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open2type
Typographic Research Lab
open2type founded and run by Stefanie Schwarz & Dirk Wachowiak
Stuttgart | Trier | Weimar @bauhaus.type.action
We were invited to contribute an artwork to the exhibition “Iliggocene – The Age of Dizziness” and came up with the idea of a type system that includes different states of dizziness.
Finally the typeface was not only part of our specific artwork (wall graphic & type specimen, pic 7), but all over the exhibition space visualizing texts from different artists and authors that also had been invited to contribute. Even the museum’s corporate design was hijacked by our font.
You still can visit and see
“Iliggocene – The Age of Dizziness”
at KINDL – Zentrum für zeitgenössische Kunst
until 26 July @kindlberlin
with contributions by Amanda Beech, Dominique Savitri Bonarjee, Colectivo Los Ingrávidos, Davide Deriu, Tim Etchells, Christian Falsnaes, Cao Fei, Julia Fiedorczuk, Dani Gal, María Auxiliadora Gálvez Pérez, William Gibson, Alexandra Grant, Eiko Grimberg, Anna Kim, Jack Halberstam, Daniel Meir, Ari Benjamin Meyers, Warren Neidich, João Onofre, Ana Prvački, Lucy Railton, Saas-Fee Summer Institute of Art, John Smith, Liv Schulman, Stefanie Schwarz & Dirk Wachowiak, Alexander Stahn, Marcus Steinweg, Dimitri Venkov, Catherine Yass, Ruth Anderwald + Leonhard Grond
curated by Ruth Anderwald, Leonhard Grond @anderwaldgrond and Sergio Edelsztein
type & typographic design by Stefanie Schwarz & Dirk Wachowiak
We were invited to contribute an artwork to the exhibition “Iliggocene – The Age of Dizziness” and came up with the idea of a type system that includes different states of dizziness.
Finally the typeface was not only part of our specific artwork (wall graphic & type specimen, pic 7), but all over the exhibition space visualizing texts from different artists and authors that also had been invited to contribute. Even the museum’s corporate design was hijacked by our font.
You still can visit and see
“Iliggocene – The Age of Dizziness”
at KINDL – Zentrum für zeitgenössische Kunst
until 26 July @kindlberlin
with contributions by Amanda Beech, Dominique Savitri Bonarjee, Colectivo Los Ingrávidos, Davide Deriu, Tim Etchells, Christian Falsnaes, Cao Fei, Julia Fiedorczuk, Dani Gal, María Auxiliadora Gálvez Pérez, William Gibson, Alexandra Grant, Eiko Grimberg, Anna Kim, Jack Halberstam, Daniel Meir, Ari Benjamin Meyers, Warren Neidich, João Onofre, Ana Prvački, Lucy Railton, Saas-Fee Summer Institute of Art, John Smith, Liv Schulman, Stefanie Schwarz & Dirk Wachowiak, Alexander Stahn, Marcus Steinweg, Dimitri Venkov, Catherine Yass, Ruth Anderwald + Leonhard Grond
curated by Ruth Anderwald, Leonhard Grond @anderwaldgrond and Sergio Edelsztein
type & typographic design by Stefanie Schwarz & Dirk Wachowiak
We were invited to contribute an artwork to the exhibition “Iliggocene – The Age of Dizziness” and came up with the idea of a type system that includes different states of dizziness.
Finally the typeface was not only part of our specific artwork (wall graphic & type specimen, pic 7), but all over the exhibition space visualizing texts from different artists and authors that also had been invited to contribute. Even the museum’s corporate design was hijacked by our font.
You still can visit and see
“Iliggocene – The Age of Dizziness”
at KINDL – Zentrum für zeitgenössische Kunst
until 26 July @kindlberlin
with contributions by Amanda Beech, Dominique Savitri Bonarjee, Colectivo Los Ingrávidos, Davide Deriu, Tim Etchells, Christian Falsnaes, Cao Fei, Julia Fiedorczuk, Dani Gal, María Auxiliadora Gálvez Pérez, William Gibson, Alexandra Grant, Eiko Grimberg, Anna Kim, Jack Halberstam, Daniel Meir, Ari Benjamin Meyers, Warren Neidich, João Onofre, Ana Prvački, Lucy Railton, Saas-Fee Summer Institute of Art, John Smith, Liv Schulman, Stefanie Schwarz & Dirk Wachowiak, Alexander Stahn, Marcus Steinweg, Dimitri Venkov, Catherine Yass, Ruth Anderwald + Leonhard Grond
curated by Ruth Anderwald, Leonhard Grond @anderwaldgrond and Sergio Edelsztein
type & typographic design by Stefanie Schwarz & Dirk Wachowiak
We were invited to contribute an artwork to the exhibition “Iliggocene – The Age of Dizziness” and came up with the idea of a type system that includes different states of dizziness.
Finally the typeface was not only part of our specific artwork (wall graphic & type specimen, pic 7), but all over the exhibition space visualizing texts from different artists and authors that also had been invited to contribute. Even the museum’s corporate design was hijacked by our font.
You still can visit and see
“Iliggocene – The Age of Dizziness”
at KINDL – Zentrum für zeitgenössische Kunst
until 26 July @kindlberlin
with contributions by Amanda Beech, Dominique Savitri Bonarjee, Colectivo Los Ingrávidos, Davide Deriu, Tim Etchells, Christian Falsnaes, Cao Fei, Julia Fiedorczuk, Dani Gal, María Auxiliadora Gálvez Pérez, William Gibson, Alexandra Grant, Eiko Grimberg, Anna Kim, Jack Halberstam, Daniel Meir, Ari Benjamin Meyers, Warren Neidich, João Onofre, Ana Prvački, Lucy Railton, Saas-Fee Summer Institute of Art, John Smith, Liv Schulman, Stefanie Schwarz & Dirk Wachowiak, Alexander Stahn, Marcus Steinweg, Dimitri Venkov, Catherine Yass, Ruth Anderwald + Leonhard Grond
curated by Ruth Anderwald, Leonhard Grond @anderwaldgrond and Sergio Edelsztein
type & typographic design by Stefanie Schwarz & Dirk Wachowiak
We were invited to contribute an artwork to the exhibition “Iliggocene – The Age of Dizziness” and came up with the idea of a type system that includes different states of dizziness.
Finally the typeface was not only part of our specific artwork (wall graphic & type specimen, pic 7), but all over the exhibition space visualizing texts from different artists and authors that also had been invited to contribute. Even the museum’s corporate design was hijacked by our font.
You still can visit and see
“Iliggocene – The Age of Dizziness”
at KINDL – Zentrum für zeitgenössische Kunst
until 26 July @kindlberlin
with contributions by Amanda Beech, Dominique Savitri Bonarjee, Colectivo Los Ingrávidos, Davide Deriu, Tim Etchells, Christian Falsnaes, Cao Fei, Julia Fiedorczuk, Dani Gal, María Auxiliadora Gálvez Pérez, William Gibson, Alexandra Grant, Eiko Grimberg, Anna Kim, Jack Halberstam, Daniel Meir, Ari Benjamin Meyers, Warren Neidich, João Onofre, Ana Prvački, Lucy Railton, Saas-Fee Summer Institute of Art, John Smith, Liv Schulman, Stefanie Schwarz & Dirk Wachowiak, Alexander Stahn, Marcus Steinweg, Dimitri Venkov, Catherine Yass, Ruth Anderwald + Leonhard Grond
curated by Ruth Anderwald, Leonhard Grond @anderwaldgrond and Sergio Edelsztein
type & typographic design by Stefanie Schwarz & Dirk Wachowiak
We were invited to contribute an artwork to the exhibition “Iliggocene – The Age of Dizziness” and came up with the idea of a type system that includes different states of dizziness.
Finally the typeface was not only part of our specific artwork (wall graphic & type specimen, pic 7), but all over the exhibition space visualizing texts from different artists and authors that also had been invited to contribute. Even the museum’s corporate design was hijacked by our font.
You still can visit and see
“Iliggocene – The Age of Dizziness”
at KINDL – Zentrum für zeitgenössische Kunst
until 26 July @kindlberlin
with contributions by Amanda Beech, Dominique Savitri Bonarjee, Colectivo Los Ingrávidos, Davide Deriu, Tim Etchells, Christian Falsnaes, Cao Fei, Julia Fiedorczuk, Dani Gal, María Auxiliadora Gálvez Pérez, William Gibson, Alexandra Grant, Eiko Grimberg, Anna Kim, Jack Halberstam, Daniel Meir, Ari Benjamin Meyers, Warren Neidich, João Onofre, Ana Prvački, Lucy Railton, Saas-Fee Summer Institute of Art, John Smith, Liv Schulman, Stefanie Schwarz & Dirk Wachowiak, Alexander Stahn, Marcus Steinweg, Dimitri Venkov, Catherine Yass, Ruth Anderwald + Leonhard Grond
curated by Ruth Anderwald, Leonhard Grond @anderwaldgrond and Sergio Edelsztein
type & typographic design by Stefanie Schwarz & Dirk Wachowiak
We were invited to contribute an artwork to the exhibition “Iliggocene – The Age of Dizziness” and came up with the idea of a type system that includes different states of dizziness.
Finally the typeface was not only part of our specific artwork (wall graphic & type specimen, pic 7), but all over the exhibition space visualizing texts from different artists and authors that also had been invited to contribute. Even the museum’s corporate design was hijacked by our font.
You still can visit and see
“Iliggocene – The Age of Dizziness”
at KINDL – Zentrum für zeitgenössische Kunst
until 26 July @kindlberlin
with contributions by Amanda Beech, Dominique Savitri Bonarjee, Colectivo Los Ingrávidos, Davide Deriu, Tim Etchells, Christian Falsnaes, Cao Fei, Julia Fiedorczuk, Dani Gal, María Auxiliadora Gálvez Pérez, William Gibson, Alexandra Grant, Eiko Grimberg, Anna Kim, Jack Halberstam, Daniel Meir, Ari Benjamin Meyers, Warren Neidich, João Onofre, Ana Prvački, Lucy Railton, Saas-Fee Summer Institute of Art, John Smith, Liv Schulman, Stefanie Schwarz & Dirk Wachowiak, Alexander Stahn, Marcus Steinweg, Dimitri Venkov, Catherine Yass, Ruth Anderwald + Leonhard Grond
curated by Ruth Anderwald, Leonhard Grond @anderwaldgrond and Sergio Edelsztein
type & typographic design by Stefanie Schwarz & Dirk Wachowiak
We were invited to contribute an artwork to the exhibition “Iliggocene – The Age of Dizziness” and came up with the idea of a type system that includes different states of dizziness.
Finally the typeface was not only part of our specific artwork (wall graphic & type specimen, pic 7), but all over the exhibition space visualizing texts from different artists and authors that also had been invited to contribute. Even the museum’s corporate design was hijacked by our font.
