Poster for “Down to Earth Wine Tasting”, an event promoted by a collective of UK importers of wines. Dates to be confirmed due to coronavirus. The typography exclusively uses Zuzana Licko’s Base Monospace.

“COVER: COVER” is a small retrospective of the 13th anniversary of "Design 360°". The magazine has been in existence for 13 years and has undergone three major revisions. (...) and three different sizes of the book were combined with the theme content to directly use the "image" as the communication subject.

The "COVER: COVER" exhibition will feature a total of 78 physical magazines from the inaugural issue in 2006 to 2018. The cover design will be specially selected and curated by curators, allowing readers to browse through the venue. — openground

COVER: COVER was an exhibition, co-presented by design studio Milkxhake and openground in Hong Kong, “a Design Portal with Coffee, Exhibition, Books and Music.” Visitors can experience textures, contents, editorial angles and design concepts while flipping through all the editions in the exhibition. To echo with the form of Design 360° magazine, Druk was chosen with its bold and expressive typographic treatments. Explanatory texts are typeset in Circular.

Ça ira (1): Fin de Louis is a play by French theatre director Joël Pommerat, created in 2015 at Le Manège theatre in Mons, France. According to the New York Times:

The more than four-hour-long play, written and directed by Joël Pommerat, is an exploration of the early years of the French Revolution dating back to 1788. The characters speak in contemporary language, are dressed in clothing from the 1970s, and are led by a king who poses for a selfie. […]

French critics have compared the theatrical experience to watching a “revolution live,” and the honors for “Ça ira” come as demonstrations against an overhaul of the labor code have swept across France. […]

The play — the first in a series that eventually will include a version that addresses the “Reign of Terror” in France after the revolution — is told from the viewpoint of ordinary French citizens rather than leaders like Robespierre and Lafayette. The main historic characters are King Louis XVI and Marie-Antoinette, with the monarch issuing familiar demands for fiscal reforms to tame his nation’s astronomical budget and offering reassurance: “Ça ira” — or, in English, “It Will Be Fine.”

Since 2015, the multi-awarded and acclaimed play has been touring the world. For its premiere at the Théâtre de la Porte Saint-Martin in Paris, Pierre Jeanneau continued his colourful series of posters.

The use of SangBleu Empire as the main typeface is interesting in several ways considering the subject of the play:

– Although many styles from SangBleu are inspired by the French King’s commissioned type Romain du Roi, Empire, with its lineal serifs and dramatic contrast, owes more to the Didot genre, a style appearing in France circa 1790: at the same timeframe as the French Revolution events.

– The typeface could also have been chosen because of its name, as the play depicts the turning point of the end of the Kingdom of France (also the name of one of SangBleu style) with the execution of King Louis XVI, and the proclamation of the French Republic which will quickly turn into the French Empire, declared in 1804 by Napoleon. This could technically be considered as a very subtle LTypI.

SangBleu Empire is part of the SangBleu family and is available from Swiss Typefaces.

The teaser video (below) adds the narrow caps (actually the lowercase set) of Anisette to the mix, used for newspaper quotes.

Allez! Prácticas ambulantes y museos dispersos (“Meeting on peripatetic practices and mobile museums”) is an international seminar on mobile artefacts. From the MACBA website:

Allez! Peripatetic Practices and Mobile Museums is a project by MACBA and The Fondation Daniel et Nina Carasso designed to create a space for reflection and experimentation by using mobile educational resources to encourage arts in education. It features educational boxes, cases and kits, mobile museums, libraries and cinemas, activities following in the tradition of postal art and recording-studio caravans, among others.

The identity by Todojunto comprises posters, flyers invitation, signs, etcetera. Beatrice Display (in various partially stretched versions) and Traulha are used throughout.

Visual identity for the 2018 edition of the Festival Internacional de Solos (FIS) in Póvoa de Varzim, Portugal, designed by Oscar Maia using Cindie Mono, and an as yet unidentified grotesk for body text.

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.

Playlist is a group compilation featuring works by more than 50 international artists. Conceived as a playlist de coeur by the owners of the Erratum Galerie, on the walls unfolds a spectrum of small-sized paintings displayed edge to edge, according to a simple principle of formal affinities and associations: a sort of visual mixtape of pieces by various artists.

This arbitrary arrangement provides the opportunity for some movements. The borders of each canvas become transitions. They take on new importance beyond the usual hierarchies and rules of seeing. The optical center is allowed to travel across the surfaces, and the installation evolves paintings into an elusive ensemble, which aims at soliciting a plurality of readings.

The purpose is not to drown the individual paintings into a larger whole, but rather to activate free shuffling between the different dimensions and genres of painting. It is about playing with “limit-situations”, to literally use the words of Olivier Mosset — that is to say painting as a becoming. From illusionism to materiality, from the cosa mentale to the readymade, Erratum hopes to initiate a friendly conversation between the contemporary practices of painting. An audio edition completes and extends the installation on display. Available on CD, it contains a second playlist of sounds and recordings submitted by the artists.

Credits:
Dean Annunziata, Linda Franken, Raphaël-Bachir Osman, Franck Rausch (Idea & concept)
Daniel Seemayer (Graphic design)
Lily Matras (Text)
Zoë Harris (Editing)

Galerie C, Neuchâtel (CH)
Format: F4 (89.5 × 128 cm)

Information for all six exhibitions of Galerie C’s 2012–2013 season is set on the same poster, working as a season’s program. Information of past or future exhibitions is overprinted with white ink and hidden for specific focus on one show. — onlab

Simplon Mono is part of the Simplon collection, available from Swiss Typefaces.

Created for the 18th anniversary of Landshuter Kurzfilm-Festival (LAKFF, Landshut Short Film Festival), Manuel Kreuzer Büro für visuelle Gestaltung has produced an up-to-date piece that is concise and unmistakable. Logotype, visual brackets and poster motifs were all created from the smallest element of film — the pixel.

The pixel is the basis of the project and has been developed to be a recognizable character in the typeface. Euclid Flex by Swiss Typefaces was the perfect match for the project’s concept. Its various stylistic sets allow it to be used for the different film categories appearing optically in thematic variations.

The text in German language for the catalogue was set in space-saving Fabrikat by Christoph Koeberlin, all English texts in Minion by Robert Slimbach.

Galerie C, Neuchâtel (CH)
September 2014
Design: onlab (Thibaud Tissot)
Format: F4 (89.5 × 128 cm)

For this fourth season of the Galerie C, we turned our “hiding” system in a “revealing” principle, working with ghost images. The result is a serie of three screen-printed posters, for two main exhibitions and an overall season’s program. Informations and images’ frames are printed with a two colors iris print, overlaid with white space of over 50 images by various season’s artists in light silver, revealing full picture of related works. — onlab

Simplon Mono is part of the Simplon collection, available from Swiss Typefaces.

Newspapers dead? Ha ha ha!

A small tribute that Errea Communication wanted to pay to all the newspapers during the Annual Workshop held by the Society for News Design in Frankfurt, 2014. We also printed notebooks and stickers of each poster.

Get Drink, Smoke Shout & Sex back in the newsroom

Kill Parasitic Journalism Digital

Paper is the New Shit

Exhibiton design for the solo shows of Katarina Šević, Markus Draper and Annette Weisser at Kunsthaus Dresden, including invitation flyers, poster steles, ads, and signage. In the form of paintings, photographs and choreographies, the three artists deal with the social, political and aesthetical aspects of mass movements and protest cultures.

In 2009, Henrik Kubel of A2/SW/HK created A2 Beckett for Faber and Faber’s Samuel Beckett series. In 2011 it was released for retail licensing.