Slanted Magazine #27 – Portugal

slanted 26 visits and authors 2×4, Jonathan Auch, George Bates, Lucas MRKA Benarroch, Nicholas Blechman, Jon Burgerman, Joshua Darden, Stephen Doyle, Everything Type Company, Louise Fili, Milton Glaser, Jon Han, Steven Heller, Gonzalo Hergueta, Jennifer Heuer, Paul Hoppe, Philipp Hubert, Mirko Ilić, Ken Johnston, karlssonwilker, MyORB, Chad Kloepfer, Christine Lhowe, Alex Lin, Ian Lynam, Dannell MacIlwraith, Alex Eben Meyer, Wael Morcos, Silas Munro, MTWTF, Joe Newton, Open, Original Champions of Design, Other Means, Pentagram, Jesse Ragan, Dan Rhatigan, Edel Rodriguez, Sagmeister & Walsh, Paul Sahre, Shutterstock, Small Stuff, Sara Soskolne, Jessica Svendsen, Lauren Tamaki, The Arm Letterpress, Alexander Tochilovsky, Richard Turley, Diego Vainesman, Carol Wahler, Jing Wei, Lance Wyman

video interviews slanted.de/nyc

R2 Design

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Artur Rebelo & Lizá Ramalho — 252

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R2 Design — 252

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R2 Design

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R2 Design — 252

Not just a Mirror House on Fire Book 2015

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Desire, Tension and Transition Experimenta Design Exhibition Design 2015

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R2 Design — 252

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Desire, Tension and Transition Exhibition view Feb. 2016

José Bártolo

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José Bártolo — 248

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A Liberdade da Imagem Design e Comunicação Visual em Portugal 1972-1986 Porto, 29.05/26.09 2014 Curated by José Bártolo Graphic Design by Drop Design

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José Bártolo — 248

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Inês Nepomuceno View over Porto from studio balcony Feb. 2016

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Inês Nepomuceno — 251

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Fabprint ESAD IDEA / Inês Nepomuceno Fábrica de Santo Thyrso Poster 2013

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Inês Nepomuceno — 251

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Mãos Teatro Marionetas de Mandrágora Poster 2014

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Atelier d’Alves — 248

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Caminhos Film Festival Caminhos Poster 2014–2015

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Atelier d’Alves — 248

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non-verbal Miguel Almeida Susana Almeida Joana Sobral João Martino

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Um Pensamento de Pedra Emídio M. Ferreira Guimarães 2012 European Capital of Culture 2013

non-verbal — 251

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non-verbal — 251

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Xesta Studio

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Hugo Moura — 253

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Logos & Lettering Selection Poster 2011–2015

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20XXVINTE Poster 2014

Xesta Studio — 253

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Márcia Novais

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Márcia Novais — 251

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Novo Banco Revelação Serralves Museum of Contemporary Art Catalog 2015

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Márcia Novais — 251

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Ibéria Crítica—Jovens arquitectos portugueses e espanhóis em debate “Iberia Critica—Young Portuguese and Spanish architects in debate” Poster & Program 2013

And Atelier

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And Atelier — 248

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Mind Sets Exd’15 Exhibition (As Far as the Mind Can See) Posters 2015

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And Atelier — 248

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White Studio 52

Eduardo Aires — 253

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Porto.

Câmara Municipal do Porto City Identity 2014

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White Studio — 253

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Rita João and Pedro Ferreira

Pedrita

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Rita João & Pedro Ferreira — 252

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Studio view Feb. 2016

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Pedrita — 252

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Viúva Lamego

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Viúva Lamego — 250

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Duarte Garcia — 250

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Factory view Feb. 2016

Viarco

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Viarco — 253

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Viarco — 253

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João Machado

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João Machado — 251

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Studio view Feb. 2016

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João Machado — 251

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3 de Maio Câmara Municipal de Lamego 2000

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João Machado — 251

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PEARL Photographic Series 2012

Tiago Casanova 87

Tiago Casanova — 249

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Tiago Casanova — 249

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João Machado International Year of Forests Art Tales 2011

João Machado — 251

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Studio view Feb. 2016

Studio Andrew Howard

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Studio Andrew Howard — 250

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Andrew Howard — 250

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Studio view Feb. 2016

Joana Monteiro

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Joana Monteiro — 251

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Anozero ’15 CAPC, Círculo de Artes Pásticas de Coimbra Coimbra Biennial of Contemporary Art Catalogs, Outdoors, Pins, Flyers, Leaflets 2015

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Joana Monteiro — 251

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New Kid in Town Folder, Self Promotion http://csteurer.com/New-Kid-In-Town 2015

Editorial

Chris Steurer

N E W K i D Economic Sector

Branding

Culture Sector

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Culture Sector

Economic Sector

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Does Voodoo Work? Helga Schmidhuber Edited by Museum Wiesbaden Sammlung Teunen, Schloss Johannisberg Authors: Sibylle Berg, Alexander Klar Kerber Verlag 2014

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Chris Steurer — 253

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Musa

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FUNZINE Non periodic self-publishing fanzine dedicated to all kind of graphic experimentations 2011–2016

Musa — 251

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HOME & ABROAD Book 2011

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Musa — 251

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Workshops Talks

Exposições Festas

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Almada Tejo Lisboa

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PL

Setembro 2015 www.plunc.pt

01 New Media and Digital Arts Festival 01 Festival de Artes Digitais e Novos Media

The Royal Studio U

The Royal Studio — 253

NC

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PLUNC Plunk Poster & Catalog 2015

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The Lovie Awards 2015 The Royal Studio & Ana Types Type Poster & Event Signage 2015

The Royal Studio — 253

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silvadesigners Book collection. Coleção D. Monographs about Portuguese designers from different generations. 2011-Ongoing

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Jorge Silva — 252

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Coleção D Book Collection 2011–ongoing

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Studio view Feb. 2016

silvadesigners — 252

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136

DROP — 249

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Studio view Feb. 2016

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José Luis Dias & João Faria — 249

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Anestesiologia Poster 2015

Bürocratik

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Bürocratik — 248

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Dubia Typeface 2014

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Bürocratik — 248

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AUSTERITY aka MERKEL’S PORTUGAL

Violeta Santos-Moura With unemployment reaching 26% in some countries, thus surpassing that of the U.S. during the Great Depression of 25%, Europe has experienced one of its biggest social and economic crisis. In Portugal, rising taxes and plummeting wages, staggering unemployment and a spiraling economic depression, has put access to food by growing sections of the population at jeopardy.

In 2011 Portugal became the third European country to seek an international bailout fund. The years to follow brought the implementation of foreign creditors’ demands for severe austerity policies spearheaded, within the European Union,

by German’s chancellor Angela Merkel.

