Poster design for Rings of Light, an event by research-inspired jewelry brand Open Archive in collaboration with Rauric. Music by John Heaven.

Respect magazine N°2: ébats et débats (“Romp and debates”).

A major trend is endangering our sovereignty as citizens: an ever-increasing abstention rate, especially among young people. Democratic exhaustion, the omnipresence of a concentrated media system: how can we re-enchant the political terrain?

Respect is a French magazine which is posted quarterly. It is designed by Paris-based graphic design studio Zoo using Waldenburg, paired with a version of Times.

The cross-border cooperation project Face à Face (“Face to Face”) presents an exciting dialogue between contemporary art from the collection of the Mudam Luxembourg (Musée d’Art Moderne Grand-Duc Jean), and works of the modern avant-garde from the collection of the Moderne Galerie / Saarlandmuseum Saarbrücken.

With the idea of a card game we have tried to reflect the changing dialogue between the museums and works typographically on the cover. For this project we used our own Pantholz and paired it with Times New Roman.

124 pages, thread stitching, printed on Munken Polar.

Essais, 2020–1996 is a collection of essays written by French architect Jacques Ferrier of Ferrier Marchetti Studio. It was published by Sensual City Books in 2021. Olivier Lebrun designed the cover using Moore. The interior is set in Times New Roman Seven and Suisse Int’l. A pdf of the book is available from the studio.

In the book Asymmetrical Response, Brooklyn-based conceptualist Cory Arcangel and Russian internet artist Olia Lialina Olia Lialina question the world around them through technological advances and the web, in constant dialogue with their practice. They bring together illustrations of their collective works and exhibitions with essays and poems. It is a rich book that takes several forms: a 120 page book, a CD and a booklet with a theater text, shipped in a plastic record sleeve. It is the result of the reflection of two influential artists of net art. From Cory Arcangel:

The last one of the 2 year touring showz w Olia Lialina! Had a big room club, pop-up, concert LED and even lasers. Ran during the Ibiza “season”. :)

The cover expresses the net art spirit. Perpetually questioning the web and the digital world, this cover returns to the first aesthetic element that the web has bitten with the most mocked typeface of the web: Comic Sans, used by Cory Arcangel for his Arcangel surfware logo.

For Olia Lialina, it is Times New Roman, a typeface known by all with the arrival of desktop software, like MS Word or Open Office that offer it.

Finally, the title of the book is set in Helvetica. It is a typeface known from the internet considered as the basic typeface after Times New Roman, at the same level as Arial.

The design is in total link with the tag system fonts as primary type.

In addition, there is an image taken from a low-res GIF by Olia Lialina. For Croy Arcangel, we see his artwork imgres. The jogging Adidas will be a research track for Cory Arcangel.

Talking Letterheads was an interview marathon with contemporary Belgian graphic designers, hosted by Gerard Herman & Dylan Belgrado, and coordinated by Sara De Bondt, Ronny Duquenne, Valentijn Goethals, Ine Meganck, and Jeroen Wille. It was organized as part of the exhibition Off the Grid: Belgian Graphic Design from the 1960s and 70s as Seen by Sara De Bondt at Design Museum Gent.

The graphic identity of the event was designed by Ine Meganck and Valentijn Goethals in January 2020.

In the summer of 2020, Miami’s Institute of Contemporary Art published a monograph titled Ettore Sottsass and the Social Factory to coincide with the exhibition of the same name. The catalog, designed by Mark Owens, features a wealth of images and archival material, with essays by Sven Lütticken, Jaleh Mansoor, Jacopo Galimberti, Francesca Balena Arista, Elisabetta Trincherini, Maria Cristina Didero, Silvia Franceschini, Evan Calder Williams, Ernesto Oroza, Wava Carpenter, and Gean Moreno. Unsurprisingly, Mark's approach follows the iconoclastic architect's bold use of shape and color, lending the catalogue a similar vibrancy that Sottsass imbued into his own wide body of work, which has been much-imitated and is perennially in vogue.

