Student project for the Sam Fox School of Design & Visual Arts in Saint Louis, USA.

This calendar events poster was designed for the Fall 2018 events at the Sam Fox School of Design & Visual Arts. In this project I was not restricted to existing brand guidelines from the school, but was consulted on primary events and key highlights to embrace for the season such as the Public Lecture Series. I used Timmons NY by Matt Wiley and United Sans by House Industries to emphasize the breath of architectural and geometric work largely planned for the semester.

Koch Nueland shown on the front cover, paired with ITC Kabel (Expressionist prints)

The German Revolution (1918–1919) was a period of anarchy and violence that broke out at the end of the First World War, in Berlin and other cities. This publication accompanies a centenary exhibition at the Hunterian Art Gallery, University of Glasgow, from 1 March to 25 August 2019.

The book uses Hawkland for text throughout, ITC Kabel for running heads and Koch Nueland [P22’s version of Neuland, see comments] on the cover.

Chapter opening using Hawkland

Detail of footnote set in Hawkland

Page spread showing Hawkland for text and Kabel for running head

Chronology information set in Hawkland with Kabel for running head

Jubilat is used by PopCo, a manufacturer of “bold, delicious & handmade popsicles”. The brand from Cape Town, South Africa exclusively uses Jubilat’s Semibold and Bold Italic styles to advertise their artisan treats. The confident slab serif by Darden Studio serves in PopCo’s online and point-of-sale graphics. Thanks to its large x-height, Jubilat cuts a fine figure in the stacked arrangements with punny references to hip-hop lyrics.

“Pop It Like It’s Hot.” – A brush stroke underlines the handmade quality of the freezer pops.

Two components of PopCo’s visual identity: Big words in Jubilat Bold Italic against colored backgrounds that emulate ripped paper.

The stacked words of PopCo’s advertising slogan are framed by a popsicle silhouette.

“Bite, Bite, Baby.” – The ripped paper background here is used for a textmarker effect.

Chil3:

“The brief and develop, design and produce a catalogue to accompany an exhibition [at the Fremantle Arts Centre in Western Australia]. With a pre-set format we developed this exhibition catalogue for renowned illustrator, author and Oscar winner, Shaun Tan. Less known for paintings of his local environment, while growing up in Perth and then Melbourne, this exhibition explores his view on suburban life. A strict grid structure gave the works space to breath. This project was the first to use the new typeface Fenland.”

Cover

Suiza is a cultural guide for Switzerland issued by the Swiss tourism agency in Spain. It was first shown at the art fair Arco Madrid 2018. The text typeface is Suisse Int’l, here used with the alternate monocular a. It’s paired with SangBleu Empire (also by Swiss Typefaces) for headlines, quotes, and page numbers.

Art direction and design by Luis B Hernandez. Illustrations by Blastto (Carlos Llorente), David González and Buba Viedma (Mentecalamar). Client: Suiza Turismo. From the agency Brands & Roses:

Swiss nature, its chocolates, clocks, and banks are well known ... But the country has also a rich history of art, culture and great geniuses of humanity that sought inspiration in this country.

Switzerland Tourism approached us to create a guide for people interested in graphic design, art and culture. In addition to showing the museums and centers of cultural interest in many of its cities, this guide talks about the great works made by Swiss artists and those from all over the world who traveled to Switzerland to develop their works.

Infographics, illustrated maps and images present important contributions that Switzerland has given to the world in the fields of art, architecture and industrial and graphic design, such as the Swiss Army knife, the Swiss typography or the figure of Le Corbusier.

Art & Architecture

Graphic Design & Industrial Design. Carlos Llorente’s illustration on the left shows posters with letterforms from Neue Haas Grotesk AKA Helvetica, New Alphabet, and Univers.

The Frutiger quote on the Graphic Design page is set in the Regular and Medium weights of SangBleu Empire. The two-headed arrows in the last line are from Suisse Int’l.

