Georgoulis SA is an established company with 47 years of experience in the field of construction in regards to bathroom, flooring, kitchen, as well as heating materials and systems.

As curators of ceramic materials for professionals, they set the status quo for materializing a design by providing solutions to the most demanding briefs and specifications.

Georgoulis Curated Collections is a selection of five material palettes to inspire your designs, elevate your senses and spaces. Each box features a selection of ceramic samples in the color palette indicated targeted to the company’s clientele.

Thessaloníki based designer Georgia Harizani opted for Grand Slang by Nikolas Type for the C, paired with Good Sans from Good Type Foundry, and completed by Georgia Harizani’s own, yet unreleased font Confined Mono for the numerals.

Greece based studio Post-Spectacular Office designed the second issue of Archisearch the Paper Edition for archisearch.gr, a platform for architecture and design by Design ← Ambassador.

The concept of this project draws elements from the world of architecture and design in an attempt to convey them in the experience of reading and browsing of a magazine. We created a flowing typographic system, where text and images act as structured blocks, within the topography of the paper. It is a design without major typographical outbursts – as is commonly practiced in magazine design – save for the alternation of chapters.

Roobert (Displaay Type Foundry) is used for the publication title on the cover, and throughout the interior for headlines and subheaders. Selected sections have headlines set in LL Bradford (Lineto). The monospaced sans used throughout in English and Greek is Lab Grotesque Mono (Letters from Sweden).

The new identity system for Minas Kosmidis Architects was developed by Semiotik Design Agency (Thessaloniki). All typography is set in two weights of TWK Everett, designed by Nolan Paparelli, with a custom r without curves. In some of the images, Everett’s single storey a (available via a stylistic set) is used instead of its default bicameral version. From Semiotik's website:

Minas Kosmidis Architects was founded in 1994 by the architect Minas Kosmidis and operates in Greece and abroad, having received numerous international architecture awards. According to the studio, architecture is expressed as a narrative, regardless of scale or short requirements and should always be approached with attention to detail.

Regarding the new logo and identity we worked with clear lines, materials, colours and textures, in a way that creates a design imprint, much like the one of architectural space. We were inspired by concepts such as construction and deconstruction, composition, the negotiation of interior and exterior, the floor plan and the imprint, the point of convergence and divergence. We translated these concepts into a visual identity through form and typography.

The characteristic star symbolises the scale, the different architectural directions, which architectural office combines in the different projects it undertakes.

Kakoulidis Vineyards is a family business in Pieria, Greece, an area on the slopes of the mythical mount Olympos with a rich wine-growing tradition and excellent wine characteristics.

The logo and the brochures introduce the company to the public in an elegant and straightforward manner. The aim was to emphasize the importance that the company gives to quality and detail.

In the two editions (English and Greek) special printing and bookbinding techniques were applied, such as foil printing and special saddle-stitching, adding value to the brand and creating a memorable experience for the audience.

I decided to use Publico for the headlines because of its classic beauty and grace, creating notions of validity and premiumness, qualities that are suitable to the topic of quality wine-making. On the other hand, for the body copy, I chose Commissioner, a work-horse font suitable for extensive text, for its legibility and its clear contrast to Publico.

The 2021 Weekly Index is a self-published, limited edition calendar aimed at systemizing our perception of time. Designed as a corporate gift for friends and associates, the 12×18 cm book is compact, practical and lightweight.

Its use is defined by a temporal system prioritising weeks rather than days or months in the year. Assisting navigation by clearly indexing the 52 consecutive weeks on the top right of each spread, it encourages organizing notes and ideas in a short-term framework of a well-structured routine. The additional note keeping section provides space for monthly recaps, allowing for a more condensed documentation.

Following a year of contrasts we opted for two contrasting versions, one on Colorplan’s Ebony and one on Colorplan’s White Frost to highlight the contradictory forces that coexist in our daily lives. Set in Suisse Int’l by Swiss Typefaces its precise and rigorous structure invites one to break the grid, invent a new freedom and regain control, whether in dark or light mode.

