Identity design made by Estudio Vicencio for various events developed by the Subdirección Nacional de Pueblos Originarios (Chilean Office for Native Peoples) related to revitalizing indigenous languages. Among them are the contemporary indigenous art fair meeting of Indigenous Cultures; the announcement of the Sello Artesanía Indígena (SAI), a seal of indigenous crafts, for 2019 and 2022; and a corresponding website. All design pieces make extensive use of the Chercán typeface (PampaType) designed by Chilean type designer Francisco Gálvez Pizarro.

Schnittstellen is an interdisciplinary exhibition project organized by jewelry designers Alessandra Pizzini and Christoph Straube.

Several intersections connect the two parts of the main title. Archivo by Omnibus-Type is used for all digital and print media.

La rueda de la vida (“The Wheel of Life”) is a children's book written and illustrated by Chilean artist Andrea Franco. The story, written in verse, is also a song and tells the story of how different animals feed in a life cycle, and interact with life and death, making “the wheel of life” turn.

Published by Una Casa de Cartón, which provides a commentary on the book (translated from Spanish):

Life comes and goes in its natural cycle, in constant renewal and growth. In this lively journey through life and death, we invite readers to play, sing and laugh in a carnival that travels roads without endings or beginnings. This accordion book encourages play and imagination in young and old readers of text and images.

The typesetting is simple and aims to blend in with the illustrations without overpowering them, allowing for harmony between text and image. The book's title is set in Mazúrquica (v1.0) Regular and the main text in Berenjena, also in Regular weight.

Published in a run of 50 copies by Ediciones Penal Largo from Santiago de Chile, Copa África presents a series of stories about the national soccer teams competing at the 2019 Africa Cup of Nations:

Rather than just a guide, we wanted to talk about teams, competitions and players that we never saw live, but that we enjoyed through lousy pirated broadcasts, photos, videos and old magazines. The thirty-second edition of this tournament offered us an excuse to document and imagine African football and the different Africas that we have in mind.

Risograph printed at Taller Cerro, Valparaíso. All text is set in different weights and styles of Violeta.

Community Views displays VARIANZ Low Sans and Mid Sans in combination with Archivo for the use in a booklet and an exhibition stand at the Dutch Design Week 2023.

VARIANZ Low Sans serves as the workhorse sans, used for long-reading texts and captions in the magazine, as well as for the texts on the exhibition posters. Fine details in the layout are standing out, where the VARIANZ Mid Sans comes into play for subheadings and the column title – emphasized through a colourful gradient filling. The Archivo font is used for short headlines.

The Community Views project aimed to explore the impact of public social installations in urban spaces on community and interpersonal relationships. Started as Miriam Neukam’s Master thesis in the Design & Future Making department at HS Pforzheim, the project was presented at the Dutch Design Week 2023.

The project took place at the centrally located Waisenhausplatz in Pforzheim, Germany. Installations were set up there, focusing on the themes of urban design, interpersonal relationships, and ethical values. These installations were equipped with a variety of materials which were accessible to everyone. This created a space for encounters and exchanges. Through collaborative creative work, wishes and statements were collected and reflected upon. This, in turn, led to a broader discussion of topics that enriched the exchange.

Les Burgers de Colette is a hamburger restaurant franchise that emerged in 2019 in the city of Bordeaux, France. To revamp its identity, Studio OUAM took on the project, breathing life into a complete renovation. This involved the creation of innovative graphic elements, ranging from new typefaces to captivating illustrations. Furthermore, they worked on an updated menu and a graphic style that exudes a cozier and more familiar atmosphere.

On their portfolio website, the creative studio describes the new proposition as follows:

Colette's burgers is the story of a family at heart. A family united around your favorite Auntie, Colette, who is madly in love with burgers, good products and simple pleasures.

The typography features four different typeface families. For headlines, Ginto Nord Ultra Condensed (Dinamo), Gig Thin (Franziska Weitgruber), and Rosso Alt Regular (W Foundry) are used. Beatrice Regular (Sharp Type) complements them for body text.

