HfG Offenbach’s current graduation magazine (formerly diploma magazine) presents the diploma and Master’s theses of a total of 93 graduates from the classes of 2023 and 2024 on 368 pages. It was conceived and designed by Helene Hohmann under the supervision of Prof. Catrin Altenbrandt.

The magazine opens with a visual table of contents that serves as a conceptual introduction. The foreword by HfG President Prof. Dr. Brigitte Franzen is followed by the practical diploma and Master’s theses from the departments of design and art, supplemented by insights into the theoretical theses. A consistent guidance system connects the table of contents, practical projects, and theoretical section, thus providing orientation and guiding. The dust jacket consists of a sheet of stickers that allows readers to design the cover themselves, making each magazine a unique copy.

The magazine makes early use of dito-typo’s upcoming Trax. It’s used together with Samira Schneuwly’s Mule (not shown here) and Mule Mono.

Since 2003, the HFBK Hamburg has been publishing a printed magazine, initially as a newsletter focusing mainly on university topics, and since 2009 under the name Lerchenfeld, which has since grown into an impressive magazine. Lerchenfeld reports on current trends in art, exhibitions, events, and projects related to the HFBK. Essays, interviews, and other texts present positions on issues in art, culture, and science.

The magazine’s design changes every year and is created by the respective graphic design class. The images shown here are from nos. 73 to 76, all published in 2025.

The digital versions are available for download.

The built environment ranges in scale from a wooden step stool to a vast urban landscape. scale journal is a publication bridging various disciplines at Brown University and Rhode Island School of Design (RISD) interested in the built environment. Promoting writing and projects that explore belonging and space, scale journal amplifies underrepresented voices in both academic and lived experience.

From the editors’ note for Issue 01:

This first issue’s theme is Lapis. We have traced this stone’s material history for you from a 21st century examination of a 10th century nun’s dental plaque to the craft traditions of 16th century artisans in the Mughal Empire to the first ever recorded mining practices of the ore from 7000 BCE in present-day Afghanistan. Lapis’s fragmented identity has helped us inform our own multi-dimensional nature. Depending on your perspective, it tells the story of material as ornamentation, material as structure, material as movement, or material as a medium of writing itself. It also explains how we view the built environment: from its original environmental contexts to a historic layering of stories to the re-excavation of such stories in order to discover how we can walk into the future.

The journal was designed by Andrea Mato and Isabel Lee and typeset in Indivisible Variable, Noto Sans, and Truth.

Editor-in-Chief: Henry Ding
Managing Editors: Ram Charan, Roy Kim, and Hannah Oh
Editors: Simone Klein, Oliver McGovern, Zorka Zsembery
Writers: Siya Girdhar, and Jin Xu

⌘E (Command E) is the student magazine of the Media Design program at DHBW Ravensburg. The fourth issue evolved from a second semester graphic design project on the exciting topic of “chaos and control”. In keeping with this, ⌘E4 was developed as a non-linear concept and realized in six aspects: Norm, Context, Development, Communication, Perspective and Perception. Each aspect is treated and visualized as a separate episode. Held together by a slipcase, the loose episodes invite you to rearrange them again and again and create new thematic references. The entire magazine is thus to be understood as either/or, back/forth, or open/closed – as an embodiment of “chaos and control”. The choice of two types of printing – digital and Riso – symbolizes the influences that the content and design have on each other. ABC Monument Grotesk is paired with Kepler (not shown here).

After founding item Magazin in 2019—a collaborative platform for young designers—I was offered a lectureship at the Design Department at HTW Berlin. As part of my annual teaching assignment the students design and publish item Magazin under my guidance.

Founding and supervision: Sally Paschmann
Editor: HTW Berlin, Design Department
Team: Franziska Saischek, Julia Krämer, Renée Klöffer, Sonja Kotlyar, Tina Thalmann, Barnabás Böröcz, Miguel Martín Betancor, Chikoba Masonga, Bengi Günay, Jonah Seifried, Karoline Nørbæk, Yana Sokova, Dennis Mayerhöffer
Print: Pöge Druck
ISSN: 2629-6691

With this project Sally Paschmann founded item Magazin—a collaborative platform for young designers that allows them to publish their work to a broader audience and gives them the opportunity to explore the field of editorial design by publishing their own student magazine. After the implementation of item I was offered a lectureship at the Design Department at HTW Berlin. Within this annual teaching assignment the students design and publish the ongoing issues of item Magazin under my guidance. The project is officially funded by the university and has become an essential module of the curriculum.

The typography of issue #1 features Funktional Grotesk and Minion, alongside Source Code (not shown here).

