German agency Releit und Junker publishes the oversized and monothematic Über Magazin. It features creatives and artists from various disciplines. The eighth issue focusses on the topic of “hours” and uses Miller and Cera as temporary typefaces. The next issue will have a new art direction and new typefaces …

Pełnia architektury (“The Scope of Total Architecture”) is a collection of essays by Walter Gropius, one of the protagonists of modernism and founder of the Bauhaus. Translated by Karolina Kopczyńska and published by Karakter.

Design for Europe is a new EU Commission project targeting design as a tool for growth. Only created a brand identity for the programme designed to encourage both design practitioners and individuals throughout business and public sector organisations to consider the value of design to a whole range of products and services.

RM Regular is used for the logotype and throughout graphic applications. A simple, clean and legible sans-serif was chosen to help support the inclusive and democratic message put forward by the initiative. The type’s European heritage lends further credibility to the brand.

Event posters communicate the essence of separate programmes through photography and textured elements borrowed from the host city. The resulting graphics are dynamic, progressive and design-led.

Julia Lemke:

Concept / This conceptual identity project consists of a postcard set and poster series for underground folk artist Michael Hurley, promoted by Folk Yeah.

Background / Michael Hurley has had a cult following in the folk community since he started performing in 1964. His music is an eclectic, witty, and often bizarre twist on traditional folk. For this postcard set, I used an unpolished aesthetic, with broad color swashes and hand-drawn illustrations to reflect his quirky character.

The encounter with this work might progress somewhat like this: curiosity. About the delicately arranged graphics and charts in homogeneous tones, the organised, clear, animating typography and the consistency of the stylistic means. Tasteful cover, pleasant colours, interaction of all materials. An informative and decorative numerical act.

Then: suspicion. One is overcome by the feeling that the sacred significance of the contents merely serve a graphic virtuoso as a platform for his skills. One is almost tempted to angrily put the book aside, because it is only an ornamental end in itself, a trivial succession of mindless, albeit prettily arranged, graphic claptrap.

But now: magnetisation! The attempt of visualising abstract information, the decoding efforts of the author-designer pay off, if the reader appreciates this work, takes it on himself to decipher the codes and finally ends with admiration and gratitude towards those who have created our constitutional law.

And: this visually didactic commentary also inspires the question whether there is such a thing as the beauty of law.

Editorial design for a Brazilian fashion brand.

Makeshift magazine’s massive rebranding was headed by designer firm Rifle who gave the magazine a unique brand identity and editorial system. The use of the idiosyncratic Clearface strengthens the identity further and has inspired a sort of revival for the typeface in the digital era. The website also follows the print publications visual identity well. The design process is documented in this article on Re:Form’s Medium page.

Formed in 2011 and redesigned in 2014, Makeshift is a field guide to hidden creativity. From homemade aircraft in Nigeria, drug smugglers in Mexico to Haitian communities pushing back against marginalization, Makeshift uncovers creative solutions from the economic fringe. Makeshift is part of a new breed of magazines passionate about their content, form, and community. We designed the magazine on its beginning, so now we had the challenge to work over our own designs for giving Makeshift a new look and feel.

Oglethorpe University created an experiential counterpart to their liberal arts curriculum. The divisions for Civic Engagement, Global Education, Professional Development, and Undergraduate Research and Scholarship combined under one roof to form the A_LAB, short for Atlanta Laboratory for Learning. The A_LAB identity activates the simple workmark set in Futura Bold by rotating it and dynamically filling in the underscore. Serifa, Miller, and Lekton support Futura in a graphic system that alludes to transit stations, maps, display boards, and urban wayfinding systems.