New Aesthetic n.3
New Aesthetic is the Sorry Press magazine dedicated to type design.
Hybrid between magazine and book, the magazine conceives type design as an opportunity to create art and as a tool for reading contemporary culture, considering every single typeface as a work of art in its own right.
Among its pages we find experiments and bold typefaces that could point us to a new future in the practice of visual communication. Conceived as a collection of fonts created by independent type designers, each card tells us about the characteristics of the typeface by showing us its possible use.
Number of pages: 274
Design and art are constantly evolving. In both professions, we risk our work turning into artifacts from an earlier period or we can embrace change, encourage experiments, and produce more meaningful results. New Aesthetic looks at experimental and independent design as an intersection between art and design. Typography has established itself in our culture of graphic work as an essential component, both on print and on screen, which serves to reinforce visual messages. The traditional form of type design has been built around the way we read and write. However, we live in a time of transformation and adaptation: our world is experiencing great changes and our habits are changing to adapt to new technologies as they appear. As a designer, our creative process mirrors the way we use our imagination to shape modern visual communication, brings a hint 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 an end result, but rather as an experimental process? There is potential in blurring the lines of readability 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 each designer uses different styles and is forming new shapes and meanings for users and readers to interpret. How 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 typographic design comes together and you look for original solutions instead of looking for traditional perfection.
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 Doreai, Marie-Mam B ellier, 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, Zin Nagao.