Populations in Portugal and Europe now face increasingly aggressive policies under foreign creditors’ demand for an economy reframing that prescribes a downgrading of most social and labor rights conquered in the last century, to make room for private enterprise in detriment of public property and resources.

The result has been staggering unemployment, salary, jobs, and pension cuts, rising taxes, plummeting wages, economic depression, loss of sovereignty, unprecedented poverty. The spiraling economic depression that followed, made access to work and food by growing sections of the population at jeopardy and emigration lev-

els, comparable to the years that ended in the 70s during António de Oliveira Salazar’s fascist dictatorship.

Less than 50 years later, this is the Portugal of Angela Merkel and her ideological deputies in charge of Portugal. Laws, packages, and austerity measures were passed despite overwhelming popular and parliament rejection, labor was devalued and basic public services were privatized to meet the demands of foreign creditors, among which, Germany became its most in­f­­lexible proponent. Access to once public basic services, supposedly insured by taxpayers, was significantly decreased.

The growing number of food banks and charities in Europe became a barometer of how crippled the economy was, and how governments and public services failed taxpayers and society as a whole. Being this an emergency situation and charities a necessary way to cope with it in the short term, this raises deeper questions in the long run.

The following series of images and stories collected between 2012 and 2013 is an attempt to compose a more detailed picture of one the most difficult periods for the Portuguese population since the country emerged from its dictatorship in 1974.

Violeta Santos-Moura — 252

A man climbs the Lisbon subway stairs heading to a demonstration. In the staircase wall, leading to a major city square, a graffiti expresses, in vernacular language, rejection over further economic sacrifices demanded to the Portuguese people i. e. “sacrifices, my di*#k.” The demonstration commemorated the popular revolution that overthrew, in April 25th, 1974, the fascist dictatorship of António de Oliveira Salazar, giving place to democracy. In 2012 the holiday was marked by protests against further austerity policies and loss of sovereignty in internal decision making to foreign creditors.

Homeless people take shelter through the whole length of the main tunnel in one of Lisbon’s main train stations.

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Violeta Santos-Moura — 252

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160 Fontnames Illustrated Mantraste André Letria Ana Seixas Mariana Rio Júlio Dolbeth João Drumond Aka Corleone Rui Vitorino Santos Tomba Lobos Lara Luís Fontnames Illustrated

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Mantraste

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AndrĂŠ Letria

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M a n s t r a s t e ( previous page) × Flama (flame) by Feliciano Type Foundry (Mário Feliciano) A n d r é L e t r i a (left page) × Signo (sign) by R-typography (Rui Abreu) → 250 A n a S e i x a s × Atlantica by Vanarchiv (Ricardo Santos) → 252

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Fontnames Illustrated

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178 10 × 10

10 questions with 100 answers Bolos Quentes Epiforma FBA. Andrew Howard küng design bureau Inês d’Orey Dino dos Santos Studio Dobra Thisislove White Studio

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1 Could you talk about your background?

What made you become a designer / illustrator / photographer / typographer?

Bolos Quentes We belong to the same generation and we share the same imaginary as everybody who has born in the 80s. We’ve grown up in a country (Portugal) that was rediscovering the world. Duarte has grew up in Braga and Sérgio in Leça da Palmeira. We’ve met at the Fine Arts School in Porto. The challenge of working with a vast diversity of projects was, perhaps, what led us to be designers.

Epiforma (Francisco Ribeiro) I’ve always felt attracted for visual communication which I ended up learning through design books and talented friends around me. My first degree was on Cinema, but ended up taking a masters on Web Project Design.

(Filipe Ferreira) I started pursuing Computer Engineering for my love for technology and the web. Ended up graduating in Visual Communication and taking a master in typography with the belief that it would shape my enthusiastic idealist spirit into designing for positive social impact.

Epiforma, Ignition Festival, 2015.

Posters and a flyer, part of the identity and collateral designed for Ignition Music Festival.

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FBA. (Alexandre Matos) FBA. is an improbable happening, since it is a design company founded by a biology major (João Bicker), and an electrical engineering drop out student (myself), neither with any previous experience in the design sector.

João had a self nurtured interest in typography and books while I always maintained a high level of extracurricular activities during university, taking part in and organizing events. FBA. began after we met and started working together at cultural events going on in Coimbra during the late 1980s and early 90s. Coimbra, being a relatively small city, but home to the oldest university in the Portuguese speaking world, had a vibrant cultural scene at that time. The design projects we toyed with during this period started to lead to more requests. One day we were simply faced with the decision to either keep some small design projects as a sideline hobby or to get organized and get some other people on board to tackle new and more challenging design assignments. We went for the latter.

On a personal note it wasn’t a very reasoned decision to abandon a career in electrical engineering and start a design company.

Electrical engineering would have certainly offered better guarantees of a job at the time.

In retrospect, I think that the opportunity that design gives to be constantly working with different people, clients, and on different projects and subject matters was a big part of the attraction. The variety of the work and the privilege to get insight into different organizations as they plan a new product, a new service, an exhibition, a book, or whatever other design output, is still today one of the best rewards of this line of work for me.

Andrew Howard I went to Fine Art School with thoughts of becoming a painter and if someone had told me then that I would become a graphic designer I would have laughed—well first I would have scoffed, then I would have laughed. I had no interest in a practice whose history was inextricably linked to commodity production and driven by the dominant economic imperative of perpetual consumption, but discovered its parallel existence and possibility as an activity that can instead generate knowledge and communicate critical information.

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I really fell in love with the process because it has nothing to do with graphic design. It’s much more like industrial design!

You have certain pieces, with a variety of shapes and styles, and you must organize them in a peculiar, innovative, yet legible, and recognizable way. This compromise between innovation and tradition, made me become a type designer.

In short, I was drawn to graphic design once I understood that in the act of design, and contrary to the conventional emphasis the profession like to place on informationdriven service provision, we are not simply navigating what the world contains, we are also navigating the perception of what it contains and what some want us to believe it contains. And this makes design a doubleedged sword. Fiction or fact, distraction or empowerment, propaganda or information. Choose. Everything we absorb is mediated by the nature of its delivery. And that is the aspect of graphic design that interests me, what it has to offer—what it has always had to offer—the opportunity of modeling (visual) delivery systems that affect the significance, meaning and impact of ideas, knowledge and information. It’s a limited practice in many ways, but for someone drawn to the visual and to the possibilities of mass production it’s not a bad place to use as a base. küng design bureau (Valdemar Lamego) Since I was 10 years old, I’ve been drawing various types of letters for school posters. Always loved making posters, and covers of my preferred comic strip books. Later, instead of following an arts course, I preferred to follow another passion of mine, and I took a course in Biotechnology, and later entered the University of Veterinary Medicine, there I continued to make posters for the Student Association, and that’s when I realized I was on the wrong course. I changed from Veterinary to Design. I’ve been working in design since 2004. I think my academic career influences my actual work, so I do more analytical and experimental design, I do design like it was a scientific experiment.