You still can visit and see
“Iliggocene – The Age of Dizziness”
at KINDL – Zentrum für zeitgenössische Kunst
until 26 July @kindlberlin
with contributions by Amanda Beech, Dominique Savitri Bonarjee, Colectivo Los Ingrávidos, Davide Deriu, Tim Etchells, Christian Falsnaes, Cao Fei, Julia Fiedorczuk, Dani Gal, María Auxiliadora Gálvez Pérez, William Gibson, Alexandra Grant, Eiko Grimberg, Anna Kim, Jack Halberstam, Daniel Meir, Ari Benjamin Meyers, Warren Neidich, João Onofre, Ana Prvački, Lucy Railton, Saas-Fee Summer Institute of Art, John Smith, Liv Schulman, Stefanie Schwarz & Dirk Wachowiak, Alexander Stahn, Marcus Steinweg, Dimitri Venkov, Catherine Yass, Ruth Anderwald + Leonhard Grond
curated by Ruth Anderwald, Leonhard Grond @anderwaldgrond and Sergio Edelsztein
type & typographic design by Stefanie Schwarz & Dirk Wachowiak
We were invited to contribute an artwork to the exhibition “Iliggocene – The Age of Dizziness” and came up with the idea of a type system that includes different states of dizziness.
Finally the typeface was not only part of our specific artwork (wall graphic & type specimen, pic 7), but all over the exhibition space visualizing texts from different artists and authors that also had been invited to contribute. Even the museum’s corporate design was hijacked by our font.
You still can visit and see
“Iliggocene – The Age of Dizziness”
at KINDL – Zentrum für zeitgenössische Kunst
until 26 July @kindlberlin
with contributions by Amanda Beech, Dominique Savitri Bonarjee, Colectivo Los Ingrávidos, Davide Deriu, Tim Etchells, Christian Falsnaes, Cao Fei, Julia Fiedorczuk, Dani Gal, María Auxiliadora Gálvez Pérez, William Gibson, Alexandra Grant, Eiko Grimberg, Anna Kim, Jack Halberstam, Daniel Meir, Ari Benjamin Meyers, Warren Neidich, João Onofre, Ana Prvački, Lucy Railton, Saas-Fee Summer Institute of Art, John Smith, Liv Schulman, Stefanie Schwarz & Dirk Wachowiak, Alexander Stahn, Marcus Steinweg, Dimitri Venkov, Catherine Yass, Ruth Anderwald + Leonhard Grond
curated by Ruth Anderwald, Leonhard Grond @anderwaldgrond and Sergio Edelsztein
type & typographic design by Stefanie Schwarz & Dirk Wachowiak
We were invited to contribute an artwork to the exhibition “Iliggocene – The Age of Dizziness” and came up with the idea of a type system that includes different states of dizziness.
Finally the typeface was not only part of our specific artwork (wall graphic & type specimen, pic 7), but all over the exhibition space visualizing texts from different artists and authors that also had been invited to contribute. Even the museum’s corporate design was hijacked by our font.
You still can visit and see
“Iliggocene – The Age of Dizziness”
at KINDL – Zentrum für zeitgenössische Kunst
until 26 July @kindlberlin
with contributions by Amanda Beech, Dominique Savitri Bonarjee, Colectivo Los Ingrávidos, Davide Deriu, Tim Etchells, Christian Falsnaes, Cao Fei, Julia Fiedorczuk, Dani Gal, María Auxiliadora Gálvez Pérez, William Gibson, Alexandra Grant, Eiko Grimberg, Anna Kim, Jack Halberstam, Daniel Meir, Ari Benjamin Meyers, Warren Neidich, João Onofre, Ana Prvački, Lucy Railton, Saas-Fee Summer Institute of Art, John Smith, Liv Schulman, Stefanie Schwarz & Dirk Wachowiak, Alexander Stahn, Marcus Steinweg, Dimitri Venkov, Catherine Yass, Ruth Anderwald + Leonhard Grond
curated by Ruth Anderwald, Leonhard Grond @anderwaldgrond and Sergio Edelsztein
type & typographic design by Stefanie Schwarz & Dirk Wachowiak
We were invited to contribute an artwork to the exhibition “Iliggocene – The Age of Dizziness” and came up with the idea of a type system that includes different states of dizziness.
Finally the typeface was not only part of our specific artwork (wall graphic & type specimen, pic 7), but all over the exhibition space visualizing texts from different artists and authors that also had been invited to contribute. Even the museum’s corporate design was hijacked by our font.
You still can visit and see
“Iliggocene – The Age of Dizziness”
at KINDL – Zentrum für zeitgenössische Kunst
until 26 July @kindlberlin
with contributions by Amanda Beech, Dominique Savitri Bonarjee, Colectivo Los Ingrávidos, Davide Deriu, Tim Etchells, Christian Falsnaes, Cao Fei, Julia Fiedorczuk, Dani Gal, María Auxiliadora Gálvez Pérez, William Gibson, Alexandra Grant, Eiko Grimberg, Anna Kim, Jack Halberstam, Daniel Meir, Ari Benjamin Meyers, Warren Neidich, João Onofre, Ana Prvački, Lucy Railton, Saas-Fee Summer Institute of Art, John Smith, Liv Schulman, Stefanie Schwarz & Dirk Wachowiak, Alexander Stahn, Marcus Steinweg, Dimitri Venkov, Catherine Yass, Ruth Anderwald + Leonhard Grond
curated by Ruth Anderwald, Leonhard Grond @anderwaldgrond and Sergio Edelsztein
type & typographic design by Stefanie Schwarz & Dirk Wachowiak
Referenz Grotesk Groundless
—
a typeface for the exhibition
Iliggocene – The Age of Dizziness
@kindlberlin until 26 July 2026
In the beginning we have been asking how dizziness can be translated to the field of typography and type design. Can a typeface make us dizzy and provoke a feeling of disorientation by interfering with the reading flow?
We’ve created a type system with different states of dizziness via characters that shift from their baseline at different levels. The new font is based on our type family Referenz Grotesk and now expanded by a dizzying extension, with 15 grades of dizziness, including 140 dizzy characters, without any kerning pairs, the latter making especially type designers dizzy.
Gradually or at once, Referenz Grotesk Groundless transforms readable text to an unreadable typographic structure, challenges readers that find themselves between dis-, re- and orientation.
Its first comprehensive appearance is at KINDL – Zentrum für zeitgenössische Kunst Berlin during the exhibition “Iliggocene – The Age of Dizziness” (March – July 2026) curated by Ruth Anderwald, Leonhard Grond @anderwaldgrond and Sergio Edelsztein.
type design & type specimen by Stefanie Schwarz & Dirk Wachowiak #open2type
Referenz Grotesk Groundless
—
a typeface for the exhibition
Iliggocene – The Age of Dizziness
@kindlberlin until 26 July 2026
In the beginning we have been asking how dizziness can be translated to the field of typography and type design. Can a typeface make us dizzy and provoke a feeling of disorientation by interfering with the reading flow?
We’ve created a type system with different states of dizziness via characters that shift from their baseline at different levels. The new font is based on our type family Referenz Grotesk and now expanded by a dizzying extension, with 15 grades of dizziness, including 140 dizzy characters, without any kerning pairs, the latter making especially type designers dizzy.
Gradually or at once, Referenz Grotesk Groundless transforms readable text to an unreadable typographic structure, challenges readers that find themselves between dis-, re- and orientation.
Its first comprehensive appearance is at KINDL – Zentrum für zeitgenössische Kunst Berlin during the exhibition “Iliggocene – The Age of Dizziness” (March – July 2026) curated by Ruth Anderwald, Leonhard Grond @anderwaldgrond and Sergio Edelsztein.
type design & type specimen by Stefanie Schwarz & Dirk Wachowiak #open2type
Referenz Grotesk Groundless
—
a typeface for the exhibition
Iliggocene – The Age of Dizziness
@kindlberlin until 26 July 2026
In the beginning we have been asking how dizziness can be translated to the field of typography and type design. Can a typeface make us dizzy and provoke a feeling of disorientation by interfering with the reading flow?
We’ve created a type system with different states of dizziness via characters that shift from their baseline at different levels. The new font is based on our type family Referenz Grotesk and now expanded by a dizzying extension, with 15 grades of dizziness, including 140 dizzy characters, without any kerning pairs, the latter making especially type designers dizzy.
Gradually or at once, Referenz Grotesk Groundless transforms readable text to an unreadable typographic structure, challenges readers that find themselves between dis-, re- and orientation.
Its first comprehensive appearance is at KINDL – Zentrum für zeitgenössische Kunst Berlin during the exhibition “Iliggocene – The Age of Dizziness” (March – July 2026) curated by Ruth Anderwald, Leonhard Grond @anderwaldgrond and Sergio Edelsztein.
type design & type specimen by Stefanie Schwarz & Dirk Wachowiak #open2type
Referenz Grotesk Groundless
—
a typeface for the exhibition
Iliggocene – The Age of Dizziness
@kindlberlin until 26 July 2026
In the beginning we have been asking how dizziness can be translated to the field of typography and type design. Can a typeface make us dizzy and provoke a feeling of disorientation by interfering with the reading flow?
We’ve created a type system with different states of dizziness via characters that shift from their baseline at different levels. The new font is based on our type family Referenz Grotesk and now expanded by a dizzying extension, with 15 grades of dizziness, including 140 dizzy characters, without any kerning pairs, the latter making especially type designers dizzy.
Gradually or at once, Referenz Grotesk Groundless transforms readable text to an unreadable typographic structure, challenges readers that find themselves between dis-, re- and orientation.
Its first comprehensive appearance is at KINDL – Zentrum für zeitgenössische Kunst Berlin during the exhibition “Iliggocene – The Age of Dizziness” (March – July 2026) curated by Ruth Anderwald, Leonhard Grond @anderwaldgrond and Sergio Edelsztein.
type design & type specimen by Stefanie Schwarz & Dirk Wachowiak #open2type
Referenz Grotesk Groundless
—
a typeface for the exhibition
Iliggocene – The Age of Dizziness
@kindlberlin until 26 July 2026
In the beginning we have been asking how dizziness can be translated to the field of typography and type design. Can a typeface make us dizzy and provoke a feeling of disorientation by interfering with the reading flow?
We’ve created a type system with different states of dizziness via characters that shift from their baseline at different levels. The new font is based on our type family Referenz Grotesk and now expanded by a dizzying extension, with 15 grades of dizziness, including 140 dizzy characters, without any kerning pairs, the latter making especially type designers dizzy.
Gradually or at once, Referenz Grotesk Groundless transforms readable text to an unreadable typographic structure, challenges readers that find themselves between dis-, re- and orientation.
Its first comprehensive appearance is at KINDL – Zentrum für zeitgenössische Kunst Berlin during the exhibition “Iliggocene – The Age of Dizziness” (March – July 2026) curated by Ruth Anderwald, Leonhard Grond @anderwaldgrond and Sergio Edelsztein.
type design & type specimen by Stefanie Schwarz & Dirk Wachowiak #open2type
Referenz Grotesk Groundless
—
a typeface for the exhibition
Iliggocene – The Age of Dizziness
@kindlberlin until 26 July 2026
In the beginning we have been asking how dizziness can be translated to the field of typography and type design. Can a typeface make us dizzy and provoke a feeling of disorientation by interfering with the reading flow?
We’ve created a type system with different states of dizziness via characters that shift from their baseline at different levels. The new font is based on our type family Referenz Grotesk and now expanded by a dizzying extension, with 15 grades of dizziness, including 140 dizzy characters, without any kerning pairs, the latter making especially type designers dizzy.
Gradually or at once, Referenz Grotesk Groundless transforms readable text to an unreadable typographic structure, challenges readers that find themselves between dis-, re- and orientation.
