schaubau—international summer school of design dessau

schaubau summer school will take place in Dessau from August 4th to 10th. Take your chance and take part in the workshop with Alexander Branczyk. Click here to register.

schaubau is an international summer school which takes place in the heart of Dessau – the city of the Bauhaus. A design camp, which is targeted at all creative students, pupils, craftsmen and -women and creators of value of all designing disciplines like design, architecture, fashion and art.

This year the schaubau summer school is dedicated to a typographic, technically and fashionable approach to the 100th years anniversary of the Bauhaus. The design of signs / typography for your own jacket in combination with electronic handicrafts and programming is the main part of the workshop week. At night the bitmob with their LED coats spread out into the city.

A framework programme supplies a chequered and productive summer week with balmy nights in Dessau.

Workshop leader 2019
Alexander Branczyk

When?
August 4th to 10th, 2019

Where?
VorOrt-Haus
Wolfgangstraße 13
06844 Dessau
Germany

Book now!

Get more information here.

Typeface of the Month: Hawkland

Jeremy Tankard is one of those type designers who have been designing unmistakable fonts with great passion and depth for a long time and who have thus achieved international renown. His latest work is the neoclassical Hawkland, which reflects the details of fonts from the second half of the 18th century (between Old Face designs like Caslon and more rigid Modern designs like Bodoni) and even sharper. This makes the typeface timeless and elegant. We are happy to introduce them to you as our Typeface of the Month:

The design of Hawkland is rooted in the style of types from the latter half of the 18th century, known as Transitional. This period and its typefaces bridge the gap between the Old Face designs, such as Caslon, and the more rigid Modern designs, such as Bodoni. Not being a revival of any specific type of the period, Hawkland freely incorporates sharper and more modelled details that give the type a timeless yet contemporary feel.

Hawkland is a versatile typeface with a range of weights from Thin to Black across two related families, all with extended character sets. The fonts deliver a crisp clear-cut look, perfect for editorial, brand and packaging or simply when a touch of classic finesse is needed. Designed for text use, Hawkland has 12 fonts in roman and italic. Whereas, Hawkland Fine is tuned for larger use at headline and display sizes and includes 4 additional fonts in its range.

The fantastic large format specimen has been designed by Alistair Hall at We Made This. The main book introduces the typeface and includes several tip-in examples showing Hawkland in a variety of uses. There’s also an extended text titled “Shaping Hawkland” which details the inspirations and historical roots that lead to its design.

The specimen has been produced in a short run and is available here.

More information about the design of Hawkland can be read here. Here development sketches and references place the typeface in historical context.

Hawkland

Foundry: Jeremy Tankard Typography
Designer: Jeremy Tankard
Release: September 2018
Format: Desktop, Web, App
Weights: Two families, Hawkland and Hawkland Fine:
Hawkland: Thin, Thin Italic, Light, Light Italic, Regular, Italic, Medium, Medium Italic, Bold, Bold Italic, Black, Black Italic
Hawkland Fine: Thin, Thin Italic, ExtraLight, ExtraLight Italic, Light, Light Italic, Regular, Italic, Medium, Medium Italic, Bold, Bold Italic, ExtraBold, ExtraBold Italic, Black, Black Italic
Price: From £80 GBP for the first font with additional fonts from same family at 50%

Stadt.Land.Schluss.: Was wäre wenn

What would happen if design and creation visibly entered into a dialogue and politics were to be reshaped? What if the country gains urban, the city rural qualities? With “Stadt.Land.Schluss.” there are various disciplines, institutions and people on the podium and in the auditorium—so that not only designers talk to designers and beekeepers talk to beekeepers, but they talk to each other. It’s about design and architecture, but also about sociology, philosophy, agriculture, regional development, tourism and so on.

Guests 2019 are:

Patrick Lüth Snøhetta (Oslo/Innsbruck),
Prof. Ruedi Baur Integral Ruedi Baur Paris/Zurich,
Prof. Gerhard Henkel Human geographer,
Stadtlücken e.V. Digitalanalog network for the joint development of a city worth living in,
Eleonore Harmel Studio Amore, Dr. Herbert May Director Franconian Open-Air Museum,
Dr. Elisabeth Hartung kunst-buero Munich,
Josef Mathis Former mayor of Zwischenwasser in Vorarlberg

Call for paper: It’s your turn!

“Was wäre wenn” would like to see your projects and ideas, which can be of very different origins: e.g. technology, media, social interaction and networking, regional development, identity, culture, art etc.? Whether self-initiated, commission, research project, Bachelor’s or Master’s thesis … At least ten projects will be presented in the form of a Pecha Kucha presentation. The simple rule is: 20 images/slides/pages are shown for 20 seconds each. The best presentation will receive an award and a (cash) prize of 500 Euro!

