Language shapes our communication, our perception and our being. Language is much more than the structured articulation of words. It embodies our sufferings, joys, fears and hopes, through it we explain the world to ourselves and form our reality.

The masterthesis for Communication Design, submitted at University of Applied Sciences FH Joanneum, called Languages of the World – World of Languages is divided into three segments, which are also haptically differentiable through a variation of uncoated and coated paper. The theoretical parts are accompanied by a photographical series, visualizing languages as fluently changing objects.

Every day we toss around words, but at the same time their semantics? How can language be defined? What gives language its diversity? Where are its limits? The core of the thesis is formed by the practical part which is dedicated to distinguishing untranslatable words and their meanings. Those words are reflecting concepts from all over the world and cannot be translated by using just one single term, instead these untranslatable words need descriptions in order to be comprehensible in other languages.

A catalogue and a map have been created based on the untranslatable words and their languages, showing a new perspective on the world. The catalogue is arranged by the coordinates from the map and categorized by the meanings of the untranslatable words.

The intention is to explain the role of language in the creation of visions and ideas and to draw attention to the limits it can simultaneously impose on us. Through language it becomes possible to grasp constructs of thought and to encourage lateral thinking in a way that would otherwise remain hidden.

The main typefaces in the book are GT Sectra and Moderat. In the catalogue of untranslatable words additional typefaces are used for non-Latin characters. Cyrillic and Greek are set with FF DIN. PingFang HK is used for different styles of Chinese and Japanese. Lucida Grande is used for Hebrew and Thai. Jaldi is used for Hindi, and Kefa for Amharic. Tahoma was used for Arabic Character. Inuktitut scripts are set in Euphemia.

From the Editor’s Letter by Alex Bilmes, Esquire UK, March–April 2019, p. 56:

The new Esquire has been designed by our Creative Director, Nick Millington. He and I started to work on it 18 months ago, but the credit is all his. Nick as selected the paper, adapted the logo, imported a new set of typefaces. (Louize is the serif font, GT America the sans serif, but then the typebeasts among you will have spotted that already.)

érographie is a crowd-sourced campaign inviting participants to draw letters or other glyphs during an orgasm and submit the results. They will later be turned into a digital typeface.

This “awkward” demand requires an equally atypical identity. Hence the choice of Jons Hair by Napoleon Typefaces for the logotype. With its expanded width, uneven strokes and strong contrast, the typeface captivates the eye, and incites the viewer to look further. The experimental vibe it emits mimics that of the project.

It was paired with Untitled Sans by Klim Type Foundry, a neutral and clear font that makes the instructions on the card and website easy to read and allows the logo to stand out. In this context, Jons Hair and Untitled Sans blend awkwardness with clarity and legibility.

Visit érographie to know more about the campaign or submit your image.

Campaign cards. These cards were distributed to passersby inviting them to participate to the typeface.

Instructions in English and French.

We go again. The perennial parlance of the modern sporting world. From Brighton to Beverly Hills the aim is the same. To journey on past the summit, or to simply stop the rot. With broken bones and home ties tested, SoccerBible Magazine Issue 9 is dedicated to those able to summon the strength while staring at a blank canvas.

SoccerBible Magazine Issue 9 features Karim Benzema, Marcelo and Gareth Bale as part of a galactic cover line-up. We joined Real Madrid on their 2017/18 pre-season tour to the United States witnessing first hand how the elite roll. Going behind the scenes throughout, we sat down with three players riding a wave of success on the back of an historic double winning year.—Soccerbible

As well as using Alias Metsys as its logotype, for Issue 9 football magazine Soccerbible used Alias Ano for headline type, and Alias Cactus on the cover. Alias Union was used for text — not seen in these images.

Gorky Park, Moscow’s most popular outdoor space, turned 90 in 2018. To celebrate this anniversary, a big 7-days festival was organized. The program included lectures, museum tours, sport events, theater performances, a street art biennale, a science day, and more. It concluded with a music festival headlined by Neneh Cherry alongside The Soul Surfers, Luna, and On-The-Go.

The event identity was designed by Arthur Lebsack using Aeroport by Brownfox.

Website.

Rekki is an app for restaurant operators to chat directly with their suppliers. Their brand typeface is a customized version of Diatype from Dinamo.

According to Rekki Design’s process writeup, the original typeface’s capitals R, K, Y were modified:

A business which is more efficient is by definition more successful. One way of looking at efficiency in spacial terms is to spend the least amount of time/effort/materials to get from A to B. As we know, the shortest distance between two points is a straight line. We applied this principle to the letters of the alphabet, taking care not to impair legibility.

The Winslow is a premium, boutique residential project by Devron Developments. Located in Toronto's coveted Lawrence Park neighbourhood, The Winslow residences comprise 68 meticulously designed suites.

