Slanted Publishers

07/10/2025

We’re thrilled to finally share a behind-the-scenes look at a project that’s been quietly in the works over the past year—one that brings together not only the best in typography, but also the best in paper, printing, and bookmaking craftsmanship. Here’s a sneak peek into the making of the upcoming edition of The World’s Best Typography, Typography 46—a book we had the immense honor of producing in partnership with one of the most respected global design institutions. At its core, this publication is about excellence in typography. But equally, it’s about material excellence; how content is elevated through attention to detail, production, and the tactile joy of a well-made book.

To match the level of design, we turned to Fedrigoni—whose papers—manufactured in Italy—bring a remarkable blend of beauty, texture, and performance to the printed page. The book is printed on a carefully curated mix of their finest special papers. Arena is a smooth, natural white surface ideal for crisp typography and image clarity. Tatami Ivory is warm-toned with subtle texture, adding softness and elegance. Sirio Limone is a vivid, punchy yellow that injects energy and contrast. Wrapping it all together, Constellation Snow is used to cover the robust book body, featuring a unique embossed, haptic texture that adds a refined tactile experience to the final object.

The book was printed in offset at Nino Druck in Neustadt. Their expertise was essential to bringing this book to life. With such a diverse range of visuals (from expressive type and bold color to delicate details and fine lettering) the precision and consistency of the print process had to be flawless. Of course, no book is complete without the final hand of the binder and Buchbinderei Spinner brought everything together with absolute precision. From the open spine (where a specially designed motif is revealed) to the overlapping flaps that wrap and fold into the cover, every detail was executed with care and craft.

This project is a dream collaboration—and yes, if you've guessed it, it involves the Type Directors Club. Typography 46 celebrates the winners of their latest global competition for typographic excellence. We’re honored to play a part in shaping this year’s edition. This is a love letter to the craft of print and the global design community that continues to push typography forward.

The TDC Competition has been a beacon of typographic achievement for over seven decades, recognizing outstanding work across communication design, type design, and lettering. Whether you’re an old-school master technician or a cutting-edge street stylist, we want to celebrate and elevate your work. Enter this year's competition here. Winners will be included in next year's book.

📒 Find Pictures of the production here:

We’re thrilled to finally share a behind-the-scenes look at a project that’s been quietly in the works over the past year …

06/10/2025

Students from the Graphic Design and Visual Communication program at Berlin International University of Applied Sciences have published the independent newspaper Writing in the Margins. With the academic guidance of Barbora Demovič, Mio Kojima and Muj Abdulzade, the 4th‑semester design students worked collectively to reclaim space for diverse writing traditions, scripts, alphabets, non‑conforming letterforms, vernacular typography, forgotten glyphs and their underrepresented stories.

Over ten weeks, Writing in the Margins developed as one of the key assignments in the Intercultural Design course. The class is shaped by the multicultural character of Berlin International and rooted in the belief that design can either reinforce or challenge power imbalances and the Western‑centric status quo.

The main goal of the Intercultural Design course is to strengthen the ability to critically identify and understand cultural stereotypes, orientalism and othering in visual communication and beyond. Through peer‑to‑peer learning, students share knowledge about the cultures to which they feel a sense of belonging and contribute to shaping a more authentic and diverse narrative around cultural identities and their visual representation. Cultures are complex, layered and nuanced. Within each culture, subcultures exist. There are regional differences, minorities within minorities, and countless stories and histories. There is no single accurate way to represent a culture holistically.

In the Roots Reveal assignment, students reflected on cultures they feel connected to, choosing one micro‑detail that resonated with them in both positive and critical ways. Through research, gathering visual references and positioning these cultural details within historical and social contexts, they developed a poster design.

In the Writing in the Margins assignment, students explored the historical, social and political contexts of typography and scripts.

As of June 2025, Google Fonts offers 1,633 typeface families for Latin script in contrast to merely 261 typeface families for Cyrillic, 60 for Devanagari, 52 for Arabic, and 39 for Korean. Swiss-style grotesque typefaces continue to dominate contemporary graphic and UI design, mainly due to their reputation for being universal, neutral, and highly legible, reinforcing the Western-centric design status quo. What occurs when certain scripts are marginalized or adapted under colonial influence? Can writing systems, scripts, and letterforms challenge conventional design and societal norms? And how can power relations be renegotiated when designing with two or more scripts?

