A New Program for Graphic Design is the first communication-design textbook expressly of and for the 21st century. Three courses—Typography, Gestalt and Interface—provide the foundation of this book.

Through a series of in-depth historical case studies (from Benjamin Franklin to the Macintosh computer) and assignments that progressively build in complexity, A New Program for Graphic Design serves as a practical guide both for designers and for undergraduate students coming from a range of other disciplines. Synthesizing the pragmatic with the experimental, and drawing on the work of Max Bill, Beatrice Warde, Muriel Cooper and Stewart Brand (among many others), it builds upon mid- to late-20th-century pedagogical models to convey contemporary design principles in an understandable form for students of all levels—treating graphic design as a liberal art that informs the dissemination of knowledge across all disciplines. For those seeking to understand and shape our increasingly networked world of information, this guide to visual literacy is an indispensable tool.

David Reinfurt (born 1971), a graphic designer, writer and educator, reestablished the Typography Studio at Princeton University and introduced the study of graphic design. Previously, he held positions at Columbia University Graduate School of Architecture, Planning and Preservation, Rhode Island School of Design and Yale University School of Art. As a cofounder of O-R-G inc. (2000), Dexter Sinister (2006) and the Serving Library (2012), Reinfurt has been involved in several studios that have reimagined graphic design, publishing and archiving in the 21st century. He was the lead designer for the New York City MTA Metrocard vending machine interface, still in use today. His work is included in the collections of the Walker Art Center, Whitney Museum of American Art, Cooper Hewitt National Design Museum and the Museum of Modern Art. He is the co-author of Muriel Cooper (MIT Press, 2017), a book about the pioneering designer.

Author: David reinfurt (Ed.)

Publisher: Inventory Press

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“Local Stickerbook” is an independent magazine exhibiting works of contemporary Ukrainian artists. For each edition, around twenty artists are selected to represent their creations through the sticker format. The project was launched in February, 2021 as an initiative of Kyiv-based artists and curators. Since that time, the team successfully hosted several multi-format events uniting various local musicians, artists and enthusiasts to explore metamodernistic ideas and approaches. 

The Local Stickerbook team also provides artists and their families with financial aid. The team intends to create a special financial support foundation giving a part of the profits and donations to the Ukrainian artists in need. Together we make a difference!

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

item #5 steht unter dem Titel kursiv und behandelt Veränderung als fließenden Prozess. Kursiv (lat.), das bedeutet so viel wie fließend, immer weiterlaufend, aber auch eilend. Ist das nicht eine ziemlich treffende Repräsentation unserer heutigen Zeit? Der digitale Wandel eilt so schnell voran und verändert unser Leben stetig. Doch muss das unbedingt bedeuten, dass das analoge Handwerk ausstirbt? Oder kann Digitales und Analoges miteinander vereint werden und zusammenfließen? Des Weiteren befassen wir uns mit Heimat und Identität. Was hat unsere Kultur mit unserer Arbeit zu tun? Wie identifizieren wir uns mit verschiedenen Kulturen und wie beeinflussen uns diese? Was bedeutet eigentlich Heimat? Was treibt uns an und was inspiriert uns?

In item #5 fokussieren wir uns auf junge Kreativschaffende aus Berlin und haben viele spannende Beiträge zusammengestellt. Du kannst dich unter anderem auf Interviews mit Hannah Mühi, Andrej Dúbravský, Berfin Karakurt, Nikolas Iturralde und dem Kreativ-Duo Lisa Ertel und Jannis Zell freuen. Außerdem gibt es individuelle Texte von dem Künstler Angst Yok, den Poetryslamerinnen Hala und Lucia Lucia, der Rockband Westhafen und dem Typedesigner Hubert Jocham. Zusätzlich stellen wir Arbeiten von 23 Studierenden des Fachbereichs Gestaltung und Kultur vor und ermöglichen so Einblicke in die verschiedenen Studiengänge und die Arbeiten, die an der HTW entstanden sind.