Dino dos Santos, DSType Breve, 2014.

Studio Dobra We are two designers of about the same age who met at the university. We have a very similar background. Our first approach to graphic design was through music, mostly by diving into each of our parents’ vinyl collections and trying to understand those covers while listening to the music. Long before this visceral relation with graphic design we had bands and went to shows and bought zines and this had an obvious influence in what we do nowadays.

Inês d’Orey In my twenties, I saw an exhibition of Robert Mapplethorpe in London. I was really surprised with what you could achieve with photography. I decided to change my life path and went to study photography in London.

Dino dos Santos I graduated in Graphic Design at ESAD Matosinhos, just nearby Porto. During that period (circa 1992) I started to design typefaces for my own works because there was not so many type stuff available that would allow me to make a more distinguishable design work.

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Thisislove (Joana Areal) In fact I don’t quite recall the moment I decided for design. It was probably due to a childhood close to the arts, or growing up in the countryside and having enough time to read and search for knowledge on culture and its agents. I was drawn very quickly to its core subjects. Design was, therefore, the natural consequence of a precocious encounter with the world of arts.

White Studio (Eduardo Aires) I have always wanted to be a designer. I had an epiphany around 8-9 years old. I guess it was due to the education system in Germany where drawing was an

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developing, from where some promising results may unfold. IPN (Instituto Pedro Nunes), an innovation and technology transfer center, along with the new Design and Multimedia course at the University of Coimbra, which João Bicker helped set up, are both concurring to create new startups and design business opportunities.

important part. Once, I won a bicycle for participating in a contest for the Stadtsparkasse Bank. It consolidated in me the idea that drawing was a very strong and comfortable tool. I never imagined that a graphic element, the switch of the dot, would have the importance it had, when, later, I did the connection. After that I simply followed the will. So, my background is definitely drawing. Drawing had always had an important place in my life. It is the anchor to my connection with design.

Andrew Howard Porto seems to me the most vibrant location, but the design community although often defined by geography is not contained by it.

2 Lisbon or Porto?

Where is the design hot spot of Portugal?

Bolos Quentes Porto is a very special city for us. Besides the extraordinary work that designers do in this city, we also like its scale and its people.

These two elements create a state of wellness that allows us to have time to think about what we do. We think that the design developed in this city is a reflection of itself and also its framing in the global village. We don’t really know if Porto should be considered a hot spot, design wise, but would surely be a great case study. Obviously, there’s also great design in Lisbon, but Porto treats us well and we know it intrinsically.

Epiforma Both have their own magic. Probably Lisbon has more happenings and therefore a bigger impact because in Portugal there is still (since the 6th century) a hugely centralized political system based in the capital that clearly favors its economy.

FBA. Design as a professional activity is a very recent thing in Portugal. With only a handful of isolated designers with regular and relevant activity during the mid 20th century, you can only talk about the beginning of a design ecosystem over the past few decades.

Lisbon and Porto, being the two biggest cities and regional economies in Portugal have, of course, a good deal going on and benefit from the spotlight of the media. But things have been popping up a bit all over the country.

Coimbra for example, where we are based, has a very small design community, but an interesting environment has been

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küng design bureau It is very difficult to answer this question because I was born in Porto and now I live in Sintra, near Lisbon. There are very good designers in both cities. In Lisbon there are more big studios, in Porto there are smaller ones. Due to the centralization of economic power in Lisbon, the design in the capital is more commercial, in Porto design is more connected to cultural clients.

Porto is the second city of Portugal, historically there is an economical, political, and cultural distance from Lisbon. Why Porto has always been, or tried to be selfsufficient, covering all issues in a provocative and experimental way. In Porto, people are more open to new experiences, not afraid of risk, in addition the community shares knowledge and experience which helps in growth. Citing Herman José (Portuguese comedian): “Porto is a nation!”

küng design bureau, PARQ Issue 27, 2011.

PARQ Magazine.

Inês d’Orey I guess in both cities. The way I feel it, Porto has a more underground art scene, less mainstream, as second cities frequently have.

But that also makes it more interesting.

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206 José Bartolo

A tradition of Titel des Artikels departure Subline klein

Graphic Design, oder typography auch lange and Illustration in Portugal— A View of Recent Work1

José Bártolo # 248

English graphic designer Robin Fior, who lived and worked in Portugal since 1974, immediately after the Carnation Revolution, until his passing in 2012, used to stress the importance of the historical tradition in the graphic arts in Portugal to understand the work currently developed by Portuguese graphic designers, illustrators and type designers.

His main idea resided in the predominance which, since the XIX century, visual representation (drawing and illustration) associated with graphic production through engraving (mainly xylography and wood engraving) had conquered in a typographic tradition, bound to artisanal hand-set processes and typographic-based designs.

In fact, leading Portuguese designers, such as Bernardo Marques or Sebastião Rodrigues, if not completely “typocondriacs,” to use the expression coined by North American designer Aaron Burns, were notable visual communicators who pursued, as brilliantly as they did, their expres­sive capabilities through drawing (Bernardo Marques) or through collage and graphic composition (Sebastião Rodrigues) nonetheless leaving the importance of illustration prevail.

At the same time, this generation of designers who excelled in the beginning of the second half of the XXth century, and whose talent can be compared to that of Alvin Lustig or Paul Rand (essential references to Portuguese designers in the 40s, 50s and 60s who became specialized in book design), expressed a strong interest in the design process, following the graphic production meticulously, from the choice of materials to the verification of galley and page proofs and graphic production. In many cases, the resolution of graphic problems occurred during the printing stage, thanks to a close articulation and complicity between composers and printers who worked side by side in the letterpress shops.

In Portugal, due to the political context of a long-standing fascist dictatorship, modern graphic design and the International Style were subjected to concerns regarding national identity and culture. The confrontation of various international influences with folk elements, the modernization of processes versus vernacular tools and lexicons turned into a creative practice.

To some extent, Portuguese design was always a “local design,” even when the works produced were acknowledged as one of the most impressive of its time, as is the case of the Almanaque magazine, designed

by Sebastião Rodrigues in the 1960s.

1 This title is a quote from an article by Leslie Sherr about Dutch design published in Eye Magazine (Spring 1992).

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Haha! I can imagine! Oh, one more thing about Ana Relvão.

