BK LVRS

Posted on by Nina Vollmer

We had so much fun yesterday in the print shop at Stober Medien! In cooperation with Slanted and Inapa, they invited to a fun and sociable evening with many conversations, books, wine and pizza—freshly baked and so tasty! 🍕Not to forget to mention that the chef entertained us with Italian songs while baking the pizzas.

Inapa presented their new paper fan for publishing and gave personal advice at their stand. Everyone was invited to take a look at the large selection of different papers and get information and personal advice. During a short presentation by Julia Kahl, everyone could listen to the special nature of Slanted’s magazines and publications and the process behind the latest magazine Slanted Magazine #42-Books.

As a present, guests could take away a nicely designed notebook produced by brandbook. 📚

ABC Connect Unites Fonts with Furniture

Posted on by Dinamo

The German type foundry Dinamo and design studio BNAG have connected (🤭🙄) to create a digital dot font and accompanying set of metal brackets, which let users create lettershapes with screws.

Let’s explain: The ABC C-o-n-n-e-c-t-o-r-s are easy-to-use brackets that help DIY builders join bits of wood together for quick, spontaneous furniture making. Inside their dot matrix grids, builders can arrange screws into letter shapes or other patterns. Unlike traditional furniture, which conceals nails, screws, and other binding techniques, these connectors celebrate—rather than disguise—how an object is constructed.

ABC C-o-n-n-e-c-t is Dinamo’s dot font inspired by the metal brackets’ own grid system, available in five screw head styles. It contains monospaced and proportional styles, all with corresponding Italics, making it (probably) the world’s first Italic dot font.

Alongside the font and metal bracket system, Dinamo has also released a zine and web tool. The publication contains instructions for possible furniture designs made using the grid of the font, as well as “blueprints” for creating letterforms with screws. At www.connect.parts, visitors can upload images of their C-o-n-n-e-c-t-o-r creations with the click of a button.

Slanted Open House—Recap

Posted on by Nina Vollmer

We are more than thrilled about our first Open House last Thursday—it was a wonderful evening with great guests, conversations, drinks, books, and laughs!

We are very happy that so many of our readers and friends came to our office in Karlsruhe—even from Czech Republic. It was a pleasure to meet everyone in person, to get to know some of our readers, and to exchange thoughts on books. Over a drink or two, we had inspiring conversations with everyone who came. At our book flea market everyone could browse through many of our books and get their hands on some of the last copies.

Thank you to everyone who showed up and also to all our readers and supporters in general! ❤️

This may have been the first, but certainly not the last Slanted Open House—see you (again) next time!

Dynamic Font Day 2023—Recap

Posted on by Juliane Lipp

After a “creative break” the Dynamic Font Day is back, once again organized by the Typografische Gesellschaft München in the rooms of the Munich School of Design & Fashion in the very city center of Munich. The Dynamic Font Day 2023 was curated by Tim Ahrens, Antje Dohmann, and Oliver Linke. 

After a warm welcome, Phillip Koller from Berlin kicked things off with his presentation on Parametic type. In contrast to variable fonts, parametric or procedural type is not trimmed by a minimum or maximal values, which can lead to interesting effects by overdriving values. Bugs, glitches, and surprises are welcome and sometimes inspire further development.

The next lecture by Kimya Gandhi was about Devanāgarī type. The title Pushing boundaries of Devanāgarī type design already says a lot about the very exciting topic of the lecture. She spoke about how the development of the centuries-old Devanāgarī fonts was hampered by the printing press. The letterforms’ rich history and vibrance that one sees in hand lettering was not able to be translated into digital fonts–until recently. She says that OpenType, Unicode standardization, and the widespread use of the internet in India have opened up new possibilities for the existence of fonts and there is no better time to create new designs than now. 

After a short break, Dutch designers Akiem Helmling and Bas Jacobs from design studio Underware spoke about their concept “Look backward, write forward” that encourages reflection on the past as a source of inspiration and insight for the future. While this approach can be applied to various aspects of life, including personal growth, decision-making, and creative endeavors, it becomes especially fascinating within writing. 

Sabina Sieghart spoke about Design matters: The use of digital media by an easy-to-read audience in her lecture. Thereby the importance of design was set into the context of people with low reading ability due to intellectual disabilities.  She researches with the target group to develop tools to simplify text in digital media.

After a very tasty lunch break, Vincent Wagner gave an overview of his understanding of 3D type, showed design and application examples, and presented accessible ways of experimenting with typography in digital space.