Its first comprehensive appearance is at KINDL – Zentrum für zeitgenössische Kunst Berlin during the exhibition “Iliggocene – The Age of Dizziness” (March – July 2026) curated by Ruth Anderwald, Leonhard Grond @anderwaldgrond and Sergio Edelsztein.
type design & type specimen by Stefanie Schwarz & Dirk Wachowiak #open2type
Referenz Grotesk Groundless
—
a typeface for the exhibition
Iliggocene – The Age of Dizziness
@kindlberlin until 26 July 2026
In the beginning we have been asking how dizziness can be translated to the field of typography and type design. Can a typeface make us dizzy and provoke a feeling of disorientation by interfering with the reading flow?
We’ve created a type system with different states of dizziness via characters that shift from their baseline at different levels. The new font is based on our type family Referenz Grotesk and now expanded by a dizzying extension, with 15 grades of dizziness, including 140 dizzy characters, without any kerning pairs, the latter making especially type designers dizzy.
Gradually or at once, Referenz Grotesk Groundless transforms readable text to an unreadable typographic structure, challenges readers that find themselves between dis-, re- and orientation.
Its first comprehensive appearance is at KINDL – Zentrum für zeitgenössische Kunst Berlin during the exhibition “Iliggocene – The Age of Dizziness” (March – July 2026) curated by Ruth Anderwald, Leonhard Grond @anderwaldgrond and Sergio Edelsztein.
type design & type specimen by Stefanie Schwarz & Dirk Wachowiak #open2type
Referenz Grotesk Groundless
—
a typeface for the exhibition
Iliggocene – The Age of Dizziness
@kindlberlin until 26 July 2026
In the beginning we have been asking how dizziness can be translated to the field of typography and type design. Can a typeface make us dizzy and provoke a feeling of disorientation by interfering with the reading flow?
We’ve created a type system with different states of dizziness via characters that shift from their baseline at different levels. The new font is based on our type family Referenz Grotesk and now expanded by a dizzying extension, with 15 grades of dizziness, including 140 dizzy characters, without any kerning pairs, the latter making especially type designers dizzy.
Gradually or at once, Referenz Grotesk Groundless transforms readable text to an unreadable typographic structure, challenges readers that find themselves between dis-, re- and orientation.
Its first comprehensive appearance is at KINDL – Zentrum für zeitgenössische Kunst Berlin during the exhibition “Iliggocene – The Age of Dizziness” (March – July 2026) curated by Ruth Anderwald, Leonhard Grond @anderwaldgrond and Sergio Edelsztein.
type design & type specimen by Stefanie Schwarz & Dirk Wachowiak #open2type
Referenz Grotesk Groundless
—
a typeface for the exhibition
Iliggocene – The Age of Dizziness
@kindlberlin until 26 July 2026
In the beginning we have been asking how dizziness can be translated to the field of typography and type design. Can a typeface make us dizzy and provoke a feeling of disorientation by interfering with the reading flow?
We’ve created a type system with different states of dizziness via characters that shift from their baseline at different levels. The new font is based on our type family Referenz Grotesk and now expanded by a dizzying extension, with 15 grades of dizziness, including 140 dizzy characters, without any kerning pairs, the latter making especially type designers dizzy.
Gradually or at once, Referenz Grotesk Groundless transforms readable text to an unreadable typographic structure, challenges readers that find themselves between dis-, re- and orientation.
Its first comprehensive appearance is at KINDL – Zentrum für zeitgenössische Kunst Berlin during the exhibition “Iliggocene – The Age of Dizziness” (March – July 2026) curated by Ruth Anderwald, Leonhard Grond @anderwaldgrond and Sergio Edelsztein.
type design & type specimen by Stefanie Schwarz & Dirk Wachowiak #open2type
Referenz Grotesk Groundless
—
a typeface for the exhibition
Iliggocene – The Age of Dizziness
@kindlberlin until 26 July 2026
In the beginning we have been asking how dizziness can be translated to the field of typography and type design. Can a typeface make us dizzy and provoke a feeling of disorientation by interfering with the reading flow?
We’ve created a type system with different states of dizziness via characters that shift from their baseline at different levels. The new font is based on our type family Referenz Grotesk and now expanded by a dizzying extension, with 15 grades of dizziness, including 140 dizzy characters, without any kerning pairs, the latter making especially type designers dizzy.
Gradually or at once, Referenz Grotesk Groundless transforms readable text to an unreadable typographic structure, challenges readers that find themselves between dis-, re- and orientation.
Its first comprehensive appearance is at KINDL – Zentrum für zeitgenössische Kunst Berlin during the exhibition “Iliggocene – The Age of Dizziness” (March – July 2026) curated by Ruth Anderwald, Leonhard Grond @anderwaldgrond and Sergio Edelsztein.
type design & type specimen by Stefanie Schwarz & Dirk Wachowiak #open2type
Referenz Grotesk Groundless
—
a typeface for the exhibition
Iliggocene – The Age of Dizziness
@kindlberlin until 26 July 2026
In the beginning we have been asking how dizziness can be translated to the field of typography and type design. Can a typeface make us dizzy and provoke a feeling of disorientation by interfering with the reading flow?
We’ve created a type system with different states of dizziness via characters that shift from their baseline at different levels. The new font is based on our type family Referenz Grotesk and now expanded by a dizzying extension, with 15 grades of dizziness, including 140 dizzy characters, without any kerning pairs, the latter making especially type designers dizzy.
Gradually or at once, Referenz Grotesk Groundless transforms readable text to an unreadable typographic structure, challenges readers that find themselves between dis-, re- and orientation.
Its first comprehensive appearance is at KINDL – Zentrum für zeitgenössische Kunst Berlin during the exhibition “Iliggocene – The Age of Dizziness” (March – July 2026) curated by Ruth Anderwald, Leonhard Grond @anderwaldgrond and Sergio Edelsztein.
type design & type specimen by Stefanie Schwarz & Dirk Wachowiak #open2type
Book design for a publication about artistic research including projects and essays from international artists, designers and researchers, published at Bauhaus Universität Weimar.
The design plays with colour gradients underlining the book’s topics like shifting and blending contexts in different social, academic and art worlds. While turning the pages, Red, Green and Blue alternate and mark the switch from one author to the next. At the book edge these sections blend into a multilayered texture binding all positions together.
design: Stefanie Schwarz & Dirk Wachowiak
editors: Alex Toland, Stefanie Schwarz, Jan Willmann
scientific editors: Be Körner, Alex Toland
managing editor: Ivana Sidjimovska
editorial assistance: Be Körner, Harriet von Froreich
published at Bauhaus Universität Weimar (2024)
Book design for a publication about artistic research including projects and essays from international artists, designers and researchers, published at Bauhaus Universität Weimar.
The design plays with colour gradients underlining the book’s topics like shifting and blending contexts in different social, academic and art worlds. While turning the pages, Red, Green and Blue alternate and mark the switch from one author to the next. At the book edge these sections blend into a multilayered texture binding all positions together.
design: Stefanie Schwarz & Dirk Wachowiak
editors: Alex Toland, Stefanie Schwarz, Jan Willmann
scientific editors: Be Körner, Alex Toland
managing editor: Ivana Sidjimovska
editorial assistance: Be Körner, Harriet von Froreich
published at Bauhaus Universität Weimar (2024)
Book design for a publication about artistic research including projects and essays from international artists, designers and researchers, published at Bauhaus Universität Weimar.
The design plays with colour gradients underlining the book’s topics like shifting and blending contexts in different social, academic and art worlds. While turning the pages, Red, Green and Blue alternate and mark the switch from one author to the next. At the book edge these sections blend into a multilayered texture binding all positions together.
design: Stefanie Schwarz & Dirk Wachowiak
editors: Alex Toland, Stefanie Schwarz, Jan Willmann
scientific editors: Be Körner, Alex Toland
managing editor: Ivana Sidjimovska
editorial assistance: Be Körner, Harriet von Froreich
published at Bauhaus Universität Weimar (2024)
Book design for a publication about artistic research including projects and essays from international artists, designers and researchers, published at Bauhaus Universität Weimar.
The design plays with colour gradients underlining the book’s topics like shifting and blending contexts in different social, academic and art worlds. While turning the pages, Red, Green and Blue alternate and mark the switch from one author to the next. At the book edge these sections blend into a multilayered texture binding all positions together.
design: Stefanie Schwarz & Dirk Wachowiak
editors: Alex Toland, Stefanie Schwarz, Jan Willmann
scientific editors: Be Körner, Alex Toland
managing editor: Ivana Sidjimovska
editorial assistance: Be Körner, Harriet von Froreich
published at Bauhaus Universität Weimar (2024)
Book design for a publication about artistic research including projects and essays from international artists, designers and researchers, published at Bauhaus Universität Weimar.
The design plays with colour gradients underlining the book’s topics like shifting and blending contexts in different social, academic and art worlds. While turning the pages, Red, Green and Blue alternate and mark the switch from one author to the next. At the book edge these sections blend into a multilayered texture binding all positions together.
design: Stefanie Schwarz & Dirk Wachowiak
editors: Alex Toland, Stefanie Schwarz, Jan Willmann
scientific editors: Be Körner, Alex Toland
managing editor: Ivana Sidjimovska
editorial assistance: Be Körner, Harriet von Froreich
published at Bauhaus Universität Weimar (2024)
Book design for a publication about artistic research including projects and essays from international artists, designers and researchers, published at Bauhaus Universität Weimar.
The design plays with colour gradients underlining the book’s topics like shifting and blending contexts in different social, academic and art worlds. While turning the pages, Red, Green and Blue alternate and mark the switch from one author to the next. At the book edge these sections blend into a multilayered texture binding all positions together.
design: Stefanie Schwarz & Dirk Wachowiak
editors: Alex Toland, Stefanie Schwarz, Jan Willmann
scientific editors: Be Körner, Alex Toland
managing editor: Ivana Sidjimovska
editorial assistance: Be Körner, Harriet von Froreich
published at Bauhaus Universität Weimar (2024)
Book design for a publication about artistic research including projects and essays from international artists, designers and researchers, published at Bauhaus Universität Weimar.
The design plays with colour gradients underlining the book’s topics like shifting and blending contexts in different social, academic and art worlds. While turning the pages, Red, Green and Blue alternate and mark the switch from one author to the next. At the book edge these sections blend into a multilayered texture binding all positions together.
design: Stefanie Schwarz & Dirk Wachowiak
editors: Alex Toland, Stefanie Schwarz, Jan Willmann
scientific editors: Be Körner, Alex Toland
managing editor: Ivana Sidjimovska
editorial assistance: Be Körner, Harriet von Froreich
published at Bauhaus Universität Weimar (2024)
Book design for a publication about artistic research including projects and essays from international artists, designers and researchers, published at Bauhaus Universität Weimar.
The design plays with colour gradients underlining the book’s topics like shifting and blending contexts in different social, academic and art worlds. While turning the pages, Red, Green and Blue alternate and mark the switch from one author to the next. At the book edge these sections blend into a multilayered texture binding all positions together.
design: Stefanie Schwarz & Dirk Wachowiak
editors: Alex Toland, Stefanie Schwarz, Jan Willmann
scientific editors: Be Körner, Alex Toland
managing editor: Ivana Sidjimovska
editorial assistance: Be Körner, Harriet von Froreich
published at Bauhaus Universität Weimar (2024)
Book design for a publication about artistic research including projects and essays from international artists, designers and researchers, published at Bauhaus Universität Weimar.
