Peinture Fraîche (“fresh paint”) is a book about graffiti designed by Ruben Bähler and Romain Oederlin. It was made as an editorial student project at ECAL. Baikal typeface in use, designed by Ian Party for newglyph.

Vocations et dérives de la typographie libre, 2005–2021 is an essay about open source typography from 2005 to 2021, with a focus on what extent it influenced the font distribution process. It was written within the third year of my Bachelor studies in type design at École Estienne, then printed with school's presses in January 2022.

The titles are made of NaN Jaune, with variable weights from Light to Black. The font was designed by Jérémy Landes and released by NaN in 2021.

Univers Light by Adrian Frutiger (who gave lectures at École Estienne between 1952 and 1960) is used for the running text and the footnotes. It was released in 1957. I think this typeface allows a good contrast with the bold shapes of NaN Jaune typeface.

The choices of bichromy and Nan Jaune makes the booklet a bit more eyecatching than usual academic publications, and sets a hierarchy between the differents contents throughout the layout.

My introduction states:

The open-source community is wide and diverse but usually well studied when it comes to software or programming. Yet open-source typography is fairly overlooked, at least by people who are not type designers themselves.

Tron is a project by Chinese photographer Mobula, 袁钰 that focuses on the relationship between the human being and new technologies, such as artificial intelligence, placing in the middle the religious figure of the divine that the human being tends to imitate through the technology itself to overcome the limitation of his own body.

Human becomes machine, machine becomes God"

Designed by Elleven Studio using Margo+Beuys, PingFang, and Neue Montreal.

Perverted Norm, Normal Pervert is a project by artist Kuang-Yi Ku. Inspired by scientific research, it explores the normality and abnormality of sexual activities among humans and snails.

This bilingual book focuses on gender fluidity, depicting the reproductive system, reproductive structure, and mating posture of snails and humans in four chapters with black and white illustrations. On the cover, it attempts to echo the definition of “pervert and normality” explored by the artist by switching the sequence of the Chinese characters “變態的正常.”

The title and the running texts are set in Neue Machina by Pangram Pangram, and Chinese texts are set in Source Han Sans TC.

Gooey masthead, created by Eddie Loughran for Issue 005, based on the new primary logo.

Using Apoc by Blaze Type for the logo, Meesh Strauss led the rebrand of Title mag, a zine and creative space born out of Cincinnati.

Title began as an annual student magazine and remains fully devoted to empowering and utilizing creative minds. Our staff is primarily based in Cincinnati, Ohio. Now, we have the Creative Space as our digital platform, with an annual zine release in spring. Keep your eyes peeled for issue 006!

Neue Haas Grotesk is used for body text; larger typographic elements use a mix of Editorial New, Ogg Display and Campaign Grotesk.

The cover of Issue 005.

A coloring book, sticker, and sticker sheet came with Issue 005.

Primary logo, used across evergreen media pieces.

Secondary logo lockup, used across evergreen media pieces.

Evergreen branding kit with Issue 005 featured colors from the 2020-21 print cycle.

From design studio Meat:

Chinese Protest Recipes is a project of resistance. It is a very personal project that protests against racial inequality in the food world. In this moment, as we struggle to get through a racial pandemic, this project acts as a form of culinary and literary protest, through the lens of Chinese food.

Calling for a decolonized approach to cuisine, Chinese Protest Recipes urges us all to look beyond what has been validated by Eurocentric culinary accolades or institutions – and toward an exchange of cultural knowledge produced and perfected with patience, practice, and love. The project uses a stripped back visual language inspired by the raw emotion of protest graphics.

Started originally as a takeover on @doofmagazine, the official recipe book just dropped as a free digital download. In exchange, donations are encouraged to support Black Lives Matter. A limited edition risograph printed version, and t-shirts will be released soon, with 100% of the proceeds going to support Color of Change.

Right Grotesk is used for headlines in combination with New Diane Script. Running texts use Helvetica and Untitled Serif. An unidentified typeface is used for lines of Chinese text set in a small point size on the top and bottom of most pages [edit: it’s Lantinghei, see comments].

Review 2019 / Prospectus 2020 is a book of 260 pages featuring a collection of outstanding student works, final thesis projects in the past academic year, and an introduction of courses for Bachelor’s degree, Master’s degree, and other programmes by the Department of Architecture at the University of Hong Kong.