In her talk Reimagining Reality, Tina Touli spoke about her analog experiments, exploring the ordinary from extraordinary angles, reimagining the world that we live in, with her collection of interesting utensils from which she creates exciting campaigns.  

After a short coffee break, the day continued with the presentation Creating accessible typography through visual prosody by Ann Bessemans from Belgium. She and her team from READSEARCH developed a system to visualize the basic emotions still allowing for changes in speech prosody. 

The last lecture Procedural Typography by Daniel Wenzel  was about exploring the influence and transformative power of technology in design, highlighting the synergy between tools, generative design, automation, and AI.

After all the exciting presentations, the day ended with a nice get-together and lively discussions.

Thank you very much for having us, it was a blast!

Images: © Michael Bundscherer

Beyond Tellerrand Berlin—Recap

Posted on by Nina Vollmer

beyond tellerrand is an affordable, single-track event that brings together creativity and technology. Held in Düsseldorf, Berlin, and Munich, each gathering attracts over 500 attendees, fostering a well-known, welcoming atmosphere. The expression “beyond tellerrand” is a mix of the English word “beyond” and the German phrase “Über den Tellerrand schauen,” which means “Think outside the box.”

As usual, the speakers gave very inspiring talks on a diverse range of topics at this year’s event in Berlin. Emily Anhalt, Co-Founder and Chief Clinical Officer of Coa, talked about “The 7 Traits of an Emotionally Fit Leader”, Josh Brewer, founder, investor, advisor, and occasional startup therapist, inspired the audience with the topic “No One Else Can Walk Your Path.” Rob Draper, a renowned British Artist and Desinger, Tammy Everts, Chief Experience Officer at Speed Curve, Charlie Gerard, frontend developer, creative technologist, and book author, presented their stories and talked about pursuing dreams, the psychology of web performance, and exploring alternative, more creative interactions in JavaScript.

The list of motivating and inspiring speakers, the heart of this event, doesn’t end here: Robert Hranitzky, Niels Kiené, Guillaume Kurkdjian, Piccia Neri, Joel Gethin Lewis, Yasaman Sheri, and Shirley Wu were also part of beyond tellerrand in Berlin this year.

As promised, the community spirit and family atmosphere at beyond tellerrand really was special and created an intense and memorable experience for everyone who was part of it. We’re excited for beyond tellerrand 2024 and the new lineup! beyond tellerrand Düsseldorf will take place in Capitol Theater from May 13th to 14 and beyond tellerrand Berlin from November 7th to 8th at Festsaal Kreuzberg.

More info about beyond tellerrand 2024 here.

Every Vote Counts

Posted on by Slanted editors

To mark the 34th anniversary of the fall of the Berlin Wall, the BERLINER ZEITUNG is launching a campaign to draw attention to its Open Source platform, which anyone interested can use to submit texts. Berlin-based designer Raban Ruddigkeit has created the motifs for the campaign with the help of artificial intelligence. They show some of the peaceful revolutionaries of the last century with shocked facial features: Mahatma Gandhi, Václav Havel, Bärbel Bohley, Martin Luther King, Jitzchak Rabin and Lech Wałęsa.

The campaign kicked off with the cover of the weekend edition of the BERLINER ZEITUNG from November 4th and 5th, 2023, followed by three other front pages in the magazine. Page 3 informed readers about the content of the campaign and the function of OPEN SOURCE. “What has become of the spirit of the peaceful revolution that led to the fall of the Berlin Wall on 9 November 1989, which carried the protests and changes in Eastern Europe before that? How would civil rights and peace activists who were committed to non-violence, debate and dialogue look at today?”

Give Me All Your Money and I’ll Make Some Origami

Posted on by marcelbackscheider

The study of graphic design is currently moving in an area of tension: on the one hand, critically thinking individuals are to be formed there, who on the other hand are to quickly gain a foothold in a market that demands less criticism from them, but affirmation instead. Can these two aspects of training and education be harmonized? Is a freer kind of education possible at design universities that deals differently with the boundaries of individual disciplines and regularities in curricula?

This reader is a utopian representation of a graphic design study whose contents and structures are more oriented towards Origami instead of Money. “Give me all your money and I’ll make some origami”—this line from the song Pedestrian at best by Courtney Barnett forms the title of this work. It opens up a field of tension in which artists and designers move in capitalist economic systems and gives expression to the ambiguous relationship of art and creative workers to (earning) money through various readings. Through ideas of reform pedagogy and a focus on works of art and design history, this reader provides visual and theoretical approaches to formulate a counter-proposal.

