This Book is the missing link between art, design and theory. Within 472 pages in 8 colors printed Fons Hickmann introduces a world of Graphic Design, Photography, Illustration and Rock ’n’ Roll. The result is intelligent design that is conceptual and political, always transcending the limits of its content. That’s why the studio Fons Hickmann m23 is one of the most award-winning teams in the world.
"What are you looking for?
The transgression of limits in all respects, the critical discussion of up-to-date topics from different perspectives as well as the calling into question of medial and social conventions and the developement of new visual codes are essential aspects of the widely spread course of lectures in the class for graphic design, Prof. Fons Hickmann."



We are a global network of artists, activists, writers, pranksters, students, educators and entrepreneurs who want to advance the new social activist movement of the information age. Our aim is to topple existing power structures and forge a major shift in the way we will live in the 21st century.
To this end, Adbusters Media Foundation publishes Adbusters magazine, operates this website and offers its creative services through PowerShift, our advocacy advertising agency.



Written and proclaimed at the Institute of Contemporary Arts on an evening
in December 1963, the manifesto was published in January 1964.

FIRST THINGS FIRST 2000 [A Graphic Designers Manifesto]

We, the undersigned, are graphic designers, art directors and visual communicators who have been raised in a world in which the techniques and apparatus of advertising have persistently been presented to us as the most lucrative, effective and desirable use of our talents. Many design teachers and mentors promote this belief; the market rewards it; a tide of books and publications reinforces it.

Encouraged in this direction, designers then apply their skill and imagination to sell dog biscuits, designer coffee, diamonds, detergents, hair gel, cigarettes, credit cards, sneakers, butt toners, light beer and heavy-duty recreational vehicles. Commercial work has always paid the bills, but many graphic designers have now let it become, in large measure, what graphic designers do. This, in turn, is how the world perceives design. The profession’s time and energy is used up manufacturing demand for things that are inessential at best.

Many of us have grown increasingly uncomfortable with this view of design. Designers who devote their efforts primarily to advertising, marketing and brand development are supporting, and implicitly endorsing, a mental environment so saturated with commercial messages that it is changing the very way citizen-consumers speak, think, feel, respond and interact. To some extent we are all helping draft a reductive and immeasurably harmful code of public discourse.

There are pursuits more worthy of our problem-solving skills. Unprecedented environmental, social and cultural crises demand our attention. Many cultural interventions, social marketing
campaigns, books, magazines, exhibitions, educational tools, television programs, films, charitable causes and other information design projects urgently require our expertise and help.

We propose a reversal of priorities in favor of more useful, lasting and democratic forms of communication - a mindshift away from product marketing and toward the exploration and production of a new kind of meaning. The scope of debate is shrinking; it must expand. Consumerism is running uncontested; it must be challenged by other perspectives expressed, in part, through the visual languages and resources of design.

In 1964, 22 visual communicators signed the original call for our skills to be put to worthwhile use. With the explosive growth of global commercial culture, their message has only grown more
urgent. Today, we renew their manifesto in expectation that no more decades will pass before it is taken to heart.

In THE EAST/WEST Propaganda Project

OBEY, WK Interact and Agnes B
The EAST/ WEST Propaganda Project, Tokyo
In THE EAST/WEST Propaganda Project, Agnes B brings together for the first time two preeminent figures of the international street art scene for a confrontation of their respective graphic spheres. Based on the principal of emulation and collaboration, this project initiates a visual dialogue between Shepard Fairey (OBEY GIANT) and WK Interact, two artists working in divergent yet surprisingly complementary styles. The artists will produce original works for the show both individually and collectively. The exhibition will be inaugurated at the Tokyo Wonder Site Art Center in Tokyo from March 22nd until April 22nd and then traveling to the Galerie Du Jour Agnes B in Paris from May 16th until June 30th


Made With Fontfont, Type for independent minds

“Made with FontFont”, edited by FontShop co-founder Erik Spiekermann and Dutch writer-designer Jan Middendorp, showcases the history and influence of the award-winning foundry. The book is replete with real-world examples of FontFonts in use, from high-profile ad campaigns for big automakers and fast food giants to iconic poster designs for the Tyson/Tubbs heavyweight battle in Tokyo and New York’s Shakespeare in the Park.


Manuel Raeder, works

Manuel Raeder (1977) lives and works in Berlin. He studied at the London College of Printing and has completed a post-graduate at the Jan van Eyck Akademie in Maastricht. His main focus lies in close collaborations with artists, designers, curators, theorists and musicians. His work has a wide range of formats from exhibitions, publications, type design to furniture design. Manuel has held workshops at the Ecole nationale supérieure des arts décoratifs, Paris and the Hochschule für bildende Künste, Hamburg.


Non-Format Book

Non-Format is a London-based design studio comprised of the Norwegian Kjell Ekhorn and the Brit Jon Forss. This creative team has built a formidable international reputation with exceptional graphic design and illustrations that are strikingly innovative and fresh yet have a timelessness that goes beyond fleeting style trends.
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