I also asked that fabulous woman whether she had a favorite building that had been built during Portuguese colonial times, and she went: “Thinking about the Portuguese architecture that happened during the colonial times, I’ll have to pick the most modern buildings, made during the 20th century.

There is an architectural style that I love the most, it’s called Português Suave (“Soft Portuguese,” in English). Around the world there are beautiful samples of this architectonic style, like in Luanda with the National Bank of Angola. But my favorite building happens to be in Lisbon. It’s at Rua da Palmira #33 and it was in fact my home for seven years. It’s a masterpiece of Cassiano Branco and a great example of curved facades, one of his most known signatures. Lucky me!” She actually got to live in Cassiano Branco’s Rua da Palmira #33!! “Yup, I had that luck!

It’s a great building and something I love about Cassiano is that he used to plan the buildings from inside to outside. On the curved facades buildings, that means that the inside walls are also round. It’s perfect!!”

Speaking of Angola in the 20th century, as Ana mentions. Let’s talk about the plethora of cinemas! Art Deco in style, but also influenced by the environment, the land, by the leap of the impala—or so were the arches of Cinema Impala in Namibe. These buildings have only recently been recognized in the past ten years as an important part of the architectural landscape, although now they are faded and dilapidated (it seems the Portuguese are not very good at their own PR). Not to mention they housed an important cultural asset, film. In fact film was such a part of life, that the Cinema Infante Sagres in Luanda—a really mammoth cinema—included living areas, meeting and social spaces, terraced balconies—apart from the auditorium. Some of them are more like amphitheatres, since Castro Rodrigues envisioned the cine esplanandas (they soon found that the open-air cinemas make more sense in the tropical climate). Unfortunately racial segregation meant that it was mostly kept for white and colonial elite enjoyment. But the Goethe Institute Angola is planning to restore a few of them. It would now be an inclusive space, for collaboration between old and new, film and architecture as adjunct art forms, and who knows what else. Obviously four decades of Civil War tends to dampen cultural progress. But Angola’s economy is soaring to new heights and hopefully this affects the arts in a positive way.

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Charlotte von Fritschen, Sonja Steppan # 250, 252

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Cape Town

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Charlotte von Fritschen, Sonja Steppan # 250, 252

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index

P 46–51 video interview: slanted.de/ portugal

And Atelier, Porto (PT) and-atelier.com And Atelier is a small, independent design studio run by João Araújo and Rita Huet and currently based in Porto. Their work always tries to accomplish a strong conceptual approach, through clear solutions with a strong typographic component and respect for letterforms and reading rhythms.

P 138 / 139 video interview: slanted.de/ portugal

Rui Abreu / R-typography, Lisbon (PT) r-typography.com Rui Abreu is a type designer living in Lisbon. He graduated in 2003 from the School of Fine Arts, University of Porto, where he studied Communication Design. Rui became interested in type during his student years. His professional experience includes working in advertising agencies and publishing fonts, both independently and with other foundries. Currently, Rui is fully dedicated to his label, R-typography.

P 120 / 121, 167 video interview: slanted.de/ portugal

Aka Corleone, Lisbon (PT) akacorleone.com Pedro Campiche / Aka Corleone (born 1985) is a Portuguese visual artist who started out as a notorious graffiti writer in the Lisbon underworld. A self-confessed obsessive with all things graphic and visual, he is known for his dexterity in using colors, typography, characters, and forms, which he blends to achieve eye-catching compositions imbued with originality and an all-pervasive humor.

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P 20–27 video interview: slanted.de/ portugal

Sérgio Alves / Atelier d’Alves, Porto (PT) atelierdalves.com Atelier d’Alves is the natural culmination of a path trodden with enthusiasm since 2009, when, Sérgio Alves began working independently with clients from a range of areas.

The work of the studio responds to the needs of emerging visual communication in all areas, especially in the field of culture—theatre, architecture, dance and literature. Their work have been featured in several publications worldwide as well been a constant presence at international awards and exhibitions.

P 235–239

Emanuel Barbosa, Porto (PT) motosdeportugal.com casainternationalmag.com Design Educator and Curator.

BA by ESAD, Matosinhos; MA by UB; PhD by UPV, Spain. Since 1998 teaching in ESAD. His graphic work has been internationally awarded and published (Portugal, China, Japan, USA, Germany, UK, Italy, Spain, Russia, etc.). In 1998 establishes Vestígio Design. Creative Director of Casa International, a design magazine published in Beijing. International coordinator of ESAD.

Index

P 12 / 13, 206–213 video interview: slanted.de/ portugal

José Bártolo / ESAD IDEA, Porto (PT) esadidea.pt José Bártolo (born 1972) is a design writer, educator and curator based in Porto. Author of several books and articles, he is editor-inchief of Pli Magazine. He was the author Portuguese Design (8 volumes, 2015). As curator, José’s work was presented at the Biennial EXD, London Design Week and Beijing Design Week. In 2016 José will be the curator of the Portugal Pavilion at the Milan Triennale.

P 178–192

Bolos Quentes, Porto (PT) bolosquentes.com The Bolos Quentes design studio was founded by four creatives who graduated in Communication Design at the School of Fine Arts, University of Porto. Since its foundation in 2003 they developed several projects in diversified areas. Nowadays Bolos Quentes are Duarte Amorim and Sérgio Couto. They believe in form and content, in images, and words.

But most of all they believe in the balance between form and content, and images and words.

P 140–147 video interview: slanted.de/ portugal

Bürocratik, Coimbra (PT) burocratik.com Founded in 2005, Bürocratik is an international award winning Studio specialized on Branding and Digital with an absurd passion on typography. Seven designers and engineers driven by exceptional experiences and craftsmanship.

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P 87, 88, 90–95 video interview: slanted.de/ portugal

Tiago Casanova, Lisbon (PT) tiagocasanova.com Tiago Casanova (born on Madeira Island, 1988) is a Portuguese architect and artist. Takes part on the collective XYZ Books, co-founded Scopio Magazine in 2010 and A Ilha in 2014, and has been exhibiting his work in solo and group shows since 2005.

In 2012 he won the Bes Revelação Award and in 2014 the selection of best works at Plat(t)form–Fotomuseum Winterthur. Represented by Galeria das Salgadeiras (Lisbon).

P 118 / 119, 165 video interview: slanted.de/ portugal

Júlio Dolbeth, Porto (PT) juliodolbeth.com, dolbeth.tumblr.com damaaflita.com Júlio Dolbeth (born in Angola) is an artist, illustrator and curator, and participates on solo and collective shows regularly. He is founding member of Dama Aflita gallery, in Porto, dedicated to drawing and illustration. He holds a PhD in Art and Design and is teaching Communication Design and Illustration at the School of Fine Arts, University of Porto.

