Nice use of Syndicat Grotesk for The Hand, a conscientious wine bar in York, UK.

Office Sans in early use, paired with Courier New for the brutalist portfolio website by Utah-based design practice New Apology Projects.

Hunger Machen (German for “Making Hunger”) is the title of a project by Spanish artist and researcher Asunción Molinos Gordo and also the title of the book designed by Madrid-based designer Clara Sancho.

This bilingual publication (German, English) was published by Kunstverein Springhornhof in collaboration with State of Lower Saxony and Niedersächsische Sparkassenstiftung at the end of the artist's residency in Kunstverein Springhornhof and it features images of the exhibition and artworks, and a text by Gustavo Duch, Anne Kersten and Asunción Molinos Gordo.

The choice of materials of the book is inspired by elements present in the agriculture industry: a natural colour cloth used on the cover contrasting with the visible orange thread used for sewing the open spine book.

The typographic style was inspired by a style seen in publications created by artists from the 1960s Capitalist Realism movement (grotesque fonts, bold typographic style), while the typeface choice is a contemporary design by Klim Type Foundry: Untitled Sans.

The softcover measures 17×24 cm and has 128 pages. It was printed in Madrid, Spain.

Album and single art for Sean Wolcott’s 70s inspired crime score, Violent Hand of the Sleeping City. Compacta is used as the primary display typeface, along with Microgramma supporting. Akzidenz Grotesk is used for body copy and Futura can be seen in the Clockwork Records logo.

[More info on Discogs]

Single covers for “God Help the Fuzz” and “With All That Is Left”

Alastair Strong is a photographer and art director based between Paris and London. Specializing in creating visual narratives for luxury products and global advertising campaigns, Strong's diverse portfolio includes still lifes, advertising, sports, landscapes and reportage. For his photography portfolio website, designer George Barker-Wyatt used Vercetti.

Developed by Studio Admire, the site features a minimalist black and white interface, emphasising on functionality and smooth navigation through consistent use of typography. The logo is set in Indian Type Foundry's Volkart (since 2021 named Switzer) and takes center stage with its prominent size. Users exploring the site can easily switch between white and black mode.

DISFF Films + Directors 20:22 cover

Drama International Short Film Festival (DISFF) is Greece’s leading short film festival, and the annual meeting place for filmmakers and industry professionals. Based in the picturesque city of Drama, the festival is the leading Greek and South-Eastern European gateway to the world’s most prestigious short film awards, and nominated filmmakers qualify for the European Film Awards (EFA).

To design the visual identity of the 2022 edition, DpS Athens used Garaje by Thomas Huot-Marchand, Fedra Mono by Peter Biľak and Times New Roman by Stanley Morison.

Printed by Future Format.

DISFF Paper

Antarctica typeface in use for the branding of the innovative lighting design company GRAU. The design was handled by New-York-based design agency Porto Rocha, who write:

We constructed a logo with open geometric forms, engineered to take on new meanings over time. Across physical and digital applications, the mark becomes an iconic signature for GRAU products and art practice. To complement it: Antarctica, a sans serif typeface from Newglyph that is equally utilitarian and conversational. As an exercise in reduction, the color palette relies on a neutral foundation of black and off-white; accents of red and blue nod to the visible light spectrum’s expressions of warm and cool. Ample negative space, a keystone of digital and analog compositions, becomes its own brand gesture by making room for other elements to artfully coexist.

Be Good Now is a personal photo project by photographer Ronan Mckenzie, created in collaboration with Stockholm-based Acne Studios for their FW22 denim collection. The exhibition is an assemblage of images and texts that seek to explore Mckenzie’s connections with her Caribbean heritage and identity and was shown at the London-based gallery HOME.

The publication was designed by Regular Practice, using Skanner by Approximate Type for the headlines and Neue Haas Grotesk by Linotype/Commercial Type for the body text.

From Regular Practice:

Affondi. Emersioni in Profondità is a book designed by Federico Barbon for the talented photographer Alan Chies. It includes texts by Laura Pugno, Chiara Zoppas, Alice Dal Gobbo, and Massimo Piccin. Affondi was printed by Grafiche Veneziane and published by Podere Sapaio / Cosfini 2.

