Bücher veröffentlicht von Slanted Publishers UG

Experimental Type deals with experimental design strategies in typography and graphic design. The issue presents projects incorporating the accident into the design process, works based on mistakes and inaccuracy, fonts that derive from a concept or a system-in the end work that experiment or goes unconventional ways in design. The publication showcases cutting edge approaches as well as new experimental procedures, from processing to ai-generated typefaces or variable fonts. The different works offer glimpses into spaces that were explored by pushing conventions, limitations, and thoughts to the next level.The issue is based on Slanted Magazine #40-Experimental Type, which sold out shortly after publication. This issue 2.0 is extended by some works and appears completely in black and white print.

This issue of Slanted is not about war. It's about amazing people from the creative industry in and from Ukraine, trying to live a "normal" life, working super hard and giving their best, showing that culture and design cannot be separated. Slanted Magazine #43 is dedicated to the Ukrainian design scene. Despite the impossibility of visiting studios on location as in previous issues of Slanted Magazine, extensive contacts in the Ukrainian design scene helped to put together this diverse and complex magazine. This selection of works by Ukrainian designers, typographers and graphic designers was carefully chosen from 1,500 submissions - they exemplify the independence and resilience of Ukrainian design.

X/100 - Expect Nothing - Appreciate EverythingThe motto of this year's 100 Best Posters is enticing and keeps its promise: Every year, the association 100 Beste Plakate e. V. honors the most outstanding and creative poster designs from Germany, Austria and Switzerland. The accompanying yearbook has long since established itself as the standard reference for creators in the graphic and design scene. The 2023 yearbook presents the winning posters from the "100 Best Posters 23" competition in large-format illustrations, with information on the content aspects and the context in which they were created. It discusses current poster design and highlights trends.In addition, there is a contact register of all designers as well as directories of clients and printers.

"Tender Digitality" describes an aesthetically oriented concept that sets a binary system in motion and portrays humans as Human Digitalus. In doing so, it responds to the need to experience sensuality, perception, intuition, and well-being in digital environments, making this experience tangible and developing a language for it."Tender Digitality" operates in the space between analog and digital, social and technical phenomena, weaving them into ever-changing, never fixed patterns. In this way, it shapes, reflects, and fosters a community where individuals and artificial intelligences, avatars, and cyborgs navigate digitally, intuitively, and sensitively, contributing to a gentle co-creation.The focus is on initial categorization and conceptual clarification, socio-cultural aspects such as grief, loss, and distance in the digital world, design-oriented and artistic methods for applying "Tender Digitality," and the interaction between humans, machines, and human-machine hybrids.With this publication, perspectives and discussions are intended to be illuminated and debated in various forms such as essays, poetry, images, and graphics.

Düsseldorf University of Applied Sciences reflects on a diverse and vibrant tradition in the field of poster design. Starting in 1968 with Uwe Loesch's corrugated cardboard posters, through the subtle design concepts of Helfried Hagenberg, works by Fons Hickmann and Andreas Uebele, to contemporary works by talented students.Some of the posters featured in this book have become part of the collections of the Museum of Modern Art (MOMA) or the Museum of Design in Zurich. Due to their exemplary design, many of these posters have received numerous awards.In this book, the texts and posters are arranged like a galley proof on a continuous strip. The working title for the book's design was "Poster Novel," exploring narrative forms for an ongoing story that raises the question: Are posters still surfaces that catch the eye? The title "Das Plakat isst eine Fläche" is a German wordplay for "The poster eats/is a surface". This book contains posters from Düsseldorf University of Applied Sciences since 1968, featuring works by artists such as Inga Albers, Heribert Birnbach, Dieter Fuder, Wolf Erlbruch, Hilde Gahlen, Tino Graß, Fons Hickmann, Holger Jacobs, Wilfried Korfmacher, Anika Kunst, Laurent Lacour, Uwe Loesch, Alexander Mainusch, Jens Müller, Stephanie Passul, Charlotte Rohde, Lilo Schäfer, Thomas Spallek, Philipp Teufel, Andreas Uebele, Piotr Zapasnik, and many others.

