OK-RM:

Strelka Institute is a pioneering architecture, media and design institute based in the heart of Moscow. At the centre of the visual identity is a grid which acts as a metaphor for public space. It promotes a democratic relationship between the institute, events and people that shape it. Dual language is employed throughout to portray a Russian institute with an international outlook whilst the varied mantra communicates an institute that is continually redefining itself. In application the grid is recognisable, efficient and flexible for the display of multiple levels of content across various formats — from printed materials and digital media to architectural scale signage and publications.
Website development with Studio Scasascia, motion development with Hudson-Powell and signage with 42 Architects.

Using GT Haptik Studio Alexander designed a new identity for Basement Theatre that had to work across all channels and in the hands of numerous independent creative types.

Basement Theatre wanted something bold, playful and edgy being Auckland’s only underground theatre and a great development space for emerging young actors. Studio Alexander sought to capture this essence in a distinctive new brand.

The flexible design system made use of the stair graphic as an expressive element on imagery and text as well as a conventional signifier for the physical space. A Brand Identity with different personalities for an edgy and playful theatre. The fluro colour scheme seems a perfect fit for such an outgoing theatre with a bold personality.

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.

La Cascade – National Division Of Circus Arts – is a place of creation, training and research, broadcasting and meeting with the public around the circus arts.

Design: Clémence Passot and Dorothée Caradec
Type: Zigzag and GT Walsheim

Jurek Becker: Jakob der Lügner, 1970

In the early 1970s, Hermann Luchterhand Verlag started the “Sammlung Luchterhand” paperback series with works on the subjects of literature, media theory, politics and social science.

The book cover designs are puristic and unconventional. First comes the author’s name and the title, all in one size of Franklin Gothic Extra Condensed, flush left. And then the content starts — right on the cover! The text typeface appears to be Sorbonne, Berthold’s Cheltenham follower.

Nowadays text on cover is one of the key ingredients of hip graphic design as collected by Trendlist.org. In the 1970s, it must have felt revolutionary. The groundbreaking concept was conceived by Hannes Jähn (1934–1987), a signpainter by trade and one of the most influential German book cover designers, incredibly prolific and highly versatile in style.

H.C.F. Mansilla: Faschismus und eindimensionale Gesellschaft, 1971

Ingomar von Kieseritzky: das eine wie das andere, 1971

Hans Magnus Enzensberger et al. (ed.): Klassenbuch 1. Ein Lesebuch zu den Klassenkämpfen in Deutschland 1756–1850, 1972

Ernst Jandl: Laut und Luise, 1971

Dieter Roth: Frühe Schriften und typische Scheiße, 1973

Corporate identity for KONG Club in Munich. Design by Mirko Borsche.

Flyer and poster design for the premiere of O tom se nemluví at Experimental Space NoD

Design: Stepan Prokop
Typeface: Rasmus

We chose to design and build this trebuchet, an old french medieval siege weapon, and repurpose it as a metaphor for the launching of our next steps after university. We also designed a custom typeface to compliment the structure and have run out a series of print posters, flyers, tickets and banners.

Posters and flyers for the concert evening with huge soap bubble, music and dance.

“As we began preparing for the launch in the fall of 1983, Susan was requested to produce art for various marketing materials, to show off the kinds of things you could do with MacPaint. The frog demonstrates how you might use MacPaint in a biology class. Susan also had a fondness for whimsical applications, as demonstrated by the [paper dolls].” — Andy Hertzfeld, Folklore.org

Martin Kippenberger, Not to be the second Winner Part II, from the portfolio Mut zum Druck, 1989, screen print.

Hamburger Bahnhof, Berlin.

Uncovered and shown for Herman Miller’s Then X Ten exhibition in August 2012.

Fully Booked: Ink on Paper is a showcase of innovative books and other print products at the vanguard of a new era for printed publications.

Editors: Robert Klanten, Matthias Hübner, Andrew Losowsky
Design & editorial concept: Matthias Hübner

Exhibition poster.