Everett has been used by ECAL for their open days in February 2018. The communication included posters, flyers, banners, digital medias as well as graphics for their exhibitions and presentations.

Photography by ECAL/Calypso Mahieu, design by ECAL/Valentin Kaiser.

Thanh Phong Lê, atelier Travaux-Pratiques, conceives and carries out communication projects for many protagonists of the transformation of the city. He designed the visual identity for École Camondo with Maax, created by Damien Gautier.

Photographs: © All rights reserved — Thanh Phong Lê / Travaux pratiques © Julien Lelièvre

Catalogue and guide for the photography exhibition North: Fashioning Identity at Somerset House, London, designed by B.A.M.

This winter, Somerset House is proud to present North: Fashioning Identity, an exhibition examining representations of the north of England and Northerners in photography, fashion and art.

North: Fashioning Identity features over 100 photographs, fashion garments and artworks from a host of renowned photographers, designers and artists including Alasdair McLellan, Corinne Day, Mark Leckey, Jeremy Deller, Raf Simons, Paul Smith, Off White’s Virgil Abloh, Peter Saville, Stephen Jones, Gareth Pugh, Nick Knight, Glen Luchford, Jamie Hawkesworth and David Sims, plus the likes of Shirley Baker, John Bulmer and Peter Mitchell.

The Riviera typeface is available in the Lab of Swiss Typefaces.

The identity for the Science Museum Group was created by North Design. It is based around the custom typeface SMG Sans, which is derived from the Copy typeface. Logos for each museum of the group use the same font family and layout, with words stacked on top of one another, and letters gradating from bold to light. The typeface comes in six weights from fat to light. Its uniwidth design provides a consistent shape and positioning as the letter weight changes in the animation.

Initiated by Stichting Print, 366 Dutch designers contributed to a calendar book. Each designer received a random date and was asked to design a spread for it. The book is printed in black and white by 7 different printers in the Netherlands. The overall design is by Melle Hamers.

The spread for 25 August was designed by Vincent Meertens using Osmose.

The Vinebox website shows the GT Super Display and Cerebri Sans webfonts in use.

GT Super will be available later this year from Grilli Type. Cerebri Sans is available from Hanken Design Co.

Founded in 1997, The Cooper Union Intra-Disciplinary Seminar is a public lecture series that invites artists, theorists, activists, designers, writers, curators, and more to discuss their practice. NYC-based creative agency Polyphony created the a visual identity for the Fall 2017 series using several weights of Halyard.

See also the entry about the accompanying website.

Tabloid posters, using a single color for each speaker. The names are in Halyard Display Black.

Bookmarks

Since 2014 Slanted magazine’s design team uses Suisse Int’l as part of their editorial identity (except n°23). Inside they also use other type families from the Suisse font collection, namely Suisse Works and Suisse Neue.

For this Peter Jellitsch monograph, graphic designer Ines Cox employs BTP, a completely angular type. The straight sides are bold contrast to Jellitsch smooth shapes, while the off-white paper give the black and white reproductions an almost readymade feel.

When crafting the identity for art festival Bâtard 2016 the amazingly talented Ines Cox and Ward Heirwegh used Schick Toikka's grot Dia, endlessly repeated and set to large fields of dark red. Cox uses the alternative, razor-sharp diacritics and punctuation found in the typeface to cut through the bold graphics. The capital ‘Â’ in Bâtard has even been modified to further accentuate the contrast.

Lavmi is a live intersection of art and commerce. It is a brand that sets the trends in interior design. Lavmi is a synonym for wallpaper. And of course Lavmi loves typefaces!

Babeta Ondrová used Suitcase & Briefcase Type Foundry typefaces for creating set of five wonderful pictorial and typographic wallpapers, for your home or studio. All the patterns consist of powerful graphic design, combined with refined colours. You can decide whether you put on your wall a single glyph or the entire type foundry set. Lavmi philosophy is to bring style into your homes – style that is well aware of its primary function.

