Support Independent Type—the New Culture of Type Specimens by Slanted Publishers

A 04 B 12 C 30 D 166 (1), (2) E 221 independent environment

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THREEDOTSTYPE threedotstype.com

Tipografia Damasceno facebook.com/TipografiaDamasceno Photo: © Daniel Sommer

Jost Hochuli

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R-Typography r-typography.com Photo: © Daniel Sommer

Tipografia Damasceno facebook.com/TipografiaDamasceno Photo: © Daniel Sommer

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FONTARTE fontarte.com Photo: © Dirk Gebhardt

Jost Hochuli

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support independent type the new culture of type specimens lars harmsen marian misiak & lisa panitz Whether toy cars, stuffed animals or superhero stickers, children find great pleasure in collecting already. So why shouldn’t we continue doing so given that is so much fun, especially when it comes to our biggest love: Type! Most people name curiosity and thirst for knowledge as the central motives for collecting. The way is the goal, because things are collected where there is no clear end … and one continues to collect and does not stop there. Thus, over time, as the collection is growing, it also gains in emotional value. In the old days, collecting and hoarding of objects was essential for trade and thus, survival. Transferred to us, one could in some sense say that it is quite similar as we collect type sample books to survive. They give us an orientation about what is right and wrong, what use could be good or bad, and some are simply what we always wanted to try out. With a book—and a typeface—we build personal memories. Unforgotten deathblowers like the 429-page StulleBuch (1991) for comparing, selecting, recognizing and finding fonts from the Berthold type library and Georg Salden. The fat Fontshop FontBook Digital

Typeface Compendium (1998) with over 1,000 pages. With the advent of the digital age however, the book, booklet, or poster was replaced by PDF files and Instagram tiles. In the end, however, our instinct is the same: we keep collecting. More than ever we love printed representations of type design, from display fonts with a few cuts to reading fonts with extensive type families—all systematically developed, often over years, with passionate perseverance and an unwavering love for characteristic details. This book presents the latest typeface samples that caught our attention. It documents the world of new typeface designs of the last decade. Furthermore, it is a plea for independent typeface labels who, despite the monopolization and homogenization of the market, always strive to deliver to the highest standards alongside exceptional service. Support your local dealer! As such, Support Independent Type celebrates not only the high level of professionalism of type foundries, but also the serious enthusiasm and dedication that drives today’s type designers.

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essays and interviews

It has abundantly been written about type and typography; some might say to the point of exhaustion. We are however convinced there can never be enough of it! We remember somewhat wistfully Emigre (1984–2005)—art-directed by Rudy VanderLans using fonts designed by his wife, Zuzana Licko—that grew to become a role model for us in terms of writing and presentation of type. Without those 69 issues, Slanted would never have existed. Filip Blažek’s essay on typographic magazine as a promotion and Gerry Leonidas’ on teaching set aside, we very much appreciate the interview format, particularly when renowned font designers respond to the same questions. In sum, the emerging picture about the scene is diverse, lively, and innovative.

Filip Blažek Typographic Magazine as Type Specimens

Filip Blažek works as a graphic designer since 1993. In 2003 he established Designiq studio in Prague. He focuses on corporate identity, book design and editorial design and typography. He regularly contributes to professional periodicals in the field of graphic design. Since 1999, he lectures on type design and typography. He is the Czech deputy of the international organization ATypI. designiq.cz

When I started my career as a designer in the early 1990s, I envied my older colleagues’ collections of U&lc magazines, depicting the fantastic world of letters, even though ITC fonts were not usable in Czechoslovakia at the time due to the limited character set. Since then, I’ve been collecting type specimens and typographic magazines, published directly by type foundries. Even though it may not be apparent at first glance at times, the main purpose of these magazines was to increase font sales. The two oldest magazines in the collection, U&lc and Emigre, experienced the introduction of computers and democratization of tools during the late 1980s. Rudy VanderLans notes: “It was […] a time when the production technologies and techniques for making graphic design went through unprecedented changes due to the introduction of computers. Entire sections of the profession became obsolete. Typesetters shut down and prepress and production departments had to be completely retooled and re-schooled.” It is clear that the new digital era, facilitated by the spread of fast Internet connections and the introduction of pocket computers, changed the traditional methods of promotion. Many publications in this overview did not manage to publish more than three issues. Nevertheless, magazines published by type foundries at present reveal a wonderful world of type and typography. Let me introduce you to my collection of magazines! Upper&lower case by ITC U&lc is perhaps the oldest magazine published by a type foundry that survived until the digital era. Initiated, edited and designed by Herb Lubalin and Aaron Burns, the magazine, published by International Typeface Corporation (ITC) since 1973, featured a blend of type specimens and typography-oriented topics. Editors described the magazine’s aim in the first editorial: “U&lc will have broad general appeal, covering important graphic events and presenting original articles by world leaders in the typographic arts, as well as reprints of articles of importance that have appeared in other publications.” The magazine design, as Steven Heller points out, was promoting “ITC’s growing library of type, while proffering Lubalin’s experiments with typography. In U&lc, he tested just how far smashed and expressive lettering could be taken. Under Lubalin’s tutelage, eclectic typography was firmly entrenched.” From 1973, U&lc—24 pages printed in black and white—had been published four times in a remarkably large size of approximately 270 × 375 mm. In 1988, the magazine switched to four-color printing. Ten years later, the magazine shrank to a size of 210 × 280 mm, and the following autumn, the last issue was released. Alan Haley covered U&lc’s history in his excellent blogs at blog.fonts.com/category/ulc.