Apply with an abstract at [email protected]

The program and all further information under www.stadt-land-schluss.eu

When?
October, 17th to 18th, 2019

Where?
Bayerische Musikakademie Marktoberdorf
Kurfürstenstr. 19
D-87616 Marktoberdorf

Bauhaus 4.0 meets Social & Culture Design

Does learning from Bauhaus mean helping to create a society with relish by design? How can a new solidarity mean everyone? How do we move from self-optimization to collaboration? How can sustainability be ecological and social at the same time … and at the same time sexy? Isn’t the design of (residential) spaces only conceivable in the future in a participatory way?

At the panel discussion on 6 June 2019 in Hemmingen near Hanover, Germany, we will discuss the socially shaping potential of design in times of digitalization in a pointed and provocative manner. Among others with the architect Alexander Grünenwald, the managing director of the German Cultural Council Olaf Zimmermann and the curator of the Vitra Design Museum in Weil am Rhein, Jolanthe Kugler. Special guest is Dorothee Weinlich, Professor for interdisciplinary design basics at the Hanover University of Applied Sciences and Arts. Moderation: Boris Kochan and Ulrich Müller.

An evening on a small scale for designers, clients and people interested in design in the paper warehouse of vph GmbH & Co. KG – we would like to discuss this with you! Hosted by the German Werkbund, the welcoming address will be given by the Chairman of the Board of Werkbund Nord, Franz Betz.

Thursday, June 6, 2019 | 18:30 | Hemmingen/Hannover
In the paper warehouse of vph GmbH & Co. KG
Gutenbergstraße 4, 30966 Hemmingen, Germany

Tickets: doo.net
More information: designtag.org

Braasi Industry

During our research for Slanted Magazine—Prague, we took notice of the Prague-based family boutique factory Braasi Industry. It was founded by the two young architects Šimon Brabec and Eliška Slámová who specialize mainly in the production of everyday carry backpacks from quality materials made in Czechia.

Šimon and Eliška started to produce backpacks for their own and their friends’ use years ago. As the demand grew, they decided to move on. Today you can find them in a workshop, they designed themselves, based in a reconstructed old factory in Prague’s trendy district of Holešovice.

Less is more in Braasi’s philosophy and so the production follows simple rules: Combining functionality and aesthetics, timelessness and practicality. Have a look at their simple and functional, yet stylish and detail-focused products!

braasi.com

EVERY DAY A DRAWING

Why not start in the middle of the year to praise the rest of the year—every day a picture, an idea, a thought, a drawing.

The calendar Every Day a Drawing is a personal ongoing project of Paula Troxler since 2010. The calendar 2019 shows drawings which Paula Troxler drew exactly on the same day the year before. It is now the 20th calendar that Paula Troxler publishes herself. The calendar contains 189 days, drawings and ideas, is offset printed, the Sundays in red.

The new calendar starts July 2019. Each week is dedicated to a theme that gives inspiration for a drawing: Continuations, discussions and interpretations of sentences and definitions. It begins with an object, a condition, a thing or a person on Sunday in red, followed by 6 drawings around the theme. They give inspiration to the drawing, continuations, arguments and interpretations of their sentences and definitions. (among others Blues, Metamorphosis, T.C. Boyle, Self Knowledge, Climate Change, Fragments of Love, Paul Auster and so on.)

Slanted is giving away one calender! To participate simply write an email until 05.06.2019 (UTC +2) to [email protected] with the subject “EveryDayADrawing.” The winner will be drawn after the deadline and contacted by email. Who participates in the raffle, agrees to receive news from Slanted and accepts the privacy policy. Legal recourse is excluded. We wish you good luck!

Editorial LAB #5

Design is not art. It fulfils a purpose and always tries to create meaningful contexts. Nobody, on the other hand, expects generally valid sense from art, much less a purpose. The privilege of art is freedom from purpose. But this does not mean that design has to be tasteful or even universally understandable. Designers often convey content with an artistic claim that challenges the aesthetic habits of the viewers.

The FH Dortmund has invited four lecturers to Editorial LAB #5 who blur, expand, and exceed these habits in their work. Their works challenge the viewers to reflect on old structures of perception, deliberately breaking through the boundaries of purposelessness.

1. Jakob Feigl, Picture Editor, Süddeutsche Zeitung Magazin
2. Bureau Johannes Erler Creative Director, Agentur Johannes Erler
3. Julian Zimmermann, Deutsche und Japaner
4. Raphael Leutenegger and Felix Pfäffli,
Studio Feixen

When?
June 12th, 2019
4 p.m.–10 p.m.