The design plays with colour gradients underlining the book’s topics like shifting and blending contexts in different social, academic and art worlds. While turning the pages, Red, Green and Blue alternate and mark the switch from one author to the next. At the book edge these sections blend into a multilayered texture binding all positions together.
design: Stefanie Schwarz & Dirk Wachowiak
editors: Alex Toland, Stefanie Schwarz, Jan Willmann
scientific editors: Be Körner, Alex Toland
managing editor: Ivana Sidjimovska
editorial assistance: Be Körner, Harriet von Froreich
published at Bauhaus Universität Weimar (2024)
Book design for a publication about artistic research including projects and essays from international artists, designers and researchers, published at Bauhaus Universität Weimar.
The design plays with colour gradients underlining the book’s topics like shifting and blending contexts in different social, academic and art worlds. While turning the pages, Red, Green and Blue alternate and mark the switch from one author to the next. At the book edge these sections blend into a multilayered texture binding all positions together.
design: Stefanie Schwarz & Dirk Wachowiak
editors: Alex Toland, Stefanie Schwarz, Jan Willmann
scientific editors: Be Körner, Alex Toland
managing editor: Ivana Sidjimovska
editorial assistance: Be Körner, Harriet von Froreich
published at Bauhaus Universität Weimar (2024)
Book design for a publication about artistic research including projects and essays from international artists, designers and researchers, published at Bauhaus Universität Weimar.
The design plays with colour gradients underlining the book’s topics like shifting and blending contexts in different social, academic and art worlds. While turning the pages, Red, Green and Blue alternate and mark the switch from one author to the next. At the book edge these sections blend into a multilayered texture binding all positions together.
design: Stefanie Schwarz & Dirk Wachowiak
editors: Alex Toland, Stefanie Schwarz, Jan Willmann
scientific editors: Be Körner, Alex Toland
managing editor: Ivana Sidjimovska
editorial assistance: Be Körner, Harriet von Froreich
published at Bauhaus Universität Weimar (2024)
Muster & Moderne —
William Morris meets Weissenhof
OPEN NOW 🎉
every Sat & Sun 12—17 h
until 2 March
A project by Stefanie Schwarz and Patrick Thomas in collaboration with Tobias Bednarz and Anja Krämer.
The British Arts and Crafts movement centred around the designer William Morris is often regarded as a pioneer in the development of modern design. While Morris’ interior designs were strongly characterised by craftsmanship and natural motifs, modernism developed an increasingly reduced and functionalist aesthetic. But was modernism really as free of patterns as is often assumed?
Patrick @xpatrickthomas confronts the architecture of Ludwig Mies van der Rohe with a reinterpretation of Morris’ iconic “Willow” pattern (1874). Stefanie @stefanieschwarz_weissenhof expands this intervention with a typographic layer, placing quotes from representatives of modernism in the exhibition space. For this, she developed a typeface inspired by various historic patterns and ornaments.
An accompanying showcase exhibition throws spotlights on modern interior design, illustrating that decorative surface design and lavish patterns also played a role in modernism.
address:
Weissenhofwerkstatt im Haus Mies van der Rohe
Am Weißenhof 20, 70191 Stuttgart
https://weissenhofmuseum.de
@weissenhofmuseum
printed matter by #stefanieschwarz
Muster & Moderne —
William Morris meets Weissenhof
OPEN NOW 🎉
every Sat & Sun 12—17 h
until 2 March
A project by Stefanie Schwarz and Patrick Thomas in collaboration with Tobias Bednarz and Anja Krämer.
The British Arts and Crafts movement centred around the designer William Morris is often regarded as a pioneer in the development of modern design. While Morris’ interior designs were strongly characterised by craftsmanship and natural motifs, modernism developed an increasingly reduced and functionalist aesthetic. But was modernism really as free of patterns as is often assumed?
Patrick @xpatrickthomas confronts the architecture of Ludwig Mies van der Rohe with a reinterpretation of Morris’ iconic “Willow” pattern (1874). Stefanie @stefanieschwarz_weissenhof expands this intervention with a typographic layer, placing quotes from representatives of modernism in the exhibition space. For this, she developed a typeface inspired by various historic patterns and ornaments.
An accompanying showcase exhibition throws spotlights on modern interior design, illustrating that decorative surface design and lavish patterns also played a role in modernism.
address:
Weissenhofwerkstatt im Haus Mies van der Rohe
Am Weißenhof 20, 70191 Stuttgart
https://weissenhofmuseum.de
@weissenhofmuseum
printed matter by #stefanieschwarz
Muster & Moderne —
William Morris meets Weissenhof
OPEN NOW 🎉
every Sat & Sun 12—17 h
until 2 March
A project by Stefanie Schwarz and Patrick Thomas in collaboration with Tobias Bednarz and Anja Krämer.
The British Arts and Crafts movement centred around the designer William Morris is often regarded as a pioneer in the development of modern design. While Morris’ interior designs were strongly characterised by craftsmanship and natural motifs, modernism developed an increasingly reduced and functionalist aesthetic. But was modernism really as free of patterns as is often assumed?
Patrick @xpatrickthomas confronts the architecture of Ludwig Mies van der Rohe with a reinterpretation of Morris’ iconic “Willow” pattern (1874). Stefanie @stefanieschwarz_weissenhof expands this intervention with a typographic layer, placing quotes from representatives of modernism in the exhibition space. For this, she developed a typeface inspired by various historic patterns and ornaments.
An accompanying showcase exhibition throws spotlights on modern interior design, illustrating that decorative surface design and lavish patterns also played a role in modernism.
address:
Weissenhofwerkstatt im Haus Mies van der Rohe
Am Weißenhof 20, 70191 Stuttgart
https://weissenhofmuseum.de
@weissenhofmuseum
printed matter by #stefanieschwarz
Muster & Moderne —
William Morris meets Weissenhof
OPEN NOW 🎉
every Sat & Sun 12—17 h
until 2 March
A project by Stefanie Schwarz and Patrick Thomas in collaboration with Tobias Bednarz and Anja Krämer.
The British Arts and Crafts movement centred around the designer William Morris is often regarded as a pioneer in the development of modern design. While Morris’ interior designs were strongly characterised by craftsmanship and natural motifs, modernism developed an increasingly reduced and functionalist aesthetic. But was modernism really as free of patterns as is often assumed?
Patrick @xpatrickthomas confronts the architecture of Ludwig Mies van der Rohe with a reinterpretation of Morris’ iconic “Willow” pattern (1874). Stefanie @stefanieschwarz_weissenhof expands this intervention with a typographic layer, placing quotes from representatives of modernism in the exhibition space. For this, she developed a typeface inspired by various historic patterns and ornaments.
An accompanying showcase exhibition throws spotlights on modern interior design, illustrating that decorative surface design and lavish patterns also played a role in modernism.
address:
Weissenhofwerkstatt im Haus Mies van der Rohe
Am Weißenhof 20, 70191 Stuttgart
https://weissenhofmuseum.de
@weissenhofmuseum
printed matter by #stefanieschwarz
Muster & Moderne —
William Morris meets Weissenhof
OPEN NOW 🎉
every Sat & Sun 12—17 h
until 2 March
A project by Stefanie Schwarz and Patrick Thomas in collaboration with Tobias Bednarz and Anja Krämer.
The British Arts and Crafts movement centred around the designer William Morris is often regarded as a pioneer in the development of modern design. While Morris’ interior designs were strongly characterised by craftsmanship and natural motifs, modernism developed an increasingly reduced and functionalist aesthetic. But was modernism really as free of patterns as is often assumed?
Patrick @xpatrickthomas confronts the architecture of Ludwig Mies van der Rohe with a reinterpretation of Morris’ iconic “Willow” pattern (1874). Stefanie @stefanieschwarz_weissenhof expands this intervention with a typographic layer, placing quotes from representatives of modernism in the exhibition space. For this, she developed a typeface inspired by various historic patterns and ornaments.
An accompanying showcase exhibition throws spotlights on modern interior design, illustrating that decorative surface design and lavish patterns also played a role in modernism.
address:
Weissenhofwerkstatt im Haus Mies van der Rohe
Am Weißenhof 20, 70191 Stuttgart
https://weissenhofmuseum.de
@weissenhofmuseum
printed matter by #stefanieschwarz
Muster & Moderne —
William Morris meets Weissenhof
OPEN NOW 🎉
every Sat & Sun 12—17 h
until 2 March
A project by Stefanie Schwarz and Patrick Thomas in collaboration with Tobias Bednarz and Anja Krämer.
The British Arts and Crafts movement centred around the designer William Morris is often regarded as a pioneer in the development of modern design. While Morris’ interior designs were strongly characterised by craftsmanship and natural motifs, modernism developed an increasingly reduced and functionalist aesthetic. But was modernism really as free of patterns as is often assumed?
Patrick @xpatrickthomas confronts the architecture of Ludwig Mies van der Rohe with a reinterpretation of Morris’ iconic “Willow” pattern (1874). Stefanie @stefanieschwarz_weissenhof expands this intervention with a typographic layer, placing quotes from representatives of modernism in the exhibition space. For this, she developed a typeface inspired by various historic patterns and ornaments.
An accompanying showcase exhibition throws spotlights on modern interior design, illustrating that decorative surface design and lavish patterns also played a role in modernism.
address:
Weissenhofwerkstatt im Haus Mies van der Rohe
Am Weißenhof 20, 70191 Stuttgart
https://weissenhofmuseum.de
@weissenhofmuseum
printed matter by #stefanieschwarz
Muster & Moderne —
William Morris meets Weissenhof
OPEN NOW 🎉
every Sat & Sun 12—17 h
until 2 March
A project by Stefanie Schwarz and Patrick Thomas in collaboration with Tobias Bednarz and Anja Krämer.
The British Arts and Crafts movement centred around the designer William Morris is often regarded as a pioneer in the development of modern design. While Morris’ interior designs were strongly characterised by craftsmanship and natural motifs, modernism developed an increasingly reduced and functionalist aesthetic. But was modernism really as free of patterns as is often assumed?
Patrick @xpatrickthomas confronts the architecture of Ludwig Mies van der Rohe with a reinterpretation of Morris’ iconic “Willow” pattern (1874). Stefanie @stefanieschwarz_weissenhof expands this intervention with a typographic layer, placing quotes from representatives of modernism in the exhibition space. For this, she developed a typeface inspired by various historic patterns and ornaments.
An accompanying showcase exhibition throws spotlights on modern interior design, illustrating that decorative surface design and lavish patterns also played a role in modernism.
address:
Weissenhofwerkstatt im Haus Mies van der Rohe
Am Weißenhof 20, 70191 Stuttgart
https://weissenhofmuseum.de
@weissenhofmuseum
printed matter by #stefanieschwarz
Muster & Moderne —
William Morris meets Weissenhof
OPEN NOW 🎉
every Sat & Sun 12—17 h
until 2 March
A project by Stefanie Schwarz and Patrick Thomas in collaboration with Tobias Bednarz and Anja Krämer.
The British Arts and Crafts movement centred around the designer William Morris is often regarded as a pioneer in the development of modern design. While Morris’ interior designs were strongly characterised by craftsmanship and natural motifs, modernism developed an increasingly reduced and functionalist aesthetic. But was modernism really as free of patterns as is often assumed?
