From red_mad_robot:

Since 2008 red_mad_robot was the leading application developer in Russia with offices in 10 cities. Now it is a digital partner for full-cycle product development — from idea to market launch, and further. They create award-winning digital products and services for startups and well-established companies. The visual language was redesigned for the reason to show the growth and the strategic position on the market. The new identity reflects the heritage of the company and the modern approach to the business where the present meets with the future. The single-minded system with savvy humour and bold character is a new red_mad_robot. Only here all robots speak one language.

The red_mad_robot team, led by art director Maksim Arbuzov, asked Contrast Foundry for a custom pixel typeface. And so, CoFo Redmadrobot was born, based on CoFo Sans. The typeface was later expanded and released for general licensing as CoFo Sans Pixel.

Romie (by Margot Lévêque) and Neue Helvetica (by Linotype) are used for the design of the Licht und Schatten catalog for artist Hannah Philomena Scheiber. Creative direction and design by Büro Rene.

From Days Off:

2022’s Greatest Flops is the first compilation album of failures. A limited edition vinyl containing eight of the major flops of the last year. 12 inches of high decadence (insert a sad face here). From Ukraine’s invasion to Ye's latest statements. From Boris Johnson's resignation to Shakira's tax evasion scandal. 8 flops. 8 tracks. 8 sound atmospheres to define the last 365 days.

Greatest Flops was designed by The Royal Studio, using Mineral Solid by Benoît Bodhuin, together with Gerstner-Programm FSL (Forgotten Shapes) and LL Moonbase (Lineto). Screen printing by Julio Cubillos.

Magic as Medium was written by Shawn DeSouza-Coelho and published by THE NEAT REVIEW. From the publisher:

Magic as Medium is an introduction to linguistics, semiotics, phenomenology and the meaning of art, all through the lens of magic and theatre. It explores the space between the ideal and the real. It prods at the moment of astonishment.

Magic has been relegated to the seemingly permanent status of light entertainment, dwelling on the fringes of other, more legitimate art forms. Its profound beauty and affective power eclipsed in the eyes of its audiences, magic does not seem to offer an audience the transcendence that art does... but why not?

For the typography, Callin Mackintosh made early use of Affairs by SM Foundry, paired with Lars Mono from Bold Decisions. Illustration by Jordy van den Nieuwendijk.

Couturissime, the retrospective of the life and career of French fashion designer Thierry Mugler, made its final stop at the Brooklyn Museum in 2022, where it received a new graphic identity treatment. The weight-modulated typography of the title, marketing, and didactics – set in the pairing of Faire Type’s Sprig and Sprig Sans – reflect the idiosyncratic humanist elegance present throughout Mugler’s work (even in his futuristic “Fembots”). Glossy, translucent wall labels wink at artifice and adapt to the frequent shifts in color and materiality in the many galleries of the exhibition. A bright yellow dominates the marketing materials, chosen specifically by Mugler before his passing. And wisps of smoke both reveal and obscure the title wall lettering, inspired by the clouded catwalk introduction of his masterpiece, “La Chimère” (Fall/Winter 1997–98).

Exhibition at Somerset House showcasing the work of Hanna Moon and Joyce Ng, two fashion photographers, celebrating the vitality and importance of fresh perspectives within fashion photography in a globalised and interconnected world.

Curated by Shonagh Marshall, the exhibition explores the artists’ feelings of being ‘lost in translation’, a feeling which, as artists living in a foreign city navigating different languages and shifting landscapes, informs Moon and Ng’s search for capturing beauty in the often overlooked and unseen narratives in our everyday lives.

Employing an otherworldly and playful approach to their practice, Hanna Moon and Joyce Ng incorporate cultural signifiers, set design and fashion to present their unique take on Western aesthetics and fashion ideals. Bringing distinct Asian perspectives to their work, they challenge the concept of ‘otherness’ and reflect upon the power fashion photography holds in shaping our perceptions of beauty, style and taste.

The exhibition designed by Studio Veronica Ditting pairs LL Catalogue and Univers: a serif and a sans serif, as a representation of how their works relate to each other. The typeface used for Hangeul and Chinese is yet to be identified [edit: it’s Source Han Sans, see comments].

Veronica Ditting, in conversation with It's Nice That:

Yes! So basically, I said okay and tried to figure out what they wanted to achieve in their respective works, the first thing being the structure. Hanna wanted her works on the wall, a more classic approach, and Joyce already knew she didn’t want anything on the wall and instead a free-standing structure. The third room was completely undefined at that point.

