Global Relations shaking things up with their “Black Queer Global Conventions”: musical events and podcasts celebrating nightlife, talking about race, gender and music through the lens of Queer Trans Black, Indigenous and People of Colour and sharing thoughts on how to improve these institutions for the QTBIPOC community,

The design relies mostly on the amazing pictures that the artists gave me. The point was to make something bold enough with the type and layout, so it could be seen on the social medias.

Still using the amazing Funkford by Dave Coleman as part of the already established identity. The title is set in Sinistre by Jules Durand (aka @lazy_dog.ttf), wich is pretty fun to mess around with such an audacious character design and astonishing ligatures and features. And the type making sure the informations are visible is Yann Le Coroller’s Alte Haas Grotesk, which I love to use.

Carlos Bocai & Julia B Aguiar from Anywhere designed a custom T-shirt for the Future Print Club Project. Everpress produced the shirt as a special edition and 100% of the profits were donated to Casa 1, a Brazilian NGO that hosts and supports LGBTQIA+ youth.

The T-shirt features the rarely told timeline of the Brazilian queer fight for civil rights. Anywhere envisioned a product that would be educative but also would represent a statement. Therefore, Marvin Visions’ nostalgic and bold visual style was appropriate to embody this message. It also creates an interesting contrast when paired with Times New Roman and Helvetica Condensed. The mix of typefaces was inspired by Brazilian alternative press publications aesthetics that would frequently contain various styles.

“O amor LGBTQIA+ é lindo”

A Sidewalk Story is a short film directed by Andrew Price about the community-organized and run sidewalk sales at McGorlick Park in Greenpoint, Brooklyn. For the title and credits, I used Savon Regular and Italic by Fanny Hamelin, Loan Bottex, and Léo Guibert. The poster was designed by Dan Forkin.

The Taste of Chicago is the world’s largest culinary festival. More than just food, activities have included live music from artists such as Janelle Monae, Chance the Rapper, and Los Lonely Boys.

This year the City of Chicago partnered with the Design Museum of Chicago to commission Nick Adam of Span to design materials that would raise money for the Arts for Illinois Relief Fund.

2020 marks the Taste’s 40th anniversary, starting in 1980 with Mayor Jane Byrne continuing today with Mayor Lori Lightfoot. This year the festival won’t take place in Grant Park due to COVID-19, the Taste of Chicago has been reimagined to showcase the diversity of Chicago’s culinary scene while supporting local nonprofits and frontline workers with free meals.

As Chicago is globally known for its style-writing (from lettering to graffiti) our Taste logotype utilizes and modifies a highly-stylized flat brush typeface from OH no Type Company. Swear was released earlier this year through Future Fonts. The custom block lettering is inspired by Chicago style architecture and by Jackson Cavanaugh’s AGI poster.

A visual research about the aesthetic of Roman monuments and buildings. A journey from historical sites to contemporary architecture, exploring the relationship between sky and volumes. This personal project started from photos I took in and around Rome. The locations were then further explored in editorial form. Cirka is used throughout the booklet.

Rolling papers designed for Pussys, “an Irish group producing exhibitions, talks and a magazine reflecting the changing of youth culture, sexuality and gender roles in Ireland as it shifts away from a religious state to a more open-minded one. Highlighting the underground club spaces where these ideas grow.”

One of a Type is a book curated, designed, and published by Ciao Ciao Studio. It is a catalogue that collects the materials of a collective exhibition, organised by the studio in Palermo on the occasion of the Manifesta biennial in June 2018.

Thirty-two international designers narrate Palermo’s cultural identity: each guest was invited to express in a graphic way their own vision of the city through the design of a single letter of the alphabet. One single type. The uniqueness of Palermo is expressed by each character, while the sum of the letters creates a dissonant alphabet, consistent with the ever changing, multicultural nature of the city.

The book is a typographic research, a journey that shows and narrates the imaginative stories hidden behind each letter of the unique alphabet.