In August 2023, Slanted Publishers is going on a trip to Tbilisi, Georgia and Yerevan, Armenia. The aim is to explore the impact of the war in Ukraine on the local culture and design scene. Numerous conversations and interviews provide deep insights into people's lives and work.The introduction is by Wojciech Górecki and Krzysztof Strachota, both respected experts in the region who work for the Center for East European Studies (OSW) and head the department for Turkey, the Caucasus and Central Asia. The photo series were contributed by students from Dortmund University of Applied Sciences and Arts, who have maintained close links with Georgia for several years.

The term "Studio Practice" not only describes the place where art and design are created. It also refers to the complex process between thinking and creating in which creativity is made possible on a daily basis. Every artist and every designer works differently, follows different routines and is inspired by different things, places and encounters. New works are created and formed from ever new sources.We talk to artists and graphic designers about the routines and techniques they use to shape their daily work and surprise themselves time and again. A magazine full of inspiring examples that takes readers on a journey to and through very different studio practices.Some Magazine is a visual culture publication that offers a behind-the-scenes look at the "invention of images" and is aimed at artists and designers. It is written, designed and produced by design and art students under the direction of Prof. Sven Völker and is an integral part of the experimental graphic design seminar at the University of Applied Sciences in Potsdam. Perhaps due to its dynamic nature as a student project, Some Magazine has successfully established itself in the indie magazine scene over the years.

For over one hundred years, we humans of the post-postmodern times have turned ourselves into outstanding visual athletes. We made visuality our superpower. Now we are about to change the rules of the game right in the middle of it. Will all this result in some new weird kind of blindness?This issue of Some Magazine is dedicated to the skill, the craft and the pure joy of looking!With contributions by Blatant Space, Catelijne van Middelkoop, David Horvitz, Eleonora Marton, Melody "LeMoon" Bossan and Rob Lowe.

Three years after "Shape Grammars" (2020), Jannis Maroscheck returns with an updated look on machine-generated graphics and the core motif of mass produced ideas: "Latent Figures." Looking for forms of expression hidden between ancient runes and y2k logos, medieval monograms and clip art illustrations, hieroglyphs and stock icons, Maroscheck developed AI-based systems to merge the shared visual vocabulary designed by humans across eras, continents and cultures. The underlying process simulates human inspiration, but it is an analytical, objective process. The systems consider form as pure form. They draw no reference to real-world things. In doing so, they have a stubborn intensity to them, that seems less like human creativity and more like a strange, unstoppable force of nature.The resulting catalog is a dive into the inner workings of an AI that has seen nothing but graphic shapes and symbols. With this sort-of-dictionary, Maroscheck creates a visual language that blends pragmatic graphic design aesthetics with elusive imagery. A collection of shapes that often approximate something we know or can understand, but their meaning doesn't quite want to resolve, they revolve around themselves, somewhere between meaning and nonsense. Offering a space to project ones own imagination and come across new ideas. "When I think about it, something like a graphic form, black and white, defined only by its outline, feels quite limited in what it can express, what it can communicate. Then I look at it, like a blob of ink, continuously reshaping itself, in flux, automatic and open in all directions." Jannis Maroscheck

The world is made up of a thousand colors, and no sound is like another. It's noisy! We have finally accepted the dissonances because we are not all cut from the same cloth. Yet, we live under the same sun together. This year's key visual, created by Holger Risse, takes into account a complex spirit of the times: it poses the tricky question of what still connects us despite all our differences.There is a need for spaces for encounters. Only through encounters does the diverse "beauty of being human in our society" (Jovanovic) come to shine. Let's let it shine together with FFCGN-HE POWER OF IMAGES VOL. 3!Here you'll learn all about the power of images in film, pop culture, art and society-in this book, at FILM FESTIVAL COLOGNE from October 19th to 26th, 2023, and always on the net. Once more, this publication gathers and selects a diverse range of content from the realm of motion pictures. This book is a showcase. The editors engage in conversations with individuals who inspire them. It offers a glimpse into their work, both at FILM FESTIVAL COLOGNE and in broader contexts. It presents a selection of the top-notch content they endorse.