Mavis quickstart guide and assembly instructions (Side A). Two-color offset print on Mohawk Via Vellum (70T). 8.75 × 5.125 inches (folded); 26 × 15 inches (unfolded).

Released in June 2022, Mavis is a build-it-yourself analog synthesizer kit from Moog Music Inc. The identity for this synthesizer is anchored by Cinetype and Haptik—both released by Grilli Type—alongside Gotham and Trade Gothic, two mainstays of Moog’s core branding and product design. Art direction and design by Erik Pedersen and Emory Brandon.

The straight-lines-only design of Cinetype speaks to the collaborative nature of Mavis' design process and the stack of curve-free CAD drawings produced by the engineering team along the way. Haptik's tactile uppercase letters and numbers were chosen to reflect the hands-on process of assembling this synthesizer yourself.

Mavis quickstart guide and assembly instructions (Side B). Two-color offset print on Mohawk Via Vellum (70T). 8.75 × 5.125 inches (folded); 26 × 15 inches (unfolded).

Unboxing animation by Emory Brandon

Mavis Exploration Patchbook

Mavis User’s Manual

Lisa Bella Donna Artist Series Patchbook for Mavis

Acre is a multidisciplinary creative house that merges technical creative direction with production expertise to craft inspired narratives from the ground up. From Mouthwash Studio:

New brand identity for the Acre Team. We introduced motion design through their logomark and a typographic system that categorizes projects based on the coordinates of their global production locations. Because Acre is a team that is constantly on the move, it made sense to leverage physical location as a variable that is constantly changing in their identity, offering an element of surprise each time it’s introduced.

Karlsbader Grotesk was used as the primary typeface to create the new wordmark and the coordinates in the printed matter, while the body copy is set in Akkurat Mono.

To design the book Communes by French photographer Raymond Depardon, Agnès Dahan Studio used the Plaak typeface. The bilingual hardback edition (French and English) comes with a text by Salomé Berlioux and was published by the Fondation Cartier pour l’art contemporain, Paris.

Powers of Ten is a short educational film made by the office of Charles & Ray Eames for IBM. A successor to an earlier 1968 film sketch, the film demonstrates the relative size of things in the universe by zooming out and in to extreme scales using magnification based on increasing and decreasing powers of ten. It begins with a one-meter square view of two people (played by Swiss designer Paul Brühwiler and Eames Office staff member Etsu Garfias) on a picnic blanket and zooms out at a rate of one power of ten every 10 seconds, showing the earth and increasingly larger astronomical bodies, until the view covers a view 10²⁴ meters (100 million light years) across. The view then quickly zooms back in until slowing down again on the hand of the man on the picnic blanket, where it continues to zoom in to increasingly smaller powers of ten, all the way down to 10^-16 meters, showing individual quarks and protons in a carbon atom.

Music for the film was composed and performed by the celebrated composer Elmer Bernstein, with a script provided and narrated by physicist Philip Morrison.

The titles and credits for the film are very simple, set in all-caps Franklin Gothic Extra Condensed. The informational readout of scale throughout the film is set in Univers, with the exponential numerals indicating the current power of ten set much larger than usual for superscript typography. In fact, the superscript numerals appear to be the same size as the base numeral, and are simply set on an elevated baseline.

“Aquarius” / “Pisces” is Turkish artist Ekin Fil’s latest single release. The cover and label have been designed by Gothenburg-based Henrik Stelzer, using Suisse Int'l Mono only.

A super-limited pressing of the record (20 copies) was hand engraved on 7″ lathe-cut vinyl disc.

The open-air cinema in Frankfurt has been taking place every summer since 2014 in different locations: on the roof terrace of the 25hours Hotel, in the backyard of the Goethe House, in the park of the Liebieghaus sculpture collection. The corporate identity refers to ancient cinema neon signs and changed its color every year, matching the different locations.

Typology is a Parisian skincare brand founded in 2019 with a mission to demystify skincare with simple, straight-talking transparency — represented both in the product’s language and packaging. Each formula is pared down to the most-essential, natural active ingredients, and similarly the branding is kept minimal to match the philosophy of the brand.

London-based Shaz Madani Studio designed the identity and led the creative direction. The logotype is set in Post Grotesk and the product details are set in Lettera.