Rooted in their personal interests, lived experiences, senses of belonging, and cultural contexts, the contributions by Elmira Bilokon, Klea Çelmanaj, Ferzan Dokumacı, Sarah Elgayed, Laman Gasimova, Inci Isik Goktas, Zeynep Gölbey, Anna Lena Halldórsdóttir, Thelma Rut Haraldsdóttir, Thianon Klausmann, Natalia Kvavilashvili, Azra Nasirlioglu, Sara Sóley, Jakub Pawlowski, Elif Sarihan, Diana Saidova, Hikaru Shiozawa, Laura Smektalska, Mariia Vlasina, Alexander Wagner, Oriana Winiarski, and Hanul Yim explore the rich histories and lives of letters, scripts, and writing systems.

They look into the role of adapting writing systems within diasporic communities, explore the act of writing in Korean Shamanic practice, tell stories of letterforms in tattoo and graffiti cultures, engage hands‑on with Cyrillic handwriting scripts, feature the work of women from Polish School of Poster, focus on the type and title design from Arabesque cassette tapes, and play with the crossroads of writing and cooking. Some other contributions focus on various political and cultural shifts and their influence on writing traditions, centering histories from Uzbekistan, Turkey, Iceland, Thailand, Russia, Albania, Georgia, Greece, and the Arabic‑speaking regions. They cover peculiar stories of single characters, glyphs, scripts, and alphabets, problematize Western influences, and highlight the underrepresented.

Further contributions turn towards digital environments and share how gaming subcultures, hacker communities, texting, and chatroom communication have sparked the creation of new writing forms, whether through modified characters or the invention of entirely new scripts. The newspaper was published in an edition of 45 and was released on June 3rd in Berlin.

Find morer info and pictures here:

Within each culture, subcultures exist. There are regional differences, minorities within minorities, and countless stories and histories.

06/10/2025

Our Call for Entries for Slanted Magazine #47—Digital Tools is still open, and we’re really enjoying the variety of submissions coming in. It’s shaping up to be a deep look into the world of digital toolmaking.
Here are another few of the submissions we’ve received so far:
details created a custom tool to destroy and reshape type. With glitchy tools you drag, pull, twist and stretch letters. Export your distorted result to a personal typographic mutation shaped by touch.

Knit Hello by is a typeface for hand knitting. It was developed for beginners – knitters without previous knowledge in typography, and graphic designers who have just picked up their needles. Knit Hello is the outcome of a series of Typographic Knitting Workshops at craft festivals and museums. It offers a simple, frustration-free process for beginners, without floats and getting entangled, bringing the term “digital” back to its original meaning and any creatives first tool: the fingers.

The tool “NOCTALGIA” by generates trajectory images based on celestial motion, their forms embodying both order and complexity, reflecting the rational beauty of natural laws and the mystery of the structure of the cosmos.

The “Ringvorlesung On/Off” Design lecture series offers students at the a wide range of insights into topics at the intersection of design and technology. For each lecture, a poster was designed by .weinzierl and .thiel, along with two general announcement posters. Touchdesigner was used to create a distortion and to bring a technical atmosphere into the posters. They build on each other: there still remains pieces of the preceded posters on the latest poster.

We look forward to further submissions. Submit your project by November 9th at slanted.de/c4e-tools

     

05/10/2025

We try to imagine. To think of a better tomorrow. To stay confident. It took us 5 years to find a few answers. I am super happy about this journey with Laura François , Viola Dessin , Natalie Seisser .seisser

Imagine—Embracing Chaos and Possibility in a Planetary Emergency is not a conventional book or practical guide. It is an interdisciplinary collection of conversations, reflections, and contributions that explore life in times of global crisis—what some call a “planetary emergency.” Its purpose is to share diverse perspectives on today’s ecological, social, and cultural challenges and to create space for deeper inquiry.

The contributors include experts and practitioners from fields such as science, art, activism, ecopsychology, and systems thinking. Among them are Nora Bateson (systems theory), Vanessa Machado de Oliveira (decolonial education), Rudi Putra (environmental protection in Indonesia), Brother Phap Linh (Buddhist practice), and many others.

Rather than offering simple answers, this book invites readers to reflect, pause, and engage with the complexity of our current moment. It serves as a companion and archive of thought—encouraging new relationships with ourselves, society, and the planet.