The book is divided into four chapters. It starts with an introduction providing historical background, followed by three chapters that explore a poetic, a communal, and a philosophical approach to graphic design.

The book’s format is not rectangular but intentionally distorted. The idea behind this is that, when opened, the book resembles an icon commonly used to symbolize “reading” or “learning”—an open book.

Give me all your money and I’ll make some origami

The reader was created as part of Marcel Backscheider’s master’s thesis in Communication Design at Hochschule Mainz. His work mainly focuses on typography, editorial design, visual concepts, and printed matter.
Further information here.

Some Magazine #17—Look

Posted on by Nina Vollmer

For over one hundred years, we humans of the post-postmodern times have turned ourselves into outstanding visual athletes. We made visuality our superpower. Now we are about to change the rules of the game right in the middle of it. Will all this result in some new weird kind of blindness?

With contributions by Blatant Space, Catelijne van Middelkoop, David Horvitz, Eleonora Marton, Melody “LeMoon” Bossan and Rob Lowe.

This issue of Some Magazine is dedicated to the skill, the craft and the pure joy of looking!

Since 2010, changing editorial teams of young design students research, write, and layout the bi-annual Some Magazine. It is a part of the experimental design course of Prof. Sven Völker at the University of Applied Sciences Potsdam.

Some Magazine #17—Look

Publisher: Slanted Publishers
Editors: University of Applied Sciences Potsdam, Prof. Sven Völker
Editor in chief & design: Prof. Sven Völker
Publishing Direction: Lars Harmsen, Julia Kahl
Release: November 2023
Format: 17 × 24 cm
Volume: 80 pages
Language: English
Printer: Stober Medien, Germany
Paper: lona®offset 110 g/sm and 250 g/sm, distributed by Inapa
Workmanship: saddle-stitched softcover with hot foil embossing
ISBN: 978-3-948440-67-1
Price: € 12.– (DE)

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Tÿpo St. Gallen—Recap

Posted on by Nina Vollmer

The three-day typography symposium Tÿpo St. Gallen 2023 took place for the 7th time at GBS St. Gallen, focusing on the conference theme What nobody talks about. From November 10th to 12th, 2023, distinguished speakers gave an insight into their day-to-day work and talked about everything we don’t usually talk about. In lectures, we learned about fails and fuck-ups, criticism and shitstorms, doubts, money, and also got the chance to get creative in workshops. 

The Tÿpo St. Gallen program this year offered a diverse lineup with around 20 expert speakers from Switzerland, Germany, Austria, France, the Netherlands, and Korea. With their moderation, Anne Treichel and Clemens Schedler guided us through the conference. Friday kicked off with engaging presentations from the graphic design duo Balmer Hählen from Lausanne, who gave insights into their high-quality produced print products, and Alexandre Dimos, publisher of Editions B42, from France. Ulrike Rausch then shared her insights into the technical reproduction of handwriting in her presentation. This was followed by four very inspiring short lectures by Christine Rudi, Sabrina Öttl, Data-Orbit, and Madeleine Stahel, Maike Hamacher from Büro 146. Finally, the two communication designers Matthias Frey and Tim Siegert from the German agency Q gave an honest insight into the lows of their agency history: devastating feedback and alleged plagiarism—things that agencies don’t like to talk about. The first day ended with the Typobiography book launch and Jost Hochuli’s 90th birthday party.

Saturday opened with Ladina Ingold and Katharina Scheller diving into the field of sustainable design and the influence designers can have on sustainable print production through their decision-making and well-considered choice of materials. Following this insightful session, Tÿpo attendees had the chance to choose from 13 diverse workshops presented through elevator pitches. Covering topics as wide ranging as clay modeling, poster and type design, short coaching, typeknitting … a good opportunity to exchange ideas and get creative with the other participants.

In the afternoon, Jianping He gave insights into his work as a designer and showed, how his Chinese background and culture influence him. This lecture was followed by Korean design journalist Kay Jun and graphic designer and artist Guido de Boer from the Netherlands. Sarah Owens, professor at the Zurich University of Applied Sciences, gave an expert look into her research on everyday design, a presentation that was engaging without any visual slides. Lilia Glanzmann, co-director of the Zeughaus Teufen, also impressed with her lecture program. The grand finale was a captivating presentation by Liza Enebeis, partner and creative director at Studio Dumbar/DEPT, who presented a collection of captivating motion design projects from the internationally recognized agency.