P 148 / 149 video interview: slanted.de/ portugal

Joana Correia, Porto (PT) joanacorreiatype.com Joana Correia is a typeface designer from Porto. She has a degree in Architecture and Graphic Design.

She also received a Master degree in Typeface Design by the University of Reading in 2011. Since 2011 she works as a freelancer and develops typefaces for various entities such as Google Fonts and Indian Type Foundry. Interested in the world’s linguistic culture she also designs typefaces for Indic writing systems.

She teaches type design at ESAD.

P 178–192

Dino dos Santos / DSType Leça da Palmeria (PT), dstype.com Dino dos Santos graduated in Graphic Design and is founder of DSType. Designed typefaces for The New York Times Magazine, Le Figaro and Electronic Arts. Awarded with the Certificate of Excellence in Type Design by the TDC of NY and the Creative Review Type Design Awards.

DSType has been featured in Eye, Computer Arts, Page, Graphic and books like TDC Annual 29 and Type Navigator. DSType’s work was selected for the Schrift in Form exhibition at the Klingspor-Museum.

P 178–192

Studio Dobra, Porto (PT) studiodobra.com After ten years of individual practice, André and João created Dobra, a graphic design studio based in Porto. They work a lot with cultural institutions, independent publishers and like-minded companies. Due to their background they do a lot of work for music and theatre companies.

They do art direction, identities, editorial, signage, packaging, and digital.

249

P 132–137 video interview: slanted.de/ portugal

João Faria / DROP, Matosinhos (PT) drop.pt DROP was founded in 1996.

Based in Matosinhos, develops projects mainly for cultural productions.

Early years were focused on the area of music, designing album covers and posters. Between 2002 and 2010, the studio was responsible for the overall graphic image of Porto’s National Theatre. More recently, DROP designs books and directs the graphic design for Vila do Conde Short Film Festival.

Index

P 166

João Drumond, Porto (PT) behance.net/drumondjoa22c7 João Drumond is a Portuguese designer and artist. He was born on Madeira Island in 1990 and graduated from the School of Fine Arts, University of Porto in 2012 with a bachelor in Communication Design. Having attended the Master in Art Direction at ECAL (Lausanne, CH), he has worked independently, being based in Porto ever since.

As an artist and illustrator his work has been exhibited and published both in Portugal and abroad in various cultural spaces and publications.

P 178–192

Epiforma, Porto (PT) epiforma.com Epiforma is a multi-disciplinary duo based in Porto. They use design as a tool to build engaging experiences with clients that want to reinvent their future. Their work strives to give form to meaning and arouse curiosity and emotion. They work across print and digital experiences.

P 178–192

FBA., Coimbra (PT) fba.pt FBA. is a cross media design studio founded in 1998. In addition to its client based commissioned work, FBA. has produced design related books with the Almedina publishing group. Recognizing that design is critical to addressing progress in our society and should not just be available to those who can afford to buy it, FBA. has regularly developed pro-bono projects. FBA. has received several distinctions including the Portuguese National Design Award.

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video interview: slanted.de/ portugal

Luis Fernandes, Porto (PT) canal180.pt, 180.camp getsetfestival.org Luis Fernandes is the Executive Producer of Canal180, an award winning Portuguese television network focusing on culture and creativity – and 180 Creative Camp, an eight days boot camp about Creative Collaborations in Media Arts. He’s also the founder and director of Get Set Festival, a young creators festival that celebrates creativity around Porto. Luis has a Masters degree in Architecture (Porto, 2009).

P 218–223

Charlotte von Fritschen, Munich (DE) questre.net Charlotte von Fritschen was born in Cape Town and has been working in corporate book publishing, leaving fingerprints in various zine projects—from literar chapbooks to Jungle Jim Magazine. Her recent move up the coast to wilderness has sparked her interest in peoples’ relationship to natural environments. She started an imprint which expresses this idea through writing, photography, and music.

P 64–67 video interview: slanted.de/ portugal

Duarte Garcia / Viúva Lamego factory, Sintra (PT), viuvalamego.com Fabrica Ceramica Viúva Lamego was a family business since 1849, and in 1976 Duarte Garcia (born 1953) was named manager of the company.

He was member of the direction on the Portugese Ceramic Association for 21 years (10 as President), and member of the board of Aleluia Ceramicas from 2006 to 2011. Today he is the art projects consultant at Viúva Lamego since 2014 and member of the board in Solar energy projects since 2014.

250

P 230–235

José Guilherme Marques, Porto (PT) glerme.tumblr.com, canal180.pt José Guilherme Marques lives in Porto since 2012. Working with Canal180, a TV channel entirely dedicated to culture, arts and creativity, he’s also finishing a Masters degree in Illustration and Animation. In his essay, he tells a story about him growing up, and his relationship with the city and the visual culture.

P 96–99, 178–192 video interview: slanted.de/ portugal

Studio Andrew Howard, Porto (PT) studioandrewhoward.com Andrew Howard is a graphic designer, educator, design writer, and curator. He runs his own design studio that specialises in work for cultural and educational institutions. He is course director of the MA in Communication Design at ESAD, and organises the independent Porto Design Summer School. His work and writing on graphic design have been published internationally.

P 178–192

Valdemar Lamego / küng design bureau, Sintra (PT), k-u-n-g.com k–u–n–g is a small, independent graphic design bureau based in Portugal since 2010. The studio’s methodology is built on the goal to communicate the intrinsic attributes of each commission through wellcrafted, thoughtful, and direct solutions, based on conceptual thinking and a distinctive typography. Valdemar Lamego’s work reflects his curious observation of contemporary culture.

Index

P 162

André Letria, Lisbon (PT) andreletria.pt André Letria was born in Lisbon in 1973. He works as an illustrator since 1992. His books are published all around the world. He also worked as a theatre set designer and has directed animated films. In 2010, he founded Pato Lógico Edições, an independent publishing house.

P 170

Lara Luís, Porto (PT) laraluis.com Lara is an illustrator based in Porto, and part of a group of young Portuguese illustrators who are taking great importance in the national illustration and street art scene. She has a degree in Graphic Design and a Masters degree in Illustration.

Her work is mostly autobiographic and has influences of the world of children’s illustration and oldschool animation.

P 240–247

Ian Lynam, Tokyo (JP) ianlynam.com Ian Lynam is a designer operating at the intersection of graphic design, design education and design research. He is Chair and faculty at Vermont College of Fine Arts, fac­ulty at Meme Design School, and at Temple University Japan. His most recent book is Parting It Out: Writings on Graphic Design. (part.ianlynam.com).