This summer, the 40th edition of Boxhorn magazine was published. In keeping with Boxhorn’s anniversary year, this year’s editorial team focused on the theme of “Tradition” in various aspects of life and asked themselves: “Does tradition protect or harm?”

Tradition is a lantern, the fool holds on to it, while the wise are guided by its light.

This sentence appears at the very beginning of the 40th issue of Boxhorn and served as a guiding principle for this year‘s team throughout the exploration of the theme of tradition and the creation of the magazine. Through photos, text, and graphics, the team visualized how tradition affects people, society, and diversity. What are the negative and positive aspects? Should we preserve tradition, or is new always better? Under the overarching theme of tradition, the team focused on professions, art, sports, family, cuisine, religion, and politics. Both the editorial and design aspects were independently managed by the students. The result is a 100-page magazine filled with diversity, critique, nostalgia, and interesting facts.

One fun fact about the design: the font concept is intended to make tradition visible so the team used a variable font named Times New Arial. Starting with Arial, it let the font change throughout the magazine, with only marginal differences from page to page, until it ends with Times New Roman. Additionally the team sprayed each cover and four pages per magazine by hand, making each copy unique.

Szűrögető is a periodical zine released yearly at EKKE University. The 2022 edition revolves around the topics Pinktober and Dry November, drawing attention to breast cancer and alcoholism.

Description of the project from les presses du réel (translated by DeepL):

What would de-sign be? To undo, to unravel, to dismantle, to untangle, to unpack, to clear away, to unlock, to uninstall, to deserter, to deproject, to defuturize, to demythologize, to desorcelate...

The best way to understand how an object is constructed is to take it apart piece by piece. This process allows us to identify its components and understand how they fit together. In other situations, the process must be reversed. We need to understand before we can disassemble / undo. For example, to untie a knot, we first need to understand which loops and intersections hold it in place. We need to study it and try to determine in which direction each loop should be pulled, so as to loosen it and be able to untie it.

We could define the designer's profession as a capelage knot, a knot of tension produced by external elements that keep it tight. In this sense, untying the knot would mean identifying and acting on those elements (performance, profitability, competitiveness, etc.) that put tension on the profession and alienate designers.

Creative, good, beautiful, experimental, ingenious, and bold ideas shouldn't just gather dust on hard drives or disappear into folders that no one ever looks at again. Zwischenablage brings those ideas out of hiding and gives them a well-deserved stage year after year. In this magazine edited by Media Design students of DHBW Ravensburg, they are presented in all their variety and diversity: some loud, some quiet, some colorful, pointed, soft, lovely, beautiful, warm or clean. Some are even completely different, as different as the people who made them. They have only one thing in common: this art cannot and must not disappear.

Offline is a bilingual periodical published by Swiss art school ECAL. The magazine is produced by its students, and focuses on bachelor thesis projects and “the events that have marked a semester – workshops, masterclasses, exhibitions or trips – through interviews and portfolios.” In addition, a thematic dossier provides an opportunity to examine an issue from different points of view.

Led by Bachelor of graphic design students, the artistic direction is designed specifically for each issue, giving the print version its own unique character.

For its twelfth edition, Offline focuses on the critical issues currently traversing the field of art and design, reflecting a desire to produce differently. Whether it’s by getting closer to political and social reality, from which artists and designers sometimes feel somewhat distant, or by integrating critiques of patriarchal and post-colonial legacies into the process of elaborating forms, or through a more ethically fastidious relationship with commissions.

This issue uses a combination of typefaces from ECAL students and alumni including Neureal and Neureal Mono by Laura Csocsán, the unreleased Rivale Serif by Dominik Bissem, and Hand Trash. The latter was designed by Valentin Bonzon, Eliot Dubi, Marc Facchinetti, Morgane Gilliéron, Flaurant Kadrija, Luca Riva, Baptiste Torrent, and Alfredo Venti using Calligraphr.

The magazine is available from ECAL’s online shop.

How do we stay optimistic?

In times of various challenges, we at the Boxhorn editorial team are no longer in the mood for mostly negative news – even though we naturally don’t want to hide it. Instead, we have approached this magazine with not one, but eight smiling faces and have chosen the theme of “Ways” (“Wege” in German), where we can speak above all of lives full of perspectives.

Which ways lie behind us? What ways are we taking? What challenges and opportunities do we encounter along the way? We asked ourselves these questions and set out on our own paths, met people and listened to their exciting life stories, which also sometimes lead past barriers. In the process, we have also questioned and rediscovered our own ways. In addition, we dealt with creative ways of working, which serve as inspiration for us as future designers, and finally also with the way into the future. We also placed special emphasis on Boxhorn #39 being a magazine by students for students. Everyone could participate, for example in the form of surveys or our Open Call, which offers a stage for student work.