Where?
Assembly hall faculty Design
University of Applied Sciences Dortmund
Max-Ophüls-Platz 2
44139 Dortmund

Free entrance

Slanted in Prague: Anymade Studio

When we took a look at the contemporary design scene in Prague in August 2018, we were allowed to visit Petr Cabalka and Filip Nerad from Anymade Studio in their studio.

Anymade Studio was established in 2009. Its founders, Petr Cabalka and Filip Nerad, currently live and work in Prague. The graphic studio is interested in visual communication and is inspired by music, contemporary fashion, and visual arts. They use a wide selection of disciplines such as graphic design, illustration, animation, installation, or photography while working on contracts.

The exciting works of Anymade Studio can be found in the Slanted Magazine #33—Prague, additionally we conducted a video interview with Petr Cabalka and Filip Nerad about their attitude and work. Take a look at our new issue and the video platform to meet more creative people from Prague!

Photography: © Dirk Gebhardt, Slanted Publishers

ADC Festival 2019: Review and Bronze + Silver for Slanted!

Last weekend we attended the ADC Festival 2019 in Hamburg, where this year again an extensive program consisting of lectures, exhibition, award ceremony, and after-party took place. We are very happy that the Slanted Magazine Tokyo (silver) and the Slanted Magazine Dubai (bronze) were awarded in the category Editorial among such extraordinary other works and that we were able to receive two of the coveted nails. To celebrate the day we give you 30% discount on the winning magazines Tokyo and Dubai in our shop. Just put it in your shopping cart and use the discount code ADC2019 (valid until 05/31/2019)!

A little review: General consensus of the speakers was a high on creativity as an important medium for the masses. Be it Jonathan Meese, who proclaimed art as a form of government in total anarchy, or Prof. Roland Lambrette, who called communication the most important binding medium between us humans, the quality of design as an effective power of communication and the designers as co-producers, whose fees should never be seen as money of silence. More important is the “what”, not the “how”. Out of the safety of the opium of beautiful appearance. We should take responsibility for our content, because we are responsible to the people we reach. Prof. Dr.-Ing. h.c. also showed this impressively. Volkwin Marg, who as an architect for stadiums is an expert in staging for the masses. He showed a film that vociferously linked the images of crowds of people with flocks of birds in order to then draw a bow to ascending aircraft fleets. A stadium – birds – airplanes. The film itself was also staged with the intention of emotionally capturing us viewers.

The actual motto of the ADC this year was “Creative Intelligence—How Ideas Are Created.” And so, in addition to the effects of creative activity, there was also talk about how one’s own creative work can be promoted. As a lecturer at the School of Biological & Chemical Sciences, Queen Mary University of London, Dr. Caroline di Bernardi Luft showed the scientific perspective on creativity and explained why flashes of inspiration come out of nowhere and why we often find the ideas in procrastination that we have been searching for so long in stress. In a nutshell: Our brain learns to work according to certain patterns. When the area that applies these same learned rituals rests (for example in the evening) our mind can work more freely, unaffected by experiences and learned ways of thinking. Another question was to what extent AI and technology can replace creative work. Fortunately it was agreed that creativity still requires the human being. A computer can paint: The painting Edmond de Belamy, which was created by an AI, was auctioned off to a stranger for more than 400,000 US dollars at the auction house Christies in New York. The algorithm that made this possible for the computer was nevertheless created by the people around Pierre Fautrel from the Obvious collective.

The exhibition at the Museum für Arbeit in Hamburg is also worth a visit. In addition to the works of the professionals, the works of the juniors show the quality of young design in Germany—this gives hope that many golden nails can be distributed in the future as well. After a silver and gold confetti award show, in which the works and nails of course also helped to impress the audience, the night began. The musician Ren and the DJ team Dragos&Ash provided the right sound for the finale of a successful congress at Kampnagel. The well-thought-out curating of the many lectures created a framework that favored the exchange among each other.

We are looking forward to the ADC Festival 2020!
adc.de

Forward Festival Hamburg 2019

The Forward Festival celebrates a small anniversary from 4 to 5 July at the Millerntor Stadion in Hamburg. For five years now, the festival for creativity, design and communication has been taking place and has established itself as one of the top addresses in the European creative scene within this time. Every year around 2,000 visitors come to Hamburg to celebrate with the most influential creative minds from all over the world. This year, you may look forward to the graphic design legend Mirko Borsche, the “godfather of grunge typography” David Carson, the british designer Gavin Strange, the Illustrator Anthony Burrill and the renowned US advertising agency AKQA.

When?
July, 4th to 5th, 2019

Where?
Millerntor Stadion
Harald-Stender-Platz 1

20359 Hamburg

More information here.

The Open End – Creativity Festival 2019

The Open End Kreativfestival creativity festival is a creative gathering organized by the End Collective in collaboration with Rotondes. The Open End will be held in the impressive Rotondes Cultural Center, a one-of-a-kind venue in the heart of Luxembourg City. Featuring an array of local and international talents, ranging from graphic design, motion design to illustration. A 1-day experience celebrating creativity with free entry!

