Volume 2, “Ecologies of Change”

Design Unbound, written by Ann M. Pendleton-Jullian and John Seely Brown, provides "tools for navigating today's hyper-connected, rapidly changing, and radically contingent white water world" in two volumes (MIT Press).

The publisher writes in the book overview:

Design Unbound presents a new tool set for having agency in the twenty-first century, in what the authors characterize as a white water world—rapidly changing, hyperconnected, and radically contingent. These are the tools of a new kind of practice that is the offspring of complexity science, which gives us a new lens through which to view the world as entangled and emerging, and architecture, which is about designing contexts. In such a practice, design, unbound from its material thingness, is set free to design contexts as complex systems.

For a book dealing with the kinds of design that are free of "material thingness," Sélavy (designed by Nina Stössinger), a typeface entirely comprising of dots loosely held together, seems an excellent choice. Sélavy is paired with caps from FF Milo.

The numerals of Sélavy were also used on Pragmatic Imagination, a five-book preview to the Design Unbound series. The typeface's dot components establish a satisfying visual parallel to the pattern-heavy images chosen for the book covers. The secondary typeface used here is Avenir.

Volume 1, “Designing for Emergence”

Pragmatic Imagination.

John&Jane was invited to speak with Pobl, a group of companies offering great homes, care and support that make a difference to people’s lives. They were looking to chat about a new idea for a coffee shop. A business developed around the idea of helping those who run it. People who have been effected by homelessness would be hired and trained to be top class baristas, therefore enabling them to easily find work going forward, creating independence and providing a great service to customers of the coffee shop. This would be coffee with purpose.

We're grateful to have been trusted by Pobl to lead on the naming and branding of this project. After a quick but very thorough discovery period we settled on the name “One Twelve Coffee”. Not only does this reference the number of the property itself but it's also the statistic often used to demonstrate just how many people are affected by homelessness – one in twelve UK inhabitants. To represent this visually we used a set of single-line illustrations, at once individual faces but also unidentifiable. We felt this represents the experience of homelessness, you're an individual but oftentimes ignored, faceless and defined by your situation. We used the many individual faces en masse in our designs but then highlight just one to represent the one in twelve. We want to use the power of branding to work towards putting an end to homelessness.

We knew typography was going to be an extremely important part of the brand. We needed a typeface to compliment the unique nature of Raisonné which is what we used and customised for the word mark. When we found Krana Fat and started to play around with it we realised we had our second typeface. The playful but honest nature of Krana Fat compliments the word mark perfectly.

Two covers of the quarterly journal Muntermacher.

Muntermacher, that’s what the quarterly journal of the market town of Moosburg in Carinthia (Austria) is called. A Muntermacher is a person or substance that wakes you up. And yes, it does. Great to see a journal from a small market town offering information to its inhabitants in such visual quality.

The magazine was conceived by Austrian architect and journalist Wojciech Czaja and by Austrian graphic designer Helga Innerhofer. It is entirely set in Acorde and Sindelar which complement each other perfectly well.

Various impressions of Muntermacher which perfectly show Acorde’s and Sindelar’s excellence.

A newspaper created at the Graphic Design department of the Royal Academy of Fine Arts in Antwerp during my 2nd bachelor year, containing drawings made by the students from different departments, including graphic design, fashion design and jewelry design.

The assignment was to make a newspaper to honor the importance of drawing in art schools. The typeface used in this publication is called Separat, by Or Type.

Queenmama Market is a green/lifestyle shop with carefully curated objects, based on use and beauty, for the urban dwellers of Seoul. In spring 2018, Wonseop Lee was invited to communicate the market's vision: to have positive, beautiful and honest design in your daily life, that says “YES” to the question “Life is good. Are you ready?”.

Seoul-based graphic designer Wonseop Lee came up with a graphic identity that is inspired by wooden furniture, assembled with sticks and bows. Bright colours are applied to a mix of light letter parts taken from F37 Glaser Stencil, mixed with custom-drawn bold shapes.

2018 lunar calendar print, designed by Masha Davydova and Kevin Sullivan. Screen printed in Providence, RI by Sawtooth Editions. The poster features a large, translucent moon, and the days of each month are arranged into circles. The title and month names are set in Moon — a distinct sans serif released ca. 1972–76 (designer unknown) that was never digitized.

Two colorways are available for purchase at m00ns.com, where you can also find out more about the prints.

Moses Archuleta of drumming Deerhunter fame releases solo music under the name Moon Diagrams. In 2017 indie Geographic North released his first LP, Lifetime of Love, with a sleeve designed by label resident Farbod Kokabi. Channelling ’80s magazine design, he complements funky patterns with a fantastic setting of Canela — Miguel Reyes’ “Mexican Caslon”, which in turn connects back to the same affluent decade by lineage of forgotten photoface Carnaby.

Back Cover

In their July/August 2017 issue, étapes: portrays the young guard of the French graphic design scene. In addition to the typefaces Maax and Maax Mono which are part of the magazine’s standard typographic identity, the designers have chosen Beretta Sans for this special book. All three typefaces were designed by Damien Gautier and are available from 205.tf.

Visual identity (website, posters, flyers) for T_24, a typography course conducted by Alexander Vasin and Natalia Velchinskaya.

Serif Gothic is hip again! Underline Studio has brought it nicely into the 21st century.

Daniel Ehrenworth is a Toronto-based commercial photographer with a vibrant and colourful style and a personality to match. He came to Underline wanting a bold identity reminiscent of 1970s film titles and The Muppet Show. We reworked these influences to create a contemporary identity and colour palette that parallel Dan’s style of photography and playful, exuberant personality. The high gloss finish and spot matte varnish on the accompanying promo work with irreverent copywriting to invite potential clients to join in on the fun.

“Mamoli is an Italian company who manifactures high-quality taps and fittings, characterized by intense aesthetic and technological research. We designed a system of labels for the product packages to help sort and organise the storing. Each product is identifyed by a specific colour and typeface.” — LS Graphic Design

KinderKulturMonat is a Berlin-based initiative that organizes a monthlong cultural program for children. The project is a spin-off of the Dutch Oktobermaand Kindermaand. Studio Laucke Siebein created a corporate design featuring watercolor illustration and a “vernacular handmade typeface” by Miguel Hernández. As Mija is a little too fickle to work well in longer blocks of text, the more prosaic AG Book comes to the rescue. Mija is also used as a webfont on kinderkulturmonat.de.

The Royal Society for the Prevention of Accidents poster.

Photographed on the walls of Northern Power Grid Training Facilities, Kepier Farm, Durham by Captain Byrne.