From The Brand Identity:

Hotel Frantz is a family-owned and newly renovated boutique hotel located between Stockholm’s Old Town and Södermalm districts. It’s based in a brick structure that was commissioned by master tailor Frantz Bock back in 1647, making it one of the city’s oldest buildings. The historic elements have been preserved, while the vision for maintaining the legacy of Frantz’s home takes its influences from the outside world and the local environment.

Stockholm-based 25AH was commissioned to design the identity and signage. They used a combination of Suisse Int'l Condensed (also used for the logotype) and Traulha, to give a contrasting rhythm to the branding. Both typefaces are used in various playful ways, and printed on several unexpected materials such as leather or the ceramic inside bathtubs.

Suisse Int’l Condensed is part of the Suisse family, available from Swiss Typefaces.

Ludlow’s Tempo paired with lowercase Weiss against a pattern of snowflakes and ornaments, on the cover of an album with music by Jean Sibelius and Nikolai Rimsky-Korsakov, recorded by the Vienna Tonkünstler Symphony Orchestra.

Tempo is used in the Black and Heavy weights, The latter can be easily recognized by its left-leaning s. The cover with the “cold” Finnish and the “warm” Spanish halves was designed by Curt John Witt. The image shows the Merit Records pressing (M1-8) from 1952. The album was also available with identical artwork from Plymouth Records (P10-8).

[More info on Discogs]

To celebrate the new year 2021, I made this calendar as an extension of my personal identity. The yellow circular gradient is the main element that rises and goes down over time—as the sun does.

Agrandir by Alex Slobzheninov (Pangram Pangram) is used throughout.
Printed on Fedrigoni Premium White 200 g/m², digital print. Size: 297×420 mm.

As the beginning of Western civilization, ancient Greek had a significant impact on Latin. How has the Greek script changed nowadays? How does it apply in daily life? What is the point of view from local designers on Greek design? With a collection of pictures both from streets and museums, as well as an interview from Typeroom, I produced this zine about Greek typography from my daily observations during a trip to Athens.

It’s split into two parts. The first part, Modernologio, gathers all the pictures of Greek typography that I took during the 5-day study trip. The second part, Archeology, shows images from the Epigraphic Museum.

The booklet was made during my studies at AKV St. Joost. The word Τυπογραφία (“typography”) on the cover was made by repurposing Latin glyphs from gc16, inspired by signboards spotted in Athens. Since there are not that many Greek typefaces, local people often deconstruct Latin typefaces to compose their own. The text is in Atlas Grotesk, set ragged right and with small margins.

Hydrangea is the debut album from writer and artist Holly Childs and artist Gediminas Žygus, to be released on November 20th, 2020.

Initiated in 2017, Hydrangea grew out of a series of performances emphasising conspiracies and the designer realities that they generate. Navigating a tangle of digitally induced subjectivities and relationships, Hydrangea sees Childs & Žygus amidst a continuously evaporating world in which narratives dissolve, leak, fold in on themselves, and loop.

As part of the project, Holly Childs & Gediminas Žygus have collaborated with artists and filmmakers Metahaven, who created the album art and lyric videos. The record label is Subtext Recordings. The used typefaces are Icarus, Arial and MT Garamond

Collaborating with Chicago’s famed Merchandise Mart and BIFMA (the trade association for business and institutional furniture manufacturers), One Design developed a positioning strategy and brand system for Confluence Chicago™, a new programming track for NeoCon 2020 (now slated to 2021) focused on bringing together creative practitioners from across multiple modes of design.

The creative process can be mysterious. But peek below the surface, and you’ll find universal truths that unite us all—unexpected lessons to be learned, unique perspectives to be shared, and novel approaches to be taken that could benefit us all.

Confluence Chicago™ is a three-day creative summit that allows participants to connect across creative industries and design disciplines to discover, explore, and find inspiration in the common threads that unite our work.

A vibrant, fresh, and contemporary design system was developed to attract and connect with a younger audience—pulling away from the corporate traditions of NeoCon’s past. A bespoke, modular typeface rounded out the system—embracing the concept of unification across multiple modes of creative practice to create surprising, unexpected results.

Type specimen for Elbow Sans.

Wilder Fields is a technology-enabled food company producing extraordinarily flavorful, fresh, safe, and sustainably grown food for local communities across the country. Harnessing bleeding-edge technology, sustainable operations, and ethical real estate practices, Wilder Fields seeks to nourish the world and transform local economies by reinventing the practice of large-scale indoor vertical farming.

The One Design team worked with CEO Jake Counne, CCO James Radke, and their team since early 2020 to develop the Wilder Fields brand identity and communication strategy. Formerly known as Backyard Fresh Farms, a new name, positioning strategy, messaging plan, identity program, and packaging system has been crafted from the ground-up to express a more resonant, emotional, and authentic narrative for the organization.

Suited Magazine is a collection of stories about individuals who devote their work to the progress of humanity with defiance.

Visual identity and design by WeShouldDoItAll, using Syndicat Grotesk and the upcoming Pratelle, both from edition.studio, together with Le Monde Journal by Typofonderie.