On Sunday, the finissage of the most beautiful books from Switzerland, Germany, and Austria concluded the event at the Hauspost library.

Thank you for having us—we had a highly inspiring time at Tÿpo St. Gallen and are already looking forward to the next round in 2025.

Mid-Century Type

Posted on by Nina Vollmer

Mid-Century Type offers a captivating visual exploration into how, during the middle decades of the previous century, typographers emerged as independent and influential contributors to a rapidly evolving technological landscape of communication. In the aftermath of the Second World War, designers gained recognition for their pivotal role in rebuilding economies, infrastructure, and public morale. Despite this acknowledgment, typography remained a largely unacknowledged profession. This perception underwent a profound transformation between 1945 and 1965, a period marked by extraordinary creativity. Eventually, the cultural significance of a typographer’s work could be equated with that of an artist, poet, author, or film director.

Mid-Century Type chronicles the rapid ascent of typographers in the early post-war decades. Each chapter focuses on a specific design activity where typography played a crucial role, ranging from type design and corporate identity to advertising, film, and television. David Jury’s narrative provides fresh insights into the groundbreaking work of various European and American typographers, complemented by over 500 illustrations.

This book gives its readers the perfect overview over the typographic movement during the middle decades of the last century and presents a wide range of innovative work by European and American typographers. A must-read for everyone who is interested in the history of typography!

Mid-Century Type

Publisher: Merrell Publishers
Volume: 240 pages with 500 illustrations
Workmanship: Hardcover
Format: 27.8 × 20.4 cm
Volume: 240 pages
ISBN: 978-1-8589-4707-5

Find out more here.

High Noon #72 Special with Ruben Pater

Posted on by Julia Kahl

High Noon #72 Special with Ruben Pater will take place on November 23rd, 2023, at the Faculty of Design in Darmstadt. At 7 p.m. you are invited to meet up in the auditorium!

Ruben Pater (1977, NL) works between journalism and graphic design. Under the name of Untold Stories he creates visual narratives that support solidarity, justice, and equality. He is a designer at a moment in time, when more design is about the last thing the world needs. In search for ethical alternatives he designs, writes, and teaches (currently at Elisava in Barcelona). ‘The Politics of Design’ (2016) is his first book about cultural bias in graphic design. His second book ‘Caps Lock’ (2021) looks at the role of graphic design in capitalism.
 High Noon are lunchtime & special evening talks since 2008 at the Faculty of Design at Hochschule Darmstadt.

@high_noon_fbg

Internship at Slanted Publishers—apply now!

Posted on by Julia Kahl

Du liebst Typografie und Editorial Design und möchtest in einem internationalen Verlag arbeiten? Dann bist du bei uns genau richtig! Wir vergeben ein 6-monatiges Praktikum im Bereich Redaktion/Grafik ab Ende Februar 2024 und suchen eine(n) engagierte(n) Studierende(n), der/die Lust hat zu erfahren, wie wir arbeiten und für 6 Monate Teil des Slanted-Teams wird.

Wir bieten:

  • Redaktionelle und grafische Mitarbeit am Slanted Magazin, insbesondere Ausgabe #44—Fashion
  • Redaktionelle Mitarbeit am Slanted Blog und den Social Media Channels
  • Einblicke in unsere Verlagstätigkeit (Konzeption, Redaktion, Organisation, Vertrieb, PR etc.)
  • Grafische Mitarbeit an unseren Publikationen
  • Studiofotografie, Bildbearbeitung
  • Verantwortungsvolle, selbstständige Arbeit und unter Anleitung
  • Mögliche Teilnahme an Designkonferenzen im Rahmen unserer Medienpartnerschaften

Das sollte der/die BewerberIn mitbringen:

  • Abgeschlossenes Grundstudium im Bereich Grafikdesign (o. Ä.)
  • Sichere Anwendungskenntnisse in InDesign und Photoshop
  • Großes Interesse an neuen Strömungen in den Bereichen Typografie, Type Design, Design und Kultur
  • Redaktionelles Interesse
  • Selbstständigkeit, Weitblick, Flexibilität, Kreativität und Ideenreichtum
  • Sehr gute Deutsch- und Englischkenntnisse
  • Organisationstalent und Kommunikationsstärke
  • Gewissenhaftes und genaues Arbeiten
  • Das Praktikum erfolgt im Rahmen eines studienbegleitenden Pflichtpraktikums

Das Praktikum bei Slanted Publishers findet vom 26.02.–31.08.2024 in Karlsruhe statt und wird vergütet. Bewerber*innen sollten erklären, warum sie ihr Praktikum bei uns machen möchten. Bitte richtet Eure vollständige Bewerbung als aussagefähiges PDF-Portfolio (Anschreiben, Lebenslauf, Arbeitsproben) ab sofort bis spätestens 03.12.2023 an Julia Kahl, [email protected]. Die Bewerbungsgespräche finden nach Sichtung aller Bewerbungen statt.