From the earliest stages of the project, the ideas of community and connectivity played a major role in the brand strategy. Lawrence Park is a well-established and affluent community that values the qualities of time and a life well lived — all of which are conveyed through the brand identity.

Combining print, packaging, signage, social media, and digital advertising, Vanderbrand developed a carefully considered marketing plan designed to inspire and engage a small but targeted group of consumers, ready to downsize into their first pre-construction home. Using luxury retail spaces and comparative high-end brand experiences as inspiration, the creative direction of the brand naturally reflected the sophistication of the project itself.

The primary logotype for The Winslow uses Grenale, a classic and polished decorative font with high-contrasting forms. The same typeface is used for headlines in the brochure, paired with Circe for body copy and a few accents using Rift. Pairing this identity with a rich forest green and understated brass for the palette imbued the brand with a vivid, rich, and classic feeling of luxury.

A home away from home. For more than 125 years, The Los Angeles Athletic Club has remained dedicated to its mission of providing for the body, mind and spirit of its members. Our private club includes state-of-the-art athletic and spa facilities, award-winning restaurants, bars, luxury meeting, conference, and hotel rooms, and an array of social, business, and athletic events. — laac.com

Over the last 139 years the Los Angeles Athletic Club has seen many versions of downtown LA, but none as appealing and exciting as the current. The city center has grown and the Club’s brand was in need of updating and refinement.

Being the oldest institution in Los Angeles, heritage was a key component in updating the Club and complimenting the hotel. We dug into their archives with a fresh perspective and provided them with a contemporary typographic system, graphics, and refined color palettes to help them reflect their recent renovations and guide their future in downtown Los Angeles

Club Studio used Sweet Sans (Mark van Bronkhorst) and Register (A2 Type) to provide the touch of class and history needed for the Los Angeles Athletic Club.

Additional photography: Steven Counts. Visit Club Studio’s case study for a selection of archive material and complementary branding for other activities and services within the LAAC.

NOR Specialities supports the development of plantation farmers and helps sustain local communities across Colombia, Guatemala, Nicaragua and Bolivia by way of its range of chocolate, cocoa nibs, roasted coffee beans and cold brew coffee products. NOR trades directly with family farms and producers of its raw ingredients, working with them to develop transparent and sustainable practices.

Danish design studio Re-public worked with NOR to launch the brand into the highly competitive Western market, delivering creative direction and visual identity. This included packaging for coffee beans, chocolate bars and cold brew coffee cans. These are linked by a visual language based around the typographic simplicity, communicative immediacy and character of Agipo’s Bold Condensed weight, typeset in all caps in different sizes and paired with a material language drawn from the vessels and sacks of export.

Read more about this project and other Danish design on BP&O.

Source: www.martinbirrerdesign.ch License: All Rights Reserved.

Brandon Text is the primary typeface family in use for the identity of Martin Birrer Design, a studio for exhibition, interior and graphic design based in Bern, Switzerland. Brandon Text Light is used in the wordmark. The Regular, Italic and Bold styles are the primary typefaces for desktop and web use.

Among other design materials there is the studio's website which is essentially an archive. Visitors are invited to explore the website and dive into the numerous projects designed since 1999.

Source: www.martinbirrerdesign.ch License: All Rights Reserved.

Source: www.martinbirrerdesign.ch License: All Rights Reserved.

Source: www.martinbirrerdesign.ch License: All Rights Reserved.

Source: www.martinbirrerdesign.ch License: All Rights Reserved.

Creative Studio Unravel is a Seoul-based interior design studio, focused on creative spatial design solutions. Graphic designer Jaehoon Choi designed their visual Identity and the company's new project book, archiving their works in 2018.

The book uses a minimalist approach for typography and photography. The stationery (post deliveries, message card and invoice) is designed with the same identity system, using the Suisse Int’l typeface.

After a careful pre-selection in June 2017, the two architects Manuel Jüni and Beat Buri, short MJ2B, commissioned Atelier Pol with the conception and design of their corporate identity.

The developed grid system based on the logotype/address block defines the uniform design through all applications. The minimalistic typographic approach works without the additional use of a graphic mark and is letterpressed on colored paper. On the website, the numerous award-winning projects interactively share the space with generous typography, which is responsively arranged along the grid system.

Schick Toikka's Dia and Noe Text in use for the brochure and posters of Usine C’s 2018/19 campaign.

Usine C, based in Montréal and founded in 1995, is a “Centre for creation and diffusion – both national and international”. From the Usine C website:

The creators that we have gathered this season, will bring projects beyond borders, identity definitions and disciplinary frameworks. They cultivate an open mind, in search of new representations, reinvented models and they will lead us to new horizons.