This is not a book on typography, but the expression of a point of view, a practical guide, and an investigation on how the integration and ethical use of artificial intelligence will play a fundamental role in modeling this future.

Letters and fonts not only transport information, but also convey a feeling and have a personality. Type in its artistic diversity has the potential to release energies, to inspire and to tell stories through harmony or distortion. Words become drawings and images that stimulate the imagination and open up spaces beyond information.From the success of the Yearbook of Type concept, Slanted Publishers has has developed a new book series: The Yearbook of Lettering. The first volume presents a selection of lettering artwork from around the world - from traditional calligraphy and handlettering to street art and graffiti - and shows the wide range of different styles and techniques. The book offers an overview of high-quality handmade typographic art with an extensive glossary of lettering artists. A source of inspiration for anyone interested in lettering and hand-crafted typographic art, not just lettering artists.

It is impossible not to believe because we all have a perspective on the world, and this is reflected in our beliefs. We say "I believe that" when expressing our opinion. We don't believe someone else when their views differ greatly from our values and worldview. However, belief is not static. Our perspective can change, and belief can change us. Did you know that belief influences our perception of pain, and that we hold different beliefs depending on whether we are speaking our native language or another?This volume brings together interviews on the topic of "belief" from various scientific disciplines. It includes interviews with social psychologist Pia Lamberty, political scientist Hendrik Ohnesorge, neuroscientist Katja Wiech from the University of Oxford, linguist Panos Athanasopoulos, economist Nicola Gennaioli, Paul Hedges, professor of Interreligious Studies in Singapore, and Alexander Kaurov from the Institute for the History of Science at Harvard University.With illustrations by artist Daria Chernyshova.

"It is a sign of wisdom to negotiate instead of fighting" spoke H¿ Chí Minh, Vietnamese revolutionary and politician. He died in 1969 during the Vietnam War and did not live to see the withdrawal of the American invaders and the reunification of his homeland. As prime minister and president until his death, he determined the destiny of his country, whose people affectionately called him Uncle H¿. Influenced by deep Marxist-Leninist convictions, he became a worldwide symbol of the striving for self-determination. Even today, gratitude for this is omnipresent in the Vietnamese population. The book is a collection of selected quotes from H¿ Chí Minh juxtaposed with Michael Herman's expressive photographs of modern Vietnam.

Since 2010, changing editorial teams of young design students research, write, layout, and produce the bi-annual Some Magazine. It is a part of the experimental design course of Prof. Sven Völker at the University of Applied Sciences Potsdam. Giving this issue the theme of »Action« is to acknowledge the obvious fact that standing still is no longer an option. When everything is in flux, action isn't only essential for changing political and ethical systems, it becomes an essential force for understanding the power we hold in shaping our own lives. We may be living through times of intense turmoil, but these are also the periods in which we find the greatest and most wide-ranging opportunities for change. The potential is almost infinite-but only if we take a stance. The world isn't going to wait for us. Guest editors-in-chief of the new issue are journalists Hendrik Lakeberg and Hans Bussert. You'll find exclusive shots and drawings of flying kite constructions by artist and illustrator Tomi Ungerer, a conversation with New York director Bharata Selassie, and also an entire street called »Danny the Street,« which is actually a super hero.

