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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
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
Advantages of Anonstories
Explore IG Stories Privately
Keep track of Instagram updates discreetly while protecting your privacy and staying anonymous.
Private Instagram Viewer
View profiles and photos anonymously with ease using the Private Profile Viewer.
Story Viewer for Free
This free tool allows you to view Instagram Stories anonymously, ensuring your activity remains hidden from the story uploader.
Frequently asked questions
Anonymity
Anonstories lets users view Instagram stories without alerting the creator.
Device Compatibility
Works seamlessly on iOS, Android, Windows, macOS, and modern browsers like Chrome and Safari.
Safety and Privacy
Prioritizes secure, anonymous browsing without requiring login credentials.
No Registration
Users can view public stories by simply entering a username—no account needed.
Supported Formats
Downloads photos (JPEG) and videos (MP4) with ease.
Cost
The service is free to use.
Private Accounts
Content from private accounts can only be accessed by followers.
File Usage
Files are for personal or educational use only and must comply with copyright rules.
How It Works
Enter a public username to view or download stories. The service generates direct links for saving content locally.