Source: www.labiennale.org License: All Rights Reserved.

Free School is Free Space is the title of an exhibition by Branko Stanojević for the Serbian pavilion at the 2018 Venice Biennale.

This work was inspired by a drawing on the wall that I found in the basement of the house which used to be Bogdan Bogdanovic’s Village School of the Philosophy of Architecture from 1976 to 1990. After the school was closed, over its long history of decay, the house became a free space for refugees, football players, hunters, vagrants. … The exhibition initiates a mythical game between Bogdan Bogdanovic’s surreal cosmos in his city glossary of terms and the new images of present moments representing inquisitive and critical contemplation of the past and projections for the future on city free spaces.

Source: twitter.com Photo by Rinaldo Zanone. License: All Rights Reserved.

Source: twitter.com Photo by Rinaldo Zanone. License: All Rights Reserved.

Headlines for the exhibition signs and catalog are set in Serbian, English, and Italian using Roman Gornitsky’s Soyuz Grotesk, a typeface with a Cyrillic character set and a Latin that pulls heavily from the Cyrillic. Soyuz was selected by Ksenya Samarskaya for Typographica’s Typefaces of 2017:

Other scripts constantly try to figure out how to adapt to fit the models set in place by Latin. Hebrew designers ask “What is italic?” or “What is bold?” because software defaults to that quadrant. Thai designers are forced to consider “What is a serif?” or “What is uppercase?”

Some of the most interesting queries posed by Soyuz Grotesk are the ones that get asked when Gornitsky, in a clever bit of reverse-translation, draws in a brand new Latin.

Nenad Dickov was responsible for the type choice.

The design for the exhibition had to be a minimal, complementary device that would only enhance the experience of the visitors while still leaning on the familiar notions that Boganović and the period during which he worked have left behind in the rich history of memorial architecture and avant-garde design and art.

The core of the identity was the font called Soyuz Grotesk which I had modified to accommodate a few specific Serbian characters with the kind permission of the author of the font, Temporary State. Its intricate execution and merger of the characters were both an homage to Bogdanović’s very specific style as well as an archetypal hint at the very philosophical themes that the entire exhibition tackled.

Source: nenaddickov.tumblr.com License: All Rights Reserved.

Source: nenaddickov.tumblr.com License: All Rights Reserved.

Source: nenaddickov.tumblr.com License: All Rights Reserved.

Source: nenaddickov.tumblr.com License: All Rights Reserved.

Hospital Sant Joan de Déu Barcelona is a teaching hospital specializing in the fields of pediatrics, gynecology and obstetrics. It is located on Passeig Sant Joan de Déu in Esplugues de Llobregat, a municipality bordering Barcelona, Catalonia (Spain). It is a privately owned center concerted by the Catalan Health Service which belongs to the Hospitaller Order of St. John of God, a religious organization that manages nearly 300 health centers over the world. The center has 362 beds and 12 operating rooms. It employs more than 1,200 professionals and attends every year more than 4,000 births, 130,000 emergencies, records 26,000 admissions and 13,000 surgeries are performed.

Student project for Typography class at the Sam Fox School in St Louis, USA. The purpose of this final project was to create a clear typographic system using a strong grid that allowed for typographic variation as defined by a range of editorial content. I interweaved the assigned Beatrice Warde essay, “The Crystal Goblet” with Michael Bierut’s piece “I’m With Her” to show how Warde's essay can be used as an analytical lens to view Bierut’s “H” logo.

This print experience visually gives the reader windows with transparencies and outlined type to highlight the complementing window theme between Bierut’s and Warde’s respective essays.

The research investigates the possibility of telling the same historical events in different ways and forms: Tano D’Amico through the photo-reportage and Pablo Echaurren with illustrations and comic strips. The analysis of both authors focuses on 1977, a decisive year for the Italian counterculture.

The typography is set in LL Unica 77 (Lineto), using its alternate setting with rounded dots for tittles and punctuation.

Soil 2017 is a book published by Slow Money, a non-profit dedicated to catalyzing the flow of capital to local food systems. This book serves as a wide-ranging, often irreverent reference on the topic of nurture capital, from global economics to microbes in local soil. We worked closely with author and Slow Money founder Woody Tasch, to create a book that reflects its sustainability-focused contents.

The optical sizes available in GT Sectra (Text, Display and Fine) were all used extensively in this book. Robinson was used for sidenotes and captions.

Soil 2017 uses various weights of Neenah Conservation, a beautiful line of paper that’s 100% postconsumer recycled. Conservation is also exceptionally economical, making it a great choice for projects with limited budgets. We were thrilled that the book’s writing, editing, design, print production, and binding all took place within a five mile radius. Not only is this hyper-local approach analogous to the book’s core proposition, it results in a markedly reduced environmental impact since, typically, a significant portion of a book’s carbon footprint comes from transportation emissions.

Student project for the Postgraduate Diploma in Photography and Editorial Design in EINA School of Design in Barcelona, Spain. See more at Behance.

Magma is a scientific magazine that specializes in geology. Renowned by the quality of its scientific research, Magma also highlights the earth’s aesthetic beauty in shapes, colors and textures.