Founders Grotesk by Klim is used throughout for the Italian texts, while Self Modern from Bretagne type foundry is used exclusively for English texts. The use of two typefaces helps highlighting the two languages in which the book is written. One of a Type is printed on Favini papers.

For more information about the book please contact Ciao Ciao Studio.

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

Eurostile Bold Extended in use for a collaboration by Pigalle and Nike.

From Nike.com:

Since 2014, Nike has worked with Parisian Stéphane Ashpool’s Pigalle in a mutual celebration of basketball’s pure cultural impact. The collaboration has generated a series of apparel and footwear collections, and also focused on supporting community-building programming by providing safe harbor for players. […]

“Our court in Paris birthed a community,” says Ashpool. “We transformed a parking lot into a place that has fostered a family and inspired people. All the subtle details that can make this magic happen were united. It was the best learning for me, and now it’s the right time to work in expanding this scheme, staying organic, authentic and focused.”

Pigalle x Nike. License: All Rights Reserved.

Source: www.instagram.com Pigalle. License: All Rights Reserved.

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

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

Source: news.nike.com Pigalle x Nike. License: All Rights Reserved.

The Nike x Pigalle basketball court in Beijing.

Source: news.nike.com Pigalle x Nike. License: All Rights Reserved.

The new Nike x Pigalle basketball court in Mexico City.

It's Nice That’s Review of the Year 2019 series reflect and take a look back at the year, picking out the best, most-read stories and uncovering key trends. For the identity of this year's review, Elsa Müller from It's Nice That designed the graphic material shown on their website. She worked with Johannes Schnatmann to create two linked but distinct identities with 3D-rendered compositions for the two parts of this series. The identities focus on embossing and debossing, and on materiality to create a strong sense of the past and future. As Elsa puts it herself:

“The idea was to express this duality of past and future through contrasting materials. We chose to make Review of the Year in a rather organic and softer universe, whereas the Preview of the Year feels rather sharp, reflective and shiny.” We’re also incredibly pleased to be using a typeface, Ambiant Sans, across both identities that was designed by one of our 2019 Graduates, Laura Csocsán.

The identities feature Ambiant Sans designed by Laura Csocsán, and custom lettering.

Laura Csocsán’s Ambiant Sans typeface in use in the identity

Fonts are embossed and debossed on the images used for Review of the Year identity

Ambiant Sans typeface in motion, used in the identity

The two fonts in use for the identity for Review of the Year, as seen on the "in progress" picture.

Dominic Xavier is a Melbourne based photographer. His latest series showcases the diversity of Iran’s landscape and the ornate daily rituals of its inhabitants. The contemporary calligraphic typeface nods to Persian type traditons while providing a beauty and elegance — juxtaposing against the rugged landscape captured throughout the work.

Covers

Elvin Hu designed this book series of printed scripts from popular musicals as an unpublished student project.

Hu approached series from the perspective of a book buyer: “When someone buys a script book, they either love theatre scripts, they have a favorite show in mind, or they are buying it because their professor or director told them to.” He wondered if he could design a unified series where readers could easily spot the script they are looking for, even when all the books look essentially alike.

His solution was to fill the cover with the initial letter of each title. Using colors from each show’s original branding, he was able to give each script some sense of individuality while have them fit nicely into the larger visual system.

When it came to choosing a typeface for these gigantic initials, Hu says, “Fit became an obvious choice because of its versatility and eye-catching design when used as at a large scale.” Fit is also used to set the title on the back cover, with words sometimes split to create interesting text shapes.

Meanwhile, FF DIN is used in all the places where actual legible text is needed: the titles and themselves, the spines, as well as author names and supplemental text on the back cover.

Hu also gave the covers an intentional slightly-worn look, a nod to the many pirated photocopied scripts on the market.

Back covers

Spines

Wicked, front cover

Wicked, back cover

Dear Evan Hansen, front cover

Dear Evan Hansen, back cover

Rent, front cover

Rent, back cover

Next to Normal, front cover

Next to Normal, back cover

Natasha, Pierre & the Great Comet of 1812, front cover

Natasha, Pierre & the Great Comet of 1812, back cover

Poster designed for the exhibition 12 Poster & 26 Studenti per Roberto Pieracini Anarchico Sistematico at ISIA Urbino, Italy. In memory of Roberto Pieracini, December 2018.

