Muflon studio, founded by Weronika Mehr and Maria Prochaczek developed the branding of Mehr Shape, a company born from a love of cats and founded to create “the last scratching post one would ever need to buy”.

The team designed the visual identity, conducted photoshoots, and handled copywriting for this brand. They used Morula Type’s Sapfir from Blaze Type, mixed with Grtsk by Black[Foundry].

TEDx is an international community that organizes TED-style events anywhere and everywhere – celebrating locally-driven ideas and elevating them to a global stage. TEDx events are produced independently of TED conferences, each event curates speakers on their own, but based on TED’s format and rules.

The main theme of TEDxKatowice 2019 was “Poza zasięgiem,” which translates from Polish as “Beyond Reach.”

The display font used for the event graphics is Misto, a wide all-caps typeface with reversed contrast made in 2019 by Ukrainian designer Kateryna Korolevtseva. Misto is paired with Gopher for text, used with its alternate a. Also released in 2019, Gopher was designed by Adam Ladd, a designer from the United States.

Makina is a fashion brand for women – ambitious, curious, aware. The idea for the branding is based on portraying a woman as a person with a rich, complex character, which can not (and should not) be trivialised. Identity thus creates a visual and linguistic frame inviting the audience to interpretation, motivates them to fill it with an image according to personal preferences.

Clean typography does not distract, and its high readability complements the experimental treatment of the brand’s language. The slim and solid structure of Studio reflects the strength and subtlety of femininity emanating from Makina.

This series of Polish editions of the Bible contains not only different translations, but also introductions, comments, and footnotes. The creation of the series was intended to fill the gap of the lack of a coherent study of the various translations of Scripture. Important in the context of existing solutions is that the translations are accompanied by original comments and footnotes. The four translations that have been chosen for the cycle are the Biblia Tysiąclecia (AKA Millenium Bible), the Biblia Poznańska, the Biblia Gdańska, and the Biblia Paulistów.

Nicolien van der Keur’s Sirba (TypeTogether) is used throughout.

The subject of this doctoral thesis in the field of editorial design (at the Academy of Fine Arts in Katowice) was the preparation of a text about the design of books in the 16th century in Poland and the graphic design of the publication. The resulting book has a general and popularizing nature. The aim of the project was to provide the collected and structured material showing the formation of the Polish Renaissance book to people interested in the history of books, as well as experienced and beginner graphic designers.

The graphic concept of this project is based on the division of text into 2 parts, each with respectively 5 chapters assigned. Book structure is extended and multi-layered, it required typefaces crafted to work together in close harmony. Visual cohesion was needed. Superfamily Tempera (Tempera Biblio and Tempera) was designed for setting continuous text in books, offering a collection of economically proportioned sans and serif typefaces with efficient spacing and low contrast. For this project, I have used 10 styles, and two widths, occasionally using the built-in swash characters, ornaments and other advanced OpenType features.

More about this project can be found at Behance.

From Aleksandra Braska:

Projekt: Praca […] is part of my graduation project at the Academy of Fine Arts Katowice. The publication is dedicated to students who want to start their career in the field of graphic design. It contains articles written by graphic designers, illustrators, media and language experts as well as interviews and infographics. The purpose of the publication is to help students in starting their career and give them tools, which might be useful once they decide to find a job. It includes texts about creating a portfolio, promotion in social media, writing CV and emails, gaining professional experience and applying for a job. The book is not exactly a typical guide. It encourages the reader to think critically and look for his own path with the help of the book.

The book was designed and edited by Aleksandra Braska. It has 116 pages measuring 160×220 mm and was printed on a HP Indigo digital press at my-horyzont on recycled paper stock (Circle Offset White). The typefaces in use are Obibok Inversed (Laïc Type Foundry) and Supria Sans (HvD Fonts).