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Browsing through the last volumes of U&lc, you can notice the deterioration of the strong visual language originally defined by Herb Lubalin. The color issues of the 1990s are not nearly as stunning and visually coherent as those produced during the first decades. It seems as though the magazine’s designers tried to mimic contemporary trends, while at the same time trying not to upset their subscribers. The publisher was also experiencing difficult times: ITC was not a trendy label anymore. It was not surprising that ITC stopped publishing its mag in 1999. A fact that is not widely known is that U&lc significantly influenced visual culture behind the Iron Curtain in the 1970s and 1980s. It was actually possible to legally subscribe to U&lc in Czechoslovakia in those times, and many artists used type specimens printed in U&lc as a direct source for headlines, book covers, or posters. Instead of buying typefaces (which was not possible back then), they simply copied letters using photographic enlargers and other “primitive” tools. The copies of U&lc I was given a decade ago as a gift by a family friend designer have many pages damaged by scissors … Emigre by Emigre Emigre was a magazine published between 1984 and 2005. It was founded by editor and designer Rudy VanderLans, who worked closely with his wife, type designer Zuzana Licko. Content-wise, Emigre wasn’t a classic graphic design magazine, but its layout was extraordinary, partly because it featured original Emigre fonts, and also because it employed the most advanced technologies available at the time. The magazine was constantly changing its visual language, size, typography, paper, or binding. Steven Heller adds: “Emigre magazine […] introduced a fanatical new generation of designers to alternative ways of making typography using the Mac—which drove the older, rationalmodernist generation nuts.” Emigre magazine was indeed strongly influencing visual culture all around the world. Each time the foundry released a new font, it was immediately used by designers to create stunning visuals, often inspired by Emigre aesthetics; it’s no surprise that some of the fonts eventually acquired a cult status. While the soul of Emigre is present in all of its 69 issues, it is apparent that energy, humor, and creativity were slowly fading away in the last years of its existence. In one of the letters to the editors reproduced in the final issue No. 69, we can read: “Magazines are for looking at, not for reading,” and I think it perfectly describes the heritage of Emigre magazine. You can find all covers and overview of the contents at emigre.com/magazine. Muse by Hoefler Type Foundry The Type Specimen Book of the Hoefler Type Foundry, No. 1 is solely focused on the HTF Didot family, a careful interpretation of the neoclassical French type family with seven optical sizes. It was published in 1997; inside, it looks like a traditional black-and-white font specimen with a very detailed article about the font family. However, the expressive Muse logo on the silver cover would seem to suggest that it is the first issue of a series—the same observation was expressed by John D. Berry in his review of Hoefler’s Catalogue of Typefaces: Fourth Edition. Unfortunately, there was no other issue of Muse magazine published. It’s worth mentioning that HTF Didot, originally commissioned by Harper’s Bazaar magazine in 1991, is part of the MoMA collections. Druk by FontShop Benelux Many famous fonts were released under the FontFont brand, initiated by Joan Spiekermann, Erik Spiekermann, and Neville Brody in the early 1990s. Among the fonts strongly affecting visual culture were FF Dax, FF DIN, FF Meta, or FF Scala, to name a few. The distribution company FontShop had been releasing many font specimens, but up until 1999 had no magazine. That year, the first issue of Druk was launched in Benelux. The magazine was focused on type and typography, and the articles were written either in Dutch or in English. Druk was a sort of a one-man project, initiated by the Dutch-born editor and designer Jan Middendorp. Jan explains: “it was made possible by the hard-rocking vision

Gerry Leonidas Type Specimens as Learning Tools Gerry Leonidas Professor of Typography (University of Reading). Past President of ATypI. Co-founder of ISTVC and Granshan Foundation. Working in the field since 1986, and at Reading since 1998. Focusing on knowledge transfer projects, consultancy, and course development. Program director for the MA Communication Design / Typeface Design, MRes Typography & Graphic Communication, MRes Typeface Design, and course director for the TDi summer course. SFHEA. Research interests: typeface design processes, typographic education, and Greek typeface design and typography. leonidas.net The function of type specimens changes over time, and reflects the role of typefaces in the business of making money through typography. The historical roles are well documented, and largely depend on whether they are published by typemakers or typesetting providers. Historically specimens can be listings of products for sale, or types that can be utilized in a typesetting commission— sometimes carrying our both functions at the same time. Their role is refined when typefaces become marketing vehicles for typesetting equipment, most visibly in the hot-metal period. We can see typefaces developing into prototypical brands, and the beginnings of the recognition of typeface designers as marketable qualities. In that period the definition of specimens also expands. On one hand, explicit specimens like the luxurious volume with tipped-in examples extolling the pedigree of Monotype’s Pastonchi (an otherwise entirely forgettable typeface); on the other hand, Morison and Warde’s texts in The Fleuron must be seen as indirect specimens, and elements of a wider marketing strategy. The phototypesetting period introduces little change in this picture: the business models are substantially constant, with only a gradual introduction of typefaces as independent, marketable products. Specimens from Bitstream, for example, can better be understood as transitional, hybrid documents that straddle the vertically integrated proprietary systems, and the soon-todominate market of digital typefaces as platform-independent, portable, and individually marketable products. It is this period that is by far the most interesting in terms of what type specimens reveal about the type market. The early DTP years are full of specimens that return to the foundry type roots: documents that list typefaces, and serve as much to establish a presence in the market for the new designer or distributor. From the early Emigre and Virus catalogs, to small, regional designers issuing pamphlet-like specimens, these documents are as much about cultural sub-brands as they are about the typefaces themselves. The specimens are training manuals for typefaces that often rip to shreds the conventions and genres of their users’ education; invitations to rethink typography, and their belonging to this or that strand of design thinking. Scanning the last two decades of specimens throws up parallel strands in the business of type. At one end of the market, the large libraries have been pushing against the limits of what printed specimens can accommodate: from the early FontShop libraries that enabled independent designers to expand, to the commodification of type under MyFonts initially, and through vertical distribution channels like Adobe Fonts currently, an admission of the inadequacy of print. At the other end, a diverse community of small and mid-level foundries

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competing to establish distinct brands amongst agencies and potential customers: producing objects that aim to be desirable, collectable, and brand-affirming, while also conveying typographic competence. (The language employed by type foundries in their marketing material, and the role of professional copywriters— or their absence—in this enterprise is an important element of this discussion, but has to be kept aside for another discussion.) While a lot of energy and funds have been devoted in the last decade on exploring online specimens, their most common implementation—of the onscreen tester—must be written off as one of the least successful investments in our field. These novelty acts for web developers are rightly being killed off by the downloadable trial fonts (a game-changing import from Asia), or live font rental services, like Fontstand, that pretty much negate the role of the specimen in terms of its explaining the functional qualities of a typeface. What is most prominent in the specimens of the last decade has been the bifurcation of specimens into objects that elevate the traditional role of a specimen, and “objects” that redefine the means to achieve the same objectives. In the first case we have printed objects of exceptional quality, often in limited editions, and with production complexities that exclude too-small independent foundries: the examples are too numerous to mention, but the masters of this craft are Underware (with Fakir’s “written with the blood of the author” booklet an apogee of exceptional entries), House Industries (with too many relevant product lines to mention here) and Jeremy Tankard’s publications for Fenland and Hawkland. The second case involves the development of the news cycle and social media threads, as specimens and brand reinforcement campaigns: here Fenland also makes an entry, with its launch in the Kemistry Gallery, paving the way for the “event” launch of Production Type’s Signal, replete with lorries—large and small—decorated in the typeface. To this need to be added exhibitions in public spaces on typefaces and designers (an area in which France and the Netherlands have excelled) and the growing use of social media (Instagram more than anything else) to build up designers’ profiles, and create anticipation around forthcoming releases. This narrative may appear uncharacteristically upbeat for the zeitgeist, but there is no simpler way to express this: we are in the middle of a golden age for type specimens, driven by competition—not only between publishers of fonts, but also across channels of distribution, and channels of communication between makers and consumers. As the typeface market mutates further into a supply-side service, specimens evolve to reinforce the notion that typefaces are cultural objects, and their value is expressed in similar terms. Look no further than the resurgent market in collectable vinyl records, for hints of what the next generation of specimens may look like.

