AI has long been permeating many aspects of our work and daily lives. We wanted to find out where and how creative professionals are currently using it—where AI brings real improvements to design and where its benefits are overestimated. In the 20-page issue of Grafikmagazin .26, we present approaches and projects and highlight the potential of AI in design.
In addition to the featured topic, this issue offers plenty of interesting insights and highlights from the world of design. For example, we explore the story behind the story of Winnie the Pooh, shed light on a research project on speculative futures, and delve into typographic strategies for brands. In our photo section, we showcase work that addresses deeply human themes: community and parenthood. Of course, there’s also plenty of compelling editorial design to discover, whether it’s about AI art, infographics, or doubt as a method. In our Focus section, we continue our exploration of resilience in design and highlight various approaches to how creatives successfully navigate crises and obstacles.
Graphics+ »Design & AI«
Artificial intelligence has long been an integral part of design practice—hardly any current discussion of design can do without it. This makes the question of how its use has evolved all the more intriguing: Three years ago, we at Grafikmagazin took an Grafikmagazin look at AI and even produced an issue with 1,000 cover variations. What seemed new and exciting back then now seems almost outdated in some respects. So is it even possible to create things of lasting value with AI? Are timeless design and rapid prototyping opposites? In what areas does AI actually generate genuine creative value?
We wanted to find out, so we asked how creatives and agencies are using AI today—where it offers advantages and where its effectiveness is overestimated. In the Grafik+ supplement of Grafikmagazin .26, we present 20 pages of projects and perspectives on the topic of “Design & AI.”
The cover
The cover artwork was created by Vincent Schwenk using a hybrid workflow. The 3D artist trained a LoRA model using his own work so that the AI could understand his visual and formal language and use it to create a basic composition. He says, “AI generates, machines open up possibilities, and designers make decisions. That’s how we don’t just write prompts—we create real workflows.”
The cover was printed using offset printing, and we used Munken Kristall Rough 300 g/m² paper. This uncoated design paper has a very pleasant texture, makes the design stand out beautifully, and is distributed by Berberich.
The showroom
In this issue’s Showroom, we take a look behind the scenes at the Saatchi & Saatchi agency, introduce illustrator Eva Revolver, and explore the work of Dušan Bekar, who created stunning graphics in the former Yugoslavia starting in the 1960s, despite working under the most basic conditions. Tina Touli also has a penchant for analog work; she creates fascinating visuals from the most mundane everyday observations and hours of crafting.
Order now!
The Grafikmagazin .26 shows how AI can be effectively integrated into design work. This issue also offers plenty of practical tips for designers. You can order the issue here, with free shipping (within the EU).