"Das gewöhnliche Design" ist ein heimlicher Klassiker der deutschen Designgeschichte, den man in der Vinyl-Ära wohl als B-Side Hit bezeichnet hätte. Bereits 1976 stellte eine Gruppe von Studenten und jungen Professoren am Fachbereich Gestaltung der Fachhochschule Darmstadt die Art und Weise in Frage, wie Designobjekte allgemein wahrgenommen, besprochen und beschrieben wurden. Frustriert vom Gegensatz zwischen ihrem Selbstverständnis als umfassende Entwerfer und der Aussicht auf eine spätere Karriere als bloße Product Stylists suchten sie nach einem alternativen Verständnis dessen, was gutes Design ausmacht. Angeführt von Friedrich Friedl und Gerd Ohlhauser begann die Gruppe gewöhnliche Dinge, wie Flaschenöffner, Luftpumpen oder Busfahrpläne, zu sammeln. Diese Objekte, alle von anonymen Autoren, wurden am eigenen Fachbereich unter dem Titel "Das gewöhnliche Design" ausgestellt. Diese Schau, die ausschließlich "langweilige" Alltagsgegenstände präsentierte, fand bundesweite Beachtung und sorgte für Diskussionen in der Designpresse. Auf ironische Weise hatten die jungen Designer traditionelle Ausstellungsmittel wie mit Samt bezogene Podeste benutzt, die normalerweise der "hohen Kunst" vorbehalten waren. Zusammen mit den unspektakulären Exponaten provozierte dies das Publikum oder irritierte zumindest. Das Fehlen von heroischen, ikonischen oder ästhetisch verfeinerten Qualitäten unter den gezeigten Dingen schien gleichzeitig die gesamte Designausbildung zu verspotten. Der Ansatz war so originell, dass das Rheinische Freilicht- und Landesmuseum Kommern die ungewöhnlich gewöhnlichen Exponate ankaufte, die Ausstellung wiederholte und einen Ausstellungskatalog druckte. Der 104 Seiten starke Katalog enthielt unter anderem Beiträge von Bazon Brock, Peter von Kornatzki und Adelhart Zippelius. Die 110 schwarz-weiß Fotografien geben eine spezifische Momentaufnahme ab, was Mitte der 70er Jahre eine unspektakuläre Produktnormalität bedeutete.Obwohl dies als eine der frühesten Versuche angesehen werden muss, die Würdigung profaner Qualitäten im Designdiskurs zu verankern, wurde der Katalog zur Rarität und ist heute nur noch in wenigen Bibliotheken einsehbar. Neu herausgegeben von Frank Philippin und Florian Walzel legt Slanted das Faksimile "Das gewöhnliche Design" wieder auf. Damit wird nicht nur ein Designklassiker zugänglich gemacht, sondern auch die Frage neu gestellt: Wie viel Design ist dem Gewöhnlichen geschuldet? In einer Zeit, die ihre kulturelle Aufmerksamkeit fast ausschließlich dem Neuen und Außergewöhnlichen widmet, ist der alltägliche Gebrauchsgegenstand der stiller Gegner von "Design".

The Slanted team went to Amsterdam to check out the design scene and fell for the charm of the city's century-old "bruine kroegen" (brown cafes). Seeking refuge after bike rides to design studios, they were quickly won over by the cozy ambiance, dark wood, old-fashioned decor, and the aroma of fried croquettes. Color and form play an important role in Amsterdam's design, which is egalitarian and serves the masses. Design is ubiquitous in Amsterdam, from the bike path to the police cars and even the city crest. The maze of canals and the upcoming neighborhoods are characterized by muted tones, dominated by black cobblestones, and dark brick. Behind the facades it rattles. The Dutch have always let it rip. The orange is more intense, the red more luminous, the black more brutal. Design is radical, it crashes, it vibrates. There are few places where color and form play such an important role. Design is innovative, modern, functional, and spiced with a pinch of humor. Design is about egalitarianism, not reserved for the wealthy elite. Design serves the masses. And so it happens that everything is professionally designed. The bike path, the kebab stand, the tax return form, the police cars, the park benches and trash cans, the vegetables. In its 41st issue, Slanted gathers a selection of Amsterdam's most brilliant minds and provides deep insights into their work and values in the magazine and in the numerous video interviews. Illustrations, interviews, essays, and an extensive appendix with many useful tips and an overview with the best Dutch writings complete the issue thematically.

COLLISION by Lars Harmsen is the collision of intuition and the human experience. A visual journey of photographs, design, and ideas. With this publication, the author mercilessly settles accounts with the last 10 years of his creative work. Numerous pieces and creations, from Slanted, PosterRex and 100for10 to freelance works and other projects have been destroyed, cut up and reassembled. A maximum of carnage. With a minimum of diplomacy. Raban Ruddigkeit wrote about the work: "A year ago Lars bought a boat. He has actually been sailing all his life. He sails as a designer over the trends and hypes, over the egos and the shooters. In his work he connects drops to water and waves to a sea. Now and then he expresses himself in his own graphic language. Especially when, as today, the sea becomes rougher and more uncomfortable. Then Lars brings out his unwavering compass-a true sailor only proves himself in the storm."