Published by Slanted

04/10/2025

Time is running. This is our 14th edition of published by our friends . Since all the years we are the same team: Boris is art directing the calendar, based on an idea of and . On the backside of each photography is the story behind. The only thing we had to change at some point was the name: Polaroid didn't want us to keep the name POLADARIUM 😂 Life goes on.

02/10/2025

✨ Call for Submissions: Slanted Magazine #47—Digital Tools / Deadline Sunday 09.11.25 → https://mailchi.mp/slanted/c4s-digital-tools

01/10/2025

Bueronardin × Vienna Design Week is (Design) history. 14 festivals, 14 districts, 14 (+2) festival headquarters, 14 color codes, 14 campaigns, 3 festival directors, dozens of collaborations and thousands of events later, a successful partnership comes to an end.

From 2011 to 2024, Bueronardin was responsible for the visual communication of the Vienna Design Week – and played a major role in shaping the festival’s not only visual identity, relevance, and brand. What started as a mere date became a promise each year: we set signs, sparked interest, created atmosphere, found accomplices – and kept the tension alive over weeks, months, and years.

“We are delighted to present a review of a joyful, intense, and successful time at the 2025 edition of Vienna Design Week and to meet old friends as well as new fans along the way.”

BN × VDW is (Design) history. 14 festivals, 14 districts, dozens of collaborations later, a successful partnership comes to an end.

29/09/2025

Allrounder Baroque is a transitional serif member of the Allrounder superfamily. A playful and dynamic medium-contrast typeface, its lush shapes guide the reader’s eye across the page.

Like its famous Baroque-era ancestors penned by van Dijck, Fleischmann, and Baskerville, Allrounder Baroque is an ideal book typeface. Set large, it’s at home in luxury branding and serious-yet-approachable corporate design.

At 10 styles and 900+ glyphs, with extended language support and OpenType features, Allrounder Baroque brings workhorse qualities to the table. Its vertical metrics and texture match those of the other Allrounder fonts: Combining fonts was never easier than with the Allrounder type system.

Allrounder Baroque

Type foundry: Identity Letters
Designers: Moritz Kleinsorge
Release date: September 2025
Weights: 10
Styles 2
File formats: otf, woff, woff2
Test version: Yes, at Identity Letters
Price: Style 40€; Family 169€

Take a look at Allround Baroque here: slanted.de/allrounder-baroque/

Allrounder Baroque is a transitional serif member of the Allrounder superfamily. A playful and dynamic medium-contrast typeface …

29/09/2025

Ever tried manually applying a variable font transformation across a hundred glyphs in InDesign? If so, you’ve either (a) cried, or (b) abandoned the idea entirely. Variable fonts offer incredible freedom in theory. In practice? Until recently, they often felt locked behind the blandest UI: a lonely slider per axis, buried in a panel, daring you to touch it once and forget it exists.

So yes, when first using HAL TypePad, it was a relief. In short, it is a free plugin for InDesign that lets you explore variable fonts with the energy and immediacy of a drum machine. You get a grid of big, clicky buttons. You get ranges like glyph, word, line, and line by line. You get operators with names like Mountain, Valley, Oscillate, and Random. You press a button and things happen. Visibly. Playfully. Reversibly. Finally.

What does this mean for actual design work? For us, it’s less about finishing something quickly (although yes, it does save a ridiculous amount of time) and more about having a digital companion that encourages real experimentation. Before, we were spending too much time manually testing ideas that should’ve been easy to simulate. Now, we’re actually exploring typography in ways that surprise.

As more variable fonts enter everyday workflows, self-initiated tools like TypePad help us to explore them in static media. There’s still so much left to explore. But that’s kind of the point. And speaking of digital tools: Slanted Magazine #47 is dedicated entirely to them. The issue will explore the wide (and weird) world of how we make things today. If you're developing your own tools — or just obsessed with one — now’s the time to share it. You can submit suggestions or projects via the call for entries.

Brought to you by HAL Typefaces
Illustrations by Dario Danielli
Coding by Christoph Seibel

Ever tried manually applying a variable font transformation across a hundred glyphs in InDesign? If so, you’ve either (a) cried or …

29/09/2025

Celebrate the launch of Alphabetical Playground by .pattern at the iconic bookshop in East London.

Nigel Cottier’s new book on experimental type ideas is an investigation into how we can use the alphabet as a container for countless graphic systems, conceptual ideas, and endless play.

Buy the book via the link in our bio, at slanted.de/product/alphabetical-playground