Q & A Questions about Independent Type Questions and Answers As designers we want to find out how others do it. Designers—just like artists—have a reason to get up every day and sit at their desk. The job never seems to be done. Thoughts always revolve around one thing: How could it look better, be more unique or peppy, more innovative or crazy. And because every shape, every line, every image and text is a source of inspiration, we need also to find time to relax. Find a way for peace. To be able to start fresh again.

What makes a good typeface? Brightness and a sense of moderation simultaneously.

Gayaneh Bagdasaryan, Brownfox

Generally speaking, a typeface that fits its context and time is a good typeface. But sometimes, a typeface that’s ahead of or behind its time is even better. Thierry Blancpain, Grilli Type My approach to type design derives from my graphic design background. The most important question I will ask myself when designing a new typeface is “would I use this font?” and secondly, “will the typeface age well?” Much like graphic design, I don’t believe in designing to a trend, I want my work to still look relevant in years to come—this is what I believe makes a good typeface.

Mark Bloom, CoType Foundry

A good typeface is a typeface that does it’s job well—it is a tool that needs to offer great functionality and give a voice to text. A good typeface covers both of these aspects by offering the user the technical features they need and the expressive quality they wish for. Kai Büschl, Katharina Seidl, and Oliver Linke, Lazydogs Typefoundry

Some factors, such as originality, curve construction, style consistency, appropriate approach to horizontal proportions, and technical quality are essential. However, a great type family must also have strong conceptual foundations. It must be built with a

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purpose, an idea, an underlying intention that is pursued in every design decision. Proportions, spacing criteria, stylistic alternates, OpenType features and the boundaries of the design space itself must collaborate towards a single goal. Veronika Burian, TypeTogether One has to specify whether to evaluate the shapes of a typeface, the application, or the commercial success of the typeface. Good or bad are not evaluation criteria for us. We would say it’s a question of attitude whether you rate and judge, or evaluate a design. For us, and our subjective first impression, we most likely take in account the innovation of form, and idea, as well as good craftsmanship— like spacing, rhythm, and contrast conventions. The concept of a typeface and its argumentation are of relevance. We also evaluate typefaces in the context of their application, history, and timing. Theoretically there are two extremes: (1) drawing pure shapes, created in a vacuum, the laboratory. Those designs can be relevant for the history of type design, but tend to be detached from the application. Or (2) the typeface which is created with reference to practice, out of the context of an application. Both are equally thrilling for us, the latter being the one we feel at home most.

Katharina, Maurice & Wolfgang, Camelot Typefaces

There are many ingredients to good type design: well drawn curves, pleasant rhythm, good spacing, etc., but to me the ultimate is the internal harmony that turns a group of letters into beautiful words.

Nadine Chahine

A good typeface is a perfect voice of the time it was made in. Similar to a work of art, a book or composition.

Huber Jocham

Originality, impeccable curves, timeless spacing and relaxing kerns. Anton Koovit, Fatype It’s not easy to give a definite answer. A typeface can be “good” in many ways. Sometimes a good type evokes a feeling and catches the eye. Sometimes it just looks neutral and solely creates a pleasant reading experience. What we regard as “good” or “bad” has also lot to do with current state of fashion, subjective taste and our surroundings. But let’s say that a good typeface resonates with it’s audience.

Florian Schick, Schick Toikka

For me, a good typeface is legible, lively, new, and coherent.

Ludwig Übele, Ludwig Type

Functionality. Typefaces are tools in the hands of their users. More so, typefaces are great design tools when solving problems and are therefore developed with purpose. Otherwise, we’ll just end up with a bunch of nice (or not so much) looking glyphs. As Walter Tracy once said: “A great typeface is not a collection of beautiful letters, but a beautiful collection of letters.”

Plamen Motev, Fontfabric Type Foundry

Personality and consistency.

Alice Savoie, Frenchtype

Depends on the purpose, but generally: easy to read with a little extra beauty. Like all design, it must fit the brief or be something the designer wants to do.

Erik Spiekermann

A good typeface is one that “works”— works being defined by the purpose it’s being used for and for whom— and has an attitude, a clear intention of its design. I still believe in the oldschool craft of both typeface and graphic design. Moreover, I love the roughness of older types … which is something that’s hard to replicate today without feeling somewhat nostalgic.

The worst typeface can look nice on a good design, and the best typeface can look bad on a bad design. So why the hell is it important to make good type design. I guess that’s a matter of opinion … and how bad the worst typeface actually is! I’m not 100 % convinced that they’re not mutually exclusive. I really think they’re interwoven and connected. Personally, I find it very difficult to separate the two.

Scott Vander Zee

The worst typeface can look nice on a good design, and the best typeface can look bad on a bad design. So why the hell is it important to make good type design.

Gayaneh Bagdasaryan, Brownfox

When good design and good typeface come together, the result is not only good, but brilliant. We work towards that brilliance, even if it does not happen often.

Gayaneh Bagdasaryan, Brownfox

I mean there is bad and there is shit beyond repair, which makes it impossible to be good in any way.

Hubert Jocham, Typedesign & Branding

Typeface can look bad on a bad design. So why the hell is it important to make good type design. It is true that a skilled artisan can make nice things with poor tools, but good tools in the hands of a skilled artisan can produce profound results.

Richard Kegler, P22 Type Foundry

The devil is in the details. The worst fonts could fit perfectly—for example—in design of logotype of the National Museum, but once you design the captions on it’s exhibitions, you find out there is bad spacing, missing diacritics and wrong punctuation marks. Type designers know nothing about type design at all. Graphic designers sometimes can’t notice every detail, so errors happen. It’s not their job to correct type

designer’s mistakes. So please, type designers, do your job damn right!

Petra Dočekalová, Briefcase Type Foundry

Good, bad and nice are all highly subjective qualifiers. The real question is why do we make any typefaces? But that’s a little bit like asking why do we make anything at all.

