FUTUR is a Hudson Valley, NY, startup born with the mission to catalyze, facilitate and strengthen the relationship of well-being between the planet and humanity through the creation of a sustainable, regenerative, modular and affordable housing system called HÔM – and its variable ZÔM.

FUTUR's visual identity was created by Carme, from São Paulo, Brazil, with the challenge of integrating, in the same ecosystem, a warm, aspirational and humanized expression, with an informative, technical and functional communication but avoiding visual stereotypes with a futuristic and/or hyper technological aspect.

Ofform, from Displaay, was used with some customization to create FUTUR’s logo. It was chosen because its shapes evoke the combination of the straight and organic shapes of HÔM and ZÔM. The logo is composed of individual modules that create a stable and unique structure when joined together, precisely because they adopt an interdependent relationship, reinforcing the brand’s community attribute.

The color palette is an interpretation of some of the base materials of the houses (hemp, limestone, glass) and works as a welcoming and comforting element. Complementary to the colors, images of nature were incorporated as warming and humanizing agents of the visual universe.

Finally, as the supporting font, the classic and practical Neue Haas Grotesk – combined with a set of light and minimalist graphic forms (lines, domes, etc.) – was used as an agent of the technical expression of communication.

“BTBT” cover

“BTBT” is a single from B.I and Soulja Boy featuring DeVita. The single and music video have been announced and teased.

By combining a K-pop artist and a rapper from two different countries the project is full of scope linking several communities. Added to this is the presence of R&B artist DeVita.

For the title, the chosen typeface is Engin. It’s a futuristic design with rigid structures. The creator of this typeface, Viktor Pesotsky, says that this typeface could be used in 2132.

All other text is set in various weights of Eurostile.

Korean artists often use futuristic typefaces carrying novelty. This is consistent with their artistic philosophy proposing music in connection with the contemporary era. Just like Soulja Boy who many qualify as visionary. The clip likewise is in a futuristic atmosphere. K-Pop is a style of music turned towards the future which tries to reinvent the music and its aesthetic with emphasis put on the communication (clip / cover).

The title “BTBT” comes from the Korean word Biteulbiteul which means to stagger in its steps, to lose the balance. In this piece, B.I's new love is enough for him to give up all control.

“BTBT” poster

“BTBT” poster teaser

“BTBT” poster

Clip teaser

This hybrid exhibition by Mary Ponomareva reflects on the ethical implications of the rapidly developing robotic technologies as well as existential questions of what it means to be human. The exhibition has been developed within Tetem’s program line Driving Technology, in which Tetem investigates the influence of technology on our society and the interaction between man and machine. From Mary Ponomareva:

In the exhibition in Tetem (physically or online) visitors will enter a factory facility that resembles a sci-fi computer game environment, and have a tour to explore 'doom proof' possibilities. In a form of grotesque videos and interactive artworks, The Factory of Electric Dreams speculates on the future of human evolution, whose 'destiny' is affected by 'crisis- accelerated technologies' called Life Enhancer. Life Enhancer, in a form of a service, offers its users to go beyond the limited human potential. It flirts with the ideologies of enhanced productivity, unlimited profit in capitalist systems and appeals to trans-humanism that can offer all that to a human by merging with a robotic body to become a superior form of being!

The website, thought like an exhibition, uses 2589-LDR – made in Fontstruct by Michał Nowak – for the main headlines, used in large sizes, sharpening the futuristic aesthetic of the art project. Subheads and information are set in Apoc by Matthieu Salvaggio.

During her UCLA course, media arts design student Amy Fang made a publication called TypeUnseen, focusing on the textual element, creative typography, and the trend of brutalism in graphic design.

How do contemporary graphic designers utilize illegibility within the art of typography? Type Unseen is a reader on designed illegibility and visual nonsense; it analyzes the influence our youth culture has had on experimental typography, all the while exploring the multitude of philosophies that drive us to construct and deconstruct meaning.

Type Unseen was conceptualized in early 2020 as a means to uncover trends followed by young typographic designers, championing abstract experimentation and ornamentation over meaning. The book is a compendium of ten case studies, catalogued within four different sections: showcasing typography as image and pure form; as a means of producing identity; as a catalyst for protest; and as a way of being. However, in the context of a year shaped by a global health crisis and racial reckoning, Type Unseen asks another question for young designers—what messages will ultimately materialize and shape the aesthetics of our generation?

The book typography uses Suisse Int’l as text typeface, with Charon, Deformi, Euphoria, and Al Fresco for display. In addition, Amy Fang includes a spread with a quote by Michael Bierut in which “he contemplates his jump from typographic fidelity while working for [Massimo] Vignelli, to typographic promiscuity.” She has set his words in 25 typefaces, “some of the craziest I’ve collected over the past year.”

The front and back cover feature stretched caps from Charon and Al Fresco.

Charon is mixed with Euphoria.

The condensed all-caps Charon is being paired with Deformi.