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P 100–105 video interview: slanted.de/ portugal

P 214–217

Dermot Mac Cormack / 21xdesign Broomall PA (US), 21xdesign.com Dermot Mac Cormack is a designer, educator, and writer, living in Philadelphia. Together with Patricia McElroy, he is a partner in the award winning, multidisciplinary design firm, 21xdesign, and is Chair of the Graphic Arts & Design Department at Tyler School of Art, Temple University, in Philadelphia.

Joana Monteiro, Coimbra (PT) joanamoteiro.pt, clubedostipos.com Joana is a freelance graphic designer and art director, working mainly for the cultural area. Through her work one can recognize a passion for typography. She mixes different techniques to build graphic images.

Her degrees are in Painting and Communication Design. She did her Graphic Design Masters at UAL, London. Studied at Royal College of Arts, London, where she experimented in video and letterpress.

Co-founder of Clube dos Tipos.

P 82–86, 89 video interview: slanted.de/ portugal

João Machado, Porto (PT) joaomachado.com Graduated in Sculpture at the School of Fine Arts, University of Porto. Returned later to lecture on Graphic Arts. Established his studio João Machado Design Lda in Porto, 1982. Color and shape are his hallmarks. Since the late 70s until now, his work has been widely published and awarded, featured a several biennals and solo exhibitions throughout the world. In recent times his work has been focused on social and environmental issues.

P 78–81 video interview: slanted.de/ portugal

Mother Volcano, Porto (PT) mothervolcano.com Mother Volcano is a creative studio based in Porto, working for clients and agencies all over the world. They are a team of illustrators and creative coders who imagine, design and create visual universes for digital media, products and brands. Their mission is to explore the potential of new technologies in redefining the field of illustration.

P 161

Mantraste, Lisboa (PT) behance.net/lordmantraste facebook.com/Lordmantraste Born in 1988 and son of a hairdresser and a shepherd, was raised in the woods like an animal. He’s a fan of the popular mysticism and nature, nowadays lives hidden in Portugal to make graphic design and illustration. Already has worked with some clients like Casa da Música, Revista Saraiva, EGEAC, LINK, and much more.

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P 110–117 video interview: slanted.de/ portugal

Musa, Lisbon (PT) musaworklab.com MUSA is a multi-disciplinary design and communication consultancy studio founded in 2003 by Raquel Viana, Paulo Lima, and Ricar do Alexandre. Their focus is to be unconventional, to go beyond traditional studio work. Every project is treated uniquely to give their clients successful brand communication strategies and state of the art graphic concepts providing relevant and creative solutions.

Index

P 14–19 video interview: slanted.de/ portugal

Inês Nepomuceno, Porto (PT) inesnepomuceno.com Inês Nepomuceno was born in Viseu and has moved to Porto in 2004 to study Communication Design at the School of Fine Arts, University of Porto. She studied in Brussels for six months and then moved to Barcelona, where she collaborated with Twopoints.net.

Returning to Porto, she enrolled in the Communication Design MA of ESAD. Currently she works as a designer at ESAD IDEA while she works also as a freelancer.

P 28–35 video interview: slanted.de/ portugal

non-verbal, Porto (PT) nonverbalclub.pt non–verbal (formerly known as Atelier Martino&Jaña) is a communication consultant and graphic design studio, based in Porto. It shares a passion for visual systems, typography and books, and specializes in differentiated editorial projects.

Being vastly experienced in multidisciplinary design projects, non–verbal is proud to provide intelligent custom–designed solutions for their clients and collaborators.

P 40–45 video interview: slanted.de/ portugal

Márcia Novais, Porto (PT) marcia-novais.com Márcia Novais was the Art Director of the School of Fine Arts, University of Porto, between 2011–15.

She developed projects that are based on poster and exhibition design, where she contemplated the use of printmaking as a mean to create objects. She was selected as one of the 2012 New Visual Artists of Print Magazine. In 2015, she had a brief stint at Casa da Música, where she worked in print design. Novais lives in Porto with her cat.

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P 178–192

Inês d’Orey, Porto (PT) inesdorey.com Inês d’Orey was born in Porto in 1977. She works as a freelance photographer for private clients and public institutions and develops personal projects. She frequently publishes and exhibits her work in Portugal and abroad. She has a degree in Photography from London College of Printing. Inês won the Fnac New Talent prize in photography in 2007. Inês d’Orey is represented by Presença gallery.

P 72–77 video interview: slanted.de/ portugal

Oupas!, Porto (PT) oupasdesign.com Based in the heart of the city of Porto, Oupas! is a graphic design studio, a team of four elements: Cidália, Joana, Sofia and Tobias (their cat). They are recognizable by the materials they use, especially by paper and cardboard: their materials of choice. From little pieces to stage and event design, they can make it happen!

P 58–63 video interview: slanted.de/ portugal

Pedrita, Lisbon (PT) pedrita.net Pedrita is a multidisciplinary design studio founded by Rita João and Pedro Ferreira, operating from Lisbon since 2005. Team and resources are brought together according to each project, relying on a network of talented professionals. Every project casts an inquisitive look on logic and material culture, questioning processes and materialization, to gather the best formal and conscious solutions.

252

P 2–11 video interview: slanted.de/ portugal

R2 Design, Porto (PT) r2design.pt R2 is a design studio based in Porto, founded in 1995 by Lizá Defossez Ramalho and Artur Rebelo.

Their work spans a wide range of areas of design, exploring static, sequential and interactive formats – through media as diverse as paper, concrete or digital—, and embraces collaborative ventures with other disciplines such as architecture, engineering, photography, writing or programming.

P 164

Mariana Rio, Porto (PT) marianario.com Mariana Rio is an illustrator and communication designer based in Porto. She has a BA in Communication Design by School of Fine Arts, University of Porto, and has also studied in ASP Wroclaw. As an illustrator she has been published since 2012. She obtained acknowledgement by the Nami Island International Picture Book Illustration Concours, the Bologna Children’s Book Fair, the CJ Picture Book Awards Seoul among others.

P 150–159

Violeta Santos-Moura, Lisbon (PT) violetamoura.eu Violeta Santos-Moura is a Portuguese freelance photojournalist and journalist. Her work revolves around the consequences of economic and political strife as well as dissent and unlikely agents of change within societies and countries. Her reporting has taken her from covering Portugal and Spain, amidst the European economic crisis, to the Middle East, covering the Israeli-Palestinian conflict as photojournalist and correspondent for several news outlets.