Wir freuen uns sehr auf Eure Bewerbung!

Die Schönsten Deutschen Bücher 2023

Posted on by Nina Vollmer

Once again, Die Schönsten Deutschen Bücher 2023 (The Best German Book Design 2023) were creatively captured in a catalog and introduced to the public for the first time at the award ceremony by Stiftung Buchkunst. The team from PARAT.cc in Munich was responsible for the concept of the new publication this time.

Each year, the competition for the The Best German Book Design 2023 brings together the most talented designers and the most refined production ideas. This year’s catalog aims to take a step back and be quite simple in the process. Simple and practical—much like a phone book, when it still had significance. All information about an award-winning work is presented together, with each book receiving as much space as possible, being shown from several angles. A thumb index provides an overview and optimal usability.

The catalog also poses the following question: How do we standardize beauty? Quite provocatively on the cover; gold stamped on pink. And then somewhat challenging on the inside with maximum simplicity: printed on grayish work paper, set in an oversized, plain Arial font, along with very straightforward scans and a pragmatic index.

The catalog is a great source of inspiration and a must-have for all book lovers out there! It invites everyone to browse and discover this year’s most beautiful German books!

Die Schönsten Deutschen Bücher 2023

Concept and Design: PARAT.cc, München
Scans: Duarte Pinto / PARAT.cc
Editorial Team: Carolin Blöink, Natalia Klaus, Franziska Herbert, Franziska Holly Geiß / Stiftung Buchkunst, Frankfurt am Main
Texts Jury Statements: Elmar Lixenfeld, Text Gestaltung Publikation, Frankfurt am Main
Translation: Iain Reynolds, Translation & Copy Editing, Lancaster
Fonts: Arial (Monotype)
Printing / Binding / Lithography: DZA Druckerei zu Altenburg
Paper: Holmen TRND 2.0, 80 g/m², supplied by IGEPA group:
Cover: Cryluxe gazelle rosa, by peyer graphic
ISBN: 978-3-9822108-2-7
Price: € 20.–

Find more information here.

Lametta 2023

Posted on by Nina Vollmer

For twelve years now, every second weekend of Advent, you can buy handmade one-of-a-kind items in the areas of fashion, jewelry, design, art, photography, and much more at Lametta—a Christmas market in Karlsruhe. Surrounded by artistic acts, live performances, small concerts, a diverse culinary offering, children’s activities, and many surprises, over 70 exhibitors from all over Germany will showcase art and design. They mostly present their products themselves, and these products are anything but industrially manufactured, boring mass-produced goods.

The first Lametta took place in the smaller adjacent Fleischmarkthalle in 2010 and had already moved to the Tollhaus after two years. This shows how well the concept is received. By now, it’s no longer a secret that you can find the most alternative, creative, and unique Christmas gifts at Lametta.

It’s definitely worth a visit!

Lametta 2023

Where?
Tollhaus Karlsruhe

When?
December 8th, 3 p.m. to 10 p.m.
December 9th, 12 p.m. to 8 p.m.

Admission: €5.– (valid for both days), free for children under 16

Latent Figures

Posted on by Nina Vollmer

Three years after Shape Grammars (2020), Jannis Maroscheck returns with an updated look on machine-generated graphics and the core motif of mass produced ideas: Latent Figures. Looking for forms of expression hidden between ancient runes and y2k logos, medieval monograms and clip art illustrations, hieroglyphs and stock icons, Maroscheck developed AI-based systems to merge the shared visual vocabulary designed by humans across eras, continents, and cultures. The underlying process simulates human inspiration, but it is an analytical, objective process. The systems consider form as pure form. They draw no reference to real-world things. In doing so, they have a stubborn intensity to them, that seems less like human creativity and more like a strange, unstoppable force of nature.

The resulting catalog is a dive into the inner workings of an AI that has seen nothing but graphic shapes and symbols. With this sort-of-dictionary, Maroscheck creates a visual language that blends pragmatic graphic design aesthetics with elusive imagery. A collection of shapes that often approximate something we know or can understand, but their meaning doesn’t quite want to resolve, they revolve around themselves, somewhere between meaning and nonsense. Offering a space to project ones own imagination and come across new ideas. 