Owens chose Centra No.2 as the primary display font. Published by Sharp Type in 2017, it is Josh Finklea's take on the Modernist Geometric sans. Its wide letterforms and diagonally-sheared curvilinear terminals give the typeface a distinctive but sensibly matter-of-fact rhythm of negative and positive space. Applied to the Sottsass monograph, the font echoes both the Italian artist's influential Memphis-era work, as well as Owen’s graphic design. Centra No.2 is featured as a display, of course, and is used as the titling font, but the catalog notably shows how versatile Centra No.2 can be as well, with its application as a supporting player beautifully numbering all 336 pages of the book.

Ettore Sottsass and the Social Factory was published by ICA Miami together with DelMonico Books/Prestel.

Creative direction by Feldman Studio for the “Decade of Love” show SS23 by Victoria/Tomas, celebrating the tenth anniversary of the French ready-to-wear fashion brand. CD and book cover set in Romie (by Margot Lévêque) and Arial. The artist’s name could be either type or a logo. Listen to the music by Maison Labtonic on Soundcloud.

Typography by Ian Babineau for Innocence of Faith, a photography exhibition by Bobby Rogers at The Bureau in Minneapolis. Marlfield is paired with Arial.

Event poster for a DJ night held in The Little Rose in Cleveland, Ohio, United States. The main typeface is Apfel Grotezk, the date is set in Times New Roman.

Art direction for Fantastique, the first retrospective book about French engraving artist Gustave Doré.

It presents engraving techniques and a curated selection of his illustrations, caricatures and paintings - chosen amongst the 3,000 artworks Doré created during his life. The cover was designed around four of his iconic engravings, aiming at offering a comprehensive view of his influences and signature... in one page.

The book measures 210×260mm, counts 480 pages and features 3D embossing, inkless embossing, tree foils and print on page edges.

Arial and Times New Roman used for the graphic design of Design in Conservative Times.
We aimed to create a very conservative design, mixed with modern influences.
The book has two chapters: Graphic Design and Fashion Design. This is the reason why the book has a cover on each side. From publisher Onomatopee Projects:

Design in Conservative Times tackles conservatism in and around design, challenging both designer and user to actively engage with, and reflect upon their positions within our current, politically charged landscape. The focal point of this reflection at large ranges from hands-on issues within specific practices, to the broader, more fundamental motivations that fuel them.

Within this book, Onomatopee wishes to explore the conservative currents and cadence in and around design(ed) culture. By inviting both graphic design and fashion design professionals to comment, reflect, promote, critique, provoke and/or contemplate on conservative culture in relation to their own visions, design practice and designed goods, we wish to lay bare the intricacies and dynamics of design(er) in society today. As a result, issues of feminism, decolonisation, queerness, engagement, ecology, production and preservation in relation to conservatism today come to the forefront of conversation.

Editor: Joannette van der Veer
With contributions by: Ramon Tejada, Huda Smitshuijzen-AbiFarès, Annelys De Vet, Yamuna Forzani, Studio PMS and Marjanne van Helvert

From the @telier about page:

@telier is a place for de­sign­ers (and oth­ers) to ex­change work­spaces. Fo­cus­ing on peo­ple with sim­i­lar work­ing sit­u­a­tions, we give them an out­let to travel, work in new places, and meet peo­ple from dif­fer­ent back­grounds work­ing in dif­fer­ent parts of the world.

The website uses a variable font version of the Grilli Type’s unreleased GT Flexa, with weight animations for headings and interactive hover effects.

This publication was developed after a briefing by Maria Fernanda Antunes for the discipline of Editorial Design at ESE Coimbra. The output should be a magazine in Portuguese; it should include a barcode, a price, a title and existing (magazine) articles of different dimensions; and publicity. It was also demanded for us to choose between areas of study such as cinema, music, illustration, photography, etc. We settled on a magazine about photography, and restricted its scope to erudit photography.

Back in 1826, Joseph Nicéphore Niépce exposed a plate of tin to the sunlight during eight hours, obtaining what may be considered the first photograph of the world. Homaging the creator of the photographic era, Niépce is now the name of this publication.

The magazine aims to to offer a pleasant reading experience, and to perpetuate formats of photo-albums that may fall into disuse – in this case we reused old “catalog bags” photo-albums. On opening the album (10x15cm), the bags show the photographs, that in turn hide the articles.