Index

P 163

Ana Seixas, Porto (PT) anaseixas.com Ana Seixas is a graphic designer and illustrator, working as a freelancer since 2012. Relies on silkscreen as a mean of production, taking advantage of its possibilities to explore graphic results; her work focus on children’s publications and magazines. Spends her days at a co-working space shared with several creatives and manages a small silkscreen workshop in Porto.

P 126–131 video interview: slanted.de/ portugal

Jorge Silva / silvadesigners, Lisbon (PT) silvadesigners.com Jorge Silva is an editorial desig­ner, art director and member of Alliance Graphique Internationale.

The illustration, a life-long passion, has brought him many awards and curatorships, and a blog where he writes stories about Portuguese illustration. With his studio silvadesigners, he has helped create and develop cultural brands representing Lisbon’s immensely rich cultural life, like the iconic Sardine.

P 218–223

Sonja Steppan, Munich (DE) questre.net Sonja Steppan has partly studied journalism, anthropology and graphic design in Graz, Brussels and Munich. Sparked by an exchange program at St. Cyprian’s School in Cape Town she traveled various continents, specifically the Middle East during the cultural-political reversals of the Arab Spring. Most currently she is engaged in an NGO that supports refugees and runs a zine project called Questre.

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P 169

P 106–109

Chris Steurer, Studio Chris Steurer Lisbon (PT), csteurer.com Chris Steurer designs publications and visual identities—for cultural institutions, companies and individuals. His work won several international design awards. Furthermore he teaches typography and he has a soul.

Tomba Lobos, Fafe (PT) behance.net/tombalobos José Cardoso was born in Fafe in 1984. He has been working on design and illustration since 2008.

Tomba Lobos is the name of his current multidisciplinary solo project which includes design, illustration, music and photography.

P 122–125 video interview: slanted.de/ portugal

The Royal Studio, Porto (PT) theroyalstudio.com The Royal has a deep strategical attack to the design wonders. Considering an emotional approach to the graphic development, the notions of courtship, honor and authorship are never masters to the projects nor the clients at hands. It is a stonecold-restless nerve with attitude. The Royal is anxious. It stares with cruel addictiveness. Mental and weird.

Loyal to culture. Royal to business.

P 68–71 video interview: slanted.de/ portugal

José Vieira / Viarco, S. João da Madeira (PT), viarco.pt Jose Vieira, 42 years old, general manager at Viarco—Portuguese pencil factory. With a degree in Marketing and Public Relations, he is the 4th generation of the family managing the company, working on areas such as the innovation of new products and development of cultural projects. The main goal is to prepare the company for the next 100 years :-)

P 178–192

Thisislove, Lisbon (PT) thisislove.pt Joana Areal graduated in Communication Design at the Faculty of Fine Arts, Lisbon and holds a Masters degree in Communication Design and Art Direction at University Pompeu Fabra, Barcelona. She is Co-founder and Creative Director of Thisislove studio, creates and manages projects in the areas of Communication Design, Art Direction, Editorial Design and Fashion.

253

P 118 / 119, 168 video interview: slanted.de/ portugal

Rui Vitorino Santos, Porto (PT) ruivitorinosantos.tumblr.com damaaflita.com Born in Batalha in 1971, Rui Vitorino Santos lives and works in Porto. He holds a PhD in Art and Design and is active in the illustration field. He teaches Communication Design and Illustration at School of Fine Arts, University of Porto. He develops in parallel curatorial projects and researches in illustration. His work has been presented in individual and group shows. He is founding member of Dama Aflita gallery, in Porto, dedicated to illustration and drawing.

Index

P 52–57, 178–192 video interview: slanted.de/ portugal

Eduardo Aires / White Studio, Porto (PT) whitestudio.pt White Studio is a design studio with over 25 years of experience in the area of Communication and Interior Design, operating in multidisciplinary territories. It is based in Porto, London and Santiago de Chile.

In its portfolio you can find a variety of clients such as Porto City Hall, Porto City Theatre, Esporão Winery, Calouste Gulbenkian Foundation, and Serralves Contemporary Art Museum, among others.

P 224–229

Aaron Winters, Sacramento, CA (USA) primarilydesign.com, cooper-gold.com any-every-other.com

Aaron’s work has been published in IdN, Semi-Permanent and Typism annuals and appeared in the UC Davis Design Museum and the Pasadena Museum of California Art. Dropping out of an in-house-induced funk in 2010 to earn his MFA at Vermont College of Fine Arts, he has since opened his Primarily Design studio alongside teaching graphic and web design at the Art Institute of California-Sacramento.

P 36–39 video interview: slanted.de/ portugal

Xesta Studio, Porto (PT) xestastudio.com Hugo Moura is a graphic designer based in Porto. In 2011 he founded Xesta Studio, a graphic design studio with focus on branding, calligraphy, lettering and typography. It works not only as an independent studio, but also as a collaborative studio. Worked with clients such as Ray-Ban, Lost my Name, Graham’s, Pyramyd Éditions and NBC US. He’s also a resident member and collaborator at We Came From Space.

Slanted 27—Portugal

Production

Slanted Magazine Typography & Graphic Design Spring / Summer 2016 # 27 Portugal

Print Stober GmbH, Druckerei und Verlag Eggenstein / Germany info@stober.de, stober.de

PUBLISHER

Finishing Achilles Gruppe Landau / Germany landau@achilles.de, achilles.de

Slanted Publishers Leopoldstraße 33 76133 Karlsruhe Germany T +49 (0) 721 85148268 magazine@slanted.de slanted.de Editor in chief (V.i.S.d.P.) Lars Harmsen

Managing editor Julia Kahl Asistance Carlotta Spielmannleitner, Isabella Krüger Art direction Lars Harmsen Graphic design Julia Kahl Assistance graphic design Carlotta Spielmannleitner, Clara Weinreich Photography Portugal Daniel Sommer / danielsommer.eu

Video editing Hannah Schwaiger

Slanted weblog

Editor in chief (V.i.S.d.P.) Lars Harmsen

Managing editor Julia Kahl Editors slanted.de/redaktion

ISSN 1867-6510 Frequency 2 × p. a.

(Spring / Summer, Autumn / Winter) Copyright © Slanted, Karlsruhe, 2016 All rights reserved.