This year, you will have the opportunity to visit an art exhibition, listen to live music, enjoy food and drinks, and much more.

Speakers
Julia Kahl, Slanted Publishers / Slanted Blog Magazine (DE) | publishing and media house, magazine
Musketon and friends (BE) | illustration, visual art
FOREAL (DE) | art direction, animation, illustration
Skill Lab (LU) | motion design, film, photography
Michel Welfringer (LU/BE) | graphic and editorial design, typography
Lynn Harles (LU/DE) | transdisciplinary design, research

Exhibition with works by
Yliana Paolini, Kaiwa, Vincent Genco-Russo, Patrick Hallé, Jo Malano, Laurent Schmit, Martine Pinnel, Jeff Poitiers, Alain Welter, Mik Muhlen, Julie Wagener, Al Reinert, Kodji, Giamba, Lynn Theisen, Oh Mamie, Mike Z, Gianmarco, George Heartwork, Kousca, Anne Mélan, Henri Schoetter, Lionel Demarville, Dan Sinnes, Foreal, Hideyuki Katsumata, Alexander Peifer, Steffi Zepp, Annick Kieffer, Christophe Peiffer, Rick Tonizzo

Schedule and details coming soon
More informations on the-open-end.com

Slanted Shopping Thursday

Today is a perfect day to browse our Slanted Shop and discover new publications. Therefore we present you four different magazines, which are worth a look:

Reportagen send the best authors around the globe. For stories that stay. For example Katharina searches for her self between punk and prefabricated buildings.
Reportagen Band #46 at the Slanted Shop, 136 pages, 16.5 × 23 cm, 15.– €.

CALEOPAPER is a bi-annual paper bulletin providing a coverage of modern men’s fashion and lifestyle, focusing on German-speaking countries.
CALEOPAPER Summer 2019 at the Slanted Shop, 48 pages, 28.9 × 39 × 0.5 cm, 5.– €.

502 Bad Gateway is a mens style magazine that features stories behind brands and the people that make them. By viewing menswear from a product design perspective, the magazine features brands that do things correctly and responsibly—avoiding destroying the earth as much as possible.
502 Bad Gateway at the Slanted Shop, 120 pages, 21 × 27 cm, 10.– €.

DERIVE Wanderer explores places, past and future, by walking the streets and exploring architecture and artifacts, from the colonial lane houses under the blazing neon skies of Shanghai, to the towering mega-blocks of Hong Kong and further, DERIVE Wanderer seeks to understand the world’s cities as they were and as they might have been.
DERIVE Wanderer ZINE #4 – Shanghai at the Slanted Shop, 28 pages, 14.8 × 21 cm, 14.– €.

 

 

Slanted in Prague: Briefcase Type Foundry

When we took a look at the contemporary design scene in Prague in August 2018, we were allowed to visit Tomáš Brousil, Petra Dočekalová and Radek Sidun from Briefcase Type Foundry in their studio.

Briefcase offers a wide range of unique and original Czech fonts by authors, who may not wish to set up their own type foundry. It profiles itself as an independent type foundry. Briefcase digitizes original font designs, offer fonts by young authors and help publish older, previously unreleased fonts. The project is a logical extension of the Suitcase Type Foundry.

The exciting works of Briefcase Type Foundry can be found in the Slanted Magazine #33—Prague, additionally we conducted a video interview with Tomáš Brousil, Petra Dočekalová and Radek Sidun about their attitude and work. Take a look at our new issue and the video platform to meet more creative people from Prague!

Photography: © Dirk Gebhardt, Slanted Publishers

Bauhaus 4.0 meets Campaign and Brand Design

What can we learn from the Bauhaus—how can interdisciplinarity and social vision help to overcome today’s challenges? What can advertising and branding do to create credibility in times of fake news and greenwashing? What role does storytelling play when it is really played across all media? How can we finally succeed in playing communication via the gang in such a way that it actually becomes cross? Are not algorithms the new building material?

At the panel discussion on May 28th, 2019 in Reinbek near Hamburg, we will discuss the role and potential of advertising and branding in times of digitization in a pointed and provocative way. Et al with Claudia Fischer-Appelt, Johannes Erler, Matthias Schrader, Dr. Babette Peters as Special Guest, moderated by Boris Kochan and Ulrich Müller. Welcome by the President of the BDG, Claudia Siebenweiber and the Managing Director of Kreativgesellschaft Hamburg, Egbert Rühl. An evening on a small scale for designers, teachers and students in the paper warehouse of E. Michaelis & Co.—join in the discussion! The event ist hosted by the BDG (Professional Association of Communication Designers) and supported by the Hamburg Creative Society as a regional partner.

