The Zunft zu Oberstrass—a guild founded in Zurich’s Oberstrass district in 1924—marks its centenary with Zöiftiges Leben (“guild life”), a commemorative book reflecting on the past 25 years of its vibrant activity.

Designed by female-led studio BOB, the design is —

both traditional and contemporary, using the neo-classical typeface Spyre and splitting the Zunft’s emblem into 25 sections to punctuate years as bold geometric chapter dividers. It’s also both formal and informal—an administrative record of members, activities and events connected through footnotes to flurries of found photographs. As a keepsake object, the cover combines the Zunft’s signature colours, the tactility of its flag, a boldness and colloquiality in titling and directory-like detailing on its spine and rear.⁠
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London Swiss Medical are private consultants in endocrinology, the branch of medicine that cares for hormone-related conditions.

BOB created an identity and website with the concept of ‘find, fit, flourish’. Hormones seek cells shaped to fit them, almost like pieces in a puzzle. They use shapes and counter shapes to illustrate this process which, in their bold, pared back geometry, also bring an echo of Swiss-ness.

The designers added a sense of London to this mix with Albis – a typeface inspired by William Morris’s Golden Type. The typeface is used across the entire identity, website and print. The llustrations from Matthew Lewis, website built by Archive Studio, with copywriting by Emma Keyte. Printed matter was handled by Opal Print, using Modigliani Candido paper by Fenner Paper.

From BOB Design:

Morris+Company is an evolution of the acclaimed Duggan Morris Architects. The renewed practice dovetails the individual strengths of founder Joe Morris with the talents of a wider company of designers, all committed to the adventure of making architecture collectively. Our brief was to distill and communicate the creative spirit of this reassembled office. […]

The ‘change of state’ is represented by a ‘+’, which sits central to the new name at the meeting point between the individual (Morris) and the collective (Company). The ‘+’ also triggers a framework for the visual identity, marking the meeting point of fields with differing colour, texture, material or imagery. Where changes in material or texture aren’t possible, patterns are used to represent materiality.

The logotype is tailored to sit aside these visual thresholds, and is formed from the Everett typeface. The elements of each letter in the face ‘rest delicately’ together, a characteristic of the practice’s highly crafted architecture. [Words by Emma Keyte at Free:]

A customised version of the Everett typeface has been designed in order to sublime the visual identity's core concept. This concept has been consistently developed in various applications throughout the new identity of the architectural practice Morris+Company.

Arguably one of the most revolutionary and striking figures in art, Frida Kahlo requires little introduction. Famously married to muralist Diego Rivera, when Kahlo passed away in 1954, Rivera locked away her possessions in the Blue House, Mexico City for over 50 years. But earlier this month, the V&A opened the doors to Frida: Making Her Self Up – an exhibition designed to showcase a selection of these previously unseen artefacts – many of which have never travelled outside of Mexico.

Alongside an evocative exhibition design by stage designer Tom Scutt and architects Gibson Thornley, the team at BOB Design were brought on board to bring the 2D graphics of the exhibition to life.

Considering that Frida Kahlo spent much of her life in a wheelchair, Tom Scutt and the architects also wanted the exhibition to be really inclusive. We found a set of typefaces [GZA and Gråbenbach] with elements that echoed the angular shape we were looking for, but we then had to consider how the type would look and read to someone in a wheelchair.

The V&A actually held focus groups where people would come and look at the object labels while sitting and standing, to gauge at what level it was readable. They also conducted interviews with people in wheelchairs to help define the hanging heights of paintings and labels.

The contrast of the typography also needed to be high enough to help people with reading difficulties, who need a very distinctive start and end when reading something. There was quite a lot of requirements. We received documents detailing all the different type sizes, to make sure we didn’t go below or above certain measurements. — BOB Design