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The “Basics” are the introduction to the four-year Bachelor course in Visual Communication at the UdK Berlin. The Basics blog documents lectures, seminars, workshops and other events. The main typeface used on the website is NB Akademie (Neubau Berlin). It’s accompanied by Clarendon Graphic (Optimo) and Euclid Stencil (Swiss Typefaces) for teasers and header graphics. The same typographic palette is also used for lecture posters.

Creative direction: Thomas Lehner
Design & programming: Benedikt Rottstegge
Project management: Miriam Kadel
Image editing: Andy King
Video editing: Jana Tost

Poster for the lecture series “Fundamente” at the Medienhaus, May/June 2018. The design by Thomas Lehner uses Euclid Stencil as actual stencil on stylized price stickers, revealing the text in Clarendon Graphic and NB Akademie underneath.

Header graphic from the blog

Video still from an interview with light artist Jean-Louis Gafner. It’s unclear why Clarendon Graphic’s spacing of ts was altered here.

Poster for a lecture by Ulrich Schwarz about “Bauhaus Transfer” on the occasion of the exhibition New Bauhaus Chicago: Experiment Fotografie und Film at the Bauhaus-Archiv / Museum für Gestaltung, Berlin, February 2018. Design: Thomas Lehner

Teaser image for a blog post about André Vladimir Heiz’s lecture on “Grundlagen der Gestaltung” (Design Basics), January 2017.

Cendrillon — feat. Saracen and several styles from the Druk Collection (incl. Cond. XX Super and Wide).

Graphic Design for Théâtre de la Porte St Martin in Paris.

Each poster is printed in spot colors with multiple typefaces in use. Designed between 2015 and 2018 by Pierre Jeanneau.

Le Tartuffe — Bodoni MT Black and Druk. The letterforms used for the title are custom drawn.

L’Oiseau Vert — more Saracen and Druk.

Les Femmes Savantes — Bodoni MT Black and Cond. Bold paired with Aura, a version of Anzeigen-Grotesk.

Le Jeu de l’amour et du hasard — Druk is combined with Trianon Normande.

Cuisine et Dépendances — A2 Beckett, CG Triplett Black, Bodoni MT Black and Condensed Bold.

Le Tartuffe — Optimum Compress (with lowered caps) in combination with Druk and Sabre.

Poster in a Métro station in Paris.

Poster adaptation for an illuminated Morris column.

Posters in a Métro station in Paris.

Vögel von unten betrachten (“Viewing birds from below”) is a publication conceived by photo artist Mara Pollak, featuring footage found on the Web. The book was self-published in an edition of 50 copies and is available from the artist.

The design was provided by Sophia Goedecke, using the typeface Charon by Matthieu Visentin:

The book cover was initially typeset using the trial version of Charon, which doesn’t include umlauts or other special characters. That’s why I built myself a makeshift ‘Ö’ from ‘o’ and ‘e’. I later licensed the full version, but by then, the stacked umlaut had grown on me, and so I kept it — a happy accident!

“L’ADN is a quaterly magazine that reports on trends, communications and anticipations.” Or at least so we are told by Parisian designers Violaine & Jérémy, whose treatment of L'ADN features a distinctly contemporary blues. The angular mix of Euclid Flex and Stanley constrast beautifully with the continental goof that is the Kayo-weight of Gill Sans.

Pentagram partner Eddie Opara and his team invite you all to the typefest that is the late 2016 redesign of American magazine The Baffler. A modified Graphik serves as entrée and logotype, enveloping a complex system of types and moods.

Pentagram:

The designers worked with the editorial team to reorganize and rename the departments, including Salvos for essays and non-fiction reporting, Outbursts for opinion pieces, and the self-explanatory Poems, Art and Stories. These content types are shuffled throughout the publication, rather than grouped in specific sections. Instead, typography is the organizing element, with a diversity of typefaces used to signal different kinds of content. The various fonts are used in combination to provide a distinct voice for each category, an approach that reflects the magazine’s wide-ranging viewpoints and borderline-unruly personality.

The myriad typefaces include Stanley for essays and non-fiction reporting related to the issue theme, Domaine Sans for opinion, and Euclid for art pieces like poetry and stories. Graphik is employed for elements of the Baffler identity, such as the editor’s letter, page numbers and other identifying information. Text appears in Lyon, Euclid or Domaine Sans, depending on the content. Other fonts that play a role are Post Grotesk and Knockout. […]

Opara and his team created comprehensive guidelines for the identity and a style guide for the art direction of the magazine, which has been brilliantly implemented by The Baffler’s new art director, Lindsay Ballant, in the first issue of the relaunch.

Ballant also assigned and art directed all of the illustrations shown here.

Table of contents. Various typefaces are used to differentiate sections and subject matter.

Opening spread of an essay by Suzy Hansen in the Salvos section. Photograph by Lindsay Ballant. Heading in Lyon Display.

Opening spread of an essay by Robert Westbrook. Lettering by Jessica Hische.

Opening spread of an opinion piece, featuring Domaine Sans

Short stories appear on sky blue pages.

The magazine’s grid has been redesigned for greater flexibility.

Poetry appears on yellow pages.

Type size can be blown up to grab a reader’s attention.

Opening spread of an article by David Gambacorta. Photo-illustration by Lindsay Ballant.

Opening spread of an article by Joel Whitney. Illustration by Jon Han.

In 2014, the Swiss studio Hauser, Schwarz conceived the entire re-branding of the internationally acclaimed Orchester für Neue Musik / Basel Sinfonietta.

Euclid Flex is in use for the logotype, posters, website and other media.

Electron Festival 2016 “Bad Edition”. Global campaign (print and digital) and visual identity by the Geneva-based UNE® agency.

The Euclid Flex collection is available from Swiss Typefaces.

“Poster design and visual communication of the Jval Openair Festival 2016, located in Begnins, Switzerland.” — Emphase

The Euclid Flex collection is available from Swiss Typefaces.