Te event is part of the event series Bauhaus 4.0—Future is made of design. Digitization, artificial intelligence, blockchain, automation and robotics are changing companies rapidly and sustainably. In doing so, they not only act as economic success factors, but also deeply intervene in the private world of each individual and transform society as a whole—and thus politics, social affairs, education, justice etc.

How can we use the utopian potential of the Bauhaus not only to react to societal developments, but to actively shape them? How to learn from the most sustainable design school in history? The competence of designers and architects is again very much in demand today—with great courage for innovations—to ensure trust and accessibility, security and identification in a world of upheaval. How to design a new home? A future, a Bauhaus 4.0? In a total of ten podium discussions in 2019, existing and new ideas will be collected, ordered and weighted. Three to four top creatives with very different fields of activity and experience are developing first approaches for a future worth—under the direction of the head of the German Design Day, Boris Kochan, and the journalist and theoretician Ulrich Müller.

Bauhaus 4.0 meets Campaign and Brand Design

When?
May 28th, 2019, 6:30 p.m. to 8:30 p.m.
registration at 6 p.m.
followed by evening meal

Where?
In the paper warehouse of  E. Michaelis & Co.
Senefelder-Ring 14
21465 Reinbek, Hamburg

Tickets
8.– € per person
available here

Burt Font

Burt is an extended grotesk with a condensed uppercase designed by Jan Charvát and distributed through his foundry Font Renegade. It combines modern Bauhaus features with traditional grotesk details. And the “X,” what a banger! Well it actually is. That what gave the font its name—buřt = sausage. But the story behind this font is little bit more complicated.

The whole idea of a new font came from a need of solving a problem: Like Erik Spiekermann once said: “There is always a need for n + 1 fonts.” and this was the case. The problem was that any font used for the students fonts exhibition title was failing at one of the most important places—hollarka.xyz—the project’s name and at the same time the web domain’s name. Mostly condensed fonts were having better results, but they never fit in the overall look of the project. So they needed the n + 1.

The starting point was the combination of “xyz,” the most improbable glyphs to be made in the beginning of a new typeface. The “x” really asked for a untraditional solution, “y” too and “z” … well, unless Italic, there is not much to do in grotesk, isnt’it? All the other details in the font went more or less from these three glyphs.

It all ended up with full Latin extended A support, Oldstyle Figures, Fractions, Stylistic Sets, Case Sensitive Forms, Alternates and much more. Three widths and three weights, all together nine styles, 579 glyphs.

Burt

Type foundry: Font Renegade
Designer: Jan Charvát
Three Widths: Narrow, Normal and Wide, each in Regular, Medium and Fat
Price for one width, each with three weights: 25,– Euro
Price for whole family: 45,– Euro
Buy

High Noon Special: Gerhard Lang

High Noon are twelve noon lectures and irregular special evening events at the Design Department of the University of Applied Sciences Darmstadt. Gerhard Lang’s artistic work is poetized science. In his research, he traces cultural processes such as perception. How we explain our existence and the world is examined in a mixture of seriousness and play. For Lang, the question of the relationship between landscape and man is essential in this context. Lang’s special strategy of analysis operates with the most diverse acoustic and pictorial procedures, which he knows how to use per formatively and playfully in his work. Gerhard Lang’s performances and visual works could be seen at documenta 14 in Kassel, the Venice Biennale, the Kunsthalle Düsseldorf, PS1 in New York, the Hayward Gallery in London and the Canadian Centre for Architecture in Montreal (CCA).

High Noon—Gerhard Lang

When?
Wednesday, June the 5th, 2019
7 p.m.

Where?
Aula Design Department
Hochschule Darmstadt
Olbrichweg 10

More informations here.

The Monocle Guide to Shops, Kiosks and Markets

How can stationary retail continue to hold its own in times of online shipping, rising rents and global market giants? The Monocle Guide to Shops, Kiosks and Markets published by gestalten, addresses this question and shows what makes an unforgettable shopping experience.

The volume introduces over 100 stores and entrepreneurs worldwide that surprise with unique and creative concepts—from umbrella specialists to men’s outfitters, kiosk owners and hatters. With many tips, interviews and essays, this volume becomes an essential guide for all those who want to open their own business and run it successfully. Because still the sales places remain most exciting, which take place at surprising places, on the road and in the life of humans. Places where encounters become movements.

Participating successfully in the lives of other people, a goal not only of brands and markets, but a goal whose fulfillment this book can promote.