Rudy VanderLans, Emigre

We need to get away from the notion that design is good or bad, because a lot of it is largely subjective. We need to ask ourselves whether the overall design is usable and fit for a specific purpose; does it meet the requirements and expectations? When a typeface that meets such requirements is used correctly, in a design layout that is equally well thought through, the visual expression of the design system is elevated considerably. It is well known what I think of Helvetica—and many disagree with me—but even there, I do acknowledge that in the context of a specific design project it can be entirely usable and fit for purpose. We can dive into micro typographic detail of drawing execution and judge it as good or bad along those standards. My colleagues and I at Dalton Maag of course strive to make designs that are of best drawing quality and always fit for purpose. I guess that would make it a good type design.

Bruno Maag, Dalton Maag

Typefaces are like tools. The better and more varied they are, the likelier it is that graphic designers (or anyone using type) will be able to produce good work.

Alice Savoie, Frenchtype

It’s not important. If you want to make shitty design, that’s your problem. People can write bad books, take bad photographs, make bad movies. So what? As long as the maker wants

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printed matters

Is it because of “digital detox”—the tedium of spending less time in front of the screen—that printed type specimens are back in vogue? If everything can be found immediately and directly on the Internet, there may be no reason for printed type. Today’s font design is indeed mostly digital. So why the hell should all these specimens be printed? Well, there is nothing better than experiencing type on paper: the gliding of the fingers across the pages, the noise when turning them, the smell of the printer’s ink, the sharpness of the image … all this helps us to fall in love with a specific font, giving the desire to own and use it. The many examples we have collected over the last few years show it clearly: Typography on paper is just awesome!

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29Letters The multiple facets of the letter 170 × 238 mm, booklet, 2019 Typeface: Several — 29lt.com @29letters

A2-TYPE A selection of old favorites and brand new fonts from A-Type in London 150 × 210 mm, booklet, 2018 Typeface: Several — a2-type.co.uk @a2_type

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Dominique Kerber 840 × 594 mm, poster, 2020 Typeface: Cast — schriftgestaltung.ch

Dominique Kerber 840 × 594 mm, poster, 2012 Typeface: Minor — schriftgestaltung.ch

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bb-bureau 210 × 297 mm folded, 420 × 594 mm open, poster Typeface: Ball Pill — bb-bureau.fr @benoitbodhuin

bb-bureau 210 × 297 mm folded, 420 × 594 mm open, poster Typeface: Brutal, Standard, GroteskRemix — bb-bureau.fr @benoitbodhuin

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Branding with Type Branding with Type font catalogue 210 × 280 mm, book Typeface: Several — Brandingwithtype.com @bwtype

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CharacterType Characters #1 200 × 260 mm, type magazine, 2016 Typeface: NewsSans — charactertype.com @character.type Cape Arcona Type Foundry 105 × 148 mm, booklet Typeface: CA Normal and CA Normal Serif — cape-arcona.com @capearconatype

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Colophon Foundry Bespoke Catalogue 1 290 × 400 mm, newspaper Typeface: Several — colophon-foundry.org @colophonfoundry

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Fatype A Beausite Specimen 297 × 420 mm, newspaper Typeface: Beausite — fatype.com @fatypefonts

Fatype 420 × 594 mm, poster Typeface: Baton Turbo — fatype.com @fatypefonts

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Ludwig Type 148 × 210 mm, tattoo stickers, 2019 Typeface: Several — ludwigtype.de @ludwig.type

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Lux Typographic + Design Lt&d Commissioned + Catalogued Type 195 × 208 mm, booklet, 2018 Typeface: Several — luxtypo.com @luxtypo

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Our Polite Society Type The Facit Model 210 × 297 mm, book, 2019 Typeface: Facit — ourpolitesocietytype.net @our_polite_society

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Swiss Typefaces Type Life #2 235 × 320 mm, booklet Typeface: Sangbleau — swisstypefaces.com @swisstypefaces

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instagram specimens —carousel

Carousel posts (or slideshows) contain up to ten images. Interactively you navigate through by swiping, giving the impression that all images are intimately connected. Some labels and font designers have recognized this function and used it to share their designs, giving the viewer a deeper insight into the font’s identity. In this chapter, we consciously focused on designs that leveraged the juxtaposition of motifs as a strategy.

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Nora Kaszanyi Typeface: Gaia Display Design: Nora Kaszanyi Available in 1 weight — norakaszanyi.com @nora_kaszanyi

Eliott Grunewald Typeface: Herbus Design: Eliott Grunewald Available in 2 weights — eliottgrunewald.xyz @eliottgrunewald

BurnType Typeface: Brik Design: BurnType Available in 2 styles and 3 weights — burntype.com @burn.type

FrosType Typeface: FT Klon Design: Harrison Marshall Available in 14 styles and 7 weights — www.frostype.com @abcfrostype

JTD Type Typeface: Elfreth Design: James Hultquist-Todd Available in 4 styles — jtdtype.com @jtdtype

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Colophon Foundry Typeface: Coign Design: Colophon Foundry Available in 28 styles and 7 weights in 4 different widths — colophon-foundry.org @colophonfoundry

The Designers Foundry Typeface: Rockbox Design: Kara Zichittella, Zeitype Available in 3 styles — thedesignersfoundry.com @tdfoundry

Frank Fonts Typeface: FR Kraken Slab Air Design: Béla Frank Available in 1 style — frankfonts.com @frank_fonts

Frank Fonts Typeface: FR Blokk Design: Béla Frank Available in 8 styles — frankfonts.com @frank_fonts

Soft Machine Typeface: Stellage Design: Soft Machine Available in 4 styles — s-m.nu @softmachine_

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instagram specimens —single

Let’s face it: graphic designers earn as little as never before! With font designers it is no different. With over 1 billion users worldwide (over 21 million in Germany) and 90% of these following at least one company profile, Instagram presence became quintessential for most font labels seeking to market themselves. Everyone invests an incredible amount of time and effort onto one thing: the best digital presentation of their work. Letter by letter, tile by tile, day by day, second by second. Nowhere else have we found such a flood of creative colorfulness. Enclosed here is just a small selection, while our hard disks still hold thousands of other treasures that unfortunately slumber.

