Bøker utgitt av Slanted Publishers UG

What exactly is the attraction of typefaces, whose letters and characters each occupy an equally large space? The principle of monospaced typefaces and its aesthetics fascinates and polarizes. Mono Moment tracks down the euphoria of an aesthetic and gives insight into the world of monospaced fonts. It is an opportunity to discover monospaced typefaces bundled up. Thus, the book is not only aimed at type designers and fanatics, typographers and designers, but also at people who are interested in typefaces or who get touched or fascinated by it. It can therefore serve as a work of reference for those who have discovered the fascination monospace.Friedrich Nietzsche was probably one of the first to feel the aesthetic appeal of monospaced typefaces. Since he started writing with a typewriter, typefaces, and punctuation have been important to him. In the meantime, we encounter monospaced typefaces regularly in everyday life: in design and in art, in coding, on tax records, or on our ID. If you take a closer look, you will encounter non-proportional typefaces more often than expected.Monospaced typefaces are defined by their fixed, equal width for all characters. Every character, letter, and number occupies horizontally and vertically the same space. Proportional typefaces, in turn, have harmoniously balanced spaces with variable widths between their characters. The widths are not set proportional. That is why monospaced typefaces are also named non-proportional. Due to the increase in typeface production over the past few decades, almost every well-developed font family also has a mono or semi-mono cut. When searching for the word "monospace" on the World Wide Web, countless entries can be found in addition to the results such as "I am looking for a beautiful monospaced font," "Top Ten Monospace Fonts," or "Best Monospace Fonts for Coding." At a moment when it has never been easier to design and publish typefaces, there is a great deal of confusion.Featured typefaces: Airport Mono, Andal Mono, Anonymus Pro, AO Mono, Aperçu Mono, Atlas Typewriter, Base Mono, Basier Mono, Blue Mono, Calico Mono, Cindie D, Consolas, Courier, Cygnito Mono, Eureka Mono, GT Pressura Mono, IBM Plex Mono, Input Mono, Kettler, Letter Gothic, LTC Remington, Maison Mono, Monaco, Monoela, MonoLisa, Orator, Pica 10 Pitch, Pitch, Plastic, Platelet, Roboto Mono, Simon Mono Light, Sneak Mono, Source Code Pro, Space Mono, Splendid 66, Sudo, Suisse Int'l Mono, SYNO MONO, The Future Mono, TheSans Mono, Typist Code, Typist Slab, Ubuntu Mono, and Vulf Mono.

692 pages containing 19,840 letters, all derived from one framework. Letterform Variations is a playful study into letterform construction using basic grid and shape based systems, and its potential to generate vast amounts of varying alphabetical outcomes. Letterform Variations is the product of Nigel Cottier's methodology for developing letterforms that are based partly on visual transformations generated by algorithmic functions, such as constraints, rules, grids, and modules, and partly on designerly judgements about composition, balance and visual dynamics. Cottier's modular systems are built within expansive design spaces that facilitate the production of an almost infinite range of outputs, but what distinguishes them is the considered choices he makes subsequently, categorizing, and editing his results as competent and handsome representations of alphabetic forms. This connection between impartial geometric shapes and the alphabetic code brings to mind Paul Elliman's contention that the boundaries between typography, typology and topography are never distinct.

In contrast to the strict and somewhat restrained Swiss Style of the 1960s, Büro Destruct stands for design without the handbrake on. Apparently everything is possible. It can be humorous, loud, colorful and zeitgeisty. At the same time, minimalism, precision and craftsmanship are present in all their work. The Swiss, who see themselves and their studio as a kind of band, again present a skillfully composed album with this new book. The Bern-based foursome have never dealt in safe or conventional consensus graphics, but prefer distinct, sometimes trashy and always refreshingly original designs. Blessed with a healthy dose of insatiable curiosity, they have been seeking out inspiration from beyond the mountain ranges since the mid-1990s-long before the proliferation of Internet access and distribution. The Swiss strongly associate with values inherent in Japanese culture, in which they have found-and continue to find-inspiration over the years. However, unlike Emil Ruder and other heroes of classic Swiss graphic design, who also drew on Japan, they are more inspired by the wild side of Japanese culture. Büro Destruct's vector-heavy graphics have always conformed to "think global, act local." Often against the grain of public conception: they were among the few to ignore the temporary, yet intense flirt of Swiss graphic design with fledgling neo-conservatism. Over the past 27 years, Büro Destruct have successfully avoided being pinned down or getting too comfortable in a defined area. At the same time, of course, it is there: that special Destruct eerie feeling. An independent handwriting, for which many words could be found, but which even after more than two decades is best conveyed by looking at their work ...The 4th monograph not only presents the best of the realized projects of the past twelve years, but also intermediate steps, discards, experiments, and inspiration.About Büro Destruct: Swiss Graphic Design Studio Büro Destruct founded 1994 in Bern by "HGB Fideljus" Berger & Lorenz "Lopetz" Gianfreda. In 1995 Marc "MB" Brunner & Heinz "H1" Reber joined the current group formation. Since day one, BD has kept open the boundary between art and commercial graphic design, as testified to by the number and variety of techniques employed, and reflected in projects for clients from widely differing fields. Publications, exhibitions, lectures and workshops around the world enable the Büro Destruct project to keep itself in a progress of continual renewal and to widen its contacts to Bern, the capital of Switzerland, in line with its motto: "Small City-Big Design."

