The Pavilion Bosio in Monaco is home of the École supérieure d’arts plastiques de la Ville de Monaco (“University of Plastic Arts of the City of Monaco”), or Esap.

For the corresponding bilingual website, the designers at Studio Fables used a variable version of Halvar to emulate the Dada art movement from the early 20th century. With help of some jQuery, Studio Fables split each letter in a headline into single <span> to access, style and animate the CSS font-variation-settings weight and width.

Linux Libertine comes into use as a supplementary typeface for body text.

Beside a toggling between French and English language, there is a dark mode too.

With the new album by Berlin-based rap artist Megaloh, announced at the end of 2019, design studio Zentrale introduced a so-tight-it-touches Halvar Breitschrift for the artist’s name. Corresponding website, album artwork and tour posters also use the narrow Halvar Engschrift.

Fun fact: Megaloh using Halvar is a lucky coincidence for the foundry TypeMates. In the design process, the concept of megalomania has been a recurring motif when it came to the extensive design space of the typeface.

The 2020 tour was cancelled due to the COVID-19 pandemic.

A single concert did happen.

One of the post-apocalyptic treatments of Halvar by Martin Fischer in Megaloh’s music videos.

Hotbox EP. Delayed by COVID-19 pandemic, out in September 2020

Single release of Hotbox EP

Single release of Hotbox EP

The book Mulheres Míticas em performance (“Mythical women in performance”) celebrates the sixth anniversary of the theatre group Mulheres Míticas through the publication of two plays, O Deszerto (“The Wilderness”, by Felipe Cordeiro and Gabriela Figueiredo, inspired by Carlos Franz’ novel) and Classe (“class” by Guillermo Calderón), plus a number of essays revolving around them.

The project uses visual resources found in archives to organize plays, essays, interviews and collateral text, placing the book as part of the group’s living memory. The cover and back cover externalize this concept through the exposition of the object’s technicalities and symbols that dance over those structures.

14×21 cm, 320 pages, published by Javali. GT Super Text and GT Super Display are used throughout.

Poster for ACORN, Living Rent and London Renters’ Union to encourage people to join these organisations. Headlines use Marvin Visions, smaller text is set with Futura.

Autonomous Design Group is an independent collective of designers, artists and creatives opposed to capitalism and authoritarianism. We maintain that the aesthetic is of vital importance in the terrain of political struggle. We aim to offer artistic support to a wide range of groups and movements and encourage everyone to contact us for designs. All our designs are open-source and editable.

​We use a combination of collage, creative graphical elements, strong typography and colour palettes to depart from the usual red and black style of the left – an aesthetic which we believe comes across as dated and out of touch.

Shown here is a selection of posters around the theme of housing rights. Find more housing posters on our website.

Rent Strike Weekender, with a collage based on 1950s Air France posters and using Commune Nuit Debout.

Social Housing, with a collage based on 1950s Air France posters, with text set in Helvetica Condensed.

“Homes for people not profit”, set in all caps Gibson.

Poster for Los Angeles Tenants Union, headlines set in Amboy Black.

Poster for Sacramento Tenants’ Union. Collage from 1950s Air France posters. Gill Sans on top, stretch Gill Kayo for the bottom lines.

Poster for London Renters’ Union during the Coronavirus pandemic.

All for us is a digital theater directed by La Cía Ramón Gázquez and Cristian Alcaraz. A journey through web thinking where users will come into contact with the mythological archaism of the digital age to create a new story from affection and from the new normal.

The use of the Gallique typeface focuses on creating that universe of fantasy and unreality. It is a very typographic design in which the use of Gallique together with Space Mono creates that sensation of digitization that is intended to be transmitted in the play.

In the wake of the USPS potentially going bankrupt and subsequently affecting the 2020 Presidential Elections, I decided to buy stamps and send postcards to friends and family. Almost 300 people shared their addresses with me on Instagram (way more than I had anticipated) so I decided to create my own set of nine postcards.

Designed during one late night after work, printed by Moo on an impressively strong and durable paper with silky, soft touch, matte coating finish on both sides; and using nine completely different and unique typefaces, the set has resulted in an elevated but clean design. With the core message of letting you, and the world know, that while we are going through difficult times at the moment, it will be okay in the end. And it is equally fair to not be okay at this time. You do you.

“Okay”, set in Miniature Display, Druk Condensed, Opposit, and Migra, latter with a mix of roman and italic glyphs.

“OK”, set in Parabole Display, Pilowlava, Kernit, Hatton and Nostra Sett.

Film a doba is a critical quarterly about film which follows and reflects on progressive tendencies in the field’s developments. Apart from feature films the journal also discusses documentaries as well as animated and experimental titles. Along with reviews of works present in the local distribution, it also brings reviews from major Czech and international film festivals. Film a doba publishes interviews with domestic and international filmmakers, overviews of national cinemas and their main figures, as well as articles dedicated to film history.

X–Width Sharp is used for the logo and other display purposes. The text is set in Kolektiv Grotesk.