Nikiszowiec is a historical district in Katowice (Poland). Initially it was a coal miners’ settlement of the Giesche mine built on the land of Gieschewald manor (Giszowiec) between 1908 and 1918 on the mining–metallurgical concern initiative. The remnants of the original workers’ housing estate familoks (specialized multi-family residences) comprise one of Poland’s official national historic monuments and are tracked by the National Heritage Board of Poland.

We had the great opportunity to design a wayfinding system for a walking route in this place. Our role was to fit in the mood of the buildings. They were all built using brick (now in the brownish tone). And what’s characteristic – every inhabitant painted their window bay
in bright red colour. That’s why we have chosen a narrow range of colours: red, brown and white.

Each point on the walking route got a unique pictogram. They make the sights more recognizable and give a pleasant look to all information carriers. We also paid a lot of attention to the typeface choice – and decided on FF Chambers Sans by Verena Gerlach. In our opinion it looks great in large point sizes and has a unique look which emphasises the extraordinary character of the space.

This (fictional) publication comprises five essays, written by Beatrice Warde, Gerard Unger, Hans R. Bosshard, Paul Stiff and Ewa Repucho. All the texts take up the themes of typography, legibility and the broadly defined attitude of a designer. The contents are food for thought on the moral stance of any designer, without being a ready-made code of conduct.

The typography uses Siri and Ivar Text, both designed by Göran Söderström / Letters From Sweden (and both typefaces are named after the designer's children).

What goes on in female designers’ heads? Whether we like it or not, the world is, to a large degree, a product of design. Behind the artifacts we use daily there are their authors – male and female! More often than not we do not know their names, or where they come from – not to mention what goes on in their heads and what inspires them. But we do know that without female designers, the industrial history of the region would have been completely different.

The exhibition is a meeting with female designers and good design promoters who either come from the region or are bound with it professionally. Some of them are already icons – and co-authors of the everyday we live in. Others, those working today, are writing new chapters in this history. Let’s meet them!

The exhibition is part of Industriada 2018, which gives the floor to women – because industry has never been solely a man’s world. And the motto of this year’s celebration of the Silesian Industrial Monuments Route is: ‘Industry is Female’.

Organizer: Zamek Cieszyn
Exhibition concept: Anna Kaczkowska, muflon studio
Illustrations and graphic design: muflon studio
Design and space arrangement: Anna Kaczkowska
Exhibition realization: Agnieszka Zdonek, Anna Kaczkowska
Query, editing: Olga Kostrzewska-Cichoń
Exhibition coordination: Agnieszka Szczepanik-Szewczyk
Photography: Marek Dziurkowski

Rewolucje 1968 (“Revolutions 1968”) is a book on the revolution of 1968 which took place in the USA and Europe. Redesign of an earlier publication accompanying an exhibition at Zachęta, made at ASP Katowice.

The Insects Project is a proud product of collaborative research aimed at sharing knowledge about Central European typography and promoting design that is sensitive to the needs of all those who are unlucky enough to be native users of Czech, Hungarian, Polish and Slovak.

Perhaps few users of “diacriticless” languages (such as e.g. English) realise how lucky they are to be able to choose from literally thousands of typefaces. Central Europeans, on the other hand, are nowhere near as spoiled for choice, because many fonts available on the market still seem to overlook the specific needs of their knotty spellings.

This book contains four articles by invited experts. Each of them presents a historical overview and a guide to good diacritic design practices in particular languages including examples of the most common design problems that were prepared using font samples from young Czech, Polish and Slovak typedesigners.

Concept and editorial development: Agnieszka Małecka, Zofia Oslislo (PL)

Authors: Palo Bálik (SK), Filip Blažek (CZ), Robert Kravjanszki (HU), Agnieszka Małecka, Zofia Oslislo (PL)

You can download the book for free. All texts are licensed under the Creative Commons Attribution 4.0 International license (CC BY 4.0): http://theinsectsproject.eu

Title page

Table of contents

Quotes

Chapter opening

The catalogue created for Szymon Kobylarz’s exhibition “Nieznane Niewiadome” (“Unknown Unknowns”) in Galeria Szara comprises works and drafts that explore mathematical dependencies found in the space surrounding the artist. Counting, measuring, comparing – for the author they are pretexts to seek proof of a mathematical order in things. The publication was supplemented with archive graph paper to encourage the reader to pursue his or her own measurement exploration. The proportions of the publication were based on the Fibonacci sequence.

