New Aesthetic 3: A Collection of Experimental and Independent Type Design
The third publication in the New Aesthetic series approaches type design as an opportunity to create art: looking at type design with a benevolence to experiments and processes, and finding potential in the unusual, that might point readers towards a new future of visual communication.
Design and art are constantly evolving. In both professions, we either risk that our work is transforming into artifacts from a previous period or we can embrace change, encourage experiments and produce more meaningful results. New Aesthetic looks at experimental and independent type design as an intersection of art and design. Typography has established itself in our graphic work culture as an essential component—whether in print or on screen—serving to strengthen visual messages. The traditional form of type was built around the way we read and write.
We live in a time of transformation and adaption, however: our world is experiencing great changes and our habits shift to accommodate new technologies as they appear. As designers, our creative process mirrors how we use our imagination to shape modern visual communication, it brings in a dash of visual surprise, and breaks the conventions we are used to. What if we saw typography in a more playful context, and not necessarily as a final outcome but rather an experimental process? There is potential in blurring and obfuscating the lines of legibility and practicality, pushing the boundaries of emotional expressiveness and allowing for unusual approaches in modern design. Typographic systems can be read in different ways, and every designer is using different styles and is forming new shapes and meanings for users and readers to interpret. The way typefaces interact with individual words can be considered an art form in itself. New Aesthetic is interested in creating an environment where the expressive side of typography design comes together and strives for original solutions instead of seeking traditional perfection.
Contributors: Adam Asztalos, Alessio Borando, Alex Ortiga, Alex Slobzheninov, Amir Mesbahi, Andree Paat, Anna Khorash, Anne-Dauphine Borione, Artem Kakourov, Awista Montagne, Benoît Bodhuin, Benoit Brun, BOAFFF, Bouk Ra, Bruno Jacoby, Calvin Kudufia, Carlos Gonçalves, Carmen Nácher, César Rogers, Charlotte Rohde, Chiachi Chao, Clara Sambot, Cyril Kimmerlin, Dae Huen Lee, Daniel Angermann, Daniel Brokstad, Daniel Gremme, David Gobber, David Jonathan Ross, Elias Hanzer, Emilie Vizcano, Fabian Maier-Bode, Felix Sandvoss, Florian Budke, FlorianeRousselot, Giovanni Nardone, Golgotha, Gregory Page, Guillaume Sbalchiero, Guillermo García Díaz, Han Gao, Hannes Brischke, Harry Bennett, Hoang Nguyen, Hyunjun Jang, Inès Davodeau, Ishar Hawkins, Ivan Tsanko, Jack Niblett, Jaejin Ee, Janik Sandbothe, Jannis Zell, Javier Unknos, Jérémy Landes, Jonas Grünwald, Jule Hägele, Kasper Pyndt, Laura Csocsán, Leonhard Laupichler, Lewis McGuffie, Lucas Liccini, Lynn Cariou, Marguerite Leroux, Maria Doreuli, Marie-Mam Sai Bellier, Marinus Klinksik, Martin Violette, Masahiro Naruse, Massimiliano Audretsch, Michelangelo Nigra, Mike Dziambor, Morgane Vantorre, Moritz Appich, Muhittin Güneş, Nathan Laurent, Nicolas Bernklau, Nicolò Oriani, Odin Lowsley, Olga Umpeleva, Pau Geis, Philipp Herrmann, Raoul Gottschling, Raphaël de La Morinerie, Remi Volclair, Robert Gutmann, Robin Pitchon, Samira Schneuwly, Sangah Shin, Santiago Da Silva, Sascha Bente, Simon Bretz, Sophia Brinkgerd, Stefan Mader, Sun Young Oh,Valerio Monopoli, Viktor Zumegen, Vince Hegedus, Vincenzo Marchese Ragona, Wanwai Shum, Wenrui Zhao, and Zin Nagao.
Designed by Wiegand von Hartmann, Moritz Wiegand, Sophie van Hartmann, Sabrina Baumann, and Natasha Adhiambo Okoth
Edited by Leonhard Laupichler and Sophia Brinkgerd
Published by Sorry Press, 2022
272 pages, full color, 6.75 × 9.5 inches