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Charlotte Rohde Typeface: Kéroïne Design: Charlotte Rohde Available in 2 styles — charlotterohde.de @charlotte__rohde

Emily Jing Sum Chan Typeface: Ascentis Design: Emily Jing Sum Chan Available in 1 style — emilyjschan.com @lil.emili

Papanapa Typeface: Tocco Display Design: Thiago Bellotti Available in 8 weights — papanapa.com @papanapadesign

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Massimiliano Vitti Typeface: Slack Light Design: Massimiliano Vitti Available in 3 styles — due-studio.com @massimiliano_vitti

60 KILOS Typeface: Belle De Mai Design: Guillermo García Díaz Available in 8 weights — 60kilos.com @60kilosnetos

Hardal Studio Typeface: FH Ronaldson Design: Fatih Hardal Available in 5 styles — hardalstudio.com @_hardal

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[3] Typearture Typeface: Schijn Design: Arthur Reinders Folmer typearture.com @typearture

[2] The Northern Block Typeface: Luke Design: Yanik Hauschild thenorthernblock.co.uk @northernblock

[1] Nice to Type Typeface: Blow Design: Yanik Hauschild nicetotype.de @nicetotype

[3] NEW LETTERS Typeface: Rois Design: Armin Brenner, Markus John new-letters.de @new_letters

[2] Mostardesign Type foundry Typeface: Ariana Design: Olivier Gourvat motyfo.com @mostardesigntypefo

[1] Milieu Grotesque Typeface: Lacrima Design: Alexander Colby, revised by Timo Gaessner milieugrotesque.com @milieugrotesque

[3] Laïc: Type Foundry Typeface: Eklektyk Design: Maciej Połczyński laic.pl @laictype

[2] Katja Schimmel Typeface: Tweak Design: Katja Schimmel katjaschimmel.de @katja.schimmel

[1] Grilli Type Typeface: GT Eesti Design: Reto Moser grillitype.com @grillitype

[3] Formist Foundry Typeface: Black Design: Alexander Tanazefti formistfoundry.co @formist_foundry

[2] CSTM Fonts Typeface: CSTM Xprmntl 03 Design: Yury Ostromentsky @cstmfonts

[1] Bruta Types Typeface: Trash Design: Estela Ibarz González brutatypes.com @bruta.types

[3] Blaze Type Typeface: Armag Fury Design: Matthieu Salvaggio blazetype.eu @Blazetype

[2] Atlas Font Foundry Typeface: Edit Serif Design: Christoph Dunst atlasfonts.com @atlasfonts

[1] Alfab Typeface: Mazette Design: Bruno Bernard alfab.tf @alfab_typefoundry

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[3] Our Polite Society Type Typeface: Placard Design: Our Polite Society Type and Jan Egbers ourpolitesocietytype.net @our_polite_society

[2] Nova Type Foundry Typeface: Alga Design: Joana Correia novatypefoundry.com @novatypefoundry

[2] TypeTogether Typeface: Adelle Sans Design: Irene Vlachou, Veronika Burian, José Scaglione Scaglione type-together.com @type_together

[3] VJ-Type Typeface: Voyage Design: Jérémy Schneider vj-type.com @violaineetjeremy

[1] Nouvelle Noire Typeface: Allegra Design: Jost Hochuli nouvellenoire.ch @nouvellenoire_ch

[1] Pangram Pangram Typeface: Telegraf Design: Nick Losacco pangrampangram.com @pangram.pangram

[3] Mint Type Typeface: Fiorina Design: Andriy Konstantynov minttype.com @mint_type

[2] Lucas Descroix Typeface: Syne Design: Lucas Descroix lucasdescroix.fr @lucasdescroix

[1] Letterjuice Typeface: Quars Design: Pilar Cano, Ferran Milan letterjuice.cat @letterjuice

[3] Colophon Foundry Typeface: Aperçu Design: The Entente colophon-foundry.org @colophonfoundry

[2] Bruta Types Typeface: Trash Design: Estela Ibarz González brutatypes.com @bruta.types

[1] Atlas Font Foundry Typeface: Edit Serif Design: Christoph Dunst atlasfonts.com @atlasfonts

[3] Alfab Typeface: Mazette Design: Bruno Bernard alfab.tf @alfab_typefoundry

[2] Alfab Typeface: Adso Design: Bruno Bernard alfab.tf @alfab_typefoundry

[1] 29Letters Typeface: Zeyn Design: Pascal Zoghbi 29lt.com @29letters

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[3] VetteLetters Typeface: VLNL Agitka Design: Henning Brehm vetteletters.nl @vetteletters

[2] Sudtipos Typeface: Dilemma Design: Alejandro Paul sudtipos.com @sudtipos

[1] Ryan Bugden Typeface: Meek Display Design: Ryan Bugden ryanbugden.com @ryanbugden

[3] Pangram Pangram Typeface: Agrandir 3.0 Design: Alex Slobzheninov pangrampangram.com @pangram.pangram

[2] MCKL Typeface: Redaction Design: Titus Kaphar, Reginald Dwayne Betts mckltype.com @mckltype_2

[1] Marie Boulanger Typeface: Scoop Sans Design: Marie Boulanger, Margaux Chambon, Cécile Heidemann marie-boulanger.com @mariedansparis

[3] Mateusz Machalski Typeface: Podium Design: Mateusz Machalski behance.net/MACHALSKI @machalski.studio

[2] Lux Typographic + Design Typeface: Fabriga Design: Greg Lindy luxtypo.com @luxtypo

[1] La Bolde Vita Typeface: Airo Design: Fabian Dornhecker laboldevita.com @laboldevita [1] Daniel Stuhlpfarrer Typeface: Kritik Design: Daniel Stuhlpfarrer danielstuhlpfarrer.com @dnl_stu [2] Feliciano Type Typeface: Crisol Design: Mário Feliciano felicianotype.com @felicianotype [3] Frank Fonts Typeface: FR Blokk Design: Béla Frank frankfonts.com @frank_fonts

[1] Hungarumlaut Typeface: Mohol Design: Adam Katyi hungarumlaut.com @hungarumlaut [2] Hurme Design Typeface: Hurme FIN 1a Compressed Design: Hurme Design hurmedesign.com @hurmedesign [3] KOMETA Typeface: Attila Sans Design: Christian Jánský kometa.xyz @kometa.xyz

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[3] VJ-Type Typeface: Jäger Design: Jérémy Schneider vj-type.com @violaineetjeremy

[2] Pauline Le Pape Typeface: Till Normal Design: Pauline Le Pape paulinelepape.com @paulinelpape

[1] Pangram Pangram Typeface: Hatton Design: Pangram Pangram with Two Times Elliott pangrampangram.com @pangram.pangram