ID Studio is a Warsaw-based architectural studio characterised by its holistic design approach. Unwind Studio aimed to design a new visual identity and a website that will reflect its practice. The logotype letters have been customised. This allowed us to work with unique typography, consisting of a double line, refering to technical drawings used in architectural plans. The rest of the visual identity uses Wigrum Regular. With its sensitive geometry, it highlights ID Studio's technical know-how combined with an individual client approach.

Founded in 2001, Rational Games provides professional coaching services to select customers worldwide. The unique feature of their method is the playful approach used to teach concrete negotiation skills. In short: playful negotiation training for serious people.

The interaction of unconventional methods and definitive conflict resolution is visualized by a typographic system that combines a classic grotesk typeface with playful letters. The new word mark symbolizes the strategic moves that take place during a negotiation on a subtle, graphic level. Within the word mark and headers, rational arguments alternate with emotional movements. Despite the use of bright red letters – a color known for its association with conflict – its use speaks for the dynamic optimism and friendliness of the new brand identity.

Where the tracks meet, where old meets new, where history meets opportunity, and where urban meets the outdoors, lies Junction House. Find your home here.

Junction House explores the rich history of the Junction neighbourhood, drawing inspiration from the art, fashion, and liveliness that knits the community together. A wealth of transit options combined with a diverse range of retail shops, restaurants, galleries, and cafés create a dynamic and vibrant neighbourhood for residents of the Junction.

The creative strategy and brand identity for Junction House was created by Vanderbrand. The team delivered a cross-platform marketing campaign that highlights the work of Toronto’s award-winning architectural studio, superkül.

A refined, modern grotesk typeface was the ideal choice as it allowed Vanderbrand to create a vision that was dynamic, yet unobtrusive. Implementing a minimal black and white graphic language was a strategic choice for its timeless and refined quality. To capture the vibrancy and growth of the community, Yves Klein Blue was used in the marketing materials to highlight the transformative nature of this project in the eyes of future residents.
The logotype is intentionally contemporary, yet confident, which allows for more modern applications of the brand. Additionally, animated assets were incorporated into the marketing campaign to increase engagement and excitement from the public. — Vanderbrand

Creative Studio Unravel is a Seoul-based interior design studio, focused on creative spatial design solutions. Graphic designer Jaehoon Choi designed their visual Identity and the company's new project book, archiving their works in 2018.

The book uses a minimalist approach for typography and photography. The stationery (post deliveries, message card and invoice) is designed with the same identity system, using the Suisse Int’l typeface.

After a careful pre-selection in June 2017, the two architects Manuel Jüni and Beat Buri, short MJ2B, commissioned Atelier Pol with the conception and design of their corporate identity.

The developed grid system based on the logotype/address block defines the uniform design through all applications. The minimalistic typographic approach works without the additional use of a graphic mark and is letterpressed on colored paper. On the website, the numerous award-winning projects interactively share the space with generous typography, which is responsively arranged along the grid system.

Traverse issue 01 is a paper version of the Carnets de traverse blog, and a visual interpretation. Content (texts and photography) by Renaud Bonnet & Julie Sarperi.

Typefaces: Apoc by Blaze Type & Damocles by Antoine Elsensohn.
Made during a workshop with The Shelf Company at ECV Aix-en-Provence.

For my simple portfolio website I chose Founders Grotesk because of its lightness and good readability in smaller sizes, plus I also like the look of its low x-height. IBM Plex Mono looks like a good match to me as it seems to work fine with Founders Grotesk.

A digital poster for I Don’t Want to Interrupt You Guys (IDWIYG), an event at Jonah Bokaer Arts Foundation featuring three pieces in conversation:

Mamimumu by Leonie Bell; We’ll Have Clean Walls by Marcella Murray; and Hand Poems by Hyung Seok Jeon.