Book Binding Josef Spinner Grossbuchbinderei GmbH Ottersweier / Germany info@josef-spinner.de, josef-spinner.de Paperboard cover Custom Kote®, 290 g/sm

Manufactured by WestRock Vienna / Austria paperboard.europe@westrock.com westrock.com Paper inside Soporset Premium Offset, 100 g/sm Booklet Soporset Premium Offset, 70 g/sm

Manufactured by The Navigator Company Distributed by Freytag & Petersen GmbH & Co KG Cologne / Germany info@igepagroup.com igepagroup.com

Spot colors HKS Warenzeichenverband e. V. Stuttgart / Germany info@hks-farben.de, hks-farben.de Cover HKS 43K-90-10 Inside HKS 56N Fonts Grifo, 2016 Design: Rui Abreu Label: R-typography / r-typography.com Ocre, 2016 Design: Pedro Leal Label: DSType Foundry / dstype.com Suisse Int’l / Neue / Works, 2011 Design: Swiss Typefaces Design Team Label: Swiss Typefaces / swisstypefaces.com

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index

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Sales and distribution

Acknowledgement

Slanted magazine can be acquired online, in selected book­stores, concept stores and galleries worldwide. You can also find it at stations and airports in Germany, Austria, Switzerland and the Netherlands.If you own a shop and would like to stock Slanted magazine, please get in touch with us.

Contact Julia Kahl, T +49 (0) 721 85148268 julia.kahl@slanted.de

This issue could not have been realized without the enthusiasm and support of all participants (alphabetical order): Rui Abreu, Aka Corleone, And Atelier, Atelier d’Alves, Emanuel Barbosa, José Bártolo, Bolos Quentes, Bürocratik, Tiago Casanova, Joana Correia, Studio Dobra, Júlio Dolbeth, Dino dos Santos, DROP, João Drumond, Epiforma, FBA., Luis Fernandes, Charlotte von Fritschen, José Guilherme Marques, küng design bureau, André Letria, Lara Luís, Ian Lynam, Dermot Mac Cormack, João Machado, Mantraste, Joana Monteiro, Mother Volcano, Musa, Inês Nepomuceno, non-verbal, Márcia Novais, Inês d’Orey, Oupas!, Pedrita, R2 Design, Mariana Rio, Violeta Santos-Moura, Ana Seixas, silvadesigners, Sonja Steppan, Studio Andrew Howard, Studio Chris Steurer, The Royal Studio, Thisislove, Tomba Lobos, Viarco, Rui Vitorino Santos, Viúva Lamego factory, White Studio, Aaron Winters, Xesta Studio

Special thanks to our friend Chris Steurer who made us come to Portugal!

A big thank you to photographer Daniel Sommer, who came with us to Portugal to document our journey and his photographic essay (special edition) glancing at interesting places in Portugal at night!

Again, a limited special edition according to this issue has been produced and is available at slanted.de/shop: Thanks to Bruno Rodrigues from Bürocratik for the brillant lettering on the tote bags! Thanks to José Vieira and Patricio Macedo from the Viarco pencil factory for the wonderful pencils! Thanks to Juliane Hohlbaum and her workshop team from the University of Applied Arts in Karlsruhe (Desiree Kabis, Klara-Sophie Neubauer, Lisa Walter, Selina Zwaller) who produced tiny posters with linocut, nyloprint, letterpress, and risography, based on Portuguese music. We love it!

A big thank you to Hannah Schwaiger who edited the video interviews again.

Thanks also to Thomas Appelius and Joachim Schweigert (Stober Druckerei und Verlag) and their printers for the wonderful printing!

We would also like to thank Regina Knoll and Ahmed Badran from WestRock for the cover’s material and Frank Kappl from Igepa for his helpful paper advices!

Meu Portugal, meu amor!

Slanted Shop (best!) slanted.de/shop

Stores (all over the world) slanted.de/allgemein/stores

Stations and airports IPS Pressevertrieb GmbH / ips-d.de International distribution Export Press SAS / exportpress.com Distribution Switzerland Niggli Verlag, niggli.ch / ISBN 978-3-7212-0941-9 Distribution US Ubiquity Distributors, Inc., / ubiquitymags.com

Subscriptions Subscribe to Slanted magazine and support what we do.

Magazines via subscriptions are at a reduced rate and get shipped for free directly at its release. slanted.de/abo National (DE) One year subscription, 2 mags: € 32 Two year subscription + premium, 4 mags: € 62 Gift subscription, 2 mags: € 32 Student subscription, 2 mags: € 26 International One year subscription, 2 mags: € 38 Two year subscription, 4 mags: € 75

Advertising We offer a wide range of advertising possibilities on our weblog and in our magazine. For advertising and special project opportunities please get in touch with: Julia Kahl, T +49 (0) 721 85148268 julia.kahl@slanted.de slanted.de/mediarates

Awards (Selection of design awards for publications by Slanted) ADC of Europe 2010, 2008 ADC Germany 2015, 2014, 2013, 2012, 2011, 2010, 2008, 2007 Annual Multimedia 2008, 2013 Berliner Type 2008 (Bronze), 2009 (Silver) Designpreis der BRD 2009 (Silver) European Design Awards 2011, 2008 Faces of Design Awards 2009 iF communication design award 2007 German Design Award 2015, 2014 (Special mention) Laus Awards 2009 Lead Awards 2008, (Weblog des Jahres), 2007 Lead Awards 2013, (Visual Leader / Silver) red dot communication design awards 2008 Type Directors Club NY, 2011, 2008, 2007 Tokyo Type Directors Club 2015, 2014 Werkbund Label 2012

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DISCLAIMER 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 permission 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.

VIDEO Video interviews slanted.de/portugal

Index

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Meu Portugal meu amor

Slanted 27—Portugal

New York, city of superlatives: eight million inhabitants, more than 500 galleries, 200 museums and 10,000 restaurants. World stars like Massimo Vignelli (American Airlines), Milton Glaser (I LOVE NY, Bob Dylan Poster) or Herb Lubalin (Avant Garde), Ed Benguiat (numerous type designs as well as logos for e. g. The New York Times, Playboy, Esquire) have shaped a generation. People like Stefan Sagmeister, Stephen Doyle, Alexander Isley, Scott Stowell or Emily Oberman came out of the studio of Tibor Kalman (Colors, Interview, Talking Heads).

Slanted (David) took oneself to New York (Goliath) in September 2015 to meet the young generation of designers, typographers and artists who witness and shape the transition of the city.

New York grew old and mainstreamed—it’s a miracle that it still works. The city has kept its speed and those who do not stick with it will be left over.

The continuing speed is New York’s power; everyone living here wants to do or become something / someone. Nobody lives here without a good reason. Creativity is part of the fight for survival.

Therefore Andy Warhol’s banana—originally designed for the Velvet Underground—suits much better to New York than the “big apple.”

This issue of Slanted Magazine goes along with additional video interviews which have been conducted by the Slanted team in September 2015 in New York.

To watch videos scan QR code, or visit slanted.de/nyc

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