Project team


Future of type

A special edition of Typografische Monatsblätter

Students from the University of Applied Sciences Düsseldorf, department of design are working on an edition of the magazine 'Typografische Monatsblätter' led by Tino Grass. Magazine contents are projects, interviews and contributions by formative personalties in typography and their marches.

The TM (Typografische Monatsblätter) is a regularly published journal about typography and visual communication with an international reputation existing since 1933.

Designers and artists are invited to make their contribution to the theme 'Future of type.' The submissions will be presented in an exhibition during the magazine launch. A selection of work will also be published in the TM magazine.


Designers and artists are invited to make their contribution to the theme 'Future of type.' The submissions will be presented in an exhibition during the magazine launch. A selection of work will also be published in the TM magazine.



DIN A4 for works on paper (graphics, illustrations etc.). Entries can be sent analogue or digital (data medium or download).
data formats: .eps. .pdf, .tiff
(type must be outlined/vectorised, 3mm bleed difference)

Motion graphics (Animatin, teaser etc.)
data formats: .mp4, .avi, .wmv

Size measure maximum: 20x20x20 cm

Please label submission work as following.

Project title:
Design Agency:


Contributions can be submitted via download-link or e-mail (maximum 5mb)

or post to:

Fachhochschule Düsseldorf
Fachbereich Design

Typografische Monatsblätter

Georg-Glock-Straße 15
40474 Düsseldorf

Project team

Magdalena Braun
Anna Canisius
Anke Friedrich
Bianca Gorny
Tino Graß
Nadine Hoetmer
Marie-Christine Keppler
Lukas Lezoch
Patrick Mariathasan
Kathrin Meier
Albert Naasner
Hendrike Nagel
Angelika Schneider


Fachhochschule Düsseldorf
Fachbereich Design

Typografische Monatsblätter

Tino Graß
Georg-Glock-Straße 15
DE-40474 Düsseldorf
t +49 (0)178 3912 203


Liability note:
In spite of careful check of the content no responsibility and liability can be taken for the content on the internet pages reached from this page by hyperlinks for which exclusively their author are responsible.

Responsible for this website:
Tino Graß

Concept, design, programming:
Tino Graß
Albert Naasner
© 2011

Multilingual Typography

In the course of globalisation designers are facing the challenges of multilingual projects more and more frequently. This affects the way typography is approached.

Every culture has its own rules, specialities, and signs. Next to its function as a mediator for information you can see type as a visualisation of speech, as visualisation of culture. Its differences embody identity. Therefore a crucial question is how desigeners can find sensitive treatments for speech to ensure the necessary coexistence of type without jeopardising the identity of a culture.

The topic area of Multilingual Typography will be examined and analysed through work samples and statements by renowned experts.

Learning to write

Each one of us has its own personal handwriting! How did this arise anyway?

In this article the learning process of writing has gone closer to the bottom. Which specifics and changes have occured in the course of time?

Do we even still need a handwriting in the digitial era?

Is there a connection between our handwriting and nowadays typography?

What do typographer, teacher, but especially students say to this developement?

Type in Contemporary Art

Type is predominant in everyday life. As the information tool with it's distinct system of several signs you can not imagine visual communication without it.

Type informs, catches attention, invokes, clarifies, hides and documents. Because of this varied properties and characteristics type is also often used in contemporary art. Wether as an photography, a public art, a drawing, an installation, a multimedia object or in a painting. Type is applied in a lot of different areas. As an artistic element it creates sculptures and pictures and visualises messages, relations and problematic issues.

In conversation with artists like Lawrence Weiner, Jenny Holzer and Joseph Kosuth will be talking about the typographic views of their art and the medial function of type.

Handmade future

The origins of typography lies in craftsmanship, which gets more and more forgotten in the increasing digitisation and mechanisation. There are emerging trends today re-emancipating typography and design in an analogue way.

The natural need of the seeming unperfect, handmade and analogue shows that the future of type does not only mean digitisation, but that the craftsmanship continues to play a role. The coexistence can be something contemporary, through interaction.

The Israeli designer Oded Ezer, is a pioneer of handmade experimental typography, provides insights into his artistic work and reports on his material type-compositions.

Generative typography

The generative design has been perceived so far rather as a niche phenomenon, but its popularity has grown during the last years, so that it has developed to an independent design discipline. The role of the designer has been restricted to the application of consisting digital tools, but this role changed concerning the design methods of the generative design.

In generative typography, a design idea is firstly analysed and abstracted in order to be transmitted in a general rule or an algorithm. This rule is secondly transferred in a source code by a programming language which creates a image afterwards. Generative typographic designs are examined carefully. The development and its construction is scrutinised and documented by excellent working samples.

Street Art Typography

Street Art as a form of art in public spaces, influences a city’s overall image. Thereby, graffiti and writings are by now complemented by experimental forms of Street Art. Street lamps, house walls as well as the lids of drains serve as a projection surface for the artist’s creativity.

Next to frequently illustrative pictures, which can be seen on the streets, high attention is drawn to designers working typographically such as the French Tape-Art designer L’Atlas or Akim from Berlin, who created an alphabet with abstract sculptures of letters.

Moving type

Animated information becomes more interesting in our everyday life. Screens, smart-phones and iPads establish themselves and offer space for motion graphics.

Apps, showing news in motion type, form our future. Music videos, movie openings, commercials and teasers make use of moving type.

The music channel MTV worked with variable type and stories for their logo animation. Saul Bass was ahead of his time according to type design and Philippe Apeloig's work as an successful motion type designer.

Where is the trend leading to? Away from archivable word in printed form? Our type is developing to a design element. The image, text and sound become an unit and interact.

The future of books

The ePub sneaks as medium to our life. Will it replace the printed type or would it simply be a good companion? Smartphone's and iPads are continually replacing the use of paper. The book is confronted with a big challenge and designer are faced with a make-up of their workflow. How do publisher react?

What is the further definition of book design? How will it look like and where is the printed book going to stand?

Writing in space

Besides font and signal, graphics and information carrier are elementary parts of orientation systems and signage. On public places, in museums or office buildings they convey 'groundbreaking information.' The examination of the location and the final design increases the quality of the space and adds identity.

The discipline in the border area of visual communication and architecture is presented by strong designers likes of Catherine Griffiths, Wanja Ledowski and Andreas Uebele and their innovative and conceptual works.

Lettering and identity

Trademarks and logos play an important role in visual communication. Typography makes it possible to develop word marks that create the distinctive identity of an individual. These visual signs have a strong presence in our everyday life and some of them have a strong sustainability. One of the most famous trademarks is the Milton Glaser design dated 1975 'I (Heart) NY.' Initially designed as an image campaign for the City of New York, it nonexistence is not to imagine, worldwide diffused and adapted for numerous uses.

On the basis of this example, the importance of lettering and identity will be explained. The background to the emergence of the genius of simplicity and the identification of a sign with a slogan: I love New York

Coping with floods of data

There is a growing demand in the presentation of complex data. A challenge is it to visualise those floods of data accordingly to the demand of their content in a aesthetic way, so that the information will remain clear. Data and information are to be an visible and instinctive experience.

These requirements are fulfilled by the spatial design of Niels Schrader for the 'Dutch Design Database' in Breda. Niels Schrader turns the data of the exhibition into an dynamic three-dimensional experiential event. He works with a grid information system based on black and white stripes. In further work he deals with the visualisation of data and develops varied and interesting ways of dealing with scripture.