Lavmi was established in 2009 by Babeta Ondrová and Jan Slovák. They creates designer wallpapers and interior accessories that meet high aesthetic requirements, have their own style and originality that resonates with the uniqueness of their customers. Lavmi run a store in the centre of Prague and theirs wallpapers are available in more than twenty countries.

Lavmi wallpapers are printed on non-woven material that represents the very latest generation of wallcoverings. It faithfully reproduces designs and is strong, permeable and easy to work with. It contains no PVC or heavy metals. With water-soluble inks that are lightfast and free of solvents, Lavmi wallpapers satisfy all requirements for healthy homes. Wallpapers are printed in the EU.

https://www.suitcasetype.com/blog/unique-cooperation-lavmi-brings-our-typefaces-on-your-walls

Poster design for a special event held at night at the UQAM Design Centre.

The Labelmaker:

SOULMATEs is very new project created for young Stratsin Winery. […] While trying to keep everything simple, contemporary and unique, I decided to use only one typeface in my design — the amazing Quasimoda by Lettersoup with its balanced geometry and modern look was [an] excellent addition to my work.

The True Honey Company (TTHC) dedicates itself to the production of mānuka honey, a monofloral variety produced in Australia and New Zealand from the nectar of the mānuka tree. It has a unique colour and texture, and a high level of Dietary Methyglyoxal, an organic compound with antibacterial and antiviral properties.

With a price range starting at 60.00AUD and rising to 230.00AUD per jar, and working in a market flooded with sub-standard honey and dishonest marketing, communicating the value of product and the commitment of TTHC to quality and ethical production through an impactful and engaging brand identity and packaging design was paramount. This task was given to Auckland-based graphic design studio and packaging specialists Marx Design who collaborated with Think Packaging and writer Kate Phillips.

Read more about this project on BP&O.

Mammoth is a roving ice cream bike operated by Luke Poland.

The design represents the colours and flavours of ice cream in summer, and is effective in creating a strong point of difference from other bicycle traders.

Featuring a customised typeface based on TDF's Madras for the logotype.

Dance Ink was originally published from 1989-1996 and developed a cult following among dancers, photographers, and designers. Originally produced as a quarterly, Dance Ink won numerous awards for writing, photography, and design. Dance Ink gained recognition for its coverage of dance and its close connection to dance and performance in New York City. Our relaunch of Dance Ink picks up where we left off in 1996, with the publication of Volume 8, Number 1. The issue returns to our original premise of creating a unique and enduring stage for performance, using great photography, powerful design, and the beauty of high-quality printing. – 2wice

Ano Bold, in Regular, Italic and Back Italic versions is used throughout.

Branding and signage for Oath Craft Pizza. by Breakaway. A combination of Futura and Orator to create a modern look. Designer: Javier Fuentes, Creative Director: Scott Maney

Walter is “a machine that translates the states of the sea into spoken language”. It was made by multimedia artist Lotte Geeven in collaboration with Thomas Grill.

The book creates a collection of words, set in the Monotype Grotesque, in reaction to the sea’s shifting conditions; peaceful texts when the sea was calm, illuminated by daylight, while a treacherous sea spoke of terror and loss, during episodes of darkness. Walter the publication collects those phrases; its column structure decreases at its end, as words increase in ‘heaviness’ and therefore become larger. Walter ends with an index of the three axes — x, y, z — which combine to create the many “moods” of the shifting North Sea.

A printed sheet with myriad possibilities.

The aim of this project was to produce a flexible and high-quality stationery with a pleasant touch for our studio. To produce various printed materials in a single pass, we have screen-printed on a sheet with different formats, patterns and applications. The open textured and sand-colored cardboard was printed with white, writable color. A special feature is the large dot-matrix sheet from which we have made various applications such as folders and notebooks. In addition to business cards and short messages we made some postcards and buttons. The print project is complemented by utilities and tools, such as printed tape, stamps and an embossing press to individualize the printed matter and to produce additional applications such as shipping envelopes.