| Titre : | Slanted Magazine #42 — Books : Autumn/Winter 23/24 | | Type de document : | texte imprimé | | Auteurs : | Lars HARMSEN, Directeur de publication, rédacteur en chef ; Ian LYNAM, Auteur ; Demian CONRAD, Auteur ; Matt LAMONT, Auteur ; Birgit SCHMITZ, Auteur ; PATA-NO UN Ltd, Auteur ; Dermot MAC CORMACK, Auteur | | Editeur : | Karlsruhe [Allemagne] : Slanted Publishers | | Année de publication : | 2023 | | Importance : | 256 p. | | Présentation : | ill. N&B et coul. | | Format : | 26 x 24 cm | | ISBN/ISSN/EAN : | 978-3-948440-55-8 | | Prix : | 22,00 € | | Note générale : | Slanted is a weblog and a print magazine about design and typography. Published by Slanted Publishers.
Slanted Publishers is an internationally active publishing and media house founded in 2014 by Lars Harmsen and Julia Kahl. They publish the award-winning print magazine Slanted, covering international developments in design and culture twice a year. Since its establishment in 2004, the daily Slanted blog highlights events and news from an international design scene and showcases inspiring portfolios from all over the world. Over the years, more than 200 video interviews with designers and entrepreneurs have been made, forming an archive that bears witness to our time. In addition to the Slanted blog and magazine, Slanted Publishers initiates and creates projects such as the Yearbook of Type, tear-off calendars Typodarium and Photodarium, independent type foundry VolcanoType and other design-related projects and publications. Slanted was born from great passion and has made a name for itself across the globe.
| | Langues : | Anglais (eng) | | Catégories : | Graphisme, illustration, art publicitaire
| | Mots-clés : | revue, Slanted, design graphique, design, graphisme, mise en page, couverture, livre, ouvrage, composition, typographie, police, lettrine, habillage, illustration, méthode, gabarit, choix, papier, format, esthétique, intelligence artificielle, outils d'édition, logiciels, création édition, PAO, impression, pratique | | Résumé : | Slanted Magazine #42—Books is a magazine about books. Every day, people ponder whether the future of the (printed) book is tied to its sensual quality. How can beautiful books secure their place in the media and society? How are content, medium, and form interconnected? Is manufacturing and design quality, in addition to its functionality, simply to be understood as a marketing argument?
In this edition, Slanted Publishers delves deeper into books that are pushing boundaries, moving beyond traditional norms, and rediscovering their essence. The belief is that genuine reading encompasses more than mere skimming; it involves understanding, grasping, and engaging in creative thinking. The value placed on the tactile experience of holding a book, flipping through its pages, setting it aside, and seamlessly resuming the reading is immense. It’s an experience cherished by many, one that defines the true essence of books.
Slanted Publishers emphasizes the resurgence of book reading as a significant trend, especially for those seeking enduring experiences and embracing multi-dimensional thinking. This edition showcases books that venture off the beaten path, departing from traditional conventions, and advocates for timeless book designs where the content shapes the form.
To commemorate the magazine’s release, Slanted Publishers has introduced a limited special edition, which includes a set of pencils from Viarco, the oldest pencil factory in Portugal. Make a statement with this and become part of the BK LVRS! | | Note de contenu : |
CONTENTS:
CHAPTER 01 — MAXIMIZE THE POSSIBILITIES
René Magritte's 1929 painting, 'The Treachery of Images' (La Trahison des Images) or 'This Is Not a Pipe', captures the essence of his surrealist exploration. His work delves into the interplay between objects, theirs labels, and depictions.
This prompts us toi ponder: When does a book shed its conventional appearance while retaining its essence? What defines the shift from ordinary object to book-like form? Ultimately, content bestows the identity of a book upon a cluster of pages. in this dance, books transform into objects, while objects metamorphose into books.
