Valua Terra. Faire la valeur des environnements (“Valua Terra. Valuing the envioronment”) was published by Éditions 205:

But what on earth are we going to do in this Anthropocene? By judging that the planet has entered a new geological era as a result of human activities, Earth specialists have placed the ecological emergency at the top of all our agendas, especially those of our political and economic leaders, who are subject to their public opinions and their clients. In the face of inertia, the collective imperative is to rethink the development of societies in order to take into account the finiteness of the planet’s resources, and to face the transformations of human living patterns induced by globalization and the global ecological crisis.

Bureau 205 used the Plaak and Plaax – both designed by Damien Gautier – and Thelo, designed by Tassiana Nuñez Costa⁠. These typefaces are available from 205TF.

Two partly hand-drawn posters made to promote a group exhibition of works made outside business hours. It was shown at my design studio in Chicago. Some people brought in pottery, clothing, baked goods; and we had someone screen a film they had made outside of work.

The poster at the top features an illustration from Cheri Zhou and Carrie, a wonderful typeface from Vocal Type Co.

The one below was produced with Director, a fine typeface from Velvetyne.

At Galeria Passado Composto, Noka was used for the headlines of an exhibition on artist/designer Jean Gillon (Romania 1919 – São Paulo 2007). His mid-century artworks and furniture were integrated into small compartmented zones, and an extensive timeline was created to contextualize his productivity across various mediums.

Zgodilo se je čisto blizu nas (“It happened very close to us”) is an exhibition of the 30th anniversary of the arrival of migrants from Bosnia and Herzegovina to Slovenia, exhibited at Match Gallery, Ljubljana. The exhibition and parallel events were coordinated by Divja misel. The show and the visual communication were designed by Alja Herlah and Sara Badovinac (studio Pra Pra), using typeface Wesna (Type Salon) and Inter (Rasmus Andersson). We can notice the modification of Wesna: its more expressive S was altered to be more neutral.

“Gradually, I realise I am a refugee. A person without documents and without a face, with no present and no future. A person with a heavy stride and a broken body, a flower of evil, alien and scattered as its pollen. I no longer have a name, I am no longer tall nor short, no longer a son or a brother. I am an oblivion-soaked dog in a long, morningless night, a tiny scar on the face of the world.” – Velibor Čolić, Manual of Exile (Goga, 2020)

Curator Tina Popovič on the exhibition:

On the 30th anniversary of the beginning of war and the arrival of BiH migrants to Slovenia, we are addressing our shared, yet poorly known experience with the help of personal memories of migrants as well as the people who helped welcome them. The exhibition, which assembles personal memories of 45 individuals with selected media reports and other docu-mentation, is divided into two parts.

Stories about the leaving of homes, arrivals to Slovenia and the unusual life in exile, which from expected weeks inconceivably expanded to years, are presented at the Match Gallery. Some of the exiles grew up here, others grew old, some made Slovenia their home, others just passed it on their way.

Collected memories encourage us to reflect on our actions and our attitude towards those people who all over the world are being forced to leave their homes.

Cocktail menu featuring outlined Vitesse (“Alpen Rose”) and Forza (“Contents”), with Bryant (“Cocktails”) and Schooner Script for the “handwritten” additions.

The newest addition to Philadelphia’s Schulson Collective, Alpen Rose is an intimate steak restaurant that forgoes the macho trappings of the typical steakhouse. With a jewel-box-sized bar, tinkling chandeliers and romantic lighting, it’s not your typical porterhouse purveyor.

For a uniquely immersive experience, Mucca created a fictional world based on a female botanist from a bygone era who travels the globe in search of the elusive Alpen Rose. This world inspired details throughout the space that surprise and delight—from an index card cocktail menu to flowers frozen in ice cubes. A system of multiple logos in different styles suggest billheads collected from exotic locales, and a richly layered menu system recalls a collection of botanical research.

Alpen Rose logo variations, partially hand-lettered, partly type. In the top row, the first logo is based on Argent Octic; the second one is a modified version of Alloy Condensed, outlined with a thin dropshadow; and the third variant uses Plaak 4 34-Regular B. The middle row variations use ITC Tiffany, Barclay Outline, and Romana. The bottom row has a script and a monogram that both are custom drawn, while the last logo is set in Sackers Gothic with a manually added dropshadow.

Detail of a desert menu set in Virgo Mono.

Index cards featuring Virgo Mono. The tab headers use Bryant.

Postcard featuring Alloy Wide for the address on the front, as well as ITC Tiffany, Sweet Sans, and Akzidenz-Grotesk.

The handwriting fonts on these address cards are (from top to bottom of the stack): Beer Dip, Lamar Pen, Texas Hero. The shaded caps for “Alpen Rose” are from Sweet Sans.

Form with labels in Akzidenz-Grotesk and “handwritten” text in Schooner Script.

When Wellington's iconic Venetian bar and restaurant Ombra changed ownership in early 2018, Gary at the Gas Project was commissioned to re-brand the business.

When Ombra needed a printer, Colourcraft was put forward and the first two jobs off the ranks were a set of business cards and vouchers. We printed both onto a premium 320gsm board, then gold foiled.

The Parisian institution Le Théâtre des Bouffes du Nord commissioned graphic design studio Violaine & Jérémy for the identity of their 2016–17 season. We worked on posters and programs, and type: Dida had been designed for the theater’s 2016 season, to make the identity of the season stronger, and more personal. The black Dida and its slender counterpart Scalie (unreleased) were paired with Giorgio Sans (Commercial Type) and the serif Caslon 540.

The concepts of Surprise and Absurd formed the general theme for this year. Founded in 1876, the theater had an erratic existence and it seemed it would never get off the ground. In 1974 Peter Brook took over and decided to rehabilitate the old building. It is now a fascinating place famous for the accessibility of its stage to the public.

This is part of an academic project made at ESAD Matosinhos. Each student was asked to create two editorial projects on the basis of a journal. Content and form are connected. The two antagonists are in conflict: one represents moral, the other rebellion.

Utah’s favorite ‘fishing hole’ for more than 60 years, Strawberry Bay will be your slice of year-round outdoor paradise amid the splendor of the Uinta mountains. Whether you’re fishing for Strawberry’s famous trout, hunting Utah’s big game or upland game, or just enjoying a relaxing day on the 19,000 acres of high mountain waters, there is something for everyone at Strawberry Bay.

All of these words, and many more, are reinforced by a typographic americana directed by Number 04. The logo uses a slightly modified version of Prophet.

Chez Olivier is an iconic French bistro on Greville Street, Prahran. To attract a younger clientele to this classic establishment, a realignment of their brand communication was necessary.

N/A is a marketing agency based in Montreal. Their identity was designed by Triboro in Brooklyn. The printed material mimicks generic, vintage office correspondence: ITC Johnston is stamped on everyday lined memo paper, with text in Typewriter Elite. On the web, Typewriter Elite is replaced with Nimbus Mono, which has more of a computerized (Courier) than typewritten feel.