“When I think about it, something like a graphic form, black and white, defined only by its outline, feels quite limited in what it can express, what it can communicate. Then I look at it, like a blob of ink, continuously reshaping itself, in flux, automatic, and open in all directions.” — Jannis Maroscheck

Latent Figures

Publisher: Slanted Publishers
Author & Design: Jannis Maroscheck
Publishing Direction: Lars Harmsen, Julia Kahl
Release: November 2023
Format: 21 × 26.5 cm
Volume: 224 pages
Language: English
Printer: Stober Medien, Germany
Workmanship: Softcover with flaps, thread-stitching, offset printing with silver spot color
ISBN: 978-3-948440-66-4
Price: € 34.–

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Slanted Magazine #42—Books

Posted on by Nina Vollmer

Slanted Magazine #42—Books is a magazine about books. Every day, people ponder whether the future of the (printed) book is tied to its sensual quality. How can beautiful books secure their place in the media and society? How are content, medium, and form interconnected? Is manufacturing and design quality, in addition to its functionality, simply to be understood as a marketing argument?

In this edition, Slanted Publishers delves deeper into books that are pushing boundaries, moving beyond traditional norms, and rediscovering their essence. The belief is that genuine reading encompasses more than mere skimming; it involves understanding, grasping, and engaging in creative thinking. The value placed on the tactile experience of holding a book, flipping through its pages, setting it aside, and seamlessly resuming the reading is immense. It’s an experience cherished by many, one that defines the true essence of books.

Slanted Publishers emphasizes the resurgence of book reading as a significant trend, especially for those seeking enduring experiences and embracing multi-dimensional thinking. This edition showcases books that venture off the beaten path, departing from traditional conventions, and advocates for timeless book designs where the content shapes the form.

To commemorate the magazine’s release, Slanted Publishers has introduced a limited special edition, which includes a set of pencils from Viarco, the oldest pencil factory in Portugal. Make a statement with this and become part of the BK LVRS!

The Essence and Beauty of Books in One Magazine!

Slanted Magazine #42—Books
Autumn/Winter 23/24

Publisher, Editor, Design: Slanted Publishers
Release: November 2023
Volume: 256 pages
Format: 16 × 24 × 2.3 cm
Language: English
Printing: Offset printing, Stober Medien
Bookbinding: Swiss brochure, thread stitching by Schaumann
Cardboard Cover: lona® offset, 350 g/sm
Paper Inside: lona® art, 115 g/sm, joly mittelblau, 120 g/sm, distributed by Inapa Deutschland
Finishing: Hot foil stamping
ISSN: 1867-6510
ISBN: 978-3-948440-55-8
Price: € 22.–

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SUBSCRIBE to Slanted Magazine
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The Archive of Ukrainian Design

Posted on by slanted-api

The Archive of Ukrainian Design is a mix of an art zine and a solid encyclopedia about the history of Ukrainian design, its prominent figures, and their influential works. It is aimed at reducing the number of blank spots in Ukrainian design past and at preserving the contemporary one for future generations. Zine covers almost every aspect of Ukrainian design: from graphics to fonts, industrial to product, and games. And, it reveals the projects are still little known even among Ukrainians.

Capellini

Posted on by Nina Vollmer

Capellini is a fashion-inspired variable serif font with high contrast and extremely narrow widths, including corresponding Italics by the new Berlin type foundry Show Me Fonts. Capellini is perfect for elevating your logos, posters, branding, and packaging. Its design DNA is derived from one of the logo sketches that Bernd, the founder of Show Me Fonts, drew for the Berlin-based video artist Astrid Gleichmann. He saw the potential in that particular sketch and began to explore the extremes of condensed proportions in a compressed, high contrast serif typeface. Evoking the essence of the classic Didone genre, Capellini takes it up a notch with its expressive character and uncompromising style. It can perfectly fit into the format of a vertical Instagram story with its narrow proportions and variable width. Keep an eye on Capellini Numero1, where the vertical stems give it the appearance of noodles neatly arranged in a pasta box.

About Show Me Fonts:
The foundry proudly presents a curated collection of characterful and versatile typefaces, a labor of love crafted by founder, Bernd Volmer. With a background in Font Engineering, Type Design, and Project Management from renowned entities such as FontShop, Monotype, and HvD Fonts, Bernd is delighted to bring his long-held dream to fruition. Show Me Fonts emerges as not just a foundry, but a dynamic platform where he and his collaborators can channel their creative energies and provide a fresh source of fonts for designers.