Zurich

Each of the featured cities has its own color: blue for Zurich, salmon for Winterthur, purple for Lucerne, pink for Lugano, yellow for Bern, violet for La Chaux-de-Fonds, and grey for Basel.

Lugano

The page about the Swiss Army knife by Victorinox is set in Suisse Int’l (Book and Bold).

The change from left and right course typography, uppercase and lowercase letters alludes to diversity in parliaments and the different political camps.

Exhibition graphics, Pocket Guide, and two websites for the Austrian Pavilion at the Architecture Biennale 2014 make political representation visible and put it up for discussion. The focus of Commissioner Christian Kühn is the serial-analytical view of the buildings of 196 parliaments in the world.

The key visuals of the exhibition are the architectural models of all parliament buildings complemented by the colored national flags of the states. With a specially developed software we arranged the colors of the national flags according to their area share. This makes color groups visible, which make larger language and cultural spaces clear across state borders. Organized according to the principle of color components, this infographic opens up a new perspective on our world.

In the various communication media the status quo of democracy, dictatorship and world political events is visualized. The accompanying pocket catalog in the form of a color fan provides in-depth facts about the state and parliament.The serially designed pages are broken by current concepts of political discourse.

In addition to the pocket catalog, a special edition of the Austrian architectural journal "Umbau" accompanies the exhibition. Extensive texts deal with different aspects of the architecture policy discourse. Each right-hand side is broken by a controversial notion, creating a new context for the surrounding text.—Buero Bauer

Alias Ano is used throughout.

Identity designed and printed by Corners for Vacation Land, a show at contemporary art center Platform-L in Seoul, South Korea.

The logo and date are set in Brutal, a capricious display typeface by French type designer Benoît Bodhuin, who has built a library of quirky typefaces that seem to match with Korean art-related design. Brutal, described by Bodhuin as “a not stencil calligraphic typeface” has different approaches for each glyph: stencil/not-stencil, normal contrast/reversed contrast, small/large character size. For “Vacation Land” the result is a bouncing wordmark with one stencil character at the end.

Information and body copy in both print and web are set in Akzidenz Grotesk (Latin) and Noto Sans (Hangul).

Fall/Winter 2008

For at least seven years, the logo of Swedish fashion magazine Bon used 1970s Mecanorma typeface Garbo, as discovered by the face’s designer Gary Cooke. Bon’s cover logo was replaced in 2015 with LL Brown, but the original logo was still seen on the magazine’s spine and website.

Fall/Winter 2008

Bon 65 Autumn/Winter 2013

Bon 25/66 Spring/Summer 2014

Bon 26/67 Autumn/Winter 2014

Bon 68 Spring/Summer 2015

Bon 72 Spring/Summer 2017, now with LL Brown used for the logo.

Bon.se homepage, 2018.

Website detail

Bruised Features is a book that arc studio published with Norwegian artist Stian Ådlandsvik. “The layout provides equal importance to the text and image. In this sense, the book reminds us of publications from the field of art history, such as John Berger’s Ways of Seeing.” — It’s Nice That

Suisse Int’l and Suisse Works are part of Suisse typeface, available from Swiss Typefaces.

Wigrum gets its groove on in the 2018 ad campaign for La Seine Musicale, a brand new music and arts center located on the river in western Paris. Colorful piles of names constitute this season's image and underscore the wide variety of the cultural offer for the months to come.

The event posters shown on the website use Wigrum, too.

Catalogue and guide for the photography exhibition North: Fashioning Identity at Somerset House, London, designed by B.A.M.

This winter, Somerset House is proud to present North: Fashioning Identity, an exhibition examining representations of the north of England and Northerners in photography, fashion and art.

North: Fashioning Identity features over 100 photographs, fashion garments and artworks from a host of renowned photographers, designers and artists including Alasdair McLellan, Corinne Day, Mark Leckey, Jeremy Deller, Raf Simons, Paul Smith, Off White’s Virgil Abloh, Peter Saville, Stephen Jones, Gareth Pugh, Nick Knight, Glen Luchford, Jamie Hawkesworth and David Sims, plus the likes of Shirley Baker, John Bulmer and Peter Mitchell.

