Emma Dreiucker and Jonathan Körner, both visual communication students in the class of Patrick Thomas at the State Academy of Art & Design Stuttgart, designed the diploma documentation of Luisa Antonia Beyer, titled Post Porn, which aims to question the taboos that surround the topic of human sexuality in today’s society (also featuring photography by Vanessa Ruckh). The 320-page book’s format is listed as 16:9/HD. The texts are set in Format Grotesk by Dominik Bissem and HAL Timezone (with Mono, published by HAL Typefaces.

Words by Luisa:

Based on research work and an interview with the performer and porn producer Paulita Pappel, the diploma culminates in a three-part film set, designed for an ethically produced porn film. As Luisa says — Sexuality is also designed — visibly and invisibly.

Dead Minutes is a storytelling game by Tom K. Kemp about systemic change in an undesirable afterlife. You, the players, will decide what this hell, underworld or land of the dead is like, what its problems are, how change happens there, and what the complications might be when altering something so big, involving so many dead people, over so much time. It’s a game about impossible seeming actions at impossible seeming scales, making difficult choices, and dealing with unexpected outcomes.

As the players, you will act both as authors of this story, making zoomed-out, informed decisions about what happens next to the potentially billions of people in the afterlife, and also as point-of-view characters within the story, who are being impacted by these decisions and respond to them as individuals. The game will tell you when to make these switches in perspective.

You will all be working together to tell this story coherently, but will also be critical about the events that you create together, attempting to bring tension, gravity and stakes to the narrative. Throughout the game, you will all take on different responsibilities in order to help you do this.

By the end of the game, together you will have told a complex story about the afterlife, why it was bad, what dead people did to change things there, and how some of them feel about it long, long after.

This book contains the instructions you need to play the game, an essay by artist and theorist Patricia Reed, and a series of invented afterlives by writers Chris Beckett, Habib William Kherbek, Samuel Clarice Mui Shen Ern and Selma Selman.

Commissioned by STRP Eindhoven. Risograph printed and bound by no kiss? on EOS 100g/m² and EOS 120g/m² paper in black colour. Edition of 200, 36 pages.

Terre Augmentée (Augmented Earth) is a realistic fiction project inspired by nature, highlighting the interdependence of living beings, using two layout principles. The first involves a system of layers to build and deconstruct the layout. The second principle offers a free reading path, with the narration unfolding through page references, in the same way as browsing the Internet is done from link to link. This experimental book is part of a research project into the concept of the ecosystem book, made at ESAG Penninghen.

Present Space introduces “HOME”, its third print issue, published by AMILE and designed by Querida. With creative direction from Present Space’s Nima Habibzadeh and Juan Duque, “HOME” is an exploration of identity and culture, as expressed by artists working in different cities globally.

For print three, Present Space showcases twenty-one stories across art, design, photography and fashion. “HOME” celebrates the global reach of artists whose roots stem far beyond cities including Paris, Los Angeles, and London.

“HOME” goes behind the doors of artists’ home and work spaces to see how they use their environment as a source of inspiration and space of creativity. These stories inform this print issue, as Present Space visits the home studio of Pedro Reyes in Mexico City and Claudia Andujar’s high-rise apartment in Sao Paulo, and captures the story of Carlota Guerrero’s move from the Barcelona studio where much of her work has been created to date. From the Serpentine in London, Hans Ulrich Obrist shares his own handwritten note and his thoughts on home. “HOME” features a painted sunrise for an exclusive cover by New York-based artist Sho Shibuya and an editorial with Binx Walton shot by Zoe Ghertner for Wales Bonner in Los Angeles.

“HOME” includes collaborations with Claudia Andujar, Balenciaga, Dara Birnbaum, Bottega Veneta, Wales Bonner, Zoë Ghertner, Nan Goldin, Carlota Guerrero, Francois Halard, Mark Leckey, Roy Lichtenstein, Loro Piana, Joel Meyerowitz, Hans Ulrich Obrist, John Pawson, Pedro Reyes, Eduard Sanchez Ribot, Rimowa, Saint Laurent, Sho Shibuya and Diego Vourakis.

Present Space is available on AMILE (US) and Boutique Mags (EU/UK).

In these turbulent times, people are seeking comfort, faith and answers. This is where the promise of spirituality comes in, proposing solutions to all our existential questions. This raised demand attracts businesses, which commodify indigenous spiritual practices to make a profit off people’s existential dread.