Capellini

Have a closer look at Capellini here.
Free trial fonts with the complete character set can be downloaded here.

Typeface of the Month: Routine

Posted on by Juliane Lipp

Come take a look at out latest Typeface of the Month: Routine.

Routine is a friendly and playful Sans. With soft edges, joints, and curves, Routine blends seamlessly into a page. Routine is an original take on Sans Serifs found in French newspapers from the late 19th century. These Sans come in a range of styles—grabbing the readers attention with its inky, charming features. These characteristics are conveyed into Routines contemporary and versatile design, encapsulating the broad range of styles from that period.

Routine comes in 30 different styles across weight, width, and slant. Containing a wide variety of glyphs, supporting Extended Latin, Cyrillic and Greek, stylistic sets, and a handful of illustrations, Routine has something for everyone.

But this isn’t a one off typeface. As the name suggests, Routine is intended for everyday use. Conservative with its weights and widths this typeface has a legible and eye-catching design that is pared-down enough to work well at small sizes but contains enough character to stand out on a page at larger sizes.

From newspapers, magazines and posters to websites, animations and packaging, Routine radiates a sense of fun, warmth and charisma that will enrich any design.

Typeface of the Month: Routine

Foundry: Blaze Type
Designer: Blaze Type
Release: 2023
File Formats: OTF, TTF, WOFF, WOFF2
Styles: Display & Text,
Widths: Condensed, Normal, Extended
Weights: Thin Condensed, Thin Condensed Italic, ExtraLight Condensed, ExtraLight Condensed Italic, Regular Condensed, Regular Condensed Italic, Medium Condensed, Medium Condensed Italic, Bold Condensed, Bold Condensed Italic, Thin, Thin Italic, ExtraLight, ExtraLight Italic, Regular, Regular Italic, Medium, Medium Italic, Bold, Bold Italic, Thin Extended, Thin Extended Italic, ExtraLight Extended, ExtraLight Extended Italic, Regular Extended, Regular Extended Italic, Medium Extended, Medium Extended Italic, Bold Extended, Bold Extended Italic
Price: per style starting at 40€, family starting at 400€

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Surviving as a graphic designer in Ukraine

Posted on by slanted-api

Born from personal reflection about experiences in Ukrainian agencies, the author was trying to find an answer on how to work and remain happy in the challenging Ukrainian conditions. Based on discussions with other designers and personal contemplation of the graphic design field in Ukraine, these posters were created. The visual language continues the reflection of being a graphic designer in Ukraine. It’s a mix of concerns, a bit overwhelming, hyperactive, and a lot to handle at once.

Beyond Artificial: The Touch’s

Posted on by slanted-api

In my creative journey, I’ve explored AI through the Stable Diffusion tool, aiming to unleash its artistic potential. Using my earlier abstract images as a starting point, I endeavored to depict the sensation of a gentle touch visually, pushing artistic boundaries. This led me to adopt AI-powered techniques. Through precise experimentation and parameter adjustments, I blended photography and painting, yielding captivating and evocative results.

Fight for Kindness

Posted on by Nina Vollmer

In these tumultuous times, and in an even more self-centric world, genuine acts of kindness are becoming endangered, teetering on the brink of obsolescence. Recognizing this alarming trend, TypeCampus, in collaboration with Italy’s distinguished type foundry, Zetafonts, proudly presents Fight for Kindness.

This influential initiative is a clarion call to the design community worldwide to illuminate the power of kindness through the medium of typography. The project converges the worlds of art and empathy, capturing the essence of kindness, peace, mutual trust, courage, inclusiveness, and ethical integrity. In it’s first edition in 2022, Fight for Kindness has collected several recognitions and awards, including the Indigo Gold award in Integrated Graphic Design for Social Change, Best of the Best in Social Responsibility at the C2A, and it was shortlisted in the Design for Good category of the Art Directors Club 102nd Award.

The project, designed to mark World Kindness Day celebrated annually on November 13th, is now in its second edition: this year’s response was overwhelming: Over 300 contributions, using 11 different scripts and languages, from illustrators and visual artists from every corner of the globe that supported the cause, creating a typographical message that highlights the myriad dimensions and forms of kindness.

Fight for Kindness

This year, the global, multi-location, exhibition will showcase these typographic tributes from Milan to Los Angeles, Sofia, Rome, and Budapest.