The Monocle Guide to Shops, Kiosks and Markets

Made by: Monocle
Published by: gestalten
Release: April, 2019
Volume: 304 pages
Format: 18 × 23.5 cm
Features: Full color, hardcover, stitch bound
Language: English
Price: € 35.–
ISBN: 978-3-89955-967-5

Buy here

Type Director’s Club – Ascenders 2019

As part of its goal to support young designers and excellence in typography, the Type Directors Club is inaugurating Ascenders 2019, a portfolio-based competition to recognize outstanding type-oriented work of designers who are 35 years of age and under. This competition encourages designers from around the world to submit portfolios showcasing their use of type. Previous Ascenders have included young designers from Argentina, Brazil, Canada, China, Croatia, Denmark, Mexico, Poland, Portugal, Singapore, Spain, and the United States, whose work can be viewed at www.tdc.org.

Members of the TDC Board of Directors will review all submitted work and select ten aspiring and inspiring designers who are expanding the art of typography. Ascenders 2019 honorees will be announced on July 17, 2019 at the Type Directors Club annual awards ceremony at The Cooper Union in New York. The Type Directors Club will exhibit the Ascenders 2019 work, which will also be published in the TDC’s annual, The World’s Best Typography.

Rules for the competition and further portfolio requirements are in the competition websiteType Directors Club seeks submissions in the form of a single PDF portfolio containing designs that rely on type, are dominated by type, show particular ingenuity in the use of type, or create type. Other elements, such as photography and illustration, may be present, but the judges will focus on type. Applicants are requested to avoid including their name in the PDF submission.

The deadline for submissions is June 15, 2019.

Ascenders 2019

For more information, contact:
Carol Wahler, Executive Director
[email protected]
(212) 633-8943
Type Directors Club
347 West 36th Street, Suite 603
New York, NY 10018
www.tdc.org
www.ascenders.tdc

Slanted Shopping Thursday

Today is a perfect day to browse our Slanted Shop and discover new publications. Therefore we present you four books from POOL Publishing, which are worth a look:

With FACTS AND FICTION artist Peter Phobia presents a carefully selected overview of his works and solo exhibitions in a limited artist collection.
FACTS AND FICTION at the Slanted Shop, 180 pages, 18 × 22 cm, 28.– €.

MEMORIES OF THE CAVE puts the portrayal of cave paintings into a new context. These are simplified in their complexity in experimental drawings and presented in manipulated form in their playful lightness of the monochrome present. Illustrations.
MEMORIES OF THE CAVE at the Slanted Shop, 116 pages, 21 × 29,7 cm, 15.– €.

FASSADE PARADE is a collection of lost souls of modern aesthetics compiled by Tobias Faisst that stand in strong contrast to pixel-perfect designs and high-end photography.
FASSADE at the Slanted Shop, 84 pages, 14,8 × 21 cm, 10.– €.

TROTTELKOLLETIVE bursts through the verbal idiocy of the advertising industry. Leaves the thought-destruction machinery behind and gets into a new defective existence. Poems.
TROTTELKOLLEKTIVE at the Slanted Shop, 86 pages, 14 × 22 cm, 12.– €.

Let your creativity grow: 40% discount now available on Creative Cloud

Creativity is an oasis – Adobe Creative Cloud offers all tools, apps and features to transform ideas into unique designs. Try it out and increase your productivity: until 23.05.2019, you can get Creative Cloud for just € 35.69 (incl. VAT) instead of € 59.49 per month.

What does such an oasis for designers look like? The artist Nadine Kolodziey is one of this year’s Creative Residents at Adobe. In her artwork from the “garden of creativity”, she shows the magic behind Creative Cloud. Nadine calls this her “magical power”. She says: “I can create trees and design clouds; I can overcome time and space and work on a file with friends from all over the world at the same time.” This allows creativity to grow.
Nadine sees herself as an interface between analogue and digital design. For her “garden of creativity” she cuts shapes out of foil to melt them down again in the next step, then she photographs them and refines them in Illustrator CC with the new freehand function. Via the CC library, the visual item is exported to Adobe After Effects CC where it is animated. The final editing and adding of sound effects and music is done in Adobe Premiere Pro CC. This hybrid way of working gives her design a special look.

MORE IN THE VIDEO

And what does your garden of creativity look like? Ensure you get your Adobe Creative Cloud for just € 35.69 (incl. VAT) instead of € 59.49 per month between 16.05.2019 and 23.05.2019.

GET STARTED NOW

Mut zur Wut 2019: Announcement of the winners

Out of 3,120 posters from 1,520 participants from 66 countries, the 5-member jury consisting of Ariane Spanier, Verena Panholzer, Eduardo B. Arambarri, Steffen Knoell and Julia Kahl selected 100 finalists and 30 winning posters in the competition Mut zur Wut 2019. The quality was high, the topics varied—topics such as climate change, abuse in the church, migration and lack of housing were the dominant themes.

Congratulations to the winners!