Healthy Mind, Wealthy Body is an ironic guide which assists seekers on their path to enlightenment, pointing out the contradiction of qualifying a person’s spiritual value with the purchase of products and services. Its goal is to make readers reevaluate their relationship with spirituality being aware of the absurdity of the way westerners commodify and exploit it.

Continuous text and headlines are set in ES Allianz by Extraset. Footnotes and continuous text in the conclusion are set in Inconsolata by Raph Levien. The book has 352 pages and measures 11.5×20 cm. Printed on Munken Print Cream 2.0, 80g/m² paper. It was made as a student project at Elisava, Barcelona, in 2023.

Symposion – Ein Tischgespräch über die Kulturarbeit (“A round table about cultural work”) is the title of Jana Vogt’s thesis in Communication Design made at MSD – Münster School of Design in 2023.

The five people who speak in this symposium are mosaic-like assemblages. They are perspective rather than person. Catalysts who were allowed to “feed” on ten personally conducted interviews and ten literary and academic discussions from the field of cultural work.

Jana Vogt gave each of the different perspectives their own voice by using one of the nine styles of VARIANZ. Thus, the tone of the conversation varies and corresponds to the spoken word without creating disharmony or visual clutter.

The Aureum font by Anna Sing is used in initials, interjections and headlines. VARIANZ by Viktor Zumegen is used for subtitles, body text and footnotes.

Jana Vogt writes:

The symposium is a table talk, a playful exchange about the value of cultural work. It is a literary buffet of facts, personal hopes, and concerns of cultural workers. Coming from different places, yet sitting at the same table, those working in culture negotiate realities, share and listen, and feel a sense of belonging. Can this practice, and the feeling it creates for the fictional guests and readers, give rise to a better understanding and appreciation of the process behind cultural production? In my creative process, I combine ethnographic and creative methods. I have organised real voices from the cultural sector in a fictional way on paper and formulated prominent common demands and messages. The table setting is both an invitation and a call: to enter into conversation about what culture creates and what we could create together; to value the efforts it takes to cultivate occasions for encounter, for collective and sensual consumption.

The series of interviews Lebt und arbeitet in Berlin are part of the “Institutions Extended” program (2019–2022), developed by Marina Naprushkina and commissioned by the Department of Arts, Culture and History of Berlin’s Mitte district.

The conversations were published in Kultur Mitte Magazin, which the department publishes online. It is dedicated to public urban culture and history and all formats of contemporary art in weekly articles. From the published texts in the series Lebt und arbeitet in Berlin, which were produced over the three years, 18 were selected for this publication.

The book, designed by Zweifel (Simon Wahlers, Rhoda Herold), is set in ABC Favorit and ABC Favorit Mono as well as HAL Timezone. ISBN 978-3-948030-11-7

Magic as Medium was written by Shawn DeSouza-Coelho and published by THE NEAT REVIEW. From the publisher:

Magic as Medium is an introduction to linguistics, semiotics, phenomenology and the meaning of art, all through the lens of magic and theatre. It explores the space between the ideal and the real. It prods at the moment of astonishment.

Magic has been relegated to the seemingly permanent status of light entertainment, dwelling on the fringes of other, more legitimate art forms. Its profound beauty and affective power eclipsed in the eyes of its audiences, magic does not seem to offer an audience the transcendence that art does... but why not?

For the typography, Callin Mackintosh made early use of Affairs by SM Foundry, paired with Lars Mono from Bold Decisions. Illustration by Jordy van den Nieuwendijk.

Sin Safari Rides is a student project made by Pablo Panebianco in the Master program in Communication and Design for Publishing at ISIA Urbino. From the designer’s Instagram post:

“The Africa of the great explorers, the immense territory of hunting and adventure that entire generations of young people loved without knowing it, is gone forever. To that age-old Africa, overwhelmed and destroyed with the tremendous speed of progress, we have said goodbye. The devastation, the havoc, the massacres we have witnessed, belong to a new Africa, to that Africa which, even if it emerges from its ruins more modern, more rational, more functional, more aware, will be unrecognisable.”

Sin Safari Rides is a book that brings together essay extracts and authentic visual material on the subject of colonialism and post-colonialism, focusing specifically on the African experience. Here, the digital postcard collection Kolonialismus und Afrikanische Diaspora auf Bildpostkarten attempts to open a dialogue with the photographic re-editing of the Mondo Movie Africa Addio, one of the rarest surviving testimonies of what were the darkest years of post-colonial Africa.