Milan, Italy
Naba Milano Library
November 13th, 2023 to February 28th, 2024

Sofia, Bulgaria
Coffee Syndacate
November 2nd to 13th, 2023

Budapest, Hungary
House of Lucie Art Gallery
November 7th to 13th, 2023

Rome, Italy
Naba Rome Library
November 13th to December 31th, 2023

Los Angeles, US
Junior High Los Angeles
November 5th, 2023

Find detailed information here.

Space for Visual Research at HBKsaar

Posted on by mwesely

The HBKsaar cordially invites you to their exhibition Space for Visual Research, in which they show, for the first time, examples of works, bachelor theses, and extracurricular activities based on the experimental approach to image production in the field of visual research of the last 11.97 years. The Space for Visual Research (SfVR) was founded in 2013 at the Bauhaus University Weimar by Markus Weisbeck as part of the Chair of Graphic Design and combines the investigative approach of a think tank with practical creative production, empowering design students to develop innovative visuals.

When?
24.10.-21.11.2023

Opening hours:
Tuesday 2–6 p.m., on opening days from 7 p.m.
Wednesday to Saturday 5–8 p.m.
Additional appointments upon request

Responsible parties: Prof. Indra Kupferschmid, Prof. Stefan Hauser, Prof. Markus Weisbeck
Collaborators: Eva Richter, Adrian Palko, Manuel Wesely
and numerous students of the Bauhaus University Weimar

More information here.

AR One Sans

Posted on by niteeshyadav

Today, we introduce AR One Sans, an unprecedented typeface family meticulously designed exclusively for augmented reality (AR) environments and spatial user interfaces. In a world perpetually advancing technologically, the demand for fonts optimized for diverse digital environments has reached an all-time high. This innovative font merges aesthetic excellence with technical precision, elevating readability and meeting the demands of the most challenging and pioneering digital scenarios. AR One Sans represents the future of typeface design, with a special “AR Retinal Resolution” axis defined by Niteesh Yadav to ensure compatibility with all future AR glasses.

The AR One Sans Advantage

High Legibility: AR One Sans boasts a design crafted with an unwavering focus on maximum legibility. Its low contrast and generous spacing guarantee that content remains impeccably clear, even against busy backgrounds and from various reading angles.

Versatility Across Devices: This typeface is the product of extensive research and exhaustive testing across a wide array of devices, ranging from high-end AR headsets to low-resolution smartphone screens. This cross-device compatibility ensures that AR One Sans consistently maintains its visual integrity and readability, regardless of the platform or device.

Optical Weights for Seamless User Experience: Designed with the user in mind, AR One Sans offers optical weights tailored for both high and low-resolution displays. This duplexed design prevents text reflow, ensuring a seamless and uniform user experience across a multitude of platforms and devices.

Enhanced Reading Experience: AR One Sans goes beyond aesthetics; it is meticulously designed to enhance the reading experience, even for longer texts. Every detail has been scrutinized and refined to provide unparalleled readability, especially in immersive AR environments.

The Future of Typeface Design

AR One Sans harnesses the “Marionette formula,” a revolutionary design concept introduced by William A. Dwiggins. This innovative approach replaces straight lines with curves in specific letterforms, creating the illusion of graceful curvature. By leveraging the excess glow around the text to produce smooth curves, our typeface achieves a more traditional shape that is both visually captivating and exceptionally readable.

In low-resolution scenarios, AR One Sans excels with additional pixels at letter endings that counteract rounding effects. The typeface features distinct shapes to eliminate confusion between commonly misrecognized letters, such as zero with a dot, curved-bottom “l,” and “I” with horizontal strokes at the top and bottom. Its spacing and letter width are optimized for negative polarity (light text on a dark background) and angular distortion.

Additionally, AR One Sans is expertly crafted to mitigate halation and pixel loss in lower resolutions, ensuring that stroke ends remain sharp and well-defined.

Beyond AR and VR

While AR One Sans is tailored for augmented and virtual reality applications, its adaptability extends far beyond these realms. This versatile typeface can also enhance readability in contexts such as automobile dashboards, signage, and mobile applications.

AR One Sans is a cutting-edge typeface developed to revolutionize text readability in augmented reality and digital environments. With an unwavering commitment to design, legibility, and adaptability, AR One Sans is setting new standards for typefaces optimized for today’s diverse range of devices and applications.

AR One Sans

Typeface design by Niteesh Yadav.
Find the font here.