Posters, graphics and ads for the 2019 tour of Estonian rapper Tommy Cash, accompanying the release of his second studio album ¥€$. Designed by Kristýna Kulíková, using LL Heymland by Yevgeniy Anfalov. The ¥€$ wordmark with chrome effect is probably custom lettering.

Lettering for the album release event at Saku Suurhall, Tallin, 29 December 2018

The Théâtre de la Porte St Martin is a theater in the center of Paris. The theater shows half private plays, half subsidized creations, and is dedicated to an eclectic program. This goes with the theater’s long history and multiple changes: initially an opera, it was built in 1781 under the order of Marie-Antoinette, and was ready in a mere two months. Very soon a center of the cultural life in Paris, the building unfortunately burnt down nearly a century later during the events of the Commune. After its reconstruction in 1873, the opera became a theater and saw all the evolutions and new creations ranging from musicals of the 1960s to contemporary performances by great names of theater and cinema.

Pierre Jeanneau has served as the theater’s graphic designer for several years now: his expressive posters with the logo in Druk and typographic compositions as a recurrent theme regularly enliven the corridors of the Paris underground. For the 2021–2022 season, Pierre Jeanneau in collaboration with Clémentine Mahé worked on a more stable identity which plays with the architectural environment of the theater (the Porte St Martin is an arch in the 10th arrondissement). The typographic arch opens into a dream view of the top of trees – as the saying goes, a theater is not only a building, but a way to escape to other worlds.

What unifies the season’s identity is the use of Cardinal Photo from Production Type. The gigantic numbers and the name of the theater that we see on programs and on the posters enhance the specificities of the type design: Cardinal was made to be set in big sizes. The tight spacing and the specific contrast of the typeface immediately catch the eye. Once again, through a simple typographic proposition associated to an evocative image, the designers were able to reinvent the theater and enchant the spectators.

Creative direction, packaging and identity for Inka, a new company reinventing the lunch hour with products that make bringing food from home sustainable and chic. The branding is inspired by the 1970's "tupperware party" approach to plastic: the belief that one can find joy in reusable containers, and that good things should last and be reused again and again.

The visual identity is heavily type-driven and centered around the use of Ayer—a condensed serif that gives the system an upscale, editorial tone. Ayer is used on all print applications while Ayer Deck (a cut more readable for smaller text) is used on small-scale digital applications. Nib, with serifs that share some of the same sharpness as Ayer, is used as a subhead, and body text uses Fabriga. The Inka logo is set in tracked out Brandon Grotesque Black. Illustrations by Clay Hickson and photography in collaboration with Ian Shiver.

Chief is an exclusive club founded by Carolyn Childers and Lindsay Kaplan that offers mentorship and coaching to women in the C-suite, or on their way there. The luxe Tribeca headquarters presents salons and events with hosts like Tina Fey and Whoopie Goldberg to members from the likes of Apple, Nike and Amazon.

The branding system Mucca created revolves around the idea that this mentoring network can expand spheres of influence and amplify women’s voices, with one positive impact creating a wave of change.

With 2,000 members and a long waiting list, Chief is defining a world where women leverage their power, together.

Since 2009, French photographer Vasantha Yogananthan has produced personal projects and has developed his artistic approach to carefully respond to subject and place. His strong interest in painting led him to work around the genres of portrait, still life and landscape. Using these traditions as a starting point, he refined his photographic approach to produce photographs that expand the traditional genres and are united by a distinctively muted colour palette, achieved solely using natural light.

The typefaces were chosen in order to respond best to this particular approach to photography. Schnyder echoes Vasantha Yogananthan’s interest in organic forms and their fragile and soft character. The features also illustrate a humanity which is present in the portraits of men, women and (mostly) children. Lato conveys a more technical expertise as well as a meticulous and thorough working process, from shooting images to making prints. Cormorant allows a smooth and comfortable reading of the texts, and hints at a tradition of literary works and to this bird’s elegance, yet another of the photographer’s much sought-after subject matter.

Album artwork and accompanying poster for the third album of London-based band Psychic Markers. Ivar Display Condensed is the primary typeface, chosen to achieve something that feels both classic and modern. Ivar is combined with Ambiant Sans on the vinyl label, and on the poster.

The album is due for release on 29th May, 2020 via Bella Union Records.