[1] Gydient Typeface: Viaoda Libre Design: Gydient gydient.com @Gydient [2] Hardal Studio Typeface: Cordelia Design: Fatih Hardal hardalstudio.com @hardalstudio [3] La Bolde Vita Typeface: Samzara Design: Fabian Dornhecker laboldevita.com @laboldevita

[1] Laïc: Type Foundry Typeface: Figiel Design: Maciej Połczyński laic.pl @laictype [2] Ondřej Báchor Typeface: concern Design: Ondřej Báchor ondrejbachor.com @ondrejbachor [3] Or Type Typeface: Separat Design: Guðmundur Úlfarsson, Mads Freund Brunse ortype.is @ortype

[3] Good Type Foundry Typeface: GTF Byrd Design: Good Type Foundry goodtypefoundry.com @goodtypefoundry

[2] CSTM Fonts Typeface: CSTM Xprmntl 03 Design: Yury Ostromentsky @cstmfonts

[1] CoType Foundry Typeface: Ambit Design: CoType Foundry cotypefoundry.com @cotypefoundry

[3] Colophon Foundry Typeface: Aperçu Design: The Entente colophon-foundry.org @colophonfoundry

[2] Brownfox Typeface: Bitum Design: Gayaneh Bagdasaryan, Vyacheslav Kirilenko brownfox.org @brownfoxtype

[1] Barrett Reid-Maroney Typeface: Ephemera Design: Barrett Reid-Maroney behance.net/barrettrm @barrettrmdesign

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pdf specimens

Downloading PDF type specimens is not always easy. Often encrypted with a password, they unfold their full beauty and complexity only to the interested, potential customer as not all labels provide them for free. In view of the dynamic development of platforms like Instagram, some of these type specimens seem a bit anachronistic and out of date—drifting inbetween print and digital. Nevertheless, we can’t resist their beauty. Often it is only in the PDF specimen where the entire depth of the font becomes apparent; not only in the scope of its glyphs, but also in its full aesthetics. Here you can see who has other talents besides the skills of a good type designer, namely those of a good typographer!

221

Eklips

Thin

sss Eklips

Styles

Eklips

Styles

Light

lettersfromsweden.se

Letters from Sweden Typeface: Eklips Design: Göran Söderström Available in 8 weights, 2019 — lettersfromsweden.se @lettersfromsweden

Made in Stockholm

Styles

Regular

Made in Stockholm

lettersfromsweden.se

Made in Stockholm

Eklips

Styles

Thin

Björkhagen is a district in the Skarpnäck area of Söderort, in Stockholm’s Municipality.

Light

Regular

Medium

Björkhagen ist ein Ortsteil im Stadtbezirk Skarpnäck im Süden Stockholms. Björkhagen est un quartier situé dans zone de Skarpnäck à Söderort, Björkhagen es un distrito de Skarpnäck dentro del area de Söderort, en la Made in Stockholm

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lettersfromsweden.se

ss sss Eklips

Eklips

Styles

Medium

SemiBold

Made in Stockholm

Eklips

Styles

lettersfromsweden.se

Styles

Made in Stockholm

Eklips

Bold

lettersfromsweden.se

Eklips

Styles

Black

ExtraBold

Made in Stockholm

lettersfromsweden.se

Styles

Made in Stockholm

lettersfromsweden.se

Made in Stockholm

lettersfromsweden.se

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248

Optimo Type Foundry Typeface: Theinhardt Extended Design: François Rappo Available in 118 styles, 2009, 2018, 2019, 2020 — optimo.ch @optimofoundry

Theinhardt ® Extended

4.1

Support Independent Type

www.optimo.ch

Gradient Typeface: PolySans Design: Milos Mitrovic Available in 8 styles, 2020 — wearegradient.net @gradient.type

Polysans Slim Neutral Median Bulky

A*b% §2#(1) w@m &↘4s ®Øds

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Contrast Foundry Typeface: Flick-Flack Design: Maria Doreuli Available in 1 style, 2020 — contrastfoundry.com @contrastfoundry

SAMPLES ↓

STYLE: REGULAR

SIZES: 145, 44 PT ↓

COFO FLIC FLAC

3 / 19

SAMPLES ↓

STYLE: REGULAR

SIZES: 513 PT ↓

COFO FLIC FLAC

it IS 9 / 19

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Oh no Type Typeface: Digestive Design: Jérémy Landes Available in 6 widths, one style for small sizes, 2020 — ohnotype.co @ohnotypeco

OHNO

The process of

Digestive – E

verything started at the end of October 2016, when I started to work on a second poster for Bookster. This atypical publishing house creates classical novels in the shape of posters showing the whole text of the novels. Each poster heading is drawn by a different designer. I already had drawn one for Lewis Carole’s Alice in Wonderland, but this time I chose to work on George Sand’s La Mare Au Diable. I had a bit of time for this project so I decided to read the novel before starting work. This challenge had the added benefit of motivating me to read this classic of French literature.

OHNO

est ive

ve Digesti ve sti ge

e Dig Digestiv ve est i e tive g i D

urprisingly, reading the book didn’t help me at all to have any idea for the heading. While short, Sand’s novel plays on different registers and is not easily summarized in one image. I then came back to my first idea, a simple illustration of the pond described in the story, hidden in the middle of the trees and the fog of some mysterious forest. But the trees would be letters, madly condensed proportions reflecting themselves in the shady water of the pond. A first-degree illustrative idea is sometimes the best approach. Now you have the basic ingredients for the birth of Digestive. On the final poster, the letters were even warped, skewed

Dig

Digestive

THE FULL STORY CONTINUES ON OHNOTYPE.CO DIGESTIVE SIX WIDTHS, ONE STYLE FOR SMALL SIZES

OHNO Digestive one

GOA OHNO

Digestive zero

OHNO

EFECTS MIRDOS NATURE GROZET

digestive specimen ohnotype.co

263

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Support Independent Type

Undercase Type Typeface: Ritme Design: Phaedra Charles Available in 1 style, 2020 — undercase.xyz @undercasetype

Papanapa Typeface: Tocco Display Design: Thiago Bellotti Available in 8 weights, 2020 — papanapa.com @papanapadesign Tocco Display – Ampersand

Tocco Display – Diacritics

type specimen

Variable Font /001

Tocco Display – Numerals 225pt.

