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graphic design

After a visit at the artist poster exhibition Honey, I rearranged the collection from the Lempert Collection, Thierry Chancogne and Jérôme Dupeyrat kept on wondering: Why Graphic Design and art appear for most people still as apples and oranges? Art posters, artists posters, posters made by artist, posters made from artists...

In the Migrations issue of Safar, Mekdes Yilma and Tsigereda Brihanu discuss the realities, challenges, and dangers faced by migrant domestic workers in Lebanon and their work to end an oppressive system, while Miranda July shares three short stories from her collection "No One Belongs Here More than You", Elia Suleiman talks about identification with the globalised Palestine and his latest film "It Must be Heaven", Mazen Kerbaj illustrates his daily attempts to learn German, and Steven Heller discusses how to shift the design history discourse and his experiences with Impostor syndrome. ⁠A very inspiring issue!⁠ Buy...

[gallery size="full" ids="86498,86499,82534"] "Written words are a funny thing. They surround us to an extent that it is almost impossible to escape them, and at the same time they tend to fly under the radar. They are omnipresent, in our streets, on our phones, sometimes even on our skin. We read words all day long and absorb their meaning, processing information, messages, ideas. We do so by looking at letters, but we hardly ever pay attention to their appearance, at least not consciously. And yet letters come in endless different forms, all of which carry meaning and evoke certain emotions and associations - often more so than the words themselves." And still typefaces are mere forms. They release their subliminal power only once their are used. So in a way they are more like a building material, absolutely crucial, but only becoming truly meaningful when people make language visible through them. ⁠That is why the newly released book by German Finnish masters of typography Schick Toikka shows not just their typefaces but interesting examples of how they have been put to use by others - hence the title "Other Words". Font descriptions, design studio introductions, as well as a wonderful preface written by Florian Hardwig, which we quoted above, turn this book into a reference book of a different kind. By featuring tons of type samples as well as works and collaborations with designers and artist that engage with Schick Toikka letterforms in visually and contextually interesting ways, the publication, created as a part of Schick Toikka's exhibition at Helsinki Design Museum, honers the ways in which fonts can be used.⁠⠀ Buy...

It is the city of hustlers and suckers and jerks and pornstars and extras and cops. By now you probably know which city we are talking about. Right, L.A.! And yes, L.A.'s Americanness can be so annoying. From the perspective of a European, Los Angeles is the opposite of our old metropolises: the tangled network of highways and the constant driving around, the emphasised nonchalance and never ending optimism of everyone, the sunny weather, the ingenious modernist architecture, the film industry, the tourists, and the eating habits (no gluten, no milk, only raw, not after six...

“We live in sour times, and such sour times require sweet-and-sour methods. With the rise of social media, comedians as politicians, and populism, there has recently been vigorous debate over who constitutes ‘the people.’ For more than a couple millennia, satire has been a particularly contested genre to explore such questions, via varying degrees of serious invective or jocular teasing. Is each joke, as George Orwell maintained, a tiny revolution? Or does laughter and satire deflate the pressures and tension which could otherwise lead to political upheaval?”—Slavs and Tatars⁠ ⁠ Published on the occasion of the 33rd edition of the Ljubljana Biennial of Graphic Arts, CRACK UP – CRACK DOWN considers “the graphic” heritage of the Biennial not as a medium, per se, but rather as an agency and strategy. Purporting to speak truth to power, satire has proven itself to be a petri dish in a world of post-truth bacteria. Edited by Slavs and Tatars, the exhibition’s curators, CRACK UP – CRACK DOWN extends the discursive focus of the Biennial on graphics and satire.⁠ Buy...

In case you are wondering if Berlin is still the place to be for you and your creative mind? In Graphic's 'The Berlin Issue - Studio Rental Guide' you'll get some additional pro and cons for your list, you'll find out which graphic designer is working where and how much they're actually paying for their studio rent. We don't want to reveal too much, but you better pack your pencils sooner rather than later...

"Form is the condition through which a common life becomes possible: through which a relationship between people comes about. Design determines the quality of our common life." Hardly anyone experiments more passionately and playfully with the relation of forms as Karel Martens himself has - for over half a century to date. For the Dutch graphic Designer Martens, working with grids, geometrical shapes and colours was at no time a mere accessory, a final appealing touch under the spell of advertising. Studying fine arts in Arnhem, at a time, when graphic design was not even considered as a career path worth following, Karel was fully drawn into the material (paper) world. 'Karel Martens Re-Printed Matter' pays tribute to Martens' mathematical, kinetic approach when it comes to setting the grid, arranging the types, designing books and posters, or the Dutch architectural magazine OASE. Buy...

There is absolutely nothing wrong with wallowing in the past. But when this imaginary state of mind is instrumentalized for political purposes, nostalgia turns into an ambiguous, dangerous weapon. Safar, the bi-lingual Libanese magazine for graphic design and visual culture, does not make a fuss of illuminating the abysses of nostalgia. Far from fetishizing willingly selected histographies - which not seldom turn into superficial trends while promoting reductive interpretations - the latest issue brings a radical honest and critical perspective into play when it comes to the new hype of brutalism, symbolic practices which are primarily used to manipulate cultural identities or, how Beirut-based drag queen RuPaul finally found cultural belonging thanks to the affects of nostalgia. Thinking back, we really missed something on our shelves before Safar #4 dropped in! Buy...

Bi-Scriptual celebrates the growing interest in the field of multiscript design. Eight scripts are selected for this purpose based on the number of people who use them around the world and on historical and political factors. The scripts are Arabic, Chinese (Hansi), Cyrillic, Devanagari, Korean (Hangul), Hebrew, Greek and Japanese (Kanji, Hiragana, Katakana). Using hundreds of illustrations and prototypes by numerous designers and studios, and featuring lengthy texts by international experts, Bi-Scriptual reveals the charms of working simultaneously with two writing systems, which we occasionally come across in city posters, signage, lettering and type design. Being particularly sensitive to the the world’s socio-cultural diversities makes this volume one of a kind in the realms of typography. Buy...

What a beautiful magazine! Dazzling with a range of wildly saturated colours, fluorescent inks and oozing visuals, the second issue of Eye on Design presents a variety of designers and their works from different times and cultural backgrounds. A laborious attempt to capture in one title the plurality of experiences and the common associations between graphic design, sensorial and drug-induced, mind-bending experiments. In addition to touching on topics of mental health and substance abuse, Eye on Design speaks about the lesser known stories of the women who contributed to the explosive visual creativity of the post 1960s psychedelia and today’s equivalent to these years of kaleidoscopic posters, maddening patterns and healthy doses of optical illusion. Buy...