Even though we have tried to work past the crises, they catch up with us in some places. Producing a print magazine at a time of inflation brings its own problems. Paper prices that suddenly double force you to rethink. We are happy that many people believed in us and with their support made it possible for this magazine to become what it is now. A magazine that shows diversity and different realities of life, positive and yet differentiated.

This issue was created by the students Annika Rolfs, Charlotte Hünninghaus, Leonard Schneiders, Olga Tanjukjewitsch, Paulina Hermanns, Ronja Staack, Timo Wehrmeijer and Tom Tietz, under the supervision of Prof. Ilka Helmig at the University of Applied Sciences Aachen. In an edition of 400 copies, printed with HP Indigo, finished with fluorescent orange with risography printing and hand-bound by us with an adhesive binding.

Special thanks to Felix Pfäffli from Studio Feixen for let us use their Noi Grotesk typeface for this issue.

The magazine name features the alternate H from Noi Grotesk’s stylistic set 10, “Spaghetti Letters”.

Samt is a student magazine that was launched at HAW Hamburg in 2019. It presents final and semester projects from the Design Department's courses of study and provides insights into working processes, theoretical debates, and design positions. In addition, former students will speak about possible careers and fields of work in the design sector. Projects from the fields of communication design, illustration, fashion design, costume design and textile design at HAW Hamburg will be made accessible to a wider public: Interested parties outside the university are to be reached and informed, within the university the magazine is to stimulate exchange and cooperation in the field of design. The project was led and founded by three communication design students – Alexandra Vögtle, Julika Hother and Katharine Watzlawick – and supported by three more students from other design departments.

The fonts in use are Lucas Kramer’s Brutal Alpha and Jens Schnitzler’s Merkur (EpiType) (including Merkur Display Thin Expanded). The first issue was printed by Von Stern’sche in an edition of 100 copies, on 100g/m² Munken pPlar and 115g/m² Multigloss paper.

item (Independent platform for the Transfer of Educational impulses via a student Magazine) is the student magazine of the Department of Design and Culture at HTW Berlin.

In the fourth issue, the students explored the topic of “strip,” thereby breaking barriers, questioning privilege, and addressing subjects such as body positivity, diversity, sex work, and social norms.

Is love for sale or is noncommittal sex the new ideal? Are people whose bodies don’t conform to the norm included in fantasies and behaviors of the majority? Why, even in 2022, are feelings still interpreted as obstacles and femininity as weakness?

Questions like these were tackled in this issue and exciting people, such as Ivana Vladislava, Annabelle Ferlings, Yanis Berrewaerts and Fritzi Krafczyk, shared their thoughts with us.

In addition, 19 projects by students from the Department of Design and Culture are featured in this year’s issue and provide an interesting insight into the recent semesters at university. The magazine was founded, conceived, designed, and introduced by Sally Paschmann and is intended to provide insights into the debates, thoughts, impulses, and projects that arise during the course of studies. It provides a platform for students to introduce themselves and their projects and to consider their work in a socially relevant context.

Publisher: HTW Berlin, Department of Design and Culture
Founding and supervision: Sally Paschmann
Editing: Coco Nova Estèle Schätzke, Emilia Moro, Eli Zaza Moysiopoulou, Dylan Demtröder, Aylin Eryilmaz, Luzie Drawe
Design: Al Ayaasha Medford, Alexandra Trinkl, Camille Baumann, Ella MacWilliams, Florencia Ramirez, Mani Pham Bui

What does home mean?

In conversations with designers, architects, self-employed people, complete strangers, students, photographers, illustrators, tenants and many other folks, we got to know different forms, definitions, and views. We give them a space to thrive in the 38th issue of the Boxhorn magazine – we give them a home.

Home (German: Zuhause) is not a standard term for a white cube, built in a new development in the suburbs of Cologne, but offers manifold views ranging from a twelve-square-meter room to a nomadic lifestyle. To understand this, we also took a look at other forms of living – beyond our own preconceived ideas.

However, to live and feel “at home” is social not only on the local level. We always are at home in the society in which we live and with which we (have to) surround ourselves. In this context, both economic and political conditions determine our living conditions.

“Home” embodies many individual representations; proximity, social aspects, financial status and emotional values. When we refer to a place as home, at its best it provides a space to retreat, invite, or show off. But what when these conditions are not present? Hereby we show various forms of being and feeling at home, as well as the aspects and definitions that go along with it. As it turns out, a home is often a potpourri of all the places where one has already lived and felt at home.