From the Street Cat Club website:

SCC started as a pandemic project to trap and neuter a couple neighborhood kitties in Overland Park, KS. It has grown into a community care program providing spay/neuter surgeries, food, shelter, and medical care to dozens of cats and counting.

Website designed by Anthony Schmiedeler, using Puffling by Ro Hernández and Montserrat by Julieta Ulanovsky.

This study aims to discover a more explicit or accessible way to interpret and navigate inconsistencies and “wrongness” in the creation of meaning. In researching cultural perceptions on the topic, I have learned that there is a long history of embracing dissonance to evolve new structures and deconstruct conventional forms.

Dissonance as a Design Effect dismantles binary oppositions as it relates to perceiving and interpreting, order and chaos, dynamic and stillness, opening and closing to explore the space between.

Made as a thesis project at Pratt Institute, supervised by Prof. Michael Dyer.

Magnific Places is an initiative by the Cambra de Comerç de Barcelona and Barcelona Oberta to promote areas of commercial excellence. The project is supported by the Intueri consultancy firm led by Maria Segarra.

Serena has been in charge of the brand strategy, naming and branding. From their website (translated):

The objective of this proposal is to enhance and reinforce urban shopping areas, helping them to offer a unique and excellent experience and consolidate their position as a shopping destination.

Carrs is a family run bakery based in Bolton, UK, “baking perfect pasties since 1938”.

Absolute were tasked with giving the existing brand a much needed refresh to bring their distinctive playful personality through the marketing communications.

Using Asap as the headline typeface, we created a bespoke typographic treatment to reflect the craft, quality and care that goes into every single one of their products.

Discover more about our tasty refresh at absolute.agency.

Tocarle los huesos al bosque is a book with poems by Karen Byk, published by Siesta Verlag. All text is set in Piazzolla, designed by Juan Pablo del Peral/Huerta Tipográfica and available from Google Fonts. The cover photography is by Guxor. Offset printed, 13×21 cm format, 60 pages, edition of 100 copies.

NMTK is a zine, initiated, designed and published by (type)designer Carolina Giovagnoli. issue B – the second edition – is about a complot. A plot organized by German consonants against the vowels.

All text is set in in Amster Light Roman and Light Italic (designed by Francisco Gálvez Pizzarro and available from Pampa Type) and Carolina’s in-progress typeface ABC der Scheren. Risograph printed, A6 format, 16 pages, self-published in a limited edition of 50 copies. The story is told in English, German, and Spanish.

This poster was designed to be attached to an editorial project (Marshall aveva ragione, thesis supervisor: Prof. Gabriela Galati) as a part of the Visual Design and Integrated Marketing Communication program at NABA — Nuova Accademia di Belle Arti in Milan.

IPERCUBO is a contemporary art gallery in Milan that stems from the urgency of imagining alternative dimensions. The hypercube is a geometric figure analogous to the cube but immersed in a space of four or more dimensions: whilst it can be mathematically conceptualized and described, it cannot actually be imagined by the human mind since it can only think in a three-dimensional reality. The concept of hyperobject, developed by the contemporary philosopher Timothy Morton, is loosely related to the hypercube.

The typographic choice follows the identity of IPERCUBO, with the use of Archivo by Omnibus-Type foundry, a typeface designed to be used simultaneously on print and digital platforms.

You can find the complete project on Behance.

Usomano recycled paper, 140 gr, 40×68cm
Printed by Tipografia Reali, Milan, Italy

SmartWater is a collaborative and citizen project. It invites everyone to participate in the monitoring of the water quality of ponds and rivers in Brussels, and thus contribute to its improvement. At the initiative of the project is a collective of institutions, scientists, associations gathered around the issue of water quality.

The design team of Moxs used Fuga by Sumotype Foundry (available from Future Fonts) as the main typeface and JetBrains Mono by JetBrains, Philipp Nurullin, Konstantin Bulenkov (available from Google Fonts) for the supporting information.

The Parque de la Memoria – Monumento a las Víctimas del Terrorismo de Estado, also known in English as Remembrance park, is a public space situated in front of the Río de la Plata estuary in Buenos Aires. It is a memorial to the victims of the 1976–83 military regime, a period of unprecedented state-sponsored violence in Argentina.