Photography: Stefanos Tsakiris

The Hellenic Confederation of Professionals, Craftsmen & Merchants (GSEVEE), founded in 1919, is one of the older and most established trade unions of Greece. The book
Σύγχρονη ιστορία της ΓΣΕΒΕΕ 1997–2018 (“Contemporary History of GSEVEE (1997–2018)”) is part of a series of books celebrating its 100th anniversary.

The design pairs letterpress printing and 2-color offset printing. Averta by Kostas Bartsokas is used throughout.

Author: Kostas Paloukis
Publisher: IME GSEVEE
Design: Christos Tsoleridis (Oxhouse Design Studio)
Printing and bookbinding: Lyhnia SA
Proofreading: Panos Dimakis
Editorial team: Giannis Misentzis, Juliana Kontini, Paraskevas Lintzeris, Anastasia Avlonitou
Presentation photos: Simos Saltiel

Personal business cards using Colorplan Papers Ebony & White Frost, featuring dual embossing and spot colors.

On the occasion of the International Day of Families, photographer Stefanos Tsakiris extended an open invitation to all families offering a free studio photoshoot and a visit to his open studio exhibition.

The invitation design aims to communicate without distracting the visitor from the main exhibit: family portraits. The display typeface Canela (Miguel Reyes) was used. As stated by Commercial Type, it is “a graceful display typeface that defies many of the traditional classifications, its forms are in an ambiguous space between sans and serif, both soft and sharp, modern yet with roots in the classical”. Canela is a beautiful example of the classic coexisting with the modern, a concept also reflected within the photographer’s idea to capture ‘traditional family portraits’ with a distinctive, contemporary aesthetic.

Canela works in conjunction with and contradiction to the photographer’s visual identity, where the sans serif FF Mark is applied for all typography. On the invitation, it is used for the the photographer’s logo. By choosing a contrasting typeface, I aimed to create a ‘visual dialogue’ and a clear distinction between the professional and the event.

A series of posters for a health and safety event held at EKETA by the association of employees at the National Center for Research and Technological Development, Thessaloniki, Greece, 2019.

Most text uses Direct, with headlines set in its monospaced counterpart Monotonous.

Auctions portfolio for A. Karamitsos International Auctions house. All text is set with Gedau Gothic (Fontfarm), using its stylistic set 03 with a single-storey a and g.

Posters and banners for the Papamarkou Street Party in Thessaloniki/Greece, designed by Slab, with illustrations by Studio Hervik and BPrever by backpacker.gr. From Slab’s portfolio website:

A half-day festival organized by Papamarkou Str. shop-owners in September 2017 including workshops, exhibitions, performances and music. The design is based on a system consisting of vertical typography reflecting the street's edges and illustrations that show what its content is.

From Mecha Orga:

Nympholepsy is inspired by the immediate environment and history of ancient Messene. The work links the archaic with the contemporary by establishing a dialogue between the ethereal (sound) and the material (the ancient ruins). It is an exploration of the blurred limits between myth and history and the relationship between deities and human beings, nature and the supernatural.

Yiorgis Sakellariou is a composer of experimental and electroacoustic music. Composed in May 2018 in memory of his father Costas Sakellariou, Nympholepsy was released in December 2019 in an edition of 200 copies via Noise Below.

Artwork by Sotiris Gekas, using a photo by John Grzinich and the typefaces Friday and Atypical, both by George Triantafyllakos.

From design office Slab:

RAIONA is a new company from Thessaloniki/Greece, active in the development of electronic games. “Raiona” stands for “lion” in the language of the natives of New Zealand, the Maori. Studying the culture of the Maori, we selected some features, which we then incorporated into the design.

The font in use is Charybdis by Atypical.

The Thessaloniki Piano Festival was organized for the first time in 2012 and since then, for more than a month every autumn, about 15 events take place in Thessaloniki and in cities of Northern Greece.

Unique in its kind in Greece, it managed to establish itself in the consciousness of the philosophical public as a dominant axis of projection of the piano becoming of our days. The aim of the Festival is to promote artistic education, to give a step to young people and to actively contribute to the cultural identity of the country.

Visual communication for the 2019 Thessaloniki Piano Festival. Sauvage Antique and Sauvage Moderne as well as Dolce Noir are used throughout.