Research and book design by Pablo Panebianco, using Lausanne (Nizar Kazan) & Ghost (Nolan Paparelli), both published by TYPE.WELTKERN®.

During his residency at Le Signe in Chaumont, graphic designer Louis Collin designed several objects, including this booklet set in Karrik. From his presentation:

Mutations [is] a project that explores the links that graphic design, experimental literature and performative devices maintain. In trio with Yaya – author – and Rémi Levaufre – designer and plastic artist – Louis Colin offers a series of mutations from the image material to text, then to sound.

Peinture Fraîche (“fresh paint”) is a book about graffiti designed by Ruben Bähler and Romain Oederlin. It was made as an editorial student project at ECAL. Baikal typeface in use, designed by Ian Party for newglyph.

The phenomenon of the Kazakh new wave (Казахская Новая Волна) is a not yet unraveled phenomenon. It appeared on the border of the eras when the Soviet Union existed, and continued into the era of independence. Perhaps it was the films of the Kazakh “wave” that formed a sense of freedom in our minds. Novovolnovtsy came to the cinema and, as it is sung in the song of Viktor Tsoi, they said: “We will continue to act!”

This book is not only a story about how the “Kazakh new wave” was formed and strengthened, how it conquered the world, surprising the audience with its European style of writing and Asian temperament. Six interviews with directors, graduates of the workshop of Sergei Solovyov, are master classes in creating world-class cinema. Reviews from film critics from New York to Singapore are an indication that our “wave” has never been a local phenomenon, but had a global reach.

Gulnara Abikeeva (Гульнара Абикеева) is a film critic, professor at ALMAU, and the author of eleven books on cinema.

Tselinny Publishing. Almaty, 2021
ISBN 978–601–06–7425–7
200×260 mm, 400 p., 1,200 copies
Paper: Stora Enso 65 g/m²

Waldenburg Schwer and Normal in use for the exhibition 24 Stunden für Joseph Beuys at Kunstmuseum Basel by Bianca Blair and Mario Nägele. For the booklet, a silver offset print on Sirio Pearl paper by Steudler Press AG Basel was used. The glossy screen print on the poster references Joseph Beuys’ abstract artwork Fettecke, where he placed five kilograms of butter in a corner of the Düsseldorf Academy of Art.

Das Heu is an editorial experiment meandering the fields of self-publishing and graphic design. The magazine envelops a collection of articles selected by the Wikipedia Random Article Generator and explores the relations of graphic diversity and cohesion within a super-wide, deliberately random spectrum of topics.

This is the first issue of Das Heu, made by Uli Holtschlag, Lara Liske, Jana Hielscher and Robert Franke. The cover uses Ishar Hawkin’s Aachen Old Style. For the interior, we combined Helvetica with Ellmer Stefan’s Triptych Roman and Italick, with support from Iamgod’s MGD Rotter.

RH Inter by Robert Huber and Simon Mono by JP Haynie and Robert Janes in use for Shoplifters 8: New Type Design.

Shoplifters is a bi-annual publication featuring the work of contemporary artists, photographers, designers, illustrators etc. Shoplifters doesn’t have a single identity, its size, paper, typography, and tone changes each time it’s published.

—100 typefaces by over 60 designers
—Facit AB–Z (Excerpt) by Our Polite Society
—Interview with Berton Hasebe (By Harry Gassel)
—“Tools” by Dinamo
—Intro written by Kris Sowersby

zweikommasieben is a Swiss magazine that has been devoted to the documentation of contemporary music and sounds since the summer of 2011. The magazine features artist interviews, essays and columns as well as photography, illustration and graphics. In addition zweikommasieben organizes concerts, partiezweis, club nights, matinees, raves and other fun events in various cities.

Issue #9 features Suisse Int'l, Suisse Int'l Mono and Suisse Works from the Suisse collection available on Swiss Typefaces.

zweikommasieben is a Swiss magazine that has been devoted to the documentation of contemporary club- and sound landscapes since the summer of 2011. The magazine features artist interviews, essays and columns as well as photography, illustration and graphics. In addition zweikommasieben organizes concerts, parties, club nights, matinees, raves and other fun events in various cities.