FranklinTill is a global design futures agency. For their new identity, Commission was inspired by FranklinTill's core area of expertise: colour and material.

Paired with GT America, this flexible identity system allows for different combinations of colour and material to be used for each member of the FranklinTill team.

FranklinTill’s new branding coincides with the launch of a new website, rebuilt to reflect the remit of their activity in consultancy services and editorial communications, and to share its research insights. Featuring on the upper right of each page, the FranklinTill colour block is coded to automatically change its palette as the user navigates around the site, informed by the colour proportions of the main image on each page.

The seasonal booklet 2018/19 of the Deutsche Oper am Rhein Düsseldorf Duisburg uses a reduced modern color palette: a black and white aesthetic with color accents that gives a stylish contemporary look. The simplicity of the layout yields a clear visual character. The mixture of various font types also affects readability in a positive way: For headlines GT Sectra Display has been employed, a serif typeface which combines calligraphic style with aesthetic strength. The Romain typeface collection was selected for continuous text to communicate a magazine-like character.

Exhibition catalogs for FRAC Lorraine in Metz, France. Nik Thoenen, 2006–2010.

These exhibition catalogs for FRAC (Fonds régional d’art contemporain de Lorraine in Metz, France) were designed by Nik Thoenen for temporary art exhibitions in the center.

The FRAC font, a monolinear all caps typeface without curves, was designed by Nik Thoenen in 2003 to create a new signage and thereafter also the corporate design for FRAC. The design of the typeface is based on a 7×7 dot grid inspired by early CAD-fonts, using only capital letters. The lower case letters are laid out with arrows.

Exhibition catalogs for FRAC Lorraine in Metz, France. Nik Thoenen, 2008.

Exhibition catalog for FRAC Lorraine in Metz, France. Nik Thoenen.

Ekkist are a Passivhaus and WELL Standard™ accredited consultancy leading the movement in architecture designed for well-being. Seeking to sustainably deliver the next generation of building design, their services range from architectural blueprints for self-builders to strategic masterplanning.

Ekkist's new identity pairs a warm over-sized sans-serif logo type treatment with the analytical voices of light sans-serif and slab-serif typefaces to project a progressive, technical and design-led brand. In line with Ekkist’s environmental focus, stationary is specified on a paper stock produced with waste potato starch and is Green-e- and FSC-certified. The coarse texture is evocative of raw construction materials with an honest, tangible quality.

The studio worked across name consultancy, art direction, creative strategy and design; producing a visual identity and logo type treatment, bespoke illustration, website, stationary and promotional printed matter. The initial project has evolved into an ongoing collaboration.

Image bank photography by Spencer Wilton. Website built by Neal Fletcher.

U-P designed the brand identity for Dairy Road.

Dairy Road is a neighbourhood slowly developing in Canberra’s East Lake. It is currently made up of seven main warehouses, some office buildings and vehicle yards […]

Given that the site will experience significant changes through its 15-year development the objective was not to impose a fixed outcome, or overpowering voice, on the current iteration.
They developed a system that is intended to be built-up over time. The identity is a framework populated with placeholder content and images. The placeholders can be rotated and layered over as the site changes and develops. The placeholder spaces allow room for current and future tenants to input into the identity as they are invited to fill these spaces with their own materials. In this way, the identity is an experiment in the letting-go of authorship to adopt a participatory design approach.
The graphic language takes its visual cues from a masterplan – it’s a graphic abstraction of forms and components being organised to make something cohesive

Suisse Int’l is part of the Suisse collection available from Swiss Typefaces.

Mahlo is serious about brunch, while not taking themselves too seriously. Run by a French-Australian couple, they set out to create a new cafe in Neukölln that was eclectic and unconventional when compared to the contemporary cafe scene in Berlin.

With this ideology in mind, we created a fun and quirky identity which extended as far as coffee packaging, copywriting, mural painting and everything in between. Personified, the Mahlo brand is someone you can have fun with and relax around. At Mahlo Brunch Bar you can be sure you’ll always come welcome—and you’ll always leave full.—Gabby Lord

Alias Elephant is used throughout.

Aut! — Italia 1966/1977: Controcultura nell'editoria indipendente is an exhibition that focuses on ten years of counterculture in Italy and on the thrusts, initiatives and experiences that animated an entire generation from 1966 to 1977. The central part of the exhibition is a selection of original archival materials: Re Nudo, Lotta Continua, Rosso, Puzz, Limenetimena, Mondo Beat and other transversal sheets like Zut.

Starting from these materials, the students of the course of Editorial Communication and Graphic Design for the Publishing of the ISIA of Urbino, coordinated by Francesco Valtolina and Emanuele De Donno, have developed an exhibition that wants the viewer to approach the immense artistic, editorial and cultural production of those years – with a critical spirit.