Mario Kupcevsky (Austria)
Elias Riedmann (Austria)
Toan Vu-Huuu (France)
Amelie Le Boedec (Germany)
Brid Hofmann (Germany)
Christina Hermainski (Germany)
Julia Schygulla (Germany)
Laura Markert (Germany)
Laura Holst & Carolin Eberhardt (Germany)
Lea Boberschmidt (Germany)
Leonie Henze (Germany)
Lorenz Grohmann (Germany)
Maxwell Hathaway (Germany)
Mitja Schneehage (Germany)
Mycha Schekalla (Germany)
Peer Hempel (Germany)
Rebecca Metz (Germany)
Sebastian Schellenberger (Germany)
Vivien employees (Germany)
Anett Eszteró (Hungary)
BiancaConsiglio (Italy)
Laurent Schmit (Luxembourg)
Michal Matoszko (Poland)
Lukasz Chmielewski (Poland)
Jorge Chamorro (Spain)
Kathrin Scheller (Switzerland)
Kleon Medugorac (Switzerland)
Lazar Jeremic (Switzerland)
Thomas Steiner (Switzerland)
Carilla Karahan (Turkey)

The 30 winning motifs will be shown from mid-July to the end of August 2019 in public spaces and in areas of various cities as well as in several exhibitions. The 100 finalists will be shown at the exhibition in the Heidelberg courthouse at the end of July. And all posters will be published in a catalogue.

Biennale Internationale de Design Graphique

Le Signe, centre national du graphisme is organising the 2nd edition of the Biennale internationale de design graphique from 23 May to 22 September 2019 in Chaumont. Following in the footsteps of the emblematic poster festival of Chaumont, the Biennial will celebrate graphic design over four months, an opportunity for all its participants to meet up, discuss practices and topical issues thanks to a variety of events all over the city. Post Medium is the theme of this 2nd edition, a term that will be illustrated in an eponymous exhibition, addressing the processes of transformation of the discipline, and which may be interpreted in three different ways:  post-print, multi-surface or beyond the surface. The Post Medium exhibition will show works by the artists The Rodina, Dia Studio, Roosje Klap, Pauline Le Pape, Josh Schaub, Erich Brechbühl, Laura Knoops and Jonathan Castro.

The public will discover a program of events that will highlight emerging as well as established artists from the graphic design scene, with solo exhibitions of the work of Frédéric Teschner, Karl Nawrot, Camille Trimardeau and themed exhibitions such as La Fabrique de l’Affiche the most beautiful French books and the student competition. The Biennial will inaugurate the 28th International Posters Competition, a key event for graphic designers. Around a hundred posters selected among the best contemporary productions will be displayed in an exhibition that will include, for the first time in the history of the international competition, animated posters.   

Participatory workshops, group discussions, concerts and conferences on the subject of graphic creation will also be organised to help people transfer knowledge, discover, discuss and share in a friendly atmosphere. The Biennial is designed for an international audience, students and professional graphic designers, and keen neophytes alike, and aims to democratise the graphic design discipline and make it more accessible.

When?
May 23th, to September 22th, 2019
Open from Wednesday to Sunday
from 2 to 6 P.M.
7/7 upon reservation : [email protected]

Where?
Centre National du Graphisme
1 Place Émile Goguenheim
52000 Chaumont
France

Free entry to exhibitions, café and co-working space
More informations here

The Age of Inferior Design

Sepideh Torabi is a graphic designer from Dubai. In the following article, she throws a critical eye on the international design scene.

Graphic design, the art of visual communication and problem solving with the use of typography, images, and illustrations has long been established as a prominent practice. For many decades, designers from around the world have used their creative skills to make the design industry robust, worthy, and exciting. However, with the advent of various software systems and the ease of access to technology and people without appropriate education or experience in graphics, the value of design has faded immensely. Understanding this phenomenon is important because it’ll initiate a key conversation about the root causes that contribute to the damaged reputation of the Graphic Design industry.

First, the ease of access to software has created a false perception for many that they possess advanced design skills. Now more than ever, software monkeys profit by creating inferior work and plagiarizing the efforts of hardworking professional designers without any suitable knowledge and respect to the real fundamentals of design and the industry as a whole. The methodology of graphic design requires not only software but also complete training and technique, skills that professionals work hard to gain and take years to achieve.

Second, low-cost automated alternatives are taking over good design practices; there exist many sources that offer $ 5 logo designs created by the side of crowdsourcing and plagiarism. Sadly, It seems originality doesn’t exist anymore.

Additionally, many creative agencies treat graphic designers like the subpar, cheaper alternatives that exist, forcing designers to work under severe pressure with unrealistic deadlines and turnaround expectations. Unfortunately, they know people are too scared to go jobless these days, and therefore, take professionals for granted. However, the question is how do agencies expect a creative mind to create fascinating work under haste and improper deadlines? In addition, many times, companies engage in the unethical activity by asking several designers to pitch design ideas, and shortly after, plagiarize and have a cheaper company execute the best idea that was presented to them.