The Riviera typeface is available in the Lab of Swiss Typefaces.

Starting from issue N° 11 (June 2017), Pulp features Sole Serif for headlines and text.

Originally designed in 2010 by Luciano Perondi for Italy’s leading financial paper Il Sole 24 Ore, Sole Serif has all the attributes of a newspaper face: big x-height, short ascenders and a roundish and wide italic for text and titles. Nonetheless, details like the inclined axis, calligraphic terminations, Renaissance proportions and a refined but slightly mannered design, all evoke the book rather than the daily paper.

Pulp is a ‘quarterly journal of people and paper’ produced for Fedrigoni in two editions (Italian/English and French/Spanish) by Eye magazine’s editorial staff: John L. Walters, editor, Simon Esterson, art director, Holly Catford, art editor, Sarah Snaith, assistant editor, and Janet South, business manager. Printing techniques, fonts, layouts, graphic and editorial projects, illustrations, photographs, archives, swapping ideas with the people who get all this on the move and all the paper they use for their projects: these are the topics that Pulp has been covering since its first issue (March 2014).

In the spring of 2017, Magasin III Museum for Contemporary Art presented an extensive exhibition by Swedish artist Gunnel Wåhlstrand. Wåhlstrand creates large-scale ink wash paintings featuring monumental landscapes, compelling portraits and serene interiors. Malmsten Hellberg has designed a large format hard cover book for the exhibition, with almost all of Wåhlstrand’s works to date along with an original essay by author Lars Norén. The text is set in Ivar, a new typeface from Letters from Sweden. The book, as well as the box for an exclusive edition with a photogravure print by the artist, was produced at Nava Press in Italy. The exhibition will also be shown at Museum Boijmans Van Beuningen in Rotterdam.

Deptford X is an arts festival that takes place over ten days across a number of public sites and spaces throughout the district of Deptford, south-east London, with the intention of engaging audiences in active and unexpected ways. This year’s festival, the 18th, builds on a new curatorial approach which was first trialled in 2016. To coincide with and mark this change, the festival worked with IYA Studio to develop a new visual identity. This included a flexible logo, system of arrows and x’s and the unusual character of Prophet that link programmes, posters, supergraphics, t-shirts and tote bags, and express the dual nature of the festival and some of the character of the area.

Read more about this project on BP&O.

Accompanying a major exhibition at Tate Modern, this dazzling catalogue reveals an unknown side of global pop.
The World Goes Pop explores the engagements with pop throughout the globe, concentrating not only on the relatively well-covered activity in the US, UK and France but also on developments throughout Central and Eastern Europe, Latin America, Asia, Africa and the Middle East.
This unique book offers an opportunity to examine the origins and socio-political side of Pop, including pop and the political representation; pop and the new sexual politics; seriality, distribution and the role of print production.
Featuring the work of over 65 artists, six newly commissioned essays and brand new artist interviews, The World Goes Pop is the first book to rely on primary sources to re-evaluate Pop art throughout the globe. — Tate

Alias Aspic is used for headline type throughout.

The wordmark for this promotional specialty beer is built from the Gryffensee Eins typeface, with minimal adjustments (bending of some straight stems).

From sufferheadbier.de:

Sufferhead Original is a craft beer inspired by the experience of African immigrants living in Europe, especially Germany, and communicates some of the received stereotypes, politics of difference and integration associated with their expatriate fate through the brewing and branding of the beer.

The name ‘Sufferhead’ derives from the 1981 track by Fela Kuti, ‘Original Suffer Head’, in which Fela sings about the deplorable political and economic situation in Nigeria at that time. The 80’s was a decade of mass emigration by Nigerians due to the harsh economic and political situation in the country. The name also plays on the beer’s strength, with a high alcohol by volume (ABV) and the possibility of a suffering head the day after.