Poster series, illustrations and logo design for the talk series Radical Utopias, hosted by Musikverein collective in Nuremberg, Germany.

Packaging box.

Educational cards created to strengthen the learning of the ABC for kids. The cards have a typographical approach, the main idea is to use repetition as a form to memorize the forms of the characters, using different words to enrich the kids vocabularies.
They way they can do this is by putting the stickers on the back of the cards, each initial letter on the sticker must coincide to the letter on the card.

Instructions card.

Stickers.

Card front and back.

Various cards.

Cards front.

Stickers on back of card.

Grotesque 6 Regular in use for all communication of the Éclats art festival #2, in a design by the French agency Yeep (Yann Eouzan and Estelle Petit).

They created a graphic language based on A3 modules that can be assembled in various ways to fit the constraints of each poster format. The modules are made of orange rectangles and purple diagonal lines, that create random geometric compositions, on top of which the text is printed in Grotesque 6.

Along the posters that invaded the public space in all kinds of size and format, a publication has been made to show the research process of Yeep agency for this visual identity.

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.

In 2019, the Franco-German Film Academy invited me to design its first award. The prize was awarded to Mia Hansen-Løve to salute her commitment to film cooperation between the two countries.

I created a series of shapes referring to light or sparks representing cinema and movement. The typeface used is Inferi (Blazetype) in two weights. One for each language, both languages are mixed in the format. A bicolor design for a bilingual award.

The primary objective of the Academy’s meetings is to boost cultural exchanges in the film industry, in particular by initiating new international cooperation projects. Since last year, the Academy presents its award to someone who embodies this Franco-German partnership in cinema.

Designed by Nicolas Turki Duchesnay and Riso printed in Paris by Studio Fidele.

Lasercut tests on plexiglass

Lasercut tests on plexiglass

Lasercut tests on plexiglass

Artist and designer Davey Constable of Crush Club Press has mastered a style that is hard to quantify, yet recognizable by anybody as a nostalgia-inducing mishmash of sixties, seventies, and eighties graphics that remind one of T-shirts worn, toys owned, and magazines read in the golden haze that is our childhood memories.

The difference, upon reading the text, is clearly in the message: Davey uses his style primarily for comedic and political purposes in a fresh, refined take on memes and dark millennial humor.

For the type, Davey combined Franziska Weitgruber’s angular script Gig (2018) with the recently released Bonkus, used in all caps. Bonkus (Matthijs Herzberg, 2020) is a geometric sans-serif typeface with a funky touch, inspired by the “Roundo” typefaces from the 1970s such as Blippo and ITC Ronda.

Exhibition materials designed for Chicago based artist Vida Sačić. Acute Accent refers to the acute mark (´) which can be placed over certain letters in various languages to indicate an alteration of sound such as the quality, quantity, or pitch.

This mark was represented on the flyers and posters for the show as a connection between the artist’s name and the name of the exhibition. The event took place at Catich Gallery in Davenport, Iowa.

The main graphics use Latienne; information is set in all caps Adobe Song.

Designed to bring a new breath to the heart of independent magazines, Gummistrikk is made in the spirit of magazines from the early 1990s. It was born in Milan as a reaction against the superficial glamour, and as a part of the global counterculture movement.

Working with undiscovered, unknown artists, Gummistrikk manages to capture a fashionable world in a way that pushes away superficiality and replaces it with personal expression and quality.

The magazine logo uses Pickle-Standard, with the theme set in Fat Porn. The magazine interior pairs Roobert with two similar-looking serif typefaces: Arachne and Silk Serif.

Gummistrikk magazine is a personal design project and has not been published. See more images on Behance.

Malraux is a theater and concert hall in Chambéry, France. For its new brand and graphic identity, the designers at French studio Brest Brest Brest chose Trois Mille (3000) as the sole typeface for all environments. The full range of the dynamic type family is expressed on the website, videos, posters, brochures, signage, and banners and more.

Read and see more on Sharp Type News.

Dada Factory was a large participative project of the Seongbuk Children's Museum. It was conducted in 3 stages: "Playful Thinking" (camp), "Play-Logue," (Education), and "Play-Ground" (Exhibition).

The graphic objects created for the campaign are multiple with Monaako used for posters, in situ signage, various external promotional objects such as flyers, web banners and images for social networks. Supporting typography is set in LL Brown and a yet unidentified typeface was used for Korean texts.

Lee Yunho of Seoul-based Kimgarden Studio wrote:

The visual concept of the Dada project was to make reference to paper cutting and collage, which were popular media of the Dada period. The scissor cut impression of Monaako Script was a perfect match.

Tasked with illustrating a bookplate that represented myself, I drew a lobster reading a tabloid who doesn't seem to mind being boiled alive. My last name means "full of anxiety" so I think this near-death critter and somewhat menacing typeface are fitting. Risograph printed at Risohell in St. Louis, MO.

HK Kontrast and Montserrat in use for Teatr Miejski w Gliwicach, the Municipal Theater in Gliwice, Poland. The visual identity designed by muflon studio is headlined by the motto O! Otwórz się na teatr! (“Open to the theater!”)