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graphic design

After two years of a global pandemic and people hiding behind masks, FUKT explores and celebrates the human face. One of the most inspiring drawing magazines, at least in our opinion, looks with its 20th issue at the art of portraiture in drawing. ⁠ ⁠ Creating portraits is as old as humanity, but what does it mean today, especially in the age of selfies and social media? Featuring drawings by 34 contemporary artists, FUKT explores the face in contemporary art. Inside the magazine you'll find a range of perspectives and themes, from face blindness to courtroom drawings and Lockdown portraits to face recognition - a selection of drawing positions that offer a unique look at the face.⁠ ⁠ One particularly beautiful detail is the cover. While there are 24 different faces, if you unpack the magazine from its foil, you also detach the facial expressions. What remains is a cover with an outline of a face and space for doodling, portrait drawing, simple or elaborate, everything is possible.⁠ Buy...

Have you ever heard of Concrete Poetry - a poetic movement that emerged in the early 1950s and sought to create a universal form of poetry that could be described as a mixture of poetry, art and graphic design? The basic principle of the movement is the idea that words are material. The Concrete Poets used words not primarily for their semantic qualities, but as constitutive elements. Through the relationship between the written text and its spatial arrangement on the page, they gave their poems another level of meaning. Their works led to a new kind of verse that abandoned the linear structure of poetry and resulted in a new form of poetry that could be read and looked at.⁠ ⁠ Bolivian-born Swiss poet, writer and publisher Eugen Gomringer is often described as the father of concrete poetry. From 1953 onwards, together with Dieter Roth and Marcel Wyss, Gomringer co-published the artist’s magazine spirale, that formed the starting point for his form of poetry. From an early stage, Gomringer wanted to blur the boundaries of poetry and the language of advertising. This publication combines original images and selected works from Gomringer’s long-standing collaborations as art director and copy-writer for various companies. It also contains the theoretical essay “vom vers zur konstellation” (from verse to constellation), Gomringer’s original manifesto published in 1954.   German Buy English Buy...

In 2021 Martijn in't Veld made a series of illustrations for The New Yorker about books and vegetables. Nothing ever happened to them. He doesn't know why. In any case these images ended up expiring in a digital vegetable drawer somewhere in a fridge-shaped Manhattan skyscraper. This made Martijn in't Veld a bit sad. And because he doesn't like to throw away food he simply decided to cook up a New Yorker without The New Yorker!⁠ ⁠ Bon appetit!⁠ ⁠   Buy...

This is a story entirely written in burnt matches. The longer the word, the longer the match. It is a story about big and small fires, love, death, intrigue and plenty of blisters.⁠⁠ ⁠⁠ The odd typeface in which it was encoded was developed by Martijn in't Veld and Johannes Lang through OpenType code whose ligature feature looks for the length of the typed word and replaces it with one of up to ten matches of the respective word length. Besides dozens of burnt matches—long, short, scorched or badly burnt—the character set includes two lighters and some extra long safety matches. ⁠⁠ ⁠⁠ Happy reading. Don’t burn your fingers.⁠⁠ ⁠   Buy...

Since the rise of social media, the heart symbol is everywhere. We click it to communicate that we "like" something, we use it at the end of a comment in place of a thank you, and to spread love across language barriers, especially in these times of conflict and increased attention to social and racial injustice. Afterall the harmless little heart is the universal symbol of love! But there's the problem: who claims love? The seemingly innocent heart symbol hides a much more complex story than its surface suggests.⁠ ⁠ With "hate groups" renaming themselves "organizations of love," heart symbols on AfD posters and other Alt-Right groups in Europe, it is becoming clear that the "love" in the heart symbol can just as easily be seen as "hate" by the opposing political view. And at the same time, we automatically project our own values onto the heart symbol. "Can't be meant badly, after all, it's in the name of love."⁠ With corporations putting heart symbols on their websites and plastic bags, and paying billions for targeted advertising based on our clicks on little heart-shaped buttons, it seems that love is being marketed, mass-produced and sold. The heart has become a button to click, an emoji to send, and a digital currency.⁠ It claims trust and good intentions without defining them.⁠ ⁠ This clever little book takes a hard look at the symbol of love from its origins to its uses to its meaning, and uncovers all the things that are done in the name of ❤️.⁠   Buy...

In 2018 Dutch graphic designer Karel Martens received a package from artist-curator Pierre Leguillon that contained filled-in Japanese forms which Leguillon had found at a street market in Tokyo. Martens was intrigued by the collection of thin paper with a rectangular black-blue layer of carbon on the back. He started to print on these back sides, but because the overprinting on the carbon layer caused unwanted damage, he switched to printing them on the front sides, creating a beautiful correlation between his abstract forms and colour combinations and the ones of Japanese bureaucracy.⁠   Buy...

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...