“Gives greater cachet” – ad by furniture manufacturer Thonet in an issue of De 8 en Opbouw from October 1937, a bimonthly journal jointly issued by the architecture groups De 8 in Amsterdam and Opbouw in Rotterdam.

In 1927, Lettergieterij „Amsterdam” voorheen N. Tetterode, or Typefoundry Amsterdam, started to work together with the Berthold foundry in Berlin. The best-known fruit of this partnership probably is Nobel, De Roos’s adaptation of Berthold-Grotesk. The two foundries also exchanged a number of designs: Berthold received Erasmus-Mediaeval (as Oranien-Mediäval) and Hollandse Mediaeval (as Holländische Mediäval), and in return Amsterdam could distribute Lo-Schrift (as Nero), Tango-Antiqua (as Luna), City (as Métro), and Plastica (as Duplex). Shown here is Sirene, which was Amsterdam’s name for Signal.

Less than three years after this ad was published, Nazi Germany invaded and occupied the Netherlands, and the typographic cooperation came to an abrupt end.

This 2023 campaign marks a change in direction at Pasquart Kunsthaus Centre d’art Biel/Bienne, Switzerland. Different quotes from the past ten years of the Kunsthaus's guestbooks were collected and placed on the streets of Biel, conveying whether Kunsthaus is appreciated or not:

“It was cool, then I got hungry.”

“Your art is funny. I like!”

“Very nice exhibitions despite what people say.”

This campaign was integrated with the promotion of their first exhibition of 2023 about painter Francis Baudevin, who has been developing a body of abstract work since the end of the 1980s. His work is known to be rigorous, coherent, and playful. Always following the same method, the artist takes abstract graphic compositions from our visual domain (multinational logos, packaging from manufactured goods, book and record covers, etc.) and then removes all text references—hence, all meaning—to keep only the form itself.

All the material for this occasion has been designed by Marie Cuennet, featuring LL Blankenhorn and LL Ruder Plakat from Lineto, and NEXT Mono from Optimo on all the communication materials and on-site graphics:

The change of the direction and program of the Kunsthaus Centre d'art Biel Bienne was visualized through a series of posters with visitor comments. We decided together with the new director, Paul Bernard, to bring excerpts from the guestbooks of the past 10 years into the streets of the city of Biel. LL Blankenhorn was chosen to suggest a spontaneous and authentic voice.

Soon afterwards, the the first exhibition of the year (Francis Baudevin and more) was announced. Here LL Ruder was introduced as a second layer on the same posters.

LL Ruder was also used in the interim to label the various exhibition spaces. The complete redesign of the visual identity of the museum will be unveiled in 2024.

Branding and packaging for food producer So Leckri from Switzerland by Wrocław-based Flov Creative, using Robu Bold by Typeverything.

The product names on the jar labels are in caps from a bold italic style of Avenir Next Condensed.

Logotype and visual identity for Kubuś Piekarenka in Warsaw, by Grzegorz Sołowiński. The brand typeface is AL Werner, a display typeface designed by Alex Lescieux, based on the lettering on a poster made by Werner Zryd in 1959. It’s available on request as of 2023. It is paired with Neue Helvetica, used for information.

On her blog, Nakarmiona Starecka describes Kubuś (translated from Polish) as follows:

There’s an incredibly good energy emanating from this place at 19 Marszałkowska Street. I’m not sure if it’s thanks to Kubuś’ decor, its luminosity, and fairy-tale charm, or the exceptionally friendly staff working in this open-to-look bakery. Kubuś timidly made its debut on Fat Thursday with a softly boiled egg-filled doughnut. (…) Kubuś is making quite a splash, and you can already sense that a spectacular success is in the making.