Spread with the quote by Michael Bierut, set in 25 different typefaces. From top to bottom, these are:

Gang, Kraft, Charon, 12:51, Lapicide, Parabole, Clifton, Pilowlava, Euphoria, Salicorne, BD Retrocentric, Alt Display, Basylisk, CNVS, Glyphworld Meadow, Digestive, Icarus, Apfel Grotezk, Love, Misto, Grand Slang, Le Murmure, Halyard Micro, Sprat, Ornamentum.

CTRL Your Future is an event hosted by Digi-Gxl studio in collaboration with the Institute of Coding. The goal of this event is to open the professions of creative tech to 16 to 18 year old womxn, non-binary people and transfolk. It’s achieved through workshops, lectures and times for questions the participants could have concerning the requirements and possible paths for these professions. CTRL Your Future is run by young creatives, and offers activities such as a face filter or an AR fashion activism workshops, in order to break from standard extracurricular courses and attract the public it is aiming for. Moreover, the main idea was to encourage diversity in a field still dominated by men, and at the same time to give the opportunity to create one’s own visual universe and models.

For the communication of the event, Digi-Gxl wanted to create an identity that a younger audience would trust and identify with. To do so, the designer went for a digital atmosphere of 3D abstract shapes smoothened by a soft glow, anchoring these images in vintage sci-fi and contemporary futuristic aesthetics. The typeface used for the identity is PVC from Production Type, alternating the two styles PVC Banner and PVC Menu. While the family designed by Hélène Marian is directly inspired by 1970s PVC display faces, it perfectly fits the retro-futuristic style of the identity, bringing to mind the typographic dynamics of the Alien Resurrection movie poster: a wide title with compressed credits. This 1990s revival reassesses the revolution that was the personal computer at the time, and shifts this influence into our contemporary world. Nowadays, technologies such as VR and AR are challenging our perception of the world: it is thus urgent (and this was the aim of CTRL Your Future) to give tools to the youth in order to master how they want to be perceived, and not depend on the projections of others.

Branding by studio ssnn for the second edition of the Antwerp Poster Festival. In collaboration with their type partner Typelab, we could use their vaste amount of experimental fonts. This resulted in the pairing of four fonts throughout the identity: three completely different fonts from Typelab (Serifbabe Alpha, Miu Miu & Slyther) paired with the legible Nuckle by Heavyweight which was part of last year's identity.

Slyther is used in outlined form throughout the branding as a graphical element. It lends the identity its graphical and exciting vibe. Slyther is designed by Floriane Rousselot, the founder of Typelab.

Serifbabe is used for the logotype as well as to highlight certain parts of the text. It feels as the perfect correlation between a classic serif and an experimental font. Serifbabe is designed by Charlotte Rohde, a speaker at the first edition of the Antwerp Poster Festival.

Miu Miu was the perfect bold type to give an extra punch to our identity. With its extended characters it fills up the space without asking for too much attention. Miu Miu was designed by Flavien Minson, a young up and coming designer. At the Antwerp Poster Festival we love to highlight those that don't have their own platform just yet.

These three fonts needed just one last thing to make everything click and found that the neutral look of Nuckle by Filip Matějíček (Heavyweight) brings everything together like glue.

See also this post about the program and crew sweater.

Tatequieto Fest is a digital festival of music, comedy and illustration, broadcast live via Instagram “from the middle of the world”. This poster was designed to promote the closing performance on April 5 by Ecuadorian-Lithuanian DJ and producer Riobamba. The typography pairs the two contrasting styles of Nostra, Sett and Stream.

Romanian designer Bogdan Ceausescu used BRRR (paired with GT America Extended) to create the cover for Landing on the Comet, jazz-fusion band Krisper’s latest record. The artwork has been drawn by Sebastian Pren.

BRRR is part of the Lab typefaces, available from Swiss Typefaces.

This flyer was made for GX7M+5R, an event organised during the first semester of the Master course Communication Design at the HAW Hamburg (Hochschule für Angewandte Wissenschaften Hamburg). The event was designed to be a “space outside all spaces” which provided a platform for utopian ideas and concepts that aim to incite exchange and discussion about various topics. Detached from the consideration of feasibility GX7M+5R motivated to think and speculate about subjects such as ecology and urbanity in the context of Wilhelmsburg, an especially culturally diverse part of Hamburg. The event was a hybrid between exhibition and discussion workshop.

The graphic design for the event was devised and realised by Canan Bunk, Franziska Schmidt and Julian Stiber. They made use of the typefaces Termina by Mattox Shuler, Sword by Kazuhiro Aihara, 12:51 by Colin Doerffler and Oroban Masuria Italic by Blaze Type.

Poster by Daniel Martins (Aaltar System) for Bela Mandil, a short film directed by Helena Estrela and produced by Areosa, that will premiere at the Viennale 2018.

Through saline paths, hand in hand, two lovers wander. Whoever sees them feels afraid
of the echoes from the past. A fervent summer atmosphere rises. A song from the tides faints and invades the beach.

The composition and typefaces used — 12:51 by Colin Doerffler and Apoc Revelations by Blaze Type — capture the sober atmosphere with which the story evolves, together with the classical/medieval aesthetic, while not disregarding its contemporaneity.