Fictional designs for an exhibition (see the full project at Behance). For longer than we can remember, humanity is trying to reach the sky. Skyscrapers are the most complex architectural objects. Design of the buildings is the main engineering problem, but it has found many solutions in the modern world. The purpose of the exhibition is to show people the achievements of architects in this difficult job and tell about how humanity has passed long way to the sky.

The metaphor of the brand is the height inherent in all skyscrapers. It is reflected in the "floors", supplemented by growing letters. FF DIN was used in the identity because of "industrial" design of the font.

Student work for Typography I class at the Sam Fox School of Design and Visual Arts.

Booklet containing an op-ed by Maggie Montagna and Mortimer Singer (“Why Mindful Millennials are Modern Pagans”, Business of Fashion, 2017). Halftone graphics accompany an exploration of the tribal codes evident in the contemporary consumer's mindset.

Display and header type is set in FF DIN. Body copy is set in Quadraat.

Ibán Ramón + Dídac Ballester's fantastic identity for the Mueble de España furniture brand is neo-modernism at its best – minimal typography, visual elements reduced to the bare essence with a dash of visual