Sufferhead Original (Kassel edition) is a documenta 14 project by Emeka Ogboh, and was brewed in collaboration with CraftBEE. It is presented by daBierLab (Das Afrikanische Bier Laboratorium) – “Transmuting the African immigrant in Europe experience into craftbeer, & beer branding campaigns.”

“Who’s afraid of black?” — campaign poster in Kassel

“Once black, always black”

Coasters, bottle openers and other merchandise

The logo was also printed onto glasses.

Afropunk Festival is a music festival/human rights movement. The movement was described by The New York Times as “the most multicultural festival in the US.” The word Afropunk has become synonymous with open-minded, non-conforming and an unconventional community, placing the institution at the epicenter of urban culture inspired by alternative music.

The custom typeface, APF Display, is designed for the logo and the whole (fictional) identity system. Focusing on individuals and positive energy of their community and music, Afropunk Festival becomes unique and introduces its own visual language in a very playful way. the main poster series is designed to communicate the idea of who they are as a festival as well as a human right movement. With the new identity system, Afropunk is ready to share new stories with the world.

The second poster series is designed for their 15th Anniversary event, Afrotopia. Its theme is a mixture of Afropunk and Afrofuturism. Afrotopia celebrates art, music, and films as well as each individual. The series of posters demonstrates how logotype would be used as pattern, along with collages that represent DIY aspects of both Afropunk culture and afrofuturism. Also the posters show different elements that make Afropunk Festival very interesting and original. By introducing onomatopoeia, posters tell stories what people would feel and experience at the event in a typographic way.

Made as a fictional redesign project at ArtCenter College of Design. See more images on Behance.

The Arcasia Awards for Architecture is presented by the Arcasia foundation, the premier Asian community for architects. Each year the ceremony happens in a different Asian member country and India was chosen to host it in 2017, headed by the Indian Institute of Architects (IIA).

The brand identity, collateral, promotional campaign and website was designed by Juhi Vishnani and Shiva Nallaperumal who collaborated with Struckby (Delhi) for the motion graphic leg of the project.

Greta Mono was chosen to spearhead the identity. Greta’s combination of strong calligraphic features (stress, true italics etc.) and structured humanist proportions and character fit perfectly for a conference about avant garde architecture. Greta Sans family was used for text.

Van Gogh's Dream is an app developed exclusively for the iPad by digital publisher MNESTRA (Manufacture Numérique d’Éditions Strasbourgeoise) to raise funds for the Van Gogh Institute.

At the time of its release, Van Gogh’s Dream was one of the first app designed with Adobe's Digital Publishing Suite, enabling implementation of interactive contents such as videos, HD pictures, sounds and a few more features, allowing the user to experience and appreciate the different aspects and characteristics of the work of Van Gogh in a sensitive way.

Regarding typefaces, MNESTRA’s former art director Loïc Sander chose a neat palette: Tungsten for titles, drop initials and interactive features; his own still-in-progress typeface Trianon (then called Bréviaire) for text, and Cogito for captions.

The chromatic contrast wheel is one of the stunning interactive feature developed for the app.

The Mother Journal is an independent publication on the personal experiences of women in motherhood.

A quarterly publication that celebrates the beauty, the complicated and the surprising aspects of being a mother. It goes beyond their role as parents, recedes from the didactic and paternal tone, and approaches the literary and personal life of women.

Each magazine edition covers three subjects which are interpreted by the union between a writer and an artist. It also features articles, essays, stories, trips, recipes, interviews and anecdotes that focus on the role of these women while avoiding parenting advice, education and children in general, therefore becoming a completely unique magazine. The size of the magazine is designed so that it is easy to carry in a handbag. The publication contains three features and two inserts in the centerfold: a poster for children and a short novel for the mother.

With The Mother Journal Lorena Manhães elegantly navigates history, combining a distinctly classical typographical pathos with a modern, vivid layout. Sabon pulls most of the weight, giving everything from titling to body text a proud, warm tone. We also see Gill Sans at its prime, often set widely tracked in generous captions.