Patrick @xpatrickthomas confronts the architecture of Ludwig Mies van der Rohe with a reinterpretation of Morris’ iconic “Willow” pattern (1874). Stefanie @stefanieschwarz_weissenhof expands this intervention with a typographic layer, placing quotes from representatives of modernism in the exhibition space. For this, she developed a typeface inspired by various historic patterns and ornaments.
An accompanying showcase exhibition throws spotlights on modern interior design, illustrating that decorative surface design and lavish patterns also played a role in modernism.
address:
Weissenhofwerkstatt im Haus Mies van der Rohe
Am Weißenhof 20, 70191 Stuttgart
https://weissenhofmuseum.de
@weissenhofmuseum
printed matter by #stefanieschwarz
Muster & Moderne —
William Morris meets Weissenhof
OPEN NOW 🎉
every Sat & Sun 12—17 h
until 2 March
A project by Stefanie Schwarz and Patrick Thomas in collaboration with Tobias Bednarz and Anja Krämer.
The British Arts and Crafts movement centred around the designer William Morris is often regarded as a pioneer in the development of modern design. While Morris’ interior designs were strongly characterised by craftsmanship and natural motifs, modernism developed an increasingly reduced and functionalist aesthetic. But was modernism really as free of patterns as is often assumed?
Patrick @xpatrickthomas confronts the architecture of Ludwig Mies van der Rohe with a reinterpretation of Morris’ iconic “Willow” pattern (1874). Stefanie @stefanieschwarz_weissenhof expands this intervention with a typographic layer, placing quotes from representatives of modernism in the exhibition space. For this, she developed a typeface inspired by various historic patterns and ornaments.
An accompanying showcase exhibition throws spotlights on modern interior design, illustrating that decorative surface design and lavish patterns also played a role in modernism.
address:
Weissenhofwerkstatt im Haus Mies van der Rohe
Am Weißenhof 20, 70191 Stuttgart
https://weissenhofmuseum.de
@weissenhofmuseum
printed matter by #stefanieschwarz
Muster & Moderne —
William Morris meets Weissenhof
OPEN NOW 🎉
every Sat & Sun 12—17 h
until 2 March
A project by Stefanie Schwarz and Patrick Thomas in collaboration with Tobias Bednarz and Anja Krämer.
The British Arts and Crafts movement centred around the designer William Morris is often regarded as a pioneer in the development of modern design. While Morris’ interior designs were strongly characterised by craftsmanship and natural motifs, modernism developed an increasingly reduced and functionalist aesthetic. But was modernism really as free of patterns as is often assumed?
Patrick @xpatrickthomas confronts the architecture of Ludwig Mies van der Rohe with a reinterpretation of Morris’ iconic “Willow” pattern (1874). Stefanie @stefanieschwarz_weissenhof expands this intervention with a typographic layer, placing quotes from representatives of modernism in the exhibition space. For this, she developed a typeface inspired by various historic patterns and ornaments.
An accompanying showcase exhibition throws spotlights on modern interior design, illustrating that decorative surface design and lavish patterns also played a role in modernism.
address:
Weissenhofwerkstatt im Haus Mies van der Rohe
Am Weißenhof 20, 70191 Stuttgart
https://weissenhofmuseum.de
@weissenhofmuseum
printed matter by #stefanieschwarz
Muster & Moderne —
William Morris meets Weissenhof
OPEN NOW 🎉
every Sat & Sun 12—17 h
until 2 March
A project by Stefanie Schwarz and Patrick Thomas in collaboration with Tobias Bednarz and Anja Krämer.
The British Arts and Crafts movement centred around the designer William Morris is often regarded as a pioneer in the development of modern design. While Morris’ interior designs were strongly characterised by craftsmanship and natural motifs, modernism developed an increasingly reduced and functionalist aesthetic. But was modernism really as free of patterns as is often assumed?
Patrick @xpatrickthomas confronts the architecture of Ludwig Mies van der Rohe with a reinterpretation of Morris’ iconic “Willow” pattern (1874). Stefanie @stefanieschwarz_weissenhof expands this intervention with a typographic layer, placing quotes from representatives of modernism in the exhibition space. For this, she developed a typeface inspired by various historic patterns and ornaments.
An accompanying showcase exhibition throws spotlights on modern interior design, illustrating that decorative surface design and lavish patterns also played a role in modernism.
address:
Weissenhofwerkstatt im Haus Mies van der Rohe
Am Weißenhof 20, 70191 Stuttgart
https://weissenhofmuseum.de
@weissenhofmuseum
printed matter by #stefanieschwarz
Muster & Moderne —
William Morris meets Weissenhof
OPEN NOW 🎉
every Sat & Sun 12—17 h
until 2 March
A project by Stefanie Schwarz and Patrick Thomas in collaboration with Tobias Bednarz and Anja Krämer.
The British Arts and Crafts movement centred around the designer William Morris is often regarded as a pioneer in the development of modern design. While Morris’ interior designs were strongly characterised by craftsmanship and natural motifs, modernism developed an increasingly reduced and functionalist aesthetic. But was modernism really as free of patterns as is often assumed?
Patrick @xpatrickthomas confronts the architecture of Ludwig Mies van der Rohe with a reinterpretation of Morris’ iconic “Willow” pattern (1874). Stefanie @stefanieschwarz_weissenhof expands this intervention with a typographic layer, placing quotes from representatives of modernism in the exhibition space. For this, she developed a typeface inspired by various historic patterns and ornaments.
An accompanying showcase exhibition throws spotlights on modern interior design, illustrating that decorative surface design and lavish patterns also played a role in modernism.
address:
Weissenhofwerkstatt im Haus Mies van der Rohe
Am Weißenhof 20, 70191 Stuttgart
https://weissenhofmuseum.de
@weissenhofmuseum
printed matter by #stefanieschwarz
Our new publication and research project “Bauhaus Type Action: Neue Typografien 2019–2023” tries to capture collectively new typographies 100 years after László Moholy-Nagy outlined “the” new typography in his essay “Die Neue Typographie” (1923).
The book includes type designs and typographic works by students of Bauhaus-Universität Weimar from classes of Stefanie Schwarz. The second part contains texts about “new typography” from 22 designers who share their perspectives and approaches in the field of typography and type design.
–
type and typographic designs by students @bauhaus.type.action @vk_uniweimar
–
authors: Jonas Beuchert, Fernanda Cozzi, Oded Ezer, Allen Hori, Golnar Kat-Rahmani, Ricarda Löser, Michael Mischler, Anne Odling-Smee, Verena Panholzer, Rathna Ramanathan, Masihne Rasuli, Charlotte Rohde, Rajshree Saraf, Tilman Schlevogt, Stefanie Schwarz, Johanna Siebein, Patrick Thomas, Nik Thoenen, Andrea Tinnes, Dirk Wachowiak, Markus Weisbeck, Marcus Wichmann, Andrea Wilkinson
–
editor & designer: Stefanie Schwarz
editorial assistance: Masihne Rasuli
copy editing & proofreading: Anisha Peplinski
publisher: LUCIA @lucia_verlag
ISBN: 978-3-945301-76-0
Our new publication and research project “Bauhaus Type Action: Neue Typografien 2019–2023” tries to capture collectively new typographies 100 years after László Moholy-Nagy outlined “the” new typography in his essay “Die Neue Typographie” (1923).
The book includes type designs and typographic works by students of Bauhaus-Universität Weimar from classes of Stefanie Schwarz. The second part contains texts about “new typography” from 22 designers who share their perspectives and approaches in the field of typography and type design.
–
type and typographic designs by students @bauhaus.type.action @vk_uniweimar
–
authors: Jonas Beuchert, Fernanda Cozzi, Oded Ezer, Allen Hori, Golnar Kat-Rahmani, Ricarda Löser, Michael Mischler, Anne Odling-Smee, Verena Panholzer, Rathna Ramanathan, Masihne Rasuli, Charlotte Rohde, Rajshree Saraf, Tilman Schlevogt, Stefanie Schwarz, Johanna Siebein, Patrick Thomas, Nik Thoenen, Andrea Tinnes, Dirk Wachowiak, Markus Weisbeck, Marcus Wichmann, Andrea Wilkinson
–
editor & designer: Stefanie Schwarz
editorial assistance: Masihne Rasuli
copy editing & proofreading: Anisha Peplinski
publisher: LUCIA @lucia_verlag
ISBN: 978-3-945301-76-0
Our new publication and research project “Bauhaus Type Action: Neue Typografien 2019–2023” tries to capture collectively new typographies 100 years after László Moholy-Nagy outlined “the” new typography in his essay “Die Neue Typographie” (1923).
The book includes type designs and typographic works by students of Bauhaus-Universität Weimar from classes of Stefanie Schwarz. The second part contains texts about “new typography” from 22 designers who share their perspectives and approaches in the field of typography and type design.
–
type and typographic designs by students @bauhaus.type.action @vk_uniweimar
–
authors: Jonas Beuchert, Fernanda Cozzi, Oded Ezer, Allen Hori, Golnar Kat-Rahmani, Ricarda Löser, Michael Mischler, Anne Odling-Smee, Verena Panholzer, Rathna Ramanathan, Masihne Rasuli, Charlotte Rohde, Rajshree Saraf, Tilman Schlevogt, Stefanie Schwarz, Johanna Siebein, Patrick Thomas, Nik Thoenen, Andrea Tinnes, Dirk Wachowiak, Markus Weisbeck, Marcus Wichmann, Andrea Wilkinson
–
editor & designer: Stefanie Schwarz
editorial assistance: Masihne Rasuli
copy editing & proofreading: Anisha Peplinski
publisher: LUCIA @lucia_verlag
ISBN: 978-3-945301-76-0
Our new publication and research project “Bauhaus Type Action: Neue Typografien 2019–2023” tries to capture collectively new typographies 100 years after László Moholy-Nagy outlined “the” new typography in his essay “Die Neue Typographie” (1923).
The book includes type designs and typographic works by students of Bauhaus-Universität Weimar from classes of Stefanie Schwarz. The second part contains texts about “new typography” from 22 designers who share their perspectives and approaches in the field of typography and type design.
–
type and typographic designs by students @bauhaus.type.action @vk_uniweimar
–
authors: Jonas Beuchert, Fernanda Cozzi, Oded Ezer, Allen Hori, Golnar Kat-Rahmani, Ricarda Löser, Michael Mischler, Anne Odling-Smee, Verena Panholzer, Rathna Ramanathan, Masihne Rasuli, Charlotte Rohde, Rajshree Saraf, Tilman Schlevogt, Stefanie Schwarz, Johanna Siebein, Patrick Thomas, Nik Thoenen, Andrea Tinnes, Dirk Wachowiak, Markus Weisbeck, Marcus Wichmann, Andrea Wilkinson
–
editor & designer: Stefanie Schwarz
editorial assistance: Masihne Rasuli
copy editing & proofreading: Anisha Peplinski
publisher: LUCIA @lucia_verlag
ISBN: 978-3-945301-76-0
Our new publication and research project “Bauhaus Type Action: Neue Typografien 2019–2023” tries to capture collectively new typographies 100 years after László Moholy-Nagy outlined “the” new typography in his essay “Die Neue Typographie” (1923).