Cover design for Makrina Viola Kosti’s PhD thesis on the theme of software engineering titled Στατιστική Μελέτη του Ανθρώπινου Παρἀγοντα και Μετρικών στην Τεχνολογία Λογισμικού (“Statistical Study of the Human Factor and Metrics in Software Technology”), made at the School of Informatics, Aristotle University of Thessaloniki.

The typefaces used are the Serif Mono and Sans Mono styles of Dolce Noir. The typeface family, originally commissioned by Dolce Publishing, comprises ten styles: a sans and serif with matching italics and a monospaced version for each style; the Sans part is extended with a Rounded and an Expanded style.

From Andia Angelidou:

The poetic collection “Notions” by Vassilis Christakis (KAPON Editions) was designed with exceptional care to reflect the poet’s spirit and disposition, offering to the reader a complete work of art.

The booklet uses embossing/debossing throughout, with embossed lettering on the booklet’s cover. In the interior, one of the poems – set in Vs. by George Triantafyllakos — is presented as a blind printed, embossed text first. On turning the page, the embossed poem is now its own mirror image, while the same poem is repeated in ink and without embossing.

See more at Andia Angelidou’s website.

From design studio Caparo:

TITAN Group is an international, vertically integrated cement and building materials producer founded in 1902 in Athens, Greece. (...) In 2018 TITAN organized in Thessaloniki and Elefsina an original, interactive and educational exhibition, entitled “Του Καιρού τα Μυστικά” (En: The secrets of weather), in collaboration with the National Observatory of Athens. “Περί Ανέμων & Υδάτων” scientific team for educational meteorology prepared and curated the content.

We were commissioned to design the identity and communication material of the two events, including the exhibition posters and all the different applications across media. The exhibition mainly addressed schoolchildren and parents/teachers but was open to people of all ages from the local communities.

Gill Kayo and Sporting Grotesque were used throughout in their Greek-language versions.

Design studio Faze created the visual identity of the 16th Thessaloniki International Book Fair:

It is the most important yearly event for the book and the professionals of the field organized in our country; a cultural institution with international character that
has changed the landscape of the book industry and has become a reference point
for all readers and bibliophiles.

The identity pairs various dazzling patterns with Eksell Display by Olle Eksell and Göran Söderström as the main typeface. Its Greek-language counterpart was designed by George Triantafyllakos, aimed for release with Letters from Sweden later this year. The complementary seems to be CF Asty, designed by Panos Haratzopoulos and available from Fonts.gr. The book fair logo uses Sauvage Antique (Atypical).

See more images on the Faze website.

Animation by Andreas Maris.

Flyer for the children’s book fair.

Cover designs for Hellas Banknotes 1822–2020, a bilingual (Greek and English) notaphilic catalog in three volumes, printed in full color. The font in use is DJR’s Roslindale Display Condensed Bold.

From A. Karamitsos:

The Hellas Banknotes catalogue describes the history of the Hellenic banknotes from the establishment of the Provisional Administration during the Greek Revolution till the nowadays European Union’s common currency unit, Euro. As Greece is a country with a turbulent modern history, which for 150 years was under constant civil or external wars, a very interesting (world widely) economic environment was created, banknotes using the currency unit of foreign countries, fractional currency, bisected and cut banknotes, internal loans’ bonds, values higher than the denomination (NN Issue) and much more that we will analyse through the catalogue. After a lot of research we gathered as much information as possible and we tried to write them down in few lines in every chapter.

Das Kochbuch der Omas (”The Grandmothers’ Cookbook”) can be approached by the reader in two ways. On one hand it is a book on traditional German recipes and on the other it is a special historical look at the life of two northern German housewives of the early 20th century. It all started when Michael Hümpel discovered his grandmothers' handwritten notebooks and diaries. Recognizing their value, he collected testimonies and photographs of their history and recorded in detail the cooking recipes contained in the writings. Das Kochbuch der Omas was published by the author in a limited edition of 40 copies.

The main design challenge of the project was to create a multi-dimensional but functional book and at the same time to convey the sense of time, emphasizing the historical significance of the content.

The use of Germania One reflects the typographic period the grandmas lived in. The end of the use of blackletter typefaces was approaching and the first geometrical sans serifs appeared. The geometric blackletter is paired with Objektiv.