Consequently, many clients ask for unlimited project revisions with minimal expected delivery time. Such clients do not comprehend the creative process and do not know the actual value of design, as they perceive revisions to “take only a second.” These clients underpay designers and expect repeated business relationships with them. Unfortunately, due to the weak global economy, such practices by businesses force designers to forget their hard work and talent’s worth. “Make it pop; it looks plain, it doesn’t seem designed.” These are just a few examples of adverse phrases graphic designers have become familiar with hearing from their business clients.

Often, clients tend to take on the role of the designer unexpectedly and start advising on design techniques such as choosing colors and angles. In other occasions, clients believe that designers haven’t made any impactful design decisions prior to presenting them to businesses. Such clients believe that all that the designer has done is randomly slap onto the keyboard and produce work that looks like a mistake. It isn’t uncommon for designers to overhear many clients say “if I knew how to use design software, I could do this in no time. Easy!” For an industry of people who look for actionable and specific feedback on their designs and work, clients hardly take the time to give the type of constructive criticism and feedback that designers want to receive.

Unfortunately, since most designers don’t get enough credit they deserve for their hard work and many clients don’t trust a designer’s artistic judgment, designers are discouraged from applying enough effort into the design process. This means that we as designers should accept responsibility for what is happening in the industry. Working for free and undervaluing our work has spoiled business clients. We forget just how important it is to ask for fair compensation in exchange for our talents and services. The conformist nature of the industry has forced many of us not to take projects seriously, recycle old ideas, and allow for dismal brainstorming and sketches.

But what is the solution to this industry-wide issue? The prospect of designers standing up for their worth might seem difficult, but it is doable if we as designers refused to provide free work. Creating designs for free takes away from others taking our hard work seriously. On the other hand, clients must know that Graphic Design degrees are mandatory when hiring designers. While an academic education might not bring creativity along with it, it teaches an individual the art and fundamentals of proper design based on principles. Clients who are looking for the cheapest and most economical options must understand most inexpensive options will cost them more money anyway in the long term. Cheap designs might be tempting, but doing more crafting rounds and looking for designers to make revisions to the cheap designs will end up wasting precious company time and money.

In conclusion, I believe that we as designers must set the rules of our own industry and acknowledge the importance of this conversation. While market trends and finding clients can be difficult, respecting our talent and work will only lead to a much better professional path and future for us as graphic designers.

RINDERMARKT München

When an online printing company like FLYERALARM suddenly publishes its own magazine, you first think of a presentation of its own portfolio, machinery or special offers – I was very positively surprised when I browsed through the 192-page publication and read it in.

With interesting stories and interviews, the RINDERMARKT magazine unfolds the panorama of a lively, livable and extremely versatile city: Munich. Personalities from the cultural, business and leisure life of the city have their say and provide exciting insights – into their work, into their lives and into the pulse of a city that likes to cultivate its own charm and character.

The singer-songwriter, actor and poet Konstantin Wecker talks in an interview about the courage to freedom, the photographer Heinz Gebhardt brings back the late 60s and early 70s with his pictures, when Munich has finally become a big city. Fashion designer Sarah Kaldewey, on the other hand, takes it personally and says: “Quality will never be just a short-lived trend.” More than 50 insider tips with useful and good addresses for going out, enjoying, relaxing and staying overnight round off the whole thing.

“With the new magazine, we want to put a city in the limelight where everything is relaxed instead of slow, fashionable instead of different and traditional instead of traditional,” says Rolf Dittrich, press spokesman for FLYERALARM.

And the name? FLYERALARM has been present in Munich for a few months now with an exclusive lounge for its customers. The address: Rindermarkt 16 – formerly a marketplace for livestock and now a shopping street, right in the heart of Munich.

With the RINDERMARKT magazine, FLYERALARM Media presents its new division, which was established last year: Here, customer and employee magazines as well as other corporate publications are created from a single source – research, text, photography, layout, and printing.

In addition to direct mailing to business customers, RINDERMARKT München will also be on display at selected partners and customers as well as in the new FLYERALARM Lounge at Rindermarkt 16. More information here.

RINDERMARKT Munich

Publisher: Thorsten Fischer, FLYERALARM Media
Art Direction: Eva von Tsurikov
Edition: 2,500 pieces
Publication cycle: up to four times a year.
Format: DIN A4
Language: German
Binding: PUR adhesive binding
Print: FLYERALARM
Color: CMYK
Refinement: scratch-resistant matt film with partial relief varnish
Paper: 300g Multiart-Silk cover, 115g Circleoffset White