The book includes type designs and typographic works by students of Bauhaus-Universität Weimar from classes of Stefanie Schwarz. The second part contains texts about “new typography” from 22 designers who share their perspectives and approaches in the field of typography and type design.
–
type and typographic designs by students @bauhaus.type.action @vk_uniweimar
–
authors: Jonas Beuchert, Fernanda Cozzi, Oded Ezer, Allen Hori, Golnar Kat-Rahmani, Ricarda Löser, Michael Mischler, Anne Odling-Smee, Verena Panholzer, Rathna Ramanathan, Masihne Rasuli, Charlotte Rohde, Rajshree Saraf, Tilman Schlevogt, Stefanie Schwarz, Johanna Siebein, Patrick Thomas, Nik Thoenen, Andrea Tinnes, Dirk Wachowiak, Markus Weisbeck, Marcus Wichmann, Andrea Wilkinson
–
editor & designer: Stefanie Schwarz
editorial assistance: Masihne Rasuli
copy editing & proofreading: Anisha Peplinski
publisher: LUCIA @lucia_verlag
ISBN: 978-3-945301-76-0
Our new publication and research project “Bauhaus Type Action: Neue Typografien 2019–2023” tries to capture collectively new typographies 100 years after László Moholy-Nagy outlined “the” new typography in his essay “Die Neue Typographie” (1923).
The book includes type designs and typographic works by students of Bauhaus-Universität Weimar from classes of Stefanie Schwarz. The second part contains texts about “new typography” from 22 designers who share their perspectives and approaches in the field of typography and type design.
–
type and typographic designs by students @bauhaus.type.action @vk_uniweimar
–
authors: Jonas Beuchert, Fernanda Cozzi, Oded Ezer, Allen Hori, Golnar Kat-Rahmani, Ricarda Löser, Michael Mischler, Anne Odling-Smee, Verena Panholzer, Rathna Ramanathan, Masihne Rasuli, Charlotte Rohde, Rajshree Saraf, Tilman Schlevogt, Stefanie Schwarz, Johanna Siebein, Patrick Thomas, Nik Thoenen, Andrea Tinnes, Dirk Wachowiak, Markus Weisbeck, Marcus Wichmann, Andrea Wilkinson
–
editor & designer: Stefanie Schwarz
editorial assistance: Masihne Rasuli
copy editing & proofreading: Anisha Peplinski
publisher: LUCIA @lucia_verlag
ISBN: 978-3-945301-76-0
Our new publication and research project “Bauhaus Type Action: Neue Typografien 2019–2023” tries to capture collectively new typographies 100 years after László Moholy-Nagy outlined “the” new typography in his essay “Die Neue Typographie” (1923).
The book includes type designs and typographic works by students of Bauhaus-Universität Weimar from classes of Stefanie Schwarz. The second part contains texts about “new typography” from 22 designers who share their perspectives and approaches in the field of typography and type design.
–
type and typographic designs by students @bauhaus.type.action @vk_uniweimar
–
authors: Jonas Beuchert, Fernanda Cozzi, Oded Ezer, Allen Hori, Golnar Kat-Rahmani, Ricarda Löser, Michael Mischler, Anne Odling-Smee, Verena Panholzer, Rathna Ramanathan, Masihne Rasuli, Charlotte Rohde, Rajshree Saraf, Tilman Schlevogt, Stefanie Schwarz, Johanna Siebein, Patrick Thomas, Nik Thoenen, Andrea Tinnes, Dirk Wachowiak, Markus Weisbeck, Marcus Wichmann, Andrea Wilkinson
–
editor & designer: Stefanie Schwarz
editorial assistance: Masihne Rasuli
copy editing & proofreading: Anisha Peplinski
publisher: LUCIA @lucia_verlag
ISBN: 978-3-945301-76-0
Our new publication and research project “Bauhaus Type Action: Neue Typografien 2019–2023” tries to capture collectively new typographies 100 years after László Moholy-Nagy outlined “the” new typography in his essay “Die Neue Typographie” (1923).
The book includes type designs and typographic works by students of Bauhaus-Universität Weimar from classes of Stefanie Schwarz. The second part contains texts about “new typography” from 22 designers who share their perspectives and approaches in the field of typography and type design.
–
type and typographic designs by students @bauhaus.type.action @vk_uniweimar
–
authors: Jonas Beuchert, Fernanda Cozzi, Oded Ezer, Allen Hori, Golnar Kat-Rahmani, Ricarda Löser, Michael Mischler, Anne Odling-Smee, Verena Panholzer, Rathna Ramanathan, Masihne Rasuli, Charlotte Rohde, Rajshree Saraf, Tilman Schlevogt, Stefanie Schwarz, Johanna Siebein, Patrick Thomas, Nik Thoenen, Andrea Tinnes, Dirk Wachowiak, Markus Weisbeck, Marcus Wichmann, Andrea Wilkinson
–
editor & designer: Stefanie Schwarz
editorial assistance: Masihne Rasuli
copy editing & proofreading: Anisha Peplinski
publisher: LUCIA @lucia_verlag
ISBN: 978-3-945301-76-0
Our new publication and research project “Bauhaus Type Action: Neue Typografien 2019–2023” tries to capture collectively new typographies 100 years after László Moholy-Nagy outlined “the” new typography in his essay “Die Neue Typographie” (1923).
The book includes type designs and typographic works by students of Bauhaus-Universität Weimar from classes of Stefanie Schwarz. The second part contains texts about “new typography” from 22 designers who share their perspectives and approaches in the field of typography and type design.
–
type and typographic designs by students @bauhaus.type.action @vk_uniweimar
–
authors: Jonas Beuchert, Fernanda Cozzi, Oded Ezer, Allen Hori, Golnar Kat-Rahmani, Ricarda Löser, Michael Mischler, Anne Odling-Smee, Verena Panholzer, Rathna Ramanathan, Masihne Rasuli, Charlotte Rohde, Rajshree Saraf, Tilman Schlevogt, Stefanie Schwarz, Johanna Siebein, Patrick Thomas, Nik Thoenen, Andrea Tinnes, Dirk Wachowiak, Markus Weisbeck, Marcus Wichmann, Andrea Wilkinson
–
editor & designer: Stefanie Schwarz
editorial assistance: Masihne Rasuli
copy editing & proofreading: Anisha Peplinski
publisher: LUCIA @lucia_verlag
ISBN: 978-3-945301-76-0
Our new publication and research project “Bauhaus Type Action: Neue Typografien 2019–2023” tries to capture collectively new typographies 100 years after László Moholy-Nagy outlined “the” new typography in his essay “Die Neue Typographie” (1923).
The book includes type designs and typographic works by students of Bauhaus-Universität Weimar from classes of Stefanie Schwarz. The second part contains texts about “new typography” from 22 designers who share their perspectives and approaches in the field of typography and type design.
–
type and typographic designs by students @bauhaus.type.action @vk_uniweimar
–
authors: Jonas Beuchert, Fernanda Cozzi, Oded Ezer, Allen Hori, Golnar Kat-Rahmani, Ricarda Löser, Michael Mischler, Anne Odling-Smee, Verena Panholzer, Rathna Ramanathan, Masihne Rasuli, Charlotte Rohde, Rajshree Saraf, Tilman Schlevogt, Stefanie Schwarz, Johanna Siebein, Patrick Thomas, Nik Thoenen, Andrea Tinnes, Dirk Wachowiak, Markus Weisbeck, Marcus Wichmann, Andrea Wilkinson
–
editor & designer: Stefanie Schwarz
editorial assistance: Masihne Rasuli
copy editing & proofreading: Anisha Peplinski
publisher: LUCIA @lucia_verlag
ISBN: 978-3-945301-76-0
Our new publication and research project “Bauhaus Type Action: Neue Typografien 2019–2023” tries to capture collectively new typographies 100 years after László Moholy-Nagy outlined “the” new typography in his essay “Die Neue Typographie” (1923).
The book includes type designs and typographic works by students of Bauhaus-Universität Weimar from classes of Stefanie Schwarz. The second part contains texts about “new typography” from 22 designers who share their perspectives and approaches in the field of typography and type design.
–
type and typographic designs by students @bauhaus.type.action @vk_uniweimar
–
authors: Jonas Beuchert, Fernanda Cozzi, Oded Ezer, Allen Hori, Golnar Kat-Rahmani, Ricarda Löser, Michael Mischler, Anne Odling-Smee, Verena Panholzer, Rathna Ramanathan, Masihne Rasuli, Charlotte Rohde, Rajshree Saraf, Tilman Schlevogt, Stefanie Schwarz, Johanna Siebein, Patrick Thomas, Nik Thoenen, Andrea Tinnes, Dirk Wachowiak, Markus Weisbeck, Marcus Wichmann, Andrea Wilkinson
–
editor & designer: Stefanie Schwarz
editorial assistance: Masihne Rasuli
copy editing & proofreading: Anisha Peplinski
publisher: LUCIA @lucia_verlag
ISBN: 978-3-945301-76-0
typographic visual and printed matter for the exhibition “atmen & sehen” @kunstverein_pforzheim
by #open2type #stefanieschwarz
typographic visual and printed matter for the exhibition “atmen & sehen” @kunstverein_pforzheim
by #open2type #stefanieschwarz
typographic visual and printed matter for the exhibition “atmen & sehen” @kunstverein_pforzheim
by #open2type #stefanieschwarz
typographic visual and printed matter for the exhibition “atmen & sehen” @kunstverein_pforzheim
by #open2type #stefanieschwarz
typographic visual and printed matter for the exhibition “atmen & sehen” @kunstverein_pforzheim
by #open2type #stefanieschwarz
book design for Transcript Verlag /
Gerald Schröder —
Isa Genzkens Ground Zero: Kunst, Architektur und Kapitalismus
by #open2type #dirkwachowiak #stefanieschwarz
book design for Transcript Verlag /
Gerald Schröder —
Isa Genzkens Ground Zero: Kunst, Architektur und Kapitalismus
by #open2type #dirkwachowiak #stefanieschwarz
book design for Transcript Verlag /
Gerald Schröder —
Isa Genzkens Ground Zero: Kunst, Architektur und Kapitalismus
by #open2type #dirkwachowiak #stefanieschwarz
book design for Transcript Verlag /
Gerald Schröder —
Isa Genzkens Ground Zero: Kunst, Architektur und Kapitalismus
by #open2type #dirkwachowiak #stefanieschwarz
book design for Transcript Verlag /
Gerald Schröder —
Isa Genzkens Ground Zero: Kunst, Architektur und Kapitalismus
by #open2type #dirkwachowiak #stefanieschwarz
book design for Transcript Verlag /
Gerald Schröder —
Isa Genzkens Ground Zero: Kunst, Architektur und Kapitalismus
by #open2type #dirkwachowiak #stefanieschwarz
book design for Transcript Verlag /
Gerald Schröder —
Isa Genzkens Ground Zero: Kunst, Architektur und Kapitalismus
by #open2type #dirkwachowiak #stefanieschwarz
book design for Transcript Verlag /
Gerald Schröder —
Isa Genzkens Ground Zero: Kunst, Architektur und Kapitalismus
by #open2type #dirkwachowiak #stefanieschwarz
visual design for an exhibition at Kunsthalle Trier
@kunsthalletrier @campus_gestaltung_trier
more info about the design & printing process
https://page-online.de/typografie/typografische-identity-fuer-werkschau-der-hochschule-trier
@pagemag
Für die Werkschau des Campus Gestaltung/Hochschule Trier entwickelten Dirk Wachowiak und Masterstudent Sebastian Schubmehl ein Erscheinungsbild, das mit visuellen Codes spielt, die in allen sechs Design-Studiengängen wichtig sind: Entwurf, Prozess und Analyse. Sie erstellten einen farbigen Andruckbogen, der für alle Printmedien als Grundlage diente. Dabei wurde bewusst mit Zufall und Kontrolle gespielt, indem sie dem Drucker die Entscheidung über die exakte Position der schwarzen Nutzen auf dem farbigen Andruckbogen überließen. Die finalen Motive konnte man bis zur Anlieferung nur erahnen.