Please Come: Shameless/Limitless Selected Posters & Texts 2008-2020 is a 536-page brick of a book. It charts the history of Shameless/Limitless, a Berlin promoter whose trajectory has paralleled (is responsible for?) the establishment of the most recent iteration of the city's DIY music scene. ¿The book includes:¿- 219 posters for shows, parties and events spread across 40 Berlin venues made by 130 designers, notable and newcomers alike. - 24 guest texts which celebrate and shed light on the ethos of the S/L spirit, from buds including musicians (Alex Cameron, Molly Nilsson, Sean Nicholas Savage, infinite bisous, Jane Penny of TOPS, Farao, Sam Vance-Law +++) designers (Aisha Franz, Tabitha Swanson, Jason Harvey and Natalia Portnoy to name a few), kindred spirits and more.- Over 100 original event promo texts.- Posters for first or early shows from now-established artists (Alex Cameron, Better Person, Erika de Casier, Fatima al Qadiri, Ultraflex +++) to memorable nights with artists passing through town (Metronomy, Crack Cloud, Project Pablo, Pender Street Steppers, Handsome Furs, Geneva Jacuzzi, Homeshake) to recurring shows and parties with heavy hitters (Molly Nilsson, Mac DeMarco, Win Butler of Arcade Fire, Kirin J Callinan, Sean Nicholas Savage, TOPS) and, of course, much more. - An interview between frequent contributor Norman Palm & S/L founder Kevin Halpin. ... and a couple more nice things, too. Immerse yourself in the unique aesthetics of the Berlin DIY-club scene!

Ou(te)r Space: Course as Collective Manifesto contains the work of 21 high school students that participated in the (virtual) Graphic Design section at Otis College of Art & Design's Summer of Art in July of 2020. The month-long course, led by Jeremiah Chiu, was proposed to the students as a 4-part experimental and collaborative workshop-activating the remote classroom as a space for self-reflection, critical inquiry, and expression through experimentation. The course was structured into four, week-long topics: A Portrait Through Objects (image-making), Establishing a Voice (typography), A New Vision (research and writing), and Self-Publishing (authorship). In the final week, students collaborated with Chiu to compile a final volume documenting the results of their month-long study-seen here in this book. As the world we live in continues to change, so should the approach to educating, collaborating, and communicating with students and practitioners. The book serves as a starting point-an inspiration-for educators and students alike to engage, question, and evolve Graphic Design Pedagogy and Curriculum towards a more diverse, equitable, and inclusive future. From an educator's perspective, it may seem obvious to teach as we have been taught. But too often, education is taught in binaries-right and wrong-and through biases-subjective "goodness" as a measure of quality. Beyond right and wrong, this book proposes that we re-establish the hierarchical balance between teacher and student, and that philosophical inquiry-ethical, political, and representational questioning-become integral to the practice of a contemporary designer. Instead of determining what is right or wrong, we may, alternatively, discover what is possible.

Ar/KATE Mannheim is a specific guidebook connecting architecture and skateboarding. The pocket guide contains ten different urban locations with photographs and a map where a variety of skate spots can be found. Short additional texts inform the interested viewer about both the architecture and the skate spots which also convey new perspectives on existing architecture. Thus, both skaters and those interested in architecture can use the guide equally. The architecture influences and shapes the creativity and type of skating. It creates the backdrop and at the same time is part of the action. It is both environment and obstacle. Skateboarding itself transforms and reinterprets the built environment and its architectural elements. Skaters' perceptions of urban structure are also different from the urban impressions that non-skaters have-because skaters are always looking for new skate spots. Thus, every architectural or street structure object is scanned for its "skateable" potential. Skateparks try more and more to imitate these architectural elements, but often it is nothing more than an attempt. The true character of street skating takes place in real confrontation with real architecture in real urban situations. The architecture influences the scene, the vibe, and the feeling while the skaters are there. The act of skateboarding is deeply connected to the built environment.Mannheim, a medium-sized city in southwestern Germany, is located between Frankfurt and Stuttgart and is known for its square city layout, its Baroque castle and its buildings from the Brutalist period, such as the Collini Center and the "Neckarbebauung" (Neckar Building). On the other hand, Mannheim is also characterized by its large and networked skateboard scene. No other place shows this more than the "Mezz," the "old Messplatz" in Neckarstadt, a district of Mannheim. It is the local spot par excellence. And it is the starting and end point for spot explorations within Mannheim.A smart pocket guide about the famous skate spots of Mannheim and the architecture behind them!

Where does the universe begin, where does it end? Imagining these dimensions is no easy task. However, the fortytwomagazine tries to figure that out, because the universe does not only offer place for speculations about extraterrestrial life or romantic dreams with the view into the starlit sky. Even if it feels far away, it has a direct influence on our lives. As in every issue, they also illuminate ten different disciplines and thus ten perspectives. Among other things, the magazine deals with the problem of space debris, the role of government space agencies and the question of what it is like to live some 400 kilometers above the earth and to master everyday life in the International Space Station ISS in the most confined space.For this fifth issue, the fortytwo-team has not only ventured into space in terms of content, but has also broken new ground here on Earth: fortytwomagazine is now distributed by Slanted Publishers, an internationally oriented publishing house based in Germany, which is also responsible for the issue's new design.

What is Europe? And what is the European Union? Questions to Europe introduces children to Europe and the European Union in a playful way and answers fundamental questions about its structure and function. Even more difficult, current questions in the European context are posed in a child-friendly way and leave room for a dialog between parents and child when reading (aloud). A children's book from the age of 6.