The corporate identity of the TEDx Katowice “For the change” main event was designed as integral with its futuristic scenography made of cubicles and plants. Each of the participants received a package of conference materials designed not only to provide information regarding the event but also to serve as unique souvenirs. The conference materials included: a leaflet unfolding into a reversible poster, a notebook to jot down participants’ ideas (100% recycled from paper waste) and a set of 3 blank business cards to be filled in and exchanged in order to befriend, encourage cooperation or simply lend a hand, if necessary.

The photos presented here document the complex redesign of the wayfinding system in the Galeria Katowicka Shopping Center in Katowice, Poland. Our role as designers was to fit in the existing scheme and make the system more playful. We had the opportunity to use the beautiful Carbon – a typeface family in six weights specially designed by Kamil Kurzajewski for Galeria Katowicka Shopping Centre. The font was applied in the wayfinding system all across the shopping mall and in all their advertising materials. Because of its technical style, the font finds its place in the industrial atmosphere of the city. With its characteristic round edges and the specific construction of a few characters, Carbon is distinctive and warm in reception. See more images of the wayfinding system and the pictograms on Behance.

This unconventional publication, both in form and content, is a collection of the memories and thoughts of nearly everyone involved in this impressive investment process – from tender documentation, through subsequent construction stages, to the opening of individual areas in the KTW complex in Katowice, Poland.

The main idea of making such a publication came from a company: Neinver, one of the biggest architectural developers in Europe. They asked us to design a gift for all the important people who are involved in the building process.

We decided to prepare a set of 3 (one for each section of works) folded posters. They are combined with grey cardboard (which make it look more technical) covers and tied with white rubbers that keep everything together. It has a sketchy and informal character. We use an official font from the client’s branding, Pragmatica Slabserif.

The new location of the Silesian Museum is one of the biggest museum investments in Poland. The entire structure of the Silesian Museum building is located on the territory of the former Katowice coal mine. The coal mine, together with other institutions, both already located or still being set up, form a Cultural Zone. The main part of the architectural structure is a 7-storey building, from which 4 floors are below the ground level. All buildings are linked to each other below ground – so it will be really hard for the new visitor to find their way if there is no signage system.

All spaces of the Silesian Museum are full of light, spacious, modern – and for some people these factors lead to a feeling of getting lost. That’s why we had to plan the wayfinding system very carefully – the signage is diversified and consists of several types of carriers. But still it is delicate in its form and doesn’t dominate the architecture. We have chosen materials that fulfill existing infrastructure and look like a part of a larger whole. Due to the complexity of the system, we had to choose a highly legible typeface. There was no doubt that the updated version of DIN - the DIN Next LT Pro would be the best solution. Thanks to its use, our system is legible and does not cause problems in reading from different distances. We also decided to self-design specific numerals that are an excellent complement to the system.

Lucia Mlynčeková chose Sirba, designed by Nicolien van der Keur, to typeset a personal book. Z neviditeľných partitúr hrám is a collection of poems written by her grandmother, Tatiana Blichová.

The book, beautifully set, is printed in one colour only but takes advantage of pale yellow paper to accentuate the intimate nature of the book as an object.

It was designed as part of Lucia Mlynčeková’s student work for Tomasz Bierkowski's atelier at the Academy of Fine Arts in Katowice, Poland.

Designers Zofia Oslislo and Paulina Urbańska have chosen LFT Etica, a typeface designed by the Italian studio Leftloft, for the report of Medialab Katowice, an experimental project from the ‘Institution of Culture: Katowice – City of gardens’ (Poland), where participants of interdisciplinary projects explore new uses for digital technology and the ability to exploit new media to transform and build the city’s identity.