4/12

papanapa.com

type specimen

9/12

type specimen

11/12

áâä àåã Variable Font /001

papanapa.com

047 25 8 369 Variable Font /001

papanapa.com

279

Z 286 286

Titel of the book here

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index imprint

287

Foundry

address

0-9 A

page number

29Letters 29lt.com 40, 207, 209, 282, 283 60 KILOS 60kilos.com 201 205TF 205.tf 222

A2-TYPE a2-type.co.uk 41 ABK Stuttgart abk-stuttgart.de 42 Abstract Office abstractoffice.xyz 192, 210, 211 AinsiFont ainsifont.com 44 Alexander Branczyk xplicit.de 46 Alfab Type Foundry alfab.tf 207, 208, 209, 210, 213 Alice Savoie frenchtype.com 47 allerzeiten allerzeiten.com 214 Antipixel antipixel.com.ar 210, 213 APFEL Type Foundry apracticeforeverydaylife.com 48 Apparat Type 216 ArabicTypography arabicTypography.com 214 Dominique Kerber schriftgestaltung.ch 50, 51 Atelier Télescopique ateliertelescopique.com 52 Atipo atipofoundry.com 212, 215 Atlas Font Foundry atlasfonts.com 208, 209, 212, 213, 214 Autograph autograph.works 53

Barnbrook Barrett Reid-Maroney bb-bureau Blaze Type Boulevard LAB Bold Monday Bonez Designz Branding with Type Briefcase Type Foundry Brownfox Bruta Types BurnType Büro Destruct

288

barnbrook.net 207 gumroad.com/barrettrmdesign 202, 219 bb-bureau.fr 54, 55 blazetype.eu 208, 214 boulevardlab.com 213 boldmonday.com 56, 57, 58, 212, 213, 214 bonezdesignz.com 59 brandingwithtype.com 60 briefcasetype.com 62, 64, 214 brownfox.org 65, 212, 216, 219 brutatypes.com 66, 207, 208, 209, 210, 211, 212 burntype.com 190 burodestruct.net 217

Support Independent Type

Camelot Typefaces Cape Arcona Type Foundry character type foundry Charlotte Rohde Colophon Foundry

camelot-typefaces.com cape-arcona.com charactertype.com charlotterohde.de colophon-foundry.org

Commercial Type Connary Fagen, Inc. Contrast Foundry Corentin Noyer CSTM Fonts CoType Foundry

commercialtype.com connary.com contrastfoundry.com corentinoyer.fr type.today cotypefoundry.com

Dalton Maag Daniel Stuhlpfarrer Daniela Costa Dave Coleman David Gobber Detail Type Foundry Device Dharma Type Displaay DJR Dominique Kerber

daltonmaag.com danielstuhlpfarrer.com dvclmn.com davidgobber.com detail.tf devicefonts.co.uk dharmatype.com displaay.net djr.com schriftgestaltung.ch

Ek Type Eliott Grunewald Emigre Émilie Rigaud Emilie Vizcano Emily Jing Sum Chan Emma Marichal Emtype

ektype.in eliottgrunewald.xyz emigre.com aisforfonts.com emilievizcano.com emilyjschan.com emmamarichal.fr emtype.net

D E F

67, 226 68 68, 69 200 70, 72, 194, 207, 209, 211, 213, 219 74, 215 212, 216 212, 234, 262 76 207, 208, 219 78, 212, 219

79 218 80 214 205 82 83, 84 214, 215 241 264 215

212, 214, 216 190, 215, 216 85, 86 87 216 200 228 284

Fatype fatype.com 88, 89 Feedtype feedtype.ca 211, 246 Feliciano Type Foundry felicianotypefoundry.com 218, 235, 253 Florian Karsten Fonts fonts.floriankarsten.com 215 Frank Fonts frankfonts.com 194, 210, 213, 216, 218 FrosType frostype.com 190 Fontsmith fontsmith.com 90, 206, 207, 217

Formist Foundry

formistfoundry.co

Future Fonts

futurefonts.xyz

206, 207, 208, 210, 211, 257, 268, 274 92, 217, 230, 231, 260

La Bolde Vita

General Type Studio Gerard Sierra Good Type Foundry Gradient Grilli Type

generaltypestudio.com 211, 212 gerardsierra.com 217 goodtypefoundry.com 219 wearegradient.net 249 grillitype.com 206, 208, 210, 212, 213, 236 Gruppo-due gruppo-due.com 93 Gydient gydient.com 219

Hardal Studio hardalstudio.com 201, 211, 213, 217, 219 Heavyweight heavyweight.cz 94 Hoefler & Co. typography.com 207 Hungarumlaut hungarumlaut.com 218 Hurme Design hurmedesign.com 218 HVD Fonts hvdfonts.com 95

I J

Ines Davodeau inesdavodeau.com Into the Type intothetype.com Ivan Tsanko

Jan Matoušek Jeremy Tankard Typography Joseph Dennis JTD Type Just Another Foundry

squadrontypeface.com studiotype.com josephdennis.net jtdtype.com justanotherfoundry.com

217 213, 215 205

150 196 204 190, 280 96

laboldevita.com

192, 207, 216, 217, 218, 219, 272 Laïc: Type Foundry laic.pl 206, 208, 213, 214, 216, 219 Lazydogs Typefoundry lazydogs.de 98, 211, 212, 216 Leonhard Laupichler leonhardlaupichler.com 99 Les Graphiquants les-graphiquants.fr 100, 101 Letterjuice letterjuice.cat 102, 209 Letters from Sweden lettersfromsweden.se 211, 215, 232, 233 Lou Rainaldo lourainaldo.com 202 Lucas Descroix lucasdescroix.fr 209 LucasFonts lucasfonts.com 103 Ludwig Type ludwigtype.de 104, 216 Lux Typographic + Design luxtypo.com 105, 106, 218

Marie Boulanger marie-boulanger.com 218 Marion Bisserier marionbisserier.com 215 Mateusz Machalski behance.net/MACHALSKI 218 Massimiliano Vitti due-studio.com 201, 217 MAC Rhino Fonts macrhino.com 107 MCKL mckltype.com 218 Mickaël Emile mickaelemile.fr 202 Mikołaj Grabowski 259 Milieu Grotesque milieugrotesque.com 108, 109, 208 Mint Type minttype.com 209 Morgane Vantorre morganevantorre.com 203 Mostardesign Type Foundry motyfo.com 208

Naipe Foundry NaumType Foundry Netvarec Type NEW LETTERS Nice to Type Nicolas Portnoï Nikolas Type Nolan Paparelli Nootype Nora Kaszanyi Nouvelle Noire

pacaembu.naipe.xyz naumtype.com type.netvarec.ooo new-letters.de nicetotype.de

242 204 206 110, 111, 208 208, 217, 256 112 nikolastype.com 206, 216 nolan-paparelli.ch 113 nootype.com 114, 207, 252 norakaszanyi.com 190 nouvellenoire.ch 117, 118, 119, 206, 209, 212, 213, 238 Nova Type Foundry novatypefoundry.com 209, 216, 217, 224, 225 Novotypo novotypo.nl 116