CHAPTER 02 - FUNCTIONAL USE OF READING
If we think it concerns us, we read everything. So why bother about the right typeface and typography? Typography provides a characteristic picture of a period, giving each book its own identity, marked by the design of its cover, the lay-out of its pages, and the choice of font. The functional use of reading transcends its fundamental role as e means of decoding words on a page. It morphs into a cognitive instrument, aiding learning, communication, and self-development. By opening pathways to information, knowledge, and varied perspectives, reading fuels critical thought, and expanding our horzons.
CHAPTER 03 - ORDINARY DISRUPTION
Can we, as designers, generate change in this age of disruption? Well, it the systems need to change, disruption allows you to reevaluate. Disruptive design can be an innovative source to create a significant impact. Means designing book can be creating something that adds to or iterates on the existing, creating a disturbance with the intent of changing a system. When combined, the practice of disruptive design is to create intentional interventions into a pre-existing system with the specific objective to leverage a different outcome, and more importantly, an outcome that is likely to create positive social change.
CHAPTER 04 - WISPY AND FRAGILE
A volcano is hard on the outside, tender on the inside. Earthquakes or landslides can make it erupt because they open the way for magma to rise. Infiltrating groundwater can literally provoke the volcano to explode. Similarly, it can burst when fresh, gas-rich magma flows into an existing magma chamber. Sometimes, the tiniest disturbance is enough to make it overflow. Books can be like volcanoes. A book can appear very sturdy on the outside and then reveal itself to be enigmatice, delicate, lightweight, and fragile on the inside. Or even downright explosive. And this applies not only to its form but, of course, also to its content!
CHAPTER 05 - VISUALLY TACTILE TEXTURE
in the schism between printed volumes and digital devices, a pivotal contrast arises: touch. The texture of a book holds a unique power to engage out senses in a way that digital counterparts cannot replicate. The charm of a book surpasses its text, unfurling as a hands-on journey from cover to contents. The sensation under out fingertips wields unparalleled potency, an interaction evading digital mimicry. The tactile domain, wherein the urge to grasp, sense, and unveil propels the sensory fascination of books. From engraving to textiles, hues to stitching, delve into the methods vers provoke curiosity, exposing how materiality heightens the reading encounter.
CHAPTER 06 - WORDLESS TANGIBLE
On December 8, 1921, an ad by Fred R. Bernard in Printers' Ink popularized the phrase "One Look Is Worth a Thousand Words", advocating for images use in tramway advertising prints. The absence of words opens up a world of interpretation, allowing readers of all ages and backgrounds to craft their own stories. Moods can be transmitted and reproduced wordlessly. Sometimes words are only accompanying material to image worlds that created, or explanations to photographs.
CHAPTER 07 - PURELY TYPOGRAPHY
Typography in books is essential for both readability and conveying emotions. It's a creative interplay between text and visuals that enriches the reading experience. Font selection impacts feelings, genre, and layout, influencing how readers interact with content. Fonts can serve functionally certain books. Numerous designers and typographers have pondered readability and spoken splendidly about it. One fundamental statement that particularly sticks in our memory is the one by Ed Benguiat: "The only place Avant Garde looks good is in the words Avant Garde!" So please question: is typography in books essential for both readability and conveying emotions?
CHAPTER 08 - WHATEVER HAPPENS WITH AI
One of the examples of AI-assisted literature is "The Newt Rembrandt", a project that used AI to create a new painting in the style of the reknowned Dutch artist. This fusion of art and AI creative collaborations between humans and machines. This same principale has been extented to the realm of literature, leading to the creation of entire books auhtored or co-authored by AI. How far can a designer leave the design or content of a book to an AI? That will be exciting to find out...