This post shows images from the park’s general catalog, or catalogo institucional. Just like the visual identity, the bilingual publication (Spanish and English) was designed by Estudio Lo Bianco, Buenos Aires, using Perec and the stencil styles from Perec Ludique (PampaType, 2010–2020). Perec serves in several of its ten styles, supported by Perec Ludique Pochoir for chapter titles, headings, drop caps, and other display use. Some of the longer texts are set in the seriffed Borges (PampaType, 2004). First published in 2010, a second edition of the catalog was issued in 2017. You can download a pdf from the official website, or flip through it on Issuu.

See also the previous post about the park’s overall visual identity, including the wayfinding and the website.

Text in Borges is paired with a heading in Perec Ludique Pochoir

The English texts are set in Borges, in three ragged-right columns.

The opportunity to design Paul McCartney's memoirs was a literal dream project. Like many people, I'm a fan of Paul McCartney, not just in his prolific collaboration with John Lennon, but many of his later songs, with Band on the Run being a favorite. Published by Liveright, Paul McCartney: The Lyrics is a 2 volume set that reaches 874 pages. Inside is a mix of lyrics and personal memories and mementos of his long musical career. There are two versions— one is a widely available standard edition, and the other is a limited signed and numbered edition of which only 175 were sold.

We generally try to incorporate a bespoke typeface into our projects, and this seemed like a good opportunity to design something exclusive for this project. The typeface came about via a stack of our sketched letterforms that had been sitting in a drawer for many years. We had a serif in mind that we wanted to produce but never had the opportunity to finish. A high contrast face with subtle flared serifs and hooked terminals. After designing a beta version of the face, and getting the approval from McCartney and his team, we worked with Omnibus to finalize the design and build out a small family of display and text styles to use throughout the books. This typeface, dubbed Rigby, after the first Beatles melody I can remember listening to, was paired with the lovely Mallory from Tobias Frere-Jones.

Es lo que es (“It is what it is”) is a graffiti-typographic editorial project in newspaper format, created in collaboration with Saks and Bastarda Type.

Connecting graffiti and typography was the challenge with which the project started, seeking to exalt the “letter” as the main focus of communication. The name of the specimen comes from the essence of graffiti, where the force produced by the spontaneity of the stroke crosses limits, which finds a balance with typographic rigor.

The editorial piece is accompanied by a DVD which, through the photographic and video record created by Oscar Ramirez and Doomingo, shows the process behind the intervention, the sounds, the essence and everything that is not seen.

To commemorate the 80th anniversary of the attack on Pearl Harbor, Semana magazine prepares the great special “Atlas of Nazism in South America”, an x-ray of how this event affected the politics of some countries in the hemisphere, the key events during the war and the characters who were relevant in it.

Semana BT is a custom typeface family consisting of Semana Sans and Semana Serif, designed for an extended editorial use. It has humanistic features and organic strokes inspired by the main typographic characteristics of the logotype.

Revolución de los Papeles. Producción editorial e imaginarios visuales en el Taller Gráfico UTE y la Revista de la Universidad Técnica del Estado (1969–1973) is a book edited and designed by Rita Torres Vásquez, a graphic designer at the University of Chile. It was published by LOM in 2022. From the publisher’s website (translated):

The author brings us closer to a historiographic research, so far unpublished, on the historical development of the work of design and graphic arts in the country, with special attention to the Graphic Workshop of the Universidad Técnica del Estado (UTE).

Friends is used all over the book (cover, title, paragraphs, etc.)

Originally published in Spain in 1931, this is a sort of ‘anarchy explained to children’ book by Spanish writer José Antonio Emmanuel. It has been republished by Colombian publisher Milserifas in 2020. Mexican studio Tipastype provided the book design, using Arlt Lanzallamas (Alejandro Lo Celso) and Amster Versal Iluminada (Francisco Gálvez Pizarro), both typefaces from PampaType.

The multicolored letters on the right are not from a font, but were cut from paper by the book designers.