Katja Schimmel katjaschimmel.de 208 Kimmy Design kimmydesign.com 196 Kometa kometa.xyz 192, 218 Kontour kontour.com 97

289

Backers Special thank you for those who pledged Love for Fonts Set, Friends Edition, Supporter Edition, and Sponsor Edition. Alexandre Meireles Machado Álvaro Morcillo López Antipixel Ben Sewell Brian Edlefson Christian Jánský Cristina Hernando Derek Weathersbee Diana Ovezea Diego Dieter Hofrichter Duy Nguyen Eran Bacharach Erasmo Tapia Falwah Fernando Díaz Fylbert Tan George Avramov Giang Nguyen Guillaume Delagnes Hessa Lootah Hyogo Iwona James Dooley Sullivan James Spindler Jamie Neely Jay Rutherford Jeff Zemetis Jeffery Keedy Jeremy Jo De Baerdemaeker

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Joji Jonas Diener Karsten Rohrbeck Leslie Badani Magdalena Marcin Piotrowski Marcin Wolny Meurice Michael Bundscherer Michael Parson Min-Young Kim Örjan Nordling Osamu Kawata Paul McNeil Pedro Amado Phil Cleaver Salem Al-Qassimi Sergio Andrés Moreno Sergio Trujillo Stan Hema GmbH Stefanie Schwarz Stefano Torregrossa Tamara Lockman Tamye Riggs Tatsuya Imaichi Tomasz Kuc Torben Vojtech Riha Wee Viraporn Weronika Mehr Wojtek Piotrowski 大槻智央安藤真生舟山貴士

Imprint Support Independent Type The New Culture of Type Specimens PUBLISHER Slanted Publishers UG (haftungsbeschränkt) Nebeniusstrasse 10 76137 Karlsruhe Germany T +49 (0) 721 85148268 info@slanted.de slanted.de @slanted_publishers ISBN: 978-3-948440-12-1 Support Independent Type—the new culture of type specimens COPYRIGHT © Slanted Publishers, 2020 Nebeniusstraße 10, 76137 Karlsruhe © for book design by Lars Harmsen, Munich and Marian Misiak, Dubai © for text by Lars Harmsen and Marian Misiak All rights reserved. TEAM Editorial direction & design: Lars Harmsen, Munich and Marian Misiak, Dubai Content management and research Instagram and PDF section, art direction: Lisa Panitz, Dortmund Retouching: Mahmoud Hamdy, Cairo and Louis Hunt, UK Research, editing support: Clara Weinreich, Karlsruhe Production management: Julia Kahl, Karlsruhe Publishing direction: Lars Harmsen & Julia Kahl, Karlsruhe Essays: Filip Blažek, Prague and Gerry Leonidas, London PRODUCTION Font: Di Grotesk by Threedotstype Printing and binding: Szaransky Print Company, Poland www.rh.plus Paper: Content: Munken Print White 115 g / sm Creamy hi bulk 53 g / sm Cover: Munken Lynx 240 g / sm Poster (Cover): Munken Print White 100 g / sm

ACKNOWLEDGEMENT

DISCLAIMER

We would like to express an explicit thanks to all participants of this issue. Thank you so much for all the physical specimens you sent us over the years. We are in love with your work, your efforts to produce beautiful typefaces every day and your promotion activities. We love independent type! Thanks to Moniteurs in Berlin who left us their conference room to take all photographies and Alex Branczyk for support and catering. Thanks for the best tripod ever. Many thanks to Mahmound Hamdy ands Louis Hunt for helping with retouching all photographies. Most of all, thanks to Lisa Panitz who curated the Instagram and PDF section. Without your tremendous effort, knowledge and energy, this book would not have been possible. A big thanks goes to Tom Barbereau, who helped edit all introduction texts. A special thanks to all those who contributed to the interview section: Gayaneh Bagdasaryan from Brownfox, Benoit Bedouin from bbbureau, Thierry Blancpain from Grilli Type, Mark Bloom from CoType Foundry, Veronika Burian from TypeTogether, Camelot Typefaces, Julia Martinez Diana from Antipixel, Petra Dočekalová from Briefcase Type Foundry, Hubert Jocham, Richard Kegler from P22 Type Foundry, Anton Koovit from Fatype, Zuzana Licko and Rudy Vanderlans from Emigre, Kai Büschl, Katharina Seidl, and Oliver Linke from Lazydogs Typefoundry, Bruno Mag from Dalton Maag, Plamen Motev from Fontfabric, Nadine Chahine, Alice Savoie from Frenchtype, Florian Schick from Schick Toikka, Erik Spiekermann, Anton Studer from Nouvelle Noire, Ludwig Übele from Ludwig Type, and last but not least Scott Vander Zee. It was so much fun reading your answers and thoughts! Please continue “make typefaces look good, useful and desirable.” A special thanks to Filip Blažek and Gerry Leonidas for the great essays. Thanks to Kickstarter and the team of Julian Brimmers and Christoph Nagel. You helped finance this book. Thanks a lot to all our backers for trusting in our mission and work, Olek Modzelewski for video. Thanks to all, who supported this project! Last but not least we feel very sorry for all those we forgot to include in this publication.

The publisher assumes no responsibility for the accuracy of all information. Publisher and editor assume that material that was made available for publishing, is free of third party rights. Reproduction and storage require the per mission of the publisher. Photos and texts are welcome, but there is no liability. Signed contributions do not necessarily represent the opinion of the publisher or the editor. The German National Library lists this publication in the German National Bibliography; detailed bibliographic data is available on the Internet at dnb.d-nb.de. Slanted Publishers is an independent publishing and media house, founded in 2014 by Lars Harmsen and Julia Kahl, and is internationally active. They publish the award-winning print magazine Slanted, which twice a year focuses on international design and culture. The Slanted blog and social media have been publishing daily news and events from the international design scene and presenting inspiring portfolios from around the world for 16 years. In addition to the Slanted blog and magazine, Slanted Publishers initiates and creates projects such as the Yearbook of Type, tear-off calendars Typodarium and Photodarium, independent type foundry VolcanoType and other design-related projects and publications. These publications can be found in the Slanted Shop alongside other extraordinary products by young design talents and established producers from all over the world. Slanted was born from great passion and has made a name for itself across the globe. Its design is vibrant and inspiring—its philosophy open-minded, tolerant, and curious.

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