For the typography we chose Courier for photographers’ names and biographies, the familiar Adobe Garamond for body copy, and Arial for main titles and some highlights. A careful typographic hierarchy was made for obtaining the best balance between economic use of space and readability, and to create a sufficiently distinct-but-not distracting layout.

As it was demanded to use a barcode, we fully embraced it and assumed it as a main element in the cover. It was also demanded that the magazine included price information so, despite this being not a commercial project, we included a price on the back cover.

All the photographs are followed by a sticker with a respective label. That is not only important because it gives information about the images (title, author, date), but because it slightly covers them.

An observer that is really interested in seeing the whole photograph must remove it from the bag. By doing that, articles about the photographer as well as them biography will show up behind the photos, turning the observers into potential readers.

An article about photographer Nan Goldin, hidden by one of her photographs.

We chose to include publicity (also demanded) in camouflaged way, by making it to appear in the form of an article, only marked with a discrete “sponsored” side by its author. In this case, it is an article referring to an exhibition.

Screenshot taken at 09/01/19 at 4PM, server power level at 79%

Low-tech Magazine was born in 2007 and has seen minimal changes ever since. Because a website redesign was long overdue — and because we try to practice what we preach — we decided to build a low-tech, self-hosted, and solar-powered version of Low-tech Magazine. The new blog is designed to radically reduce the energy use associated with accessing our content. — Low-tech Magazine

Low-tech Magazine is an online magazine, based in Barcelona. The owners/authors and their very involved readers research how obsolete technology could help solve high-tech problems. By the end of 2018, they launched an ultimate low-tech and solar-powered blog that could replace their current website.

The magazine's masthead used an image of a spear-toting man. On the new blog, this image is evoked/replaced by an arrow symbol. As for the typography, the website uses system fonts. In this case (MacBook), the website uses Times for posts and Courier for reader’s comments. The (minimal) code does not specify these, it only mentions “monospace” for the comments, and nothing at all about the font family for the rest of the text. I assume that the serifs add a bit more black to the screen than if the website would use sans serifs, which means that a tiny bit less energy is needed to light up the screen.

Screenshot taken 28/12/18, 2AM, server power level at 26%.

Screenshot taken 27/12/18 at 10PM, server at 16% power.

Rachel de Joode (Netherlands *1979) is a Berlin based artist known for her amazing large scale inkjet prints on PVC surfaces. Her current portfolio website is supposedly an interim, but that does not stop it from being a HTML loveletter. Makes you wonder why anyone would ever need type other than the core fonts for the web.

The team behind the communication of Coahuila's Federal Representative, Javier Guerrero, approached our office with the idea of developing his first Legislative Report in a different way. At the beginning we set out to establish the typefaces and the graphic style we were going to implement. We decided to use Arial and Times New Roman as a way of generating trust and accesibility. The illustrations we made are inspired by constructivism and are used with the purpose of generating transparency, a value we were aiming to reach. The phosphorescent green shows a fresh, updated and energized personality, capable of being relatable to the audience. The office took charge in designing a booklet, a folded poster with infographics, billboards, badges for the event, digital content, invitations, stencils and hand-painted signs for use in the streets.

Curator Laurel Ptak invited 14 internet artists, blogs and surf clubs to each come and do a 4-hour residency inside the space of the gallery. The event attempted to explore how the distribution, production, analysis, and consumption of culture rapidly are evolving in an online context.

Inspired by the ambiguous nature of the exhibition, and its aim to explore the blurred border between the physical and the digital, Konst & Teknik designed the webpage and the catalogue as one and the same thing, using (current) CSS technology only. The website was designed to fit the format of the newsprint catalogue and the catalogue was simply created by generating a printer file straight from the web browser.

www.letsmeetinreallife.com

Atelier Dyakova:

The Wall is a project that makes use of a large, open-air hoarding in Central London located on the corner of Queen’s Gate and Harrington Road and comprising a space of approximately 100 metres in length. It hosts specifically commissioned artworks by some of the most relevant artists of the current artistic context. Each commission will be exhibited for about six months, allowing visitors to enjoy it during an extended period of time. Located in South Kensington, a historical neighbourhood that is inhabited and visited by a local audience and an international crowd, the Wall is an initiative that establishes a deep engagement with contemporary art in a public venue.