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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
Xem Câu Chuyện Instagram Bí Mật
Trình Xem Câu Chuyện Instagram là một công cụ dễ sử dụng giúp bạn xem và lưu câu chuyện Instagram, video, ảnh hoặc IGTV một cách bí mật. Với dịch vụ này, bạn có thể tải xuống nội dung và thưởng thức ngoại tuyến bất cứ lúc nào. Nếu bạn tìm thấy điều gì đó thú vị trên Instagram mà bạn muốn xem sau này hoặc muốn xem câu chuyện mà vẫn giữ ẩn danh, Trình Xem của chúng tôi là lựa chọn hoàn hảo. Anonstories cung cấp giải pháp tuyệt vời để giữ kín danh tính của bạn. Instagram ra mắt tính năng Câu Chuyện vào tháng 8 năm 2023, và nhanh chóng được các nền tảng khác áp dụng do định dạng hấp dẫn và nhạy cảm với thời gian. Câu Chuyện cho phép người dùng chia sẻ cập nhật nhanh, bất kể là ảnh, video, hay selfie, được bổ sung với văn bản, emoji, hoặc bộ lọc, và chỉ hiển thị trong 24 giờ. Khoảng thời gian giới hạn này tạo ra mức độ tương tác cao so với các bài đăng thường xuyên. Trong thế giới ngày nay, Câu Chuyện là một trong những cách phổ biến nhất để kết nối và giao tiếp trên mạng xã hội. Tuy nhiên, khi bạn xem một Câu Chuyện, người tạo có thể thấy tên của bạn trong danh sách người xem, điều này có thể gây lo ngại về quyền riêng tư. Nếu bạn muốn duyệt Câu Chuyện mà không bị phát hiện, Anonstories sẽ hữu ích. Nó cho phép bạn xem nội dung công khai trên Instagram mà không tiết lộ danh tính của mình. Chỉ cần nhập tên người dùng của hồ sơ mà bạn tò mò và công cụ này sẽ hiển thị Câu Chuyện mới nhất của họ. Các tính năng của Trình Xem Anonstories: - Duyệt Ẩn Danh: Xem Câu Chuyện mà không xuất hiện trong danh sách người xem. - Không Cần Tài Khoản: Xem nội dung công khai mà không cần đăng ký tài khoản Instagram. - Tải Nội Dung: Lưu bất kỳ nội dung Câu Chuyện nào trực tiếp vào thiết bị của bạn để sử dụng ngoại tuyến. - Xem Highlight: Truy cập các Highlight trên Instagram, ngay cả khi đã qua 24 giờ. - Theo Dõi Đăng Lại: Theo dõi các bài đăng lại hoặc mức độ tương tác trên Câu Chuyện của hồ sơ cá nhân. Hạn chế: - Công cụ này chỉ hoạt động với các tài khoản công khai; các tài khoản riêng tư không thể truy cập. Lợi ích: - Thân thiện với quyền riêng tư: Xem bất kỳ nội dung Instagram nào mà không bị phát hiện. - Đơn giản và dễ dàng: Không cần cài đặt ứng dụng hoặc đăng ký. - Công cụ độc quyền: Tải và quản lý nội dung theo cách mà Instagram không cung cấp.
Lợi ích của Anonstories
Khám Phá Câu Chuyện IG Một Cách Riêng Tư
Theo dõi các cập nhật Instagram một cách kín đáo trong khi bảo vệ quyền riêng tư của bạn và vẫn giữ ẩn danh.
Trình Xem Instagram Riêng Tư
Xem hồ sơ và ảnh một cách ẩn danh dễ dàng với Trình Xem Hồ Sơ Riêng Tư.
Trình Xem Câu Chuyện Miễn Phí
Công cụ miễn phí này cho phép bạn xem Câu Chuyện Instagram ẩn danh, đảm bảo hoạt động của bạn không bị phát hiện bởi người tải lên câu chuyện.
Câu hỏi thường gặp
Ẩn Danh
Anonstories cho phép người dùng xem Câu Chuyện Instagram mà không cảnh báo người tạo.
Tương Thích Thiết Bị
Hoạt động mượt mà trên iOS, Android, Windows, macOS và các trình duyệt hiện đại như Chrome và Safari.
An Toàn và Quyền Riêng Tư
Ưu tiên duyệt web an toàn, ẩn danh mà không yêu cầu thông tin đăng nhập.
Không Cần Đăng Ký
Người dùng có thể xem Câu Chuyện công khai chỉ bằng cách nhập tên người dùng—không cần tài khoản.
Định Dạng Hỗ Trợ
Tải ảnh (JPEG) và video (MP4) một cách dễ dàng.
Chi Phí
Dịch vụ này miễn phí.
Tài Khoản Riêng Tư
Nội dung từ các tài khoản riêng tư chỉ có thể truy cập bởi những người theo dõi.
Sử Dụng Tệp
Các tệp chỉ được sử dụng cho mục đích cá nhân hoặc giáo dục và phải tuân thủ quy định bản quyền.
Cách Hoạt Động
Nhập tên người dùng công khai để xem hoặc tải xuống câu chuyện. Dịch vụ tạo liên kết trực tiếp để lưu nội dung vào thiết bị của bạn.