The issue was edited by Delayne Kreutz, Gabriel Dukić, Hannah Stollenwerk, Ivana Baumann, Maret Van Stiphout, Sophie Leiwen, and Zeno Scheffel, under the supervision of Prof. Ilka Helmig at the University of Applied Sciences Aachen. In an edition of 150 copies, 600 of the 900 individual booklets were bound by hand and, after printing with HP Indigo, finished with fluorescent red via risography printing.

Throughout the issue we exclusively use New Edge 666 Rounded by Charlotte Rohde and hereby send best regards from home in Aachen!

TITLE mag is a print publication that creates a community for young creatives to learn new skills, grow through mentorship, and build a strong network in a hybrid digital environment.
This issue involved the work of 111 individuals.

The theme for issue 006 is “Golden Age”. It was released March 26, 2022 out of Cincinnati, Ohio. Representing our interpretations of elegance, nostalgia, romance, and opulence, these pages are filled with expression from young creatives across the country. Our Editor in Chief said it best:

It feels like being draped in expensive silk and wrapped in glistening pearls. It feels like putting on your fanciest clothes and jewelry for a night out with your closest friends. It feels like the warm glowing light that comes bursting through your window on a summer evening. It feels like looking at old photos that transport you back to a completely different time of life. It feels like writing a love letter to someone you know will write one back to you. It feels like the hug that you never want to end. It feels golden.

This issue featured Sloop Script and Argent Pixel CF as the primary fonts for branded content and spreads. The other fonts highlighted in this post are part of the TITLE mag evergreen branding.

The final print issue is 177 pages, with 27 unique team projects. Issue 006 also includes a Digital Extended Edition, with seven additional digital-only projects and extensions of multiple print editorials.

Oblio is a magazine that describes the world of visual design from an unusual point of view: the projects that were never realized due to failure, rejection, lack of time or money. We interviewed seven studios and three designers, asking them about the meaning of visual design, their vision related to failure and the future evolution of visual designers. During the meetings, each of them showed us projects that were never completed or realized. In conclusion they provided us useful advice aimed at those who, like us, have yet to take their first steps in this world.

The two main typefaces used in this edition are Spectral (Production Type) and TWK Everett (Type.weltkern). Selected headlines use Ortica Bold (Colllettivo).

For its debut issue, the student-run magazine El caldo at Centro de diseño, cine y televisión pursued a tongue-praising theme. Inspired by Mexican Spanish ambiguities and all types of idioms deriving directly from the “lengua” (“tongue)” concept, El caldo’s debut edition brings together multiple contributions ranging from poems and short stories to photo essays and interviews.

Written contributions reunite essays by Berke Gold, Daniel Berkstein Guillemot, Sebastián M. Finck, Natalia Padilla, Karla Muñoz, and Radamés Vargas.

The typographic approach also found its way through these ambiguites, choosing plurality over monotony as a manner of illustrating the diversity upon which the community builds itself. Hence the cover title is set in an array of Black Mamba, Manicotti, Roslindale and Krsna; subtitles in BRRR and Druk; and body text in Lausanne.

Design studio Awayo (Santiago de Chile, founded in 2012) designed and art directed Submarine, the new magazine of the design school of the Creative Campus of the Andrés Bello University. The magazine logo is set in Monopol. The typography inside the publication pairs Area – with its geometric stylistic set activated for headlines – and Signifier for the different sections. From the magazine editorial (translated from Spanish):

Submarine is the name of this magazine that wants to dive into the depths to extract from the bottom the most desired treasure: design. This name corresponds to a casual tribute to the submarine that Jacques Cousteau designed and sent to build for the observation of the seabed and the Beatles with the film of the same name in this magazine. Unintentionally, each one their own sphere is a reference, and they produced an impact where the design was visible, but “submerged”. This is what the magazine aims to “bring out” the culture of design.

Issue 33: Reality (Autumn 2018).

Managed by an independent student editorial team since 1997, trans magazin is the biannual journal of the Department of Architecture at the Swiss Federal Institute of Technology ETHZ.

trans magazin addresses current issues in architecture and urban development from a variety of perspectives, such as the humanities, politics, philosophy and the arts. trans magazin thus sees itself as a platform for interdisciplinary discours

Issue 33: Reality (Autumn 2018).

Invited artist: Théa Giglio.

Issue 33: Reality (Autumn 2018).

Invited artist: Théa Giglio.

Issue 34: Youth (Spring 2019).

Invited artist: Benoît Jeannet.

Issue 36: Spannung (Spring 2020).

Invited artist: Thaddé Comar.