design by #open2type #dirkwachowiak in collaboration with Sebastian Schubmehl @s.schubmehl
visual design for an exhibition at Kunsthalle Trier
@kunsthalletrier @campus_gestaltung_trier
more info about the design & printing process
https://page-online.de/typografie/typografische-identity-fuer-werkschau-der-hochschule-trier
@pagemag
Für die Werkschau des Campus Gestaltung/Hochschule Trier entwickelten Dirk Wachowiak und Masterstudent Sebastian Schubmehl ein Erscheinungsbild, das mit visuellen Codes spielt, die in allen sechs Design-Studiengängen wichtig sind: Entwurf, Prozess und Analyse. Sie erstellten einen farbigen Andruckbogen, der für alle Printmedien als Grundlage diente. Dabei wurde bewusst mit Zufall und Kontrolle gespielt, indem sie dem Drucker die Entscheidung über die exakte Position der schwarzen Nutzen auf dem farbigen Andruckbogen überließen. Die finalen Motive konnte man bis zur Anlieferung nur erahnen.
design by #open2type #dirkwachowiak in collaboration with Sebastian Schubmehl @s.schubmehl
visual design for an exhibition at Kunsthalle Trier
@kunsthalletrier @campus_gestaltung_trier
more info about the design & printing process
https://page-online.de/typografie/typografische-identity-fuer-werkschau-der-hochschule-trier
@pagemag
Für die Werkschau des Campus Gestaltung/Hochschule Trier entwickelten Dirk Wachowiak und Masterstudent Sebastian Schubmehl ein Erscheinungsbild, das mit visuellen Codes spielt, die in allen sechs Design-Studiengängen wichtig sind: Entwurf, Prozess und Analyse. Sie erstellten einen farbigen Andruckbogen, der für alle Printmedien als Grundlage diente. Dabei wurde bewusst mit Zufall und Kontrolle gespielt, indem sie dem Drucker die Entscheidung über die exakte Position der schwarzen Nutzen auf dem farbigen Andruckbogen überließen. Die finalen Motive konnte man bis zur Anlieferung nur erahnen.
design by #open2type #dirkwachowiak in collaboration with Sebastian Schubmehl @s.schubmehl
visual design for an exhibition at Kunsthalle Trier
@kunsthalletrier @campus_gestaltung_trier
more info about the design & printing process
https://page-online.de/typografie/typografische-identity-fuer-werkschau-der-hochschule-trier
@pagemag
Für die Werkschau des Campus Gestaltung/Hochschule Trier entwickelten Dirk Wachowiak und Masterstudent Sebastian Schubmehl ein Erscheinungsbild, das mit visuellen Codes spielt, die in allen sechs Design-Studiengängen wichtig sind: Entwurf, Prozess und Analyse. Sie erstellten einen farbigen Andruckbogen, der für alle Printmedien als Grundlage diente. Dabei wurde bewusst mit Zufall und Kontrolle gespielt, indem sie dem Drucker die Entscheidung über die exakte Position der schwarzen Nutzen auf dem farbigen Andruckbogen überließen. Die finalen Motive konnte man bis zur Anlieferung nur erahnen.
design by #open2type #dirkwachowiak in collaboration with Sebastian Schubmehl @s.schubmehl
visual design for an exhibition at Kunsthalle Trier
@kunsthalletrier @campus_gestaltung_trier
more info about the design & printing process
https://page-online.de/typografie/typografische-identity-fuer-werkschau-der-hochschule-trier
@pagemag
Für die Werkschau des Campus Gestaltung/Hochschule Trier entwickelten Dirk Wachowiak und Masterstudent Sebastian Schubmehl ein Erscheinungsbild, das mit visuellen Codes spielt, die in allen sechs Design-Studiengängen wichtig sind: Entwurf, Prozess und Analyse. Sie erstellten einen farbigen Andruckbogen, der für alle Printmedien als Grundlage diente. Dabei wurde bewusst mit Zufall und Kontrolle gespielt, indem sie dem Drucker die Entscheidung über die exakte Position der schwarzen Nutzen auf dem farbigen Andruckbogen überließen. Die finalen Motive konnte man bis zur Anlieferung nur erahnen.
design by #open2type #dirkwachowiak in collaboration with Sebastian Schubmehl @s.schubmehl
visual design for an exhibition at Kunsthalle Trier
@kunsthalletrier @campus_gestaltung_trier
more info about the design & printing process
https://page-online.de/typografie/typografische-identity-fuer-werkschau-der-hochschule-trier
@pagemag
Für die Werkschau des Campus Gestaltung/Hochschule Trier entwickelten Dirk Wachowiak und Masterstudent Sebastian Schubmehl ein Erscheinungsbild, das mit visuellen Codes spielt, die in allen sechs Design-Studiengängen wichtig sind: Entwurf, Prozess und Analyse. Sie erstellten einen farbigen Andruckbogen, der für alle Printmedien als Grundlage diente. Dabei wurde bewusst mit Zufall und Kontrolle gespielt, indem sie dem Drucker die Entscheidung über die exakte Position der schwarzen Nutzen auf dem farbigen Andruckbogen überließen. Die finalen Motive konnte man bis zur Anlieferung nur erahnen.
design by #open2type #dirkwachowiak in collaboration with Sebastian Schubmehl @s.schubmehl
visual design for an exhibition at Kunsthalle Trier
@kunsthalletrier @campus_gestaltung_trier
more info about the design & printing process
https://page-online.de/typografie/typografische-identity-fuer-werkschau-der-hochschule-trier
@pagemag
Für die Werkschau des Campus Gestaltung/Hochschule Trier entwickelten Dirk Wachowiak und Masterstudent Sebastian Schubmehl ein Erscheinungsbild, das mit visuellen Codes spielt, die in allen sechs Design-Studiengängen wichtig sind: Entwurf, Prozess und Analyse. Sie erstellten einen farbigen Andruckbogen, der für alle Printmedien als Grundlage diente. Dabei wurde bewusst mit Zufall und Kontrolle gespielt, indem sie dem Drucker die Entscheidung über die exakte Position der schwarzen Nutzen auf dem farbigen Andruckbogen überließen. Die finalen Motive konnte man bis zur Anlieferung nur erahnen.
design by #open2type #dirkwachowiak in collaboration with Sebastian Schubmehl @s.schubmehl
visual design for an exhibition at Kunsthalle Trier
@kunsthalletrier @campus_gestaltung_trier
more info about the design & printing process
https://page-online.de/typografie/typografische-identity-fuer-werkschau-der-hochschule-trier
@pagemag
Für die Werkschau des Campus Gestaltung/Hochschule Trier entwickelten Dirk Wachowiak und Masterstudent Sebastian Schubmehl ein Erscheinungsbild, das mit visuellen Codes spielt, die in allen sechs Design-Studiengängen wichtig sind: Entwurf, Prozess und Analyse. Sie erstellten einen farbigen Andruckbogen, der für alle Printmedien als Grundlage diente. Dabei wurde bewusst mit Zufall und Kontrolle gespielt, indem sie dem Drucker die Entscheidung über die exakte Position der schwarzen Nutzen auf dem farbigen Andruckbogen überließen. Die finalen Motive konnte man bis zur Anlieferung nur erahnen.
design by #open2type #dirkwachowiak in collaboration with Sebastian Schubmehl @s.schubmehl
visual design for an exhibition at Kunsthalle Trier
@kunsthalletrier @campus_gestaltung_trier
more info about the design & printing process
https://page-online.de/typografie/typografische-identity-fuer-werkschau-der-hochschule-trier
@pagemag
Für die Werkschau des Campus Gestaltung/Hochschule Trier entwickelten Dirk Wachowiak und Masterstudent Sebastian Schubmehl ein Erscheinungsbild, das mit visuellen Codes spielt, die in allen sechs Design-Studiengängen wichtig sind: Entwurf, Prozess und Analyse. Sie erstellten einen farbigen Andruckbogen, der für alle Printmedien als Grundlage diente. Dabei wurde bewusst mit Zufall und Kontrolle gespielt, indem sie dem Drucker die Entscheidung über die exakte Position der schwarzen Nutzen auf dem farbigen Andruckbogen überließen. Die finalen Motive konnte man bis zur Anlieferung nur erahnen.
design by #open2type #dirkwachowiak in collaboration with Sebastian Schubmehl @s.schubmehl
Weissenhof Grotesk Play on display until November 5
at Poster House
119 W. 23rd Street, New York, NY 10011
@posterhousenyc
https://posterhouse.org/exhibition/advertising-type-women-in-digital-design
#weissenhofgrotesk #poster by #open2type #stefanieschwarz
Weissenhof Grotesk Play on display until November 5
at Poster House
119 W. 23rd Street, New York, NY 10011
@posterhousenyc
https://posterhouse.org/exhibition/advertising-type-women-in-digital-design
#weissenhofgrotesk #poster by #open2type #stefanieschwarz
Weissenhof Grotesk Play on display until November 5
at Poster House
119 W. 23rd Street, New York, NY 10011
@posterhousenyc
https://posterhouse.org/exhibition/advertising-type-women-in-digital-design
#weissenhofgrotesk #poster by #open2type #stefanieschwarz
Weissenhof Grotesk Play on display until November 5
at Poster House
119 W. 23rd Street, New York, NY 10011
@posterhousenyc
https://posterhouse.org/exhibition/advertising-type-women-in-digital-design
#weissenhofgrotesk #poster by #open2type #stefanieschwarz
Weissenhof Grotesk Play on display until November 5
at Poster House
119 W. 23rd Street, New York, NY 10011
@posterhousenyc
https://posterhouse.org/exhibition/advertising-type-women-in-digital-design
#weissenhofgrotesk #poster by #open2type #stefanieschwarz
design for an augmented reality exhibition at public places in Stuttgart. The spatial interventions of artist Karima Klasen @spaceascanvas have been translated into typographic features by modifying several glyphs of our Referenz Grotesk.
by #open2type #dirkwachowiak #stefanieschwarz
design for an augmented reality exhibition at public places in Stuttgart. The spatial interventions of artist Karima Klasen @spaceascanvas have been translated into typographic features by modifying several glyphs of our Referenz Grotesk.
by #open2type #dirkwachowiak #stefanieschwarz
design for an augmented reality exhibition at public places in Stuttgart. The spatial interventions of artist Karima Klasen @spaceascanvas have been translated into typographic features by modifying several glyphs of our Referenz Grotesk.
by #open2type #dirkwachowiak #stefanieschwarz
design for an augmented reality exhibition at public places in Stuttgart. The spatial interventions of artist Karima Klasen @spaceascanvas have been translated into typographic features by modifying several glyphs of our Referenz Grotesk.