How could visiting Seoul be described in a way that allows someone else to feel like they are right there? What to say? What perspectives to choose? »What Should I Say-About Seoul« takes the reader on a path less traveled: The work and daily-life of Korean designers; but not just as a spectator. Traveling invites the traveler to question one's own perspective. The reader is invited to also learn about Korean designers' views on Germany. The insights found through this process are inspiring as well as challenging.»What Should I Say-About Seoul« gives a glimpse into South Korean society that is not so common after all. The editors focused on the works and experiences of designers. Some of the insights into the Seoul work experience appear grim at places, colored by the ongoing pandemic that forced people to cut down on social interactions.Also included are the experiences of Korean-German designers in the book and through that is could be noticed that there is really no reason to think of Germany as a country that "has it figured out." The modern workplace can be a very mixed bag at times and bad working conditions plague the creative ­industry worldwide. Speaking about these experiences allows us to feel less isolated and work towards change-so it is not all doom and gloom.

Rheinland-Pfalz zeichnet sich vor allem durch seinen Wein aus. 65 Prozent des deutschen Weins werden dort produziert. Doch wie sieht es mit Design aus? Nach den Sonderausgaben Babylon (2013), Marrakesch (2016) und Ruanda (2019) waren wir neugierig darauf, mehr über unsere Heimat Deutschland zu erfahren und regionale Unterschiede aufzuzeigen.Das erste Ziel unserer Reise führte uns quer über den Rhein, nach Rheinland-Pfalz. In der Landeshauptstadt Mainz erfand Johannes Gutenberg den Buchdruck und lieferte 1456 die erste gedruckte Bibel, auf die er wahrscheinlich erst einmal einen Krug Wein trank. Das Land wurde nach einer Volksabstimmung über die Landesverfassung am 18. Mai 1947, zwei Jahre vor der Gründung der Bundesrepublik Deutschland, aus der französischen Besatzungszone heraus gegründet. Das Schwarz, Rot und Gold der Fahne des Hambacher Festes, der ersten demokratischen Demonstration, sind auch heute noch die Farben der Bundesrepublik Deutschland.Der Staat verfügt über eine lange Tradition im Kunsthandwerk, die von einem starken Mittelstand sowie starken regionalen Institutionen und kulturellen Impulsgebern getragen und lebendig gehalten wird. Auszeichnungen wie der Staatspreis für Kunsthandwerk fördern u. a. herausragende Edelstein- und Schmuckdesigner, Keramiker, Silberschmiede, Tischler, Fassbinder und Textildesigner der Region.Mit Hilfe der descom - Designforum Rheinland-Pfalz konnten wir Designer, Fotografen, Illustratoren und Macher gewinnen - allesamt Menschen, die ihre Region lieben und mit Leidenschaft bei der Sache sind. Also ja, jenseits schöner Landschaften mit Weinbergen, Flüssen, Wäldern und Schlössern ist Rheinland-Pfalz ein leuchtendes Beispiel für Design in Deutschland, das mit der Zeit geht und dabei an seinen Wurzeln festhält.