Quite early on I thought what if we gave them a bit of more an object-like quality and they were keen for the rooms to reflect each other, but not be exactly the same. It’s a bit like working out the layout of a page, you just follow your feeling of what makes sense. Then the wall panels we made are these powder-coated metal panels. They show the layers within the photography and with the typeface it was looking for a bit of tension between the two – how those two worlds could meet each other.

This book present the culinary performances and installations of the Japanese (and Paris based) artist Lei Saito.

Lei Saito is interested in history, in narratives that are superimposed in layers, which she explores through different techniques, such as drawing, photoengraving, sculpture, photography, and installations.

To accompany this fantastic culinary narrative, three texts, written by Agnieszka Gratza, Alain Kruger and Thomas Schlesser, cross the book. The contributions of these authors offer us a reflection on what “Cuisine Existentielle” means, as proposed by Lei Saito.

The whole book is printed in fluorescent spot colors, thanks to the Color Library profiles. It was published in a trilingual edition by Is—Land Édition. The French and English text is set in Mercure, with Zen Antique Soft used for Japanese.

See more images on the Bureau Roman Seban website.

Dreams is a lifestyle store in Los Angeles’ Atwater Village created by creative entrepreneur Monica Navarro and spatial designer Adi Goodrich of Sing-Sing. Studio Elana Schlenker and Élise Rigollet took care of the branding

The identity is anchored by a strong logotype with softly blurred edges used in concert with a toolkit of eclectic type (an elegant serif, glitchy pixelated font, and bubbly display text) and surreal illustrations by Julia Dufossé that add texture and intrigue to the brand’s communications.

The main fonts in use shown in this post are Moore, WT Kormelink and Lo-Res 15, supported by Tiny. The website uses Twentieth Century, and on social media, Dreams makes recurring use of Swear, Snell Roundhand, Vivaldi, among other fonts (not pictured here).

Shop photography by Ye Rin Mok, Adi Goodrich, Dreams.

Madam & Eve: Women Portraying Women by Liz Rideal and Kathleen Sorian was published by Laurence King. Designer Sarah Boris used the typefaces Injurial by Sandrine Nugue (205TF) and Messina Serif by Luzi Gantenbein (Luzi Type).

The music video for Dua Lipa’s “Love Again” features Queens by Kilotype. The title as well as the credits are set in the Condensed Bold Italic style and make good use of Queens’ swash alternates. Aided by a dashing drop shadow, the typography is a strong supporting artist to the striking, equine themed visuals. According to Wikipedia the video was

[...] filmed at the Grosvenor House Hotel in London. The visual sees Lipa and her rodeo clown-styled dancers in the hotel's ballroom line dancing, riding mechanical bulls that sometimes disappear and painting eggs. A horse appears and the rodeo clowns attempt to capture a giant egg. Several critics commended the video's message of it being silly to fall in love so soon, as well as its Western style and surrealism.

The top image is the title graphic for the video's theatrical cut, while the images below are from the credits of the director’s cut, also shown below in full length.

Video directed by Lope Serrano and produced by CANADA. Graphics designed by Koln Studio. Full credits below.

TITLE mag is a print publication that creates a community for young creatives to learn new skills, grow through mentorship, and build a strong network in a hybrid digital environment.
This issue involved the work of 111 individuals.

The theme for issue 006 is “Golden Age”. It was released March 26, 2022 out of Cincinnati, Ohio. Representing our interpretations of elegance, nostalgia, romance, and opulence, these pages are filled with expression from young creatives across the country. Our Editor in Chief said it best:

It feels like being draped in expensive silk and wrapped in glistening pearls. It feels like putting on your fanciest clothes and jewelry for a night out with your closest friends. It feels like the warm glowing light that comes bursting through your window on a summer evening. It feels like looking at old photos that transport you back to a completely different time of life. It feels like writing a love letter to someone you know will write one back to you. It feels like the hug that you never want to end. It feels golden.

This issue featured Sloop Script and Argent Pixel CF as the primary fonts for branded content and spreads. The other fonts highlighted in this post are part of the TITLE mag evergreen branding.

The final print issue is 177 pages, with 27 unique team projects. Issue 006 also includes a Digital Extended Edition, with seven additional digital-only projects and extensions of multiple print editorials.