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We have been traveling abroad together for over a decade. Last year (2022), for the first time since the pandemic, we toured several European countries in the summer and fall. It was also a good opportunity to visit two of the biggest art festivals of the year, Documenta 15 in the summer and the Venice Biennale in the fall. This exhibition is a compilation of the records of the journey. As graphic/book/editorial designers, we incorporated what we edited into printed materials under the slogan of “editing a journey”.
The fact that we were able to composite our job and hobby in this form further motivated us to continue traveling and learning about the world we have yet to see. We hope that visitors to the exhibition will be able to experience a little of the atmosphere of our travel.

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KALEIDOSCOPE’s new issue 42 (Spring/Summer 2023) launches with a set of six covers. 

A decade after his howling debut album—released at only 18, preciously young and totally timeless—we captureArchy Marshall aka King Krule through the lens of Mark Kean. About to release his fourth record, he sits down with Cyrus Goberville to talk about becoming a father, his move from London to Liverpool, writing on commuter trains between the two cities, and lingering in the “space between.”

Shot in Tokyo by Joshua Gordon, Japanese director Takashi Miike has gained a cult following, both in his homeland and internationally, as a filmmaker of the extremes of brutality, sex, and gore. Through a transoceanic cultural reading by Tetsuya Suzuki, we get acquainted with the cinematic icon, who, despite over 30 years work in film, retains the ethos of the permanent outsider.

Inaugurating a new carte blanche format “outsourcing” an editorial segment to like-minded global creatives,“Upstate” features original photography by Richard Kern and an essay by Olivia Kan-Sperling, within a special insert (cum foldedtwo-sided poster) produced and designed by game-changing New York-based modelling agency,No Agency.

A photographic portfolio by Bolade Banjo captures Popcaan, Jamaica’s biggest dancehall star, in London’s Savile Row—with an accompanying conversation between Jamaican academic Carolyn Cooper and Anglo-Jamaican curator Carol Tulloch, discussing dancehall style and culture across the two countries, in its homegrown and diasporic evolutions.

Throughout an artistic career dedicated to examining America‘s iconographies, religions, and utopias, Jim Shaw has experimented with almost every art form. Shot by Max Farago in his L.A. studio, he talks with Hans Ulrich Obrist about drawing, painting, playing in punk bands, working in the movies, collecting ephemera, and chronicling his dreams.

If you can’t buy the painting, why not get the T-shirt? Featuring an essay by Patrick McGraw and a special insert by Procell, the trend repot ART <3 MERCH investigates the unstoppable rise of museum and art gallery merchandise over the past decade—the cumulative point of an economic and creative process that started with Pop Art.

In the magazine’s front-of-the-book section, through the lens of Chris Lensz, we trawl Paris’ arrondissements with a new class of multi-hyphenate Situationists who are making and unmaking the city. Featuring DJ and visual artist Crystallmess, book dealer and curator Rare Books Paris, artist and musician Erwan Sene, and chef Mathieu Canet.

Presenting a new A.I. generated body of work, Jon Rafman builds virtual worlds for the viewer to get lost within. In conversation with Jak Ritger, he reflects on the profound ways technology has affected human society, while also exploring the sublime, the uncanny, the ingenuity of human creativity, and the changing role of the artist. 

Reenergising the classical forms of the institution with what they’ve termed “post-internet dance,“ Marseille-based collective(LA)HORDE departs from the exclusionary rigidity of the ballet with poetic, punk, and politically engagedworks. Words by Isabelle Bucklow and photography by Winter Vandenbrink encapsulate the power of real bodies moving. 

Also featured in this issue: American novelist Emma Cline (photography by Caroline Tompkins and interview by Lola Kramer), a new series of drawings by Aurel Schmidt (words by Sophie Kemp), Japanese photographer Hiroh Kikai(words by Jeppe Ugelvig), Italian punk band CCCP (words by Achille Filipponi), and “Five NYC Painters”(paintings by Brook Hsu, Francesca Facciola, Michelle Uckotter, Olivia Van Kuiken, and Justine Neuberger, and words by Reilly Davidson).