ESSAYS
* Ian Lynam, Crossed Wires (Theme-Faith)
* Demian Conrad, Graphic Design in the Post-Digital Age
* Matt Lamoint, Collecting, Curating, Creating
* Birgit Schmitz, Surrounded by screens. Why do we still read actual books
* Pata-No Un Ltd, No Books
* Dermot Mac Cormack, The Years Sisters and Cuala Press
* Lars Harmsen, Steal This Book.. Or maybe not | | En ligne : | https://www.slanted.de/product/slanted-magazine-42-books/ |
Slanted Magazine #42 — Books : Autumn/Winter 23/24 [texte imprimé] / Lars HARMSEN, Directeur de publication, rédacteur en chef ; Ian LYNAM, Auteur ; Demian CONRAD, Auteur ; Matt LAMONT, Auteur ; Birgit SCHMITZ, Auteur ; PATA-NO UN Ltd, Auteur ; Dermot MAC CORMACK, Auteur . - Karlsruhe (Nördliche Uferstraße 4–6, 76189, Allemagne) : Slanted Publishers, 2023 . - 256 p. : ill. N&B et coul. ; 26 x 24 cm. ISBN : 978-3-948440-55-8 : 22,00 € Slanted is a weblog and a print magazine about design and typography. Published by Slanted Publishers.
Slanted Publishers is an internationally active publishing and media house founded in 2014 by Lars Harmsen and Julia Kahl. They publish the award-winning print magazine Slanted, covering international developments in design and culture twice a year. Since its establishment in 2004, the daily Slanted blog highlights events and news from an international design scene and showcases inspiring portfolios from all over the world. Over the years, more than 200 video interviews with designers and entrepreneurs have been made, forming an archive that bears witness to our time. In addition to the Slanted blog and magazine, Slanted Publishers initiates and creates projects such as the Yearbook of Type, tear-off calendars Typodarium and Photodarium, independent type foundry VolcanoType and other design-related projects and publications. Slanted was born from great passion and has made a name for itself across the globe.
Langues : Anglais ( eng) | Catégories : | Graphisme, illustration, art publicitaire
| | Mots-clés : | revue, Slanted, design graphique, design, graphisme, mise en page, couverture, livre, ouvrage, composition, typographie, police, lettrine, habillage, illustration, méthode, gabarit, choix, papier, format, esthétique, intelligence artificielle, outils d'édition, logiciels, création édition, PAO, impression, pratique | | Résumé : | Slanted Magazine #42—Books is a magazine about books. Every day, people ponder whether the future of the (printed) book is tied to its sensual quality. How can beautiful books secure their place in the media and society? How are content, medium, and form interconnected? Is manufacturing and design quality, in addition to its functionality, simply to be understood as a marketing argument?
In this edition, Slanted Publishers delves deeper into books that are pushing boundaries, moving beyond traditional norms, and rediscovering their essence. The belief is that genuine reading encompasses more than mere skimming; it involves understanding, grasping, and engaging in creative thinking. The value placed on the tactile experience of holding a book, flipping through its pages, setting it aside, and seamlessly resuming the reading is immense. It’s an experience cherished by many, one that defines the true essence of books.
Slanted Publishers emphasizes the resurgence of book reading as a significant trend, especially for those seeking enduring experiences and embracing multi-dimensional thinking. This edition showcases books that venture off the beaten path, departing from traditional conventions, and advocates for timeless book designs where the content shapes the form.
To commemorate the magazine’s release, Slanted Publishers has introduced a limited special edition, which includes a set of pencils from Viarco, the oldest pencil factory in Portugal. Make a statement with this and become part of the BK LVRS! | | Note de contenu : |
CONTENTS:
CHAPTER 01 — MAXIMIZE THE POSSIBILITIES
René Magritte's 1929 painting, 'The Treachery of Images' (La Trahison des Images) or 'This Is Not a Pipe', captures the essence of his surrealist exploration. His work delves into the interplay between objects, theirs labels, and depictions.
This prompts us toi ponder: When does a book shed its conventional appearance while retaining its essence? What defines the shift from ordinary object to book-like form? Ultimately, content bestows the identity of a book upon a cluster of pages. in this dance, books transform into objects, while objects metamorphose into books.