The cover artwork and the book design are hugely inspired by the modernist design of the Knowles Building, where the Department of Architecture is located. Generated from a rectangular grid structure, the iconic visual symbolises the forwardness, dynamism and resilience of the school, as the first impression of HKU Architecture, for prospective students and visitors.

The neon green applied on printed and digital media serves as a new interpretation of HKU's signature emerald, a color honoring the legacy but also enlightening the future.

English text is set in Neue Machina by Pangram Pangram Foundry, paired with DM Sans by Colophon Foundry. Chinese text is set in Toppan Bunkyu Midashi Gothic by Toppan Printing, paired with Source Han Sans TC.

Brands are living things, they need regular care and attention.

Home School (a JAC& venture) is for people who want to better their branding knowledge. Online, you will find a workbook, materials and insights from us and some very clever contributors. In real life, we host talks and workshops to bring together a supportive likeminded community.

In creating the Home School brand, we wanted to push ourselves outside of our comfort zone and bring a sense of fun to design education. Making use of nostalgic typography, colours and paper, a friendly mascot guides the student through our workshop process in the comfort of their own home.

There are two typefaces used throughout the project, Reckless Neue (Displaay Type Foundry) and Radio Grotesk (Pangram.Pangram).

Self-published and collaborative project initiated by photographer François Ollivier, Bises (kisses in French) is a collection of photographs, memories, words and sounds organized by destinations. Through the act of wandering and travelling, Bises invites us to contemplate what’s around us and our relationship with the places we visit, the moments we live.

All typography uses different styles of Woodland, except for the logo which is set in Beatrice Italic. Each edition from this first batch printed in 2018 was created by a different graphic designer.

The RIAS Kammerchor chamber choir was founded in 1948 and is one of Berlin’s most prestigious musical institutions. The choir has been the first to perform a number of pieces, and its repertory includes work by Arvo Pärt, György Ligeti, and Max Reger. RIAS has received numerous international honors and awards for musical excellence. Fons Hickmann M23 designed a brand-new corporate identity for all of the choir’s media in honor of its 70th anniversary. See also the posters, booklets and other items designed for the previous season.

Book Design / Interactive Installation. Advanced Transmedia Studio / MediaTecture Class

The Symbionese Liberation Army was a hardcore, left-wing group of Berkeley radicals whose formation occurred between 1973 and 1975. The group committed bank robberies, two murders and other acts of violence culminating into a Los Angeles shootout with the LAPD that decimated an entire block near Watts. Led by a militant escaped convict, Donald DeFreeze, the SLA became internationally notorious for the notable kidnapping and brainwashing of American heiress Patty Hearst. The SLA’s rise and fall captivated the media and the country’s attention, even garnering a following of those supportive of their cause.

It is important to emphasize the societal temperature of the time. The 345 page book opens with a retrospective into the cultural unrest of the sixties, which permeated to the radical seventies, setting the stage for the birth of the SLA. One of the major challenges is designing a system highlighting the unpredictability of the group. By forming strategic chapter breaks within the structure, it create a sense of unpredictability within the sequential flow of the story. These chapter breaks includes a catalogue of radical press artifacts along with SLA communique documents to name a few. Furthermore, the book introduces readers to individual examples of extremism from current and historical cases. Excerpts from the book The Voices of Guns by Paul Avery and Vin McClellan is juxtaposed with curated content from the book, Friction: How Radicalization Happens to Them and Us, by Clark McCauley and Sophia Moskalenko. This juxtaposition offers a broader insight on the psychological factors, stressors, and motive of individual and group extremism. By presenting some similar and contrasting views on radicalism, it engages readers to ask the essential question; liberator or terrorist?

The interactive installation component of the book sheds light on the media frenzy over the kidnapping and brainwashing of Patty Hearst. The installation served as an opportunity for users to experience the realities of the chaos brought forth by the SLA. The Symbionese Liberation Army grew from an escalating discontent with the status quo by voicing a powerful rallying cry that promises revolution. Whether their actions were justified or not, one thing is clear, their revolution was televised.

Mentors/Instructors: Brad Bartlett, Miles Mazzie, Ivan J. Cruz
Consultants: Sherlan Abesamis, Matt Adams

*A class project from ArtCenter College of Design during the summer of 2017.

Inspired by hand-lettered title cards for the 1920 German silent horror film The Cabinet of Dr​Caligari, Joerg Ewald Meißner and Gerd Sebastian Jakob of Koma Amok studio in Stuttgart designed a custom typeface with many alternates for this exhibition catalog of Expressionist artworks.