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Dear Friends,

please join us on August 2, 2023 at 7:00pm at Motto Books, Berlin for a conversation with Sandra Peters and Adam Feldmeth to present Peters’ new book Cut Cube.

The book Cut Cube, (2022) results from Sandra Peters’ interest in the graphic interplay between two- and three-dimensional structures. The 11 possible ways to unfold a cube are laid out on white paper, whereas the seven cuts that make it possible to unfold a cube are printed on transparent paper and related to each of the six sides of each flattened cube. Turning pages generates a flow of information to make the viewer aware of the complex interplay between both types of structures. 

The book is published with Motto Books, Berlin/Lausanne. A book signing will follow the discussion.

–

Sandra Peters is an artist, writer, and educator based in Abu Dhabi, UAE. In her work she focuses on architecture and urban space. She is working towards a reciprocal integration of sensual, structural, and conceptual factors.

Peters has widely presented her work in Europe, the US, and the United Arab Emirates, including Performing the City at the NYUAD Project Space in Abu Dhabi (2023); Un–folded Cube (landscape mode) at Foyer-LA, Los Angeles (2023); Bilateral, Diagonal, Cubical at the Gallery Aanant & Zoo, Berlin (2012) and participated in the group exhibition Erschaute Bauten. Architektur im Spiegel zeitgenössischer Kunstfotografie at the MAK—Österreichisches Museum für angewandte Kunst/Gegenwartskunst (2011).
She is teaching at New York University Abu Dhabi since 2014 in the Art and Art History Program, where she is Co-program head since 2021.

Adam Feldmeth lives in Los Angeles and Berlin. His work engages the social elasticity of art through situational discourse with those involved in its materialization. Critical contributions have been included at the Luminary Projects, St. Louis, Missouri; Contemporary Art Daily; the MAK Center, Los Angeles; Kunstbibliothek Sitterwerk, St. Gallen, Switzerland; Overgaden Institute for Contemporary Art, Copenhagen; the Guggenheim Gallery at Chapman University; and the 53rd Venice Biennale of Art. In 2008, he co-authored, “Nomad Post School,” with Guan Rong and in 2020 “Some Pedagogies of the Southland Institute” with Joe Potts

He is co-director of the Southland Institute in Los Angeles, teaches Film/Media studies at Polytechnic School in Pasadena, California, and is a doctoral student at the European Graduate School where he is considering the cobblestone as a mediator of momentum at the confluence of urban space and cinematic montage.

IWAKAN Volume 06: 

Masculinity — or perhaps our mistaken understanding of it — as an ideology has entrenched itself so deeply into every system that runs our society. These unequivocally male-dominated systems stare at us on a daily basis, represented by the patriarchy and misogyny we witness regularly in acts like men buying women drinks at the dinner table; reaffirming their unwavering presence and unforgiving rules. While some may find it easy to accept the system, others struggle to comply. We are those people who struggle. Those people who are tired of these outdated norms for masculinity, who are tired of it being understood solely through the lens of violence and dominance, and who are tired of the emptiness that comes from humans constantly being reduced to caricatures of themselves and forced to participate in this ludicrous system called patriarchy. Masculinity does not belong solely to those who have a penis, it is something that should be accessible to all. That is why, we want to find a new understanding of it, one that is fresh, revitalized, rich, inclusive, and diverse. It is time that masculinity changes, it is time that masculinity is liberated.

