A personal response and tribute to Müller-Brockmann that utilises and interprets his design principles but does not emulate them to somehow make a carbon copy of them. The tribute was inspired by reading his book Grid Systems in Graphic Design. Font used was Akzidenz Grotesk, a favourite font of MB, the text included in the poster is as follows:

Josef Müller-Brockmann, born in 1914 in Rapperswil, Switzerland, was a designer who found calmness and serenity in great reductive and constructivist design. As someone with several muses including theatre, music, mathematics, logic, illustration, teaching, and structure, Brockmann used these necessities of his life to boil down his work to its simplest form, creating beauty through unburdening his work of the unnecessary. — Sara Remi Fields

Based in the historic university town of Passau, Germany, Faber magazine is a liberal voice focusing on regional as well as cultural and social topics with a young and provocative tone.

In addition to life-style content such as music, gastronomy and nightlife, Faber also stands for opinion and critical examination of socially relevant, contemporary topics. According to its literal translation, the name Faber represents a high affinity for craftsmanship and art. These motives were decisive for us, which is precisely due to the physical nature of the magazine printed on newsprint as well as published by its graphic and content design.
Linked to this is the goal of being a young, cool, provocative, but above all, liberal voice in a livable and historic university town.
—Faber.de

Poster series and titles for There’s Something In The Trunk, a film by Daniel J. Egbert. The display type appears to be a cut from the Druk series—probably Druk Super—stretched almost beyond recognition.

Campaign for Life is Very Hard, a theatrical play by the Von Krahl Theatre in Tallinn, Estonia.

Double-sided promotional poster for the Typographic Summer Program with Dafi Kühne, an intense 2 week summer program in Switzerland for international graphic design students and professionals.

Letterpress printed in 3 print runs from Helvetica Plakat (plastic and wood) in 12 Cicero, Ludlow slugs from Record Gothic in 48pt, and brass rules.

Format: 55×88cm
Paper: Chromolux, 100g/m2
February 2018, edition of 250 posters on a FAG Control 900

Source: medium.com License: All Rights Reserved.

Launched in July 2017, Brandless is an online retailer offering grocery and household supplies exclusively under its own label, all for $3. The concept is simple, and so is the look. Still, even Brandless has a brand. The identity is based on solid colors, rounded rectangles, and minimal typography in a single typeface.

Neutral is obviously appropriate, not just for its name, but because it really was researched and engineered to be as neutral as possible, as elusive as that goal may be. Kai Bernau drew from a long list of comparisons and measurements to create the parameters from which the typeface was constructed. Its structure is essentially an “average” of typefaces from multiple sans-serif classifications. Neutral was originally designed in 2006 as part of his graduation project at the Type and Media program [correction: of the graphic design BA, see comments] at KABK. It was extensively revised and reissued by Typotheque in 2014.

Source: letterlabor.de Image: Kai Bernau. License: All Rights Reserved.

Measurements from a variety of Grotesque and Humanist sans serifs were the initial basis for Kai Bernau’s Neutral type design.

License: All Rights Reserved.

One key difference between Neutral (above) and Untitled Sans (below), is the stroke endings. Neutral’s are mostly angled. Untitled’s are mostly horizontal, in the Neo-Grotesque tradition.

The Brandless team might have chosen a different face with a similar idea: Kris Sowersby’s Untitled Sans, but it was released in March 2017, well after the Brandless identity project was underway. The design approach for Untitled Sans was very different than Neutral’s, but the result is unsurprisingly quite familiar, albeit closer to the rationalized modernist models of Helvetica and Univers due to its horizontal terminals. I think Neutral was the right choice here; its terminals (naturally perpendicular to the direction of the strokes) ultimately feel more brandless to me — plainer, less “designed”. Yet your perception may vary. Neutrality is inevitably in the eye of the beholder.

Source: www.facebook.com License: All Rights Reserved.

Source: medium.com License: All Rights Reserved.

Source: medium.com License: All Rights Reserved.

Source: medium.com License: All Rights Reserved.

Source: www.facebook.com License: All Rights Reserved.

Source: brandless.com License: All Rights Reserved.

Source: brandless.com License: All Rights Reserved.

Source: brandless.com License: All Rights Reserved.

Source: brandless.com License: All Rights Reserved.

Source: brandless.com License: All Rights Reserved.

Source: brandless.com License: All Rights Reserved.

Teaser poster campaign

What happens when a man who believes he has retired from MI6 is called back to do one more job to regain his life, only to discover that this job may mean he has no life to go back to.—IMDb

Deep State is a British eight-part espionage thriller television series starring Mark Strong and produced by Endor Productions for the Fox Networks Group Europe and Africa. The pilot is written by Matthew Parkhill—Wikipedia

Alias Cactus is used for title graphics.

Projection onto the side of a building

Translucent cover in London’s Metro newspaper

Launch campaign — Teaser trailer

Launch campaign — Teaser trailer

Launch campaign — Teaser trailer

Launch campaign — Teaser trailer

Launch campaign — Teaser trailer

Deep State Title Sequence

Deep State Title Sequence

Deep State Title Sequence

Deep State Title Sequence

Deep State Title Sequence

The Centre for the Study of Political Graphics (CSPG) explores the enduring power and immediacy of the political poster in the fight against inequality, their capacity to acknowledge and bring to light the injustices and atrocities of the world, and through their archival, keep alive the stories, voices and controversies that they have come to represent.

CSPG worked with Canadian studio Blok to develop a graphic identity that would honour the role the centre serves as a chronicler and catalyst, reflect its position as a participant in the fight for human rights, and leave space to frame and connect the graphic and bring to light the diversity of their political poster archive. 

Blok channel the impact, immediacy and communicative clarity of political posters into CSPG’s visual identity. They do this through type size, proportionality and arrangement, in conjunction with eye-catching colour and use of contrast. In their type-centric approach identity takes a step back and functions as a frame for the images and messages that have endured or caught the spirit of the recent past or employed today.

Read more about this project on BP&O.

“E agora, José? O Brasil em tempos de mudanças climáticas”, a report about climate change and the damage it will cause to our cities. Graphic design by Brazilian Estúdio Barca for Greenpeace.

The expansive and impressively responsive website for international design agency Critical Mass is built entirely around Trade Gothic and Plantin.