1971 Bantam Books edition of Fredric Brown's Rogue In Space featuring a striking use of Photo-Lettering’s Pacella Barrel, a very similar typeface to Gemini Biform of the same era by Lettergraphics or FotoStar (the difference lying in the counters, and execution of the alternate shapes, e/a/n/m/w).

Illustration by Lou Feck (uncredited, but signed).

ISS is a book about the International Space Station. It recapitulates the One Year In Space mission during which the American astronaut, Scott Kelly, went to space for 342 days, while his twin brother Mark stayed on earth. Each page of the book corresponds to one day. The book is accompanied by an augmented reality application.

220×310 mm, 352 pages

This project revolves around a fictitious exhibition that could take place at Phaidon Gallery (Phaidon Press' gallery space). The concept for this exhibition is to showcase the works and lives of some of the most brilliant architects during the Brazilian Modernist movement. Brutal focuses on Brutalist constructions and on the social tensions that have always been an inherent part of the Brazilian experience.

The design of modular custom typography speaks to the constructions themselves, while the boldness of the colors serves to establish a second layer of visual tension. This language travels across media, from print, to web, and ultimately merges back into space through an interactive installation, completing a full cycle.

Processing.js and a kinect sensor were used to transform the exaggerated typographic forms of the installation into a platform where one would be able to appreciate the works of architects such as Lina Bo Bardi, Oscar Niemeyer, and João Vilanova Artigas. A reactive response is prompted as the user walks towards or away from the installation, and constructions reveal themselves or hide in-between the exaggerated typographic forms.

For more images, please visit my Behance page.

This project has been made possible at ArtCenter College of Design.
Special thanks to Brad Bartlett, Ivan Cruz, and Miles Mazzie.

It won’t be obvious to anyone but type nerds, but I commend the designer for the atypical font choice on these stamps. No Helvetica or Copperplate Gothic or Myriad here; instead, the typeface is perhaps a little wink to those few who do notice: Galaxie Polaris.

For the 56th Venice Art Biennale, the German Pavilion becomes a resonant space in which the productive sound of a globalized world can be heard. Starting from their varied reflections on the notions of ‘work’, ‘migration’, and ‘revolt’, the four artistic positions transform the building into a virtual factory. The works by Hito Steyerl, Tobias Zielony, Jasmina Metwaly / Philip Rizk, and Olaf Nicolai can be read as a parable for the metamorphosis of visual media — from pictures as classical recordings to the creation, processing, and projection of images.

“Graphic Identity for the Mick Lally Theatre, the performance space at Druid [theatre company’s] home in Galway” — Bite! Associates

The Futura-style type used here is likely Spartan which had the ‘1’ with a flat terminal. The title could be Microgramma or Eurostile. The tagline is in Data 70, a 1970 design by Bob Newman in that familiar retro-futuristic MICR-influenced genre occupied by Amelia and Computer. Data 70 was also used for this Hungarian 2001 poster.