Features

The Masculinity Issue 06　違和感瞬間　男 14　Producing Sex: Images of Masculinity in the Gay Porn Industry／François Sagat 24　A Space for Men’s Confessions 32　Exploring Gender: What Can Masculinity Contribute to Being Non-binary?／Amity Miyabi 36　An Unwavering Heart Reaching for the Light／Sennosuke Kataoka 48　Imagining New Masculinities Through Music: an Interview with NoSo, Ichi Takashi, and Aisho Nakajima 52　PEOPLE VOICE OPINION Let the people speak! 60　The Unspoken Tenderness／Nelson Hor 66　Our Career Choices: A Message For the Future From a Parenting Adviser and an Obstetrician-Gynaecologist／Keito Kawanishi, Singh Ikebukuro 74　STUDY OUR ISSUE: Is “Masculinity” a Good Enough Excuse for Violence?／Noriko Yamaguchi 78　Pity for Men: the Agonies and Contradictions of Unpopular Boys.／Kai Nishii 90　The Glass House of Adonis／Andromeda 92　Exploring The House of Gay Art: The Captivating Photographs of Junichi Enya／Mika Kobayashi 96　Is Coffee Masculine? A Conversation About Coffee and Masculinity／Keita Nakamura, Yuki Shibata, Mako 108　Redefining “Realness”: Exploring the Implications and Possibilities of “Male Genital” Prosthetics／Prosthesisman.Stp.Japan 112　Disobedience, Deconstruction, and Desire: Re-Defining Bodies Through Clothing and Art／Bárbara Sánchez-Kane 122　Decoding Performance and the Body Through the Works of Kento Terada and Sota Kodera／Mika Kobayashi 128　The Exquisite Corpse of Likeness／Yuki Kasaï-Paré 137　Recognising ‘Domination’: The Beginning of Resistance／Hanae Takahashi 138　Vol.4 IWAKAN OPEN ART CONTEST 141　Radically Moderate／Nonoka Sasaki 142　A Diary of Secret Dialogues／Mitsu Tachibana 144　My Incomplete Beauty Handbook／Yuri Abo 146　Asian Gaze／Yo Katami from loneliness books 148　Let’s Talk About Politics／Ana 150　Stopped Making Sense／Noemi Minami 152　Recommendations from Contributors Cover Design: 福岡南央子

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Stuck on a blank canvas? Collateral Strategies is here to help. 

Our collection of 55 evocative cards, each containing a unique claim, is tailored to overcome creative blocks and inspire new perspectives. Each card features a thought-provoking statement that any creative person can interpret. Simply draw one card, let it inspire you and elevate your designs to the next level. 
Innovative design requires innovative tools that foster experimentation and lateral thinking, and Collateral Strategies aims to be just that. A perfect addition to your creative arsenal.

Unlock your creative potential with Collateral Strategies. 1 deck, 55 high quality evocative cards, 55 evocative claims.

Whenever you encounter a creative block, just draw one card and let its claim inspire you. Elevate your design to the next level.

55 cards, 100% creative inspiration.

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Lost In Evolution can be defined as a linguistic atlas. We collected more than 100 words that are redefining the times we live in, complete with their definition and explanation. These chapters are linked by a sci-fi novel that narrates the events of a post-apocalyp- tic future. This novel was written by us both using our human hands and with an Al-based text creator program. The final output is a cyborg-esque story where identity, language, and technology merge together in a tale that involves all of us, as part of humankind. Every term is associated with its respective Glyph, created from an algorithm-genera- ted graphic program we designed. We used an Al-image generator to create the graphics which introduce every chapter. The glyphs, combined with the Al-generated artworks, create the visual language that got Lost In Evolution.

Capslock Magazine was officially born in 2018 starting from a common vision devel- ped by a creative collective from the Vicenza area. This diverse team brings together graphic and product designers, DJs, and creatives who share a strong passion: the concept of the avant-garde, whether it can be tran- smitted to the context of technology, art, design, video games, and music. The goal of this project is to investigate every creative field from an innovative and te chronological point of view.

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This publication is part of Motion, a major exhibition by Dutch artist, graphic designer, and educator Karel Martens at Kunstverein München.

Co-edited by Martens and Julie Peeters, the bulk of the content for this book comes from the video Not for Resale – a sequence of photographs from Martens’ studio wall in Hoog Keppel in 2000. The videos Lost & Found (2004), and Tol (2008) are also included in the book, as well as a transcription of a conversation between Martens and Kunstverein director Chris Fitzpatrick, followed by an afterword (both in English and German).

Edited by Karel Martens and Julie Peeters
Texts by Chris Fitzpatrick and Karel Martens
Designed by Julie Peeters

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