Supreme Members Club is a hardback book (94 pages, size B5) that gives an in-depth analysis of skate and streetwear label Supreme’s global yet exclusive success. It uses Tightype’s contemporary sans-serif typeface Moderat. This project, originally my dissertation for the Kingston University, was later turned into a publication.

Fanette Mellier chose Helvetius by Matthieu Cortat to design the 369 manuels. This series of textbooks retraces collective experiences that seek new answers to contemporary ecological, social, cultural and technological upheavals. The first three issues were published in June 2018 by 369 Éditions.

Graphic design: Fanette Mellier
Editorial Direction: Clémence Seurat, Jérôme Delormas
Illustrations: Louise Drulhe
Helvetius is available from 205TF.

Front cover — note the fold-out gallery wall

At the annual meeting of German art school galleries, curators and directors meet to discuss contemporary ideas of curating- and museum-education. Each year, the meeting takes place at a different art school (or its respective gallery).

The booklet Jahrestagung 2016 — Bundesverband der Hochschulgalerien accompanied the 2016 meeting, which was held at Hochschule der Bildenden Künste Saar in Saarbrücken.

Kai Bernau’s Lyon typeface family, released by Commercial Type, is used throughout the book in its Text and Display variants.

The book design is rather restrained: only a few (rather small) type sizes, bright white (the manufacturer labels it absolute white) paper and an open binding reflect the design idea of a white-cube art gallery. To give the cube a twist, the front book jacket flap is folded out instead of folded in. It casts a straight shadow to interrupt the flat, white surface and partially hides the cover; in a way like a physical door would block your view before entering a gallery.

The book starts with 20 gallery profiles in black-and-white

The essay layouts

Images in the essay section are reproduced in full color

Just as the footnotes in the essay section, image details/image credits are rotated by -90 degrees

Back cover — featuring an image of a very traditional local barbecue

This (fictional) publication comprises five essays, written by Beatrice Warde, Gerard Unger, Hans R. Bosshard, Paul Stiff and Ewa Repucho. All the texts take up the themes of typography, legibility and the broadly defined attitude of a designer. The contents are food for thought on the moral stance of any designer, without being a ready-made code of conduct.

The typography uses Siri and Ivar Text, both designed by Göran Söderström / Letters From Sweden (and both typefaces are named after the designer's children).

A Readymag website designed by Pavel Kedich, presenting an article by Keith C. Heidorn about Wilson Bentley's life and work. Pictures courtesy Metropolitan Museum of Art, text set in Suisse Int’l Book.

Keith C. Heidorn takes a look at the life and work of Wilson Bentley, a self-educated farmer from a small American town who, by combining a bellows camera with a microscope, managed to photograph the dizzyingly intricate and diverse structures of the snow crystal.

Poster for the Spring 2018 ArtCenter Graphic Design Lecture Series. Neue Haas Grotesk is the corporate typeface for ArtCenter. The typography is seriously Swiss which allowed for the off-kilter headshots of the speakers.

Poster for an exhibition of Truman Capote at The New York Public Library. The image was provided by Richard Avedon. Bodoni was chosen as an homage to Avedon's books, the popularity of Bodoni in the 1950s, and a nod to the Didot on Capote's In Cold Blood cover. The type was set with a Phototype compositor in the days of waiting 24 hours for the type galleys to come back from the typesetter (smelling of cigarette smoke).

COLLEZIONE 200 is an exhibition/itinerary created on the occasion of the celebrations for the bicentennial of the independence of Fermignano.

Six groups of designers, students of design university ISIA Urbino started out with the study of local history and a survey of the present, to bring themes related to local identity and living to the attention of inhabitants and visitors.

The project was born from the identification of six fictitious finds of a more or less recent past of Fermignano. Each of them is the starting point for a reflection on places, facts and people of a local history that opens to general considerations, whose relevance exceeds the territory.

The project was realized by the students of the second year of the specialized course in communication, design and publishing, curated by Jonathan Pierini. The publication shown here was published as an insert in the Italian newspaper Il Resto Del Carlino.

Master Thesis of Spaces & Communication at HEAD-Genève 2016, conveived and designed by Lisa H. Moura and supervised by Alexandra Midal.

“What is it that makes us feel that we belong to a certain place?” This question introduces the analysis of the ways design can influence, create and reinforce feelings of self or collective identity. Droid Serif, being a typeface with a classic feeling, but a bold voice, suits the subject perfectly, as it shows both the 'dreamy' aspect of the moon, as well as its undeniable force in the collective imagination.

On the website:

Inspired by thematically focused funds like Closed Loop Fund and GovTech Fund, we want to be at the top of everyone’s mind – and the first phone call among mission-oriented founders – in five areas that interest us most: Cities, Money, Consumer, Kids, Health.

Unlike many other uses of the system font Georgia, Collaborative Fund’s use of it feels refreshing and more importantly, unabashed. It proves that although we see Georgia most ubiquitously and frequently in its dull and careless form, the right typesetting can bring back its shine.

Altreconomia is a monthly Italian magazine related to fair trade, ethical finance, international cooperation and the environment.

Redesigned by Luca Pitoni and Tomo Tomo
Editor in chief: Pietro Raitano