Florian Brennemann and Laura Chenus used Syndicat Grotesk as the main typeface for the different elements accompanying Gilles Favier’s photographs for the exhibition Jusqu’ici tout va bien at Palais de Tokyo:

The Palais de Tokyo has opened its doors to thirty students from the Kourtrajmé school, to elaborate an exhibition in the form of a workshop. The show explores the link between the movies La Haine, directed by Mathieu Kassovitz, and Les Misérables, directed by Ladj Ly, through visual and cinematographic works made especially for the occasion.

Founded in 2018 by Ladj Ly, whom JR joined the following year, the Kourtrajmé school offers an alternative and free cinema and art education in Clichy-sous-Bois / Montfermeil, the cities where the riots started in France in 2005, following the death of two teenagers, Zyed Benna and Bouna Traoré, as they tried to escape from the police.

As part of the exhibition, JR – who is in charge of the art section of the school – has created a pasting on the museum’s facade, applying a picture of Clichy-Montfermeil through an anamorphic image.

Nylon lifestyle magazine covers fashion, art, beauty, music, design, celebrities, and technology. As part of Nylon’s updated digital identity, the online magazine platform and social media graphics use Post Grotesk as a primary typeface for headlines and Relative Mono for body text.

Read and see more images on Sharp Type News.

Detail of an article page.

The series Werk-Buch / Œuvre D’Artiste supports published works of artists, photographers and architects in Berne. With the publication Grand Palais A–Z. Ein ABC der Off Kultur it honours the cultural engagement of Atelier Pol in the regional art scene over the years. The handy book follows a strict alphabetic order of keywords which form an ABC of topics around the current situation of independent art spaces in Bern and Switzerland.

With contributions and artworks from:
Barbara Basting, Daniel Baumann, Trmasan Bruialesi, Franz Dodel, Beate Engel, Roland Fischer, Gabriel Flückiger, Chri Frautschi, Serafine Frey, Myriam Olivia Gallo, Michael Günzburger, Hannah Horst, Alexander Jaquemet, Alain Jenzer, Mathias Kobel, Rachel Mader, Deborah Müller, Laura Pregger, Patrick Principe, Paula Sansano, David Shrigley, Francisco Sierra, Tobias Spichtig, Raphael Urweider, Nadine Wietlisbach, Etienne Wismer, Juliane Wolski.

The book was edited by Juliane Wolski and Beate Engel and published by the Canton of Bern via Petit Palais – die kleine Edition. The design constitutes the first use of Marc Zenhäusern’s MZ OTR Grotesk. The sans serif is paired with Messina Serif for text and the monospaced Courier New for reproduced correspondence.

Synesthésie ¬ MMAINTENANT is an art center in Saint-Denis, in the very close vicinity of Paris, France. Since 2017, Bonjour Monde has been in charge of their identity. For this purpose they created the (now open-source) type family Syne, as the cornerstone of the whole visual language, paired with plain colors and monotone images.

Aiming at giving the art center a sort of visual autonomy, Bonjour Monde created a few tools, so that the team can produce their own material. ‘Stuttttter ¬ MMIRAGE’ is one of them: a browser-based program to easily create flyers. All one needs to do is to insert a title, an image and pick a color, then play around with a set of sliders. Once a satisfying visual as been produced, it can be exported in the required resolution. For the back side, same idea, very few buttons giving only options for the number of columns and some basic text-styling.

The use of ‘crop-and-repeat’ is inspired by the idea of stuttering as phrased by French artist Matthieu Saladin (one of the art center's closest collaborators): “One gets aware of one’s own time when the present starts stuttering.”

The first few flyers, shown here, have been designed by Bonjour Monde, as a testing phase for the protocol. The ones to come after will be designed by the art center's team.

Stuttttter ¬ MMIRAGE: first step is to select the size of the document, import an image and insert a title.

Stuttttter ¬ MMIRAGE: second step is to pick a color for the monotone effect, then play around with sliders that give you control over the crop-and-repeat.

Stuttttter ¬ MMIRAGE: third step is to set the backside by adding rows of text, in 1, 2 or 3 columns, then styling the content with Bold and Italic.