by #open2type #dirkwachowiak #stefanieschwarz
design for an augmented reality exhibition at public places in Stuttgart. The spatial interventions of artist Karima Klasen @spaceascanvas have been translated into typographic features by modifying several glyphs of our Referenz Grotesk.
by #open2type #dirkwachowiak #stefanieschwarz
logo & visual design for fashion designer Monika Markert since 2017
www.monikamarkert.org
@mm_markert
by #open2type #stefanieschwarz
photo 5 & 8: Isolde Golderer
logo & visual design for fashion designer Monika Markert since 2017
www.monikamarkert.org
@mm_markert
by #open2type #stefanieschwarz
photo 5 & 8: Isolde Golderer
logo & visual design for fashion designer Monika Markert since 2017
www.monikamarkert.org
@mm_markert
by #open2type #stefanieschwarz
photo 5 & 8: Isolde Golderer
logo & visual design for fashion designer Monika Markert since 2017
www.monikamarkert.org
@mm_markert
by #open2type #stefanieschwarz
photo 5 & 8: Isolde Golderer
logo & visual design for fashion designer Monika Markert since 2017
www.monikamarkert.org
@mm_markert
by #open2type #stefanieschwarz
photo 5 & 8: Isolde Golderer
logo & visual design for fashion designer Monika Markert since 2017
www.monikamarkert.org
@mm_markert
by #open2type #stefanieschwarz
photo 5 & 8: Isolde Golderer
logo & visual design for fashion designer Monika Markert since 2017
www.monikamarkert.org
@mm_markert
by #open2type #stefanieschwarz
photo 5 & 8: Isolde Golderer
logo & visual design for fashion designer Monika Markert since 2017
www.monikamarkert.org
@mm_markert
by #open2type #stefanieschwarz
photo 5 & 8: Isolde Golderer
logo & visual design for fashion designer Monika Markert since 2017
www.monikamarkert.org
@mm_markert
by #open2type #stefanieschwarz
photo 5 & 8: Isolde Golderer
logo & visual design for fashion designer Monika Markert since 2017
www.monikamarkert.org
@mm_markert
by #open2type #stefanieschwarz
photo 5 & 8: Isolde Golderer
🎉🥂✨ our posters for »Satellit Stuttgart« have been selected by the Tokyo Type Directors Club @tokyotdc as »Excellent Work« and are now part of the book »TDC 33: The Best in International Typography and Type Design«
The posters feature a customized version of our Weissenhof Grotesk. The diverse collection of vowels popping up between the regular letters reflect the various contexts of the exhibitions that took place at the temporary art space @satellit_stuttgart
project partners @kuenstlerhausstuttgart @spaceascanvas @wuestenrotstiftung @open2type
#poster #typography #typedesign #weissenhofgrotesk #open2type #stefanieschwarz
photos: @johannesrave @mm_markert open2type
🎉🥂✨ our posters for »Satellit Stuttgart« have been selected by the Tokyo Type Directors Club @tokyotdc as »Excellent Work« and are now part of the book »TDC 33: The Best in International Typography and Type Design«
The posters feature a customized version of our Weissenhof Grotesk. The diverse collection of vowels popping up between the regular letters reflect the various contexts of the exhibitions that took place at the temporary art space @satellit_stuttgart
project partners @kuenstlerhausstuttgart @spaceascanvas @wuestenrotstiftung @open2type
#poster #typography #typedesign #weissenhofgrotesk #open2type #stefanieschwarz
photos: @johannesrave @mm_markert open2type
🎉🥂✨ our posters for »Satellit Stuttgart« have been selected by the Tokyo Type Directors Club @tokyotdc as »Excellent Work« and are now part of the book »TDC 33: The Best in International Typography and Type Design«
The posters feature a customized version of our Weissenhof Grotesk. The diverse collection of vowels popping up between the regular letters reflect the various contexts of the exhibitions that took place at the temporary art space @satellit_stuttgart
project partners @kuenstlerhausstuttgart @spaceascanvas @wuestenrotstiftung @open2type
#poster #typography #typedesign #weissenhofgrotesk #open2type #stefanieschwarz
photos: @johannesrave @mm_markert open2type
🎉🥂✨ our posters for »Satellit Stuttgart« have been selected by the Tokyo Type Directors Club @tokyotdc as »Excellent Work« and are now part of the book »TDC 33: The Best in International Typography and Type Design«
The posters feature a customized version of our Weissenhof Grotesk. The diverse collection of vowels popping up between the regular letters reflect the various contexts of the exhibitions that took place at the temporary art space @satellit_stuttgart
project partners @kuenstlerhausstuttgart @spaceascanvas @wuestenrotstiftung @open2type
#poster #typography #typedesign #weissenhofgrotesk #open2type #stefanieschwarz
photos: @johannesrave @mm_markert open2type
🎉🥂✨ our posters for »Satellit Stuttgart« have been selected by the Tokyo Type Directors Club @tokyotdc as »Excellent Work« and are now part of the book »TDC 33: The Best in International Typography and Type Design«
The posters feature a customized version of our Weissenhof Grotesk. The diverse collection of vowels popping up between the regular letters reflect the various contexts of the exhibitions that took place at the temporary art space @satellit_stuttgart
project partners @kuenstlerhausstuttgart @spaceascanvas @wuestenrotstiftung @open2type
#poster #typography #typedesign #weissenhofgrotesk #open2type #stefanieschwarz
photos: @johannesrave @mm_markert open2type
🎉🥂✨ our posters for »Satellit Stuttgart« have been selected by the Tokyo Type Directors Club @tokyotdc as »Excellent Work« and are now part of the book »TDC 33: The Best in International Typography and Type Design«
The posters feature a customized version of our Weissenhof Grotesk. The diverse collection of vowels popping up between the regular letters reflect the various contexts of the exhibitions that took place at the temporary art space @satellit_stuttgart
project partners @kuenstlerhausstuttgart @spaceascanvas @wuestenrotstiftung @open2type
#poster #typography #typedesign #weissenhofgrotesk #open2type #stefanieschwarz
photos: @johannesrave @mm_markert open2type
🎉🥂✨ our posters for »Satellit Stuttgart« have been selected by the Tokyo Type Directors Club @tokyotdc as »Excellent Work« and are now part of the book »TDC 33: The Best in International Typography and Type Design«
The posters feature a customized version of our Weissenhof Grotesk. The diverse collection of vowels popping up between the regular letters reflect the various contexts of the exhibitions that took place at the temporary art space @satellit_stuttgart
project partners @kuenstlerhausstuttgart @spaceascanvas @wuestenrotstiftung @open2type
#poster #typography #typedesign #weissenhofgrotesk #open2type #stefanieschwarz
photos: @johannesrave @mm_markert open2type
🎉🥂✨ our posters for »Satellit Stuttgart« have been selected by the Tokyo Type Directors Club @tokyotdc as »Excellent Work« and are now part of the book »TDC 33: The Best in International Typography and Type Design«
The posters feature a customized version of our Weissenhof Grotesk. The diverse collection of vowels popping up between the regular letters reflect the various contexts of the exhibitions that took place at the temporary art space @satellit_stuttgart
project partners @kuenstlerhausstuttgart @spaceascanvas @wuestenrotstiftung @open2type
#poster #typography #typedesign #weissenhofgrotesk #open2type #stefanieschwarz
photos: @johannesrave @mm_markert open2type
Voir les histoires Instagram en secret
Le visionneur d’histoires Instagram est un outil simple qui vous permet de regarder et de sauvegarder secrètement les histoires Instagram, vidéos, photos ou IGTV. Avec ce service, vous pouvez télécharger du contenu et l’apprécier hors ligne quand vous voulez. Si vous trouvez quelque chose d’intéressant sur Instagram que vous souhaitez vérifier plus tard ou si vous voulez voir des histoires tout en restant anonyme, notre Visionneur est parfait pour vous. Anonstories offre une excellente solution pour garder votre identité cachée. Instagram a lancé la fonctionnalité Stories en août 2023, rapidement adoptée par d’autres plateformes en raison de son format engageant et temporaire. Les histoires permettent aux utilisateurs de partager des mises à jour rapides, qu’il s’agisse de photos, vidéos ou selfies, agrémentés de texte, emojis ou filtres, visibles pendant 24 heures seulement. Cette fenêtre de temps limitée crée un fort engagement par rapport aux publications régulières. Aujourd’hui, les histoires sont l’un des moyens les plus populaires de se connecter et de communiquer sur les réseaux sociaux. Cependant, lorsque vous regardez une histoire, le créateur peut voir votre nom dans leur liste de visionneurs, ce qui peut poser un problème de confidentialité. Et si vous souhaitez naviguer dans les histoires sans être repéré ? C’est là qu’Anonstories devient utile. Il vous permet de regarder du contenu public sur Instagram sans révéler votre identité. Il vous suffit d’entrer le nom d’utilisateur du profil qui vous intéresse, et l’outil affichera ses dernières histoires. Fonctionnalités du visionneur Anonstories : - Navigation anonyme : Regardez des histoires sans apparaître dans la liste des visionneurs. - Aucun compte requis : Regardez du contenu public sans vous inscrire à un compte Instagram. - Téléchargement de contenu : Sauvegardez directement du contenu d’histoires sur votre appareil pour une utilisation hors ligne. - Voir les highlights : Accédez aux Highlights Instagram, même après la période de 24 heures. - Suivi des reposts : Suivez les reposts ou l’engagement sur les histoires des profils personnels. Limitations : - Cet outil fonctionne uniquement avec les comptes publics ; les comptes privés restent inaccessibles. Avantages : - Respect de la vie privée : Regardez n’importe quel contenu Instagram sans être repéré. - Simple et facile : Aucune installation d’application ni inscription requise. - Outils exclusifs : Téléchargez et gérez du contenu de manière que Instagram ne permet pas.
Avantages d’Anonstories
Explorer les histoires IG discrètement
Suivez les mises à jour Instagram en toute discrétion tout en protégeant votre vie privée et en restant anonyme.
Visionneur privé Instagram
Consultez les profils et photos anonymement avec aisance grâce au visionneur de profil privé.
Visionneur d’histoires gratuit
Ce service gratuit vous permet de voir les histoires Instagram anonymement, garantissant que votre activité reste cachée de l’uploader.
Questions fréquemment posées
Anonymat
Anonstories permet aux utilisateurs de voir les histoires Instagram sans alerter le créateur.
Compatibilité des appareils
Fonctionne parfaitement sur iOS, Android, Windows, macOS et les navigateurs modernes comme Chrome et Safari.
Sécurité et confidentialité
Privilégie la navigation sécurisée et anonyme sans nécessiter de coordonnées de connexion.
Pas d’inscription
Les utilisateurs peuvent voir des histoires publiques en entrant simplement un nom d’utilisateur — sans compte requis.
Formats pris en charge
Télécharge les photos (JPEG) et les vidéos (MP4) facilement.
Coût
Le service est gratuit.
Comptes privés
Le contenu des comptes privés n’est accessible qu’aux abonnés.
Utilisation des fichiers
Les fichiers sont destinés à un usage personnel ou éducatif uniquement et doivent respecter les règles de droit d’auteur.
Comment ça marche
Entrez un nom d’utilisateur public pour voir ou télécharger des histoires. Le service génère des liens directs pour sauvegarder le contenu localement.