Flexible Visual Systems fasst 10 Jahre Forschung von Martin Lorenz an der Universität Barcelona, 20 Jahre Entwicklung von Systemen bei TwoPoints.Net und 18 Jahre Lehre von Systemen an über 10 Designhochschulen in ganz Europa auf 320 Seiten zusammen.Flexible Visual Systems ist das Gestaltungshandbuch für moderne visuelle Identitäten. Es vermittelt eine breite Palette von Gestaltungsansätzen flexibler Systeme, die sich an jede Ästhetik und jedes Projekt anpassen lassen, die eine visuelle Sprache benötigen.Es ist ein Ansatz, wie man gestaltet. Wenn man Systemdesign in einen Lehrplan aufnehmen würde, wäre es der Grundkurs, der in die richtige Denkweise versetzt. Der Ansatz kann auf jede Disziplin angewendet werden, von Corporate Design, Kommunikationsdesign, User Experience Design bis hin zu Textildesign.Das Buch ist in drei Teile gegliedert:- Der erste Teil ist eine illustrierte theoretische Einführung, die die Vergangenheit, Gegenwart und Zukunft flexibler Systeme erläutert. Er beschreibt, wie sie in der Vergangenheit verwendet wurden, wie sie heute eingesetzt werden und warum sie nicht nur formale Lösungen darstellen sollten, sondern auch die Art und Weise beeinflussen können, wie wir arbeiten.- Der zweite Teil ist eine visuelle praktische Beschreibung, wie man flexible Systeme in Form von Kreis, Dreieck, Quadrat, Fünfeck und Sechseck gestaltet. Mit vielen Anleitungen und Beispielen.- Der dritte Teil erklärt, wie Transformationsprozesse durch flexible Systeme zu visuellen Identitäten werden können. Besonders kreative Programmierer*innen, Motion Designer*innen und experimentierfreudige Menschen werden mit diesem Kapitel viel Freude haben.Flexible Systeme zu entwerfen heißt nicht nur, ein weiteres Handwerk zu erlernen, es kann die Denk- und Arbeitsweise von Gestalter*innen völlig verändern.

The Yearbook of Type is a collection of the latest published typefaces. Each typeface and type family is presented on a double page spread. On the left page, the typeface is used as an example, inspired by this year's "Movie" theme. On the right, the typeface is described in detail, with all its features, as well as information about the designers and foundries. A complementary online microsite presents all the typefaces with direct links to the respective foundries and purchasing options.

American Bauhaus creates a space for the history of Black Mountain College, which provided a new creative home for many World War II refugees in Europe from 1933 to 1957 and allowed the Bauhaus to live on in the United States. A unique place of freedom and creativity that became home to some of the most important artists of the 20th century!In 1992, todays Partner and Creative Director at studio1500 Erik Schmitt attended the reunion of Black Mountain College in San Francisco. The school is credited with shaping some of the greatest artists in American history: Willem de Kooning, John Cage, Merce Cunningham, Buckminster Fuller, Franz Kline, and Robert Rauschenberg among them. Schmitt was invited because his two aunts and their family friend Ruth Asawa attended BMC. He took extensive notes that day and took photographs at the cocktail party after the event at Ruth Asawa's home. Those quotes and photographs are the foundation of the book American Bauhaus.

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.

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."

For this book tea friends from the German-speaking countries waited long: TEATRIP is a fascinating journey by the realm of the center. It points the whole variety out of the Chinese tea culture in breath-taking pictures and accompanying stories.- Understand the differences & characteristics of China's most famous tea cultivation areas.- Learn exciting details about the cultivation, processing and preparation of China's six major tea varieties: Oolong, white, green, yellow, black and Pu-Erh tea.- Learn to read the taste pictures of China's best tea varieties correctly.The plain truth behind China's tea culture: China keeps the best varieties for itself! Only little is known in this country about the Chinese tea growing areas and the variety of flavors of the countless tea varieties. Christian Beck is author of the book TEATRIP. He has been trading with the best teas from China, Taiwan and Japan for over 10 years. On his annual tea trips, he has become acquainted with the top tea growing areas and top players in Chinese tea culture. Stefan Braun, one of the best food photographers in Germany, accompanied Christian for several weeks on his travels throughout China. In the book TEATRIP, the authors tell the stories from over 10 years of tea shopping in China. The book takes you on a fascinating journey, which you can experience first hand thanks to sensational photos. The authors present unique humans and show on the basis first-class pictures like cultivation, processing and tea benefit in China really lived. In the focus of the book are handmade teas from small family businesses from ecological and wild tea gardens. Their journey roams the most important cultivation areas from Zhejiang over Fujian, Taiwan, Guangdong and into China's deep south, to Yunnan into the world of Pu-Erh tea.