Language: English
Printing: HPIndigo
Binding: Thread Stitching, Swiss Brochure
Finishing: Blackened back of book block, black edge
Installation:
Setup: Monitor, Webcam with pivot arm, table with plotted grid
AR-Software: Unity, Vuforia

 

Arlonne Sans Pro

Posted on by Sacha Rein

Arlonne Sans Pro is a humanistic sans-serif font family, with neoclassical influences and eight weights.

The font was designed between 2015 and 2019 by Sacha Rein with the intent to create a font with a simple appearance yet infused with a lot of character. Inspired by the works of Bigelow & Holmes and Adrian Frutiger, readability was always one of the main concerns. The font is ideal for longer typesetting and multilingual publications, such as magazines, annual reports, brochures and books. The carefully designed characters are equally suited for titles or logos.

Over 1.800 characters cover more than 143 languages (Latin Extended, Greek, and Cyrillic). The font contains small caps, mathematical symbols, automatic fractions, ligatures, stylistic variants and many more OpenType features. Spacing and kerning were created in collaboration with Igino Marini’s iKern service.

The name Arlonne derives from the small town of Arlon, a Walloon municipality of Belgium and capital of the province of Luxembourg.

Arlonne Sans Pro

Type foundry & Designer: Sacha Rein
Publishing date: June 2019
Weights: Light, Light Italic, Regular, Regular Italic, Bold, Bold Italic, Black, Black Italic
Format: Desktop, Web, App
Price Individual style: 44.– Euro
Price Complete family: 185.– Euro
Buy at MyFonts
Buy at YouWorkForThem

FYI: Conference for Information Design

Posted on by FYIvienna

No longer just an initialism for nerds or workaholics, “FYI:” is also a conference for information design, taking place for the second time on November 9th, 2019.

Around 200 participants are expected to attend the FYI conference. This time around the event will take place in the Ankerhalle of the Vienna Brotfabrik, following the concept that unusual places promote creativity. Visitors await a mix of specialist lectures and short impulses, an experience area for browsing and activities, and a creatively crazy conference organisation. Lectures are held by 9 professionals and 5 recent graduates. Participate, talk to each other, educate yourself, broaden your horizon—all this is is waiting for those who are, or want to become, information designers.

Tickets for 95.– € regularly, Student tickets for 45.– € (bring your ID card with you.)

When?
November 9th, 2019
from 12 a.m. to 7:30 p.m.

Where?
Ankersaal der Brotfabrik
Absberggasse 27
1100 Wien

Bauhaus 4.0 meets Design Thinking & User-Centered Design

Posted on by Slanted editors

Bauhaus 4.0 meets Design Thinking & User-Centered Design: Holistic, interdisciplinary, iterative, empathetic. What can we learn from the Bauhaus? How can Design Thinking and User Centered Design help to solve today’s challenges? How can German design regain international recognition and make an impact as a relevant part of “Made in Germany?” Isn’t the German longing for ethics and morality helpful here? To what extent can design help to balance social and economic requirements? And isn’t good design user-centered anyway?

At the panel discussion on September 17th, 2019 in Berlin we will discuss the role and potential of design as a strategy and method in times of digitalisation in a pointed and provocative way. Among others with Lutz Engelke, Ralph Habich and UlrichWeinberg—as well as Helmut Ness as Special Guest. The moderation will be led by Boris Kochan and Ulrich Müller, the greeting will be given by Victoria Ringleb, Managing Director of AGD. The host is the AGD (Alliance of German Designers.)

Tickets cost 8.– € and are available here.

When?
Tuesday, September 17th, 2019
6:30 p.m.

Where?
In the paperwarehouse of the E. Michaelis & Co. GmbH & Co. KG
Tabbertstraße 18
12459 Berlin

 

PULP – Patrick Thomas

Posted on by Slanted editors

PULP is the title of a new body of work made by Patrick Thomas in response to the reality of living in an age of “truth decay.” Interacting with randomly sourced daily newsprint—the traditionally respected source of factual information—he layers found, drawn and codegenerated graphic forms in an aleatory way utilising the mechanical process of silkscreen printing. Intentionally ambiguous, the resulting prints may be appreciated for their abstract beauty and as a celebration of the disappearing broadsheet newspaper format; however, they might also conceal a darker significance that suggests manipulation, concealment and censorship. They are powerful graphic statements that document a moment in time whose aim is to ask more questions than provide answers, which, due to the unstable physical properties of the newsprint material, will continue to silently evolve over the years. Patrick Thomas (Liverpool, GB) is a graphic artist, who lives and works in Berlin and is a professor at Staatliche Akademie der Bildenden Künste Stuttgart.