CHAPTER 02 - FUNCTIONAL USE OF READING
If we think it concerns us, we read everything. So why bother about the right typeface and typography? Typography provides a characteristic picture of a period, giving each book its own identity, marked by the design of its cover, the lay-out of its pages, and the choice of font. The functional use of reading transcends its fundamental role as e means of decoding words on a page. It morphs into a cognitive instrument, aiding learning, communication, and self-development. By opening pathways to information, knowledge, and varied perspectives, reading fuels critical thought, and expanding our horzons.
CHAPTER 03 - ORDINARY DISRUPTION
Can we, as designers, generate change in this age of disruption? Well, it the systems need to change, disruption allows you to reevaluate. Disruptive design can be an innovative source to create a significant impact. Means designing book can be creating something that adds to or iterates on the existing, creating a disturbance with the intent of changing a system. When combined, the practice of disruptive design is to create intentional interventions into a pre-existing system with the specific objective to leverage a different outcome, and more importantly, an outcome that is likely to create positive social change.
CHAPTER 04 - WISPY AND FRAGILE
A volcano is hard on the outside, tender on the inside. Earthquakes or landslides can make it erupt because they open the way for magma to rise. Infiltrating groundwater can literally provoke the volcano to explode. Similarly, it can burst when fresh, gas-rich magma flows into an existing magma chamber. Sometimes, the tiniest disturbance is enough to make it overflow. Books can be like volcanoes. A book can appear very sturdy on the outside and then reveal itself to be enigmatice, delicate, lightweight, and fragile on the inside. Or even downright explosive. And this applies not only to its form but, of course, also to its content!
CHAPTER 05 - VISUALLY TACTILE TEXTURE
in the schism between printed volumes and digital devices, a pivotal contrast arises: touch. The texture of a book holds a unique power to engage out senses in a way that digital counterparts cannot replicate. The charm of a book surpasses its text, unfurling as a hands-on journey from cover to contents. The sensation under out fingertips wields unparalleled potency, an interaction evading digital mimicry. The tactile domain, wherein the urge to grasp, sense, and unveil propels the sensory fascination of books. From engraving to textiles, hues to stitching, delve into the methods vers provoke curiosity, exposing how materiality heightens the reading encounter.
CHAPTER 06 - WORDLESS TANGIBLE
On December 8, 1921, an ad by Fred R. Bernard in Printers' Ink popularized the phrase "One Look Is Worth a Thousand Words", advocating for images use in tramway advertising prints. The absence of words opens up a world of interpretation, allowing readers of all ages and backgrounds to craft their own stories. Moods can be transmitted and reproduced wordlessly. Sometimes words are only accompanying material to image worlds that created, or explanations to photographs.
CHAPTER 07 - PURELY TYPOGRAPHY
Typography in books is essential for both readability and conveying emotions. It's a creative interplay between text and visuals that enriches the reading experience. Font selection impacts feelings, genre, and layout, influencing how readers interact with content. Fonts can serve functionally certain books. Numerous designers and typographers have pondered readability and spoken splendidly about it. One fundamental statement that particularly sticks in our memory is the one by Ed Benguiat: "The only place Avant Garde looks good is in the words Avant Garde!" So please question: is typography in books essential for both readability and conveying emotions?
CHAPTER 08 - WHATEVER HAPPENS WITH AI
One of the examples of AI-assisted literature is "The Newt Rembrandt", a project that used AI to create a new painting in the style of the reknowned Dutch artist. This fusion of art and AI creative collaborations between humans and machines. This same principale has been extented to the realm of literature, leading to the creation of entire books auhtored or co-authored by AI. How far can a designer leave the design or content of a book to an AI? That will be exciting to find out...
ESSAYS
* Ian Lynam, Crossed Wires (Theme-Faith)
* Demian Conrad, Graphic Design in the Post-Digital Age
* Matt Lamoint, Collecting, Curating, Creating
* Birgit Schmitz, Surrounded by screens. Why do we still read actual books
* Pata-No Un Ltd, No Books
* Dermot Mac Cormack, The Years Sisters and Cuala Press
* Lars Harmsen, Steal This Book.. Or maybe not | | En ligne : | https://www.slanted.de/product/slanted-magazine-42-books/ |
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