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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
Veja Stories do Instagram Secretamente
O Visualizador de Stories do Instagram é uma ferramenta fácil que permite assistir e salvar stories, vídeos, fotos ou IGTV do Instagram secretamente. Com este serviço, você pode baixar conteúdos e apreciá-los offline sempre que quiser. Se você encontrar algo interessante no Instagram que gostaria de ver mais tarde ou quiser visualizar stories de forma anônima, nosso Visualizador é perfeito para você. Anonstories oferece uma excelente solução para manter sua identidade oculta. O Instagram lançou a funcionalidade de Stories em agosto de 2023, que logo foi adotada por outras plataformas devido ao seu formato dinâmico e sensível ao tempo. Os Stories permitem que os usuários compartilhem atualizações rápidas, sejam fotos, vídeos ou selfies, com textos, emojis ou filtros, e ficam visíveis por apenas 24 horas. Esse limite de tempo cria maior engajamento em comparação com posts comuns. Nos dias de hoje, os Stories são uma das formas mais populares de se conectar e comunicar nas redes sociais. No entanto, quando você visualiza um Story, o criador pode ver seu nome na lista de visualizadores, o que pode ser uma preocupação com a privacidade. E se você quiser navegar pelos Stories sem ser notado? É aí que o Anonstories se torna útil. Ele permite que você assista a conteúdos públicos do Instagram sem revelar sua identidade. Basta digitar o nome de usuário do perfil que você está curioso, e a ferramenta mostrará seus Stories mais recentes. Funcionalidades do Visualizador Anonstories: - Navegação Anônima: Veja Stories sem aparecer na lista de visualizadores. - Sem Conta Necessária: Veja conteúdos públicos sem se cadastrar no Instagram. - Download de Conteúdos: Salve qualquer conteúdo de Stories diretamente no seu dispositivo para uso offline. - Veja Destaques: Acesse os Destaques do Instagram, até mesmo após o prazo de 24 horas. - Monitoramento de Reposts: Acompanhe os reposts ou o nível de engajamento em Stories de perfis pessoais. Limitações: - Esta ferramenta funciona apenas com contas públicas; contas privadas permanecem inacessíveis. Benefícios: - Amigável à Privacidade: Veja qualquer conteúdo do Instagram sem ser notado. - Simples e Fácil: Não há necessidade de instalação de aplicativo ou registro. - Ferramentas Exclusivas: Baixe e gerencie conteúdos de maneiras que o Instagram não oferece.
Vantagens do Anonstories
Explore Stories do IG Privadamente
Acompanhe as atualizações do Instagram de forma discreta, protegendo sua privacidade e permanecendo anônimo.
Visualizador Privado do Instagram
Veja perfis e fotos anonimamente com facilidade usando o Visualizador de Perfil Privado.
Visualizador de Stories Gratuito
Esta ferramenta gratuita permite que você veja Stories do Instagram anonimamente, garantindo que sua atividade permaneça oculta do criador do story.
Perguntas Frequentes
Anonimato
Anonstories permite que os usuários vejam stories do Instagram sem alertar o criador.
Compatibilidade com Dispositivos
Funciona perfeitamente em iOS, Android, Windows, macOS e navegadores modernos como Chrome e Safari.
Segurança e Privacidade
Prioriza navegação segura e anônima, sem necessidade de credenciais de login.
Sem Registro
Os usuários podem visualizar stories públicos digitando apenas o nome de usuário—sem precisar de uma conta.
Formatos Suportados
Baixa fotos (JPEG) e vídeos (MP4) com facilidade.
Custo
O serviço é gratuito.
Contas Privadas
Conteúdos de contas privadas só podem ser acessados por seguidores.
Uso de Arquivos
Os arquivos são para uso pessoal ou educacional, conforme as regras de direitos autorais.
Como Funciona
Digite um nome de usuário público para ver ou baixar stories. O serviço gera links diretos para salvar o conteúdo localmente.