Graphics as a political form of expression

“In light of the rise of both social media and right-wing populist movements, not only in Europe, the difference between truth and opinion seems to have become the object of negotiation in widespread political discussion. Underming facts in the name of political interest, raises not only the question of the appropriateness of political reactions but also the viability of the chosen media for political interventions. One of Patrick Thomas’ strengths is not only how he disintegrates the functional logic of graphic design in order to operate on the border between graphic art and social design. But rather how, in a politically precarious climate, the irreducible aesthetic forms expressed in his work pose the question of the role and function of graphic design within political negotiation itself.
In their layering of different graphic forms, his work not only plays with the semantics of surface and subsurface (for example, a version of his work ‘Empire,’ shows the barcode of Trump’s book ‘How to Get Rich’ printed on a title page of the FAZ, which could be read as a motif of capital logic within the political process, in tension, but also in continuity with, the agenda of this newspaper). Rather, this interplay is irreducibly tied to an aesthetic of surface and subsurface. The viewer’s gaze oscillates between an appreciation of the graphic form (which becomes an abysmal reminder of the practices of censorship) and the material of the newspaper. What is at stake always seems to exist in the perspective that the object offers us, which is not the one we are currently taking in. The aim of the exhibited works is not to develop concrete media formats and practices that steer political decision-making processes in a productive direction. But rather, as aesthetic objects and works of graphic art, they offer a medium of reflection and thus an education for the viewer.”
(Daniel Martin Feige, Professor of Philosophy and Aesthetics in the design department of the Staatliche Akademie der Bildenden Künste Stuttgart)

A———Z is a new space in Berlin with the mission of expanding the territory of graphic design by rethinking its limits and challenging traditional perceptions. At the storefront space, located in the heart of the city, renowned graphic designers will be invited to unfold their artistic, conceptual or formally experimental projects.

Where?
Torstraße 93
10119 Berlin

When?
Opening: Thursday, September 12th, 2019, 7 p.m.
Opening times:
During Berlin Art Week: September 13th to September 15th, 2019, 1 p.m.–7 p.m.
After September 16th to November 8th, 2019, Fridays 1 p.m.–7 p.m. and by appointment

Pulic talk by Patrick Thomas:
Thursday, October 10th, 2019, 7 p.m.

Druckerwochenenden

Posted on by Frank-Joachim Grossmann

The Speyerer Winkeldruckerey is dedicated to experimental typography and artistic hand pressure. Graphic works are created at the printer weekends held once a month in the winter months, to which graphic designers and hand press printers with national and international reputations are invited. In the “open workshops,” visitors can study the guest printers work on Saturday and Sunday from 11 a.m. to 6 p.m. In the gallery Typographisches Kabinett, works by the present artists are shown for four weeks each.

When?
28–29/09/2019
Philipp Hennevogl

26–27/10/2019
Hannes Steinert

23–24/11/2019
Niklaus Troxler

18–19/01/2020
Anastasiya Nesterova

15–16/02/2020
Thomas Siemon

14–15/03/2020
Pierre Pané-Farré

Opening Hours
Tuesdays 1 p.m. to 4 p.m.
as well as during the printer weekends
Saturdays and Sundays 11 a.m. to 6 p.m.
admission free

Wo?
Winkeldruckerey and Typographisches Kabinett
Im Kulturhof Flachsgasse
Flachsgasse 3
67346 Speyer
Germany
Telephone +49 6232 142250
#winkeldruckerey

Get more information here.

K. H. Drescher—Berlin Typo Posters, Texts, and Interviews

Posted on by Julia Kahl

Please help us to publish this comprehensive publication about the typographic work and life of the designer of the Berliner Ensemble Karl-Heinz Drescher (1937–2011)! The book is now available for preorder on kickstarter.

While researching in the university archive of Burg Giebichenstein (Halle, Saale, DE) for his master studies, the designer Markus Lange came across the fantastic typographic poster artwork of Karl-Heinz Drescher (* October 7, 1936 in Quirl; † May 19, 2011 in Berlin), a graphic artist, who studied from 1955 to 1960 in the former GDR at the same school (formerly known as Hochschule für industrielle Formgestaltung). In the 100-year history of the university Drescher’s name was rather unknown and nobody knew anything about him. In a 1-year research Markus Lange got in touch with Drescher’s family, and conducted various interviews with companions and friends to get to know more about this talented designer.

Lange found out, that Drescher joined the Berliner Ensemble in 1962, the theater founded by Berthold Brecht for which he worked as a graphic designer for almost 40 years under the direction of Brecht’s wife Helene Weigel. In addition to his work at this house, Drescher also worked for other organizers, museums, galleries, and theaters, amongst others the Akademie der Künste der DDR, the Maxim-Gorki-Theater, and the Deutsche Staatsoper in Berlin. His catalog of works today comprises over 400 posters, about one third printed with letterpress.

For the first time, this book summarizes most of Drescher’s (typographic) posters in one comprehensive volume. The book contains texts and interviews by various authors such as Dr. Friedrich Diekmann, Dr. Sylke Wunderlich, Helmut Brade, Niklaus Troxler, Gerd Fleischmann, Jamie Murphy, Erik Spiekermann, Ferdinand Ulrich, Götz Gramlich, Peter Kammerer, Vera Tenschert, Cesarina and Alessandro Drescher.

This publication serves as a review of the life of an extraordinary theater graphic designer but also as an inspiration for the here and now. Please help us reach the goal, to sum up the amazing work of an outstanding designer. Pledges start from €5.– and include many exclusive rewards like early bird discounts, original posters, mention in the book, …

Published by: Slanted Publishers and Markus Lange
Concept and Design: Markus Lange
Release: February 2020
Format: 195 × 265 mm
Volume: 272 pages
Language: German + English
Printing: Offset
Edition: 1,000
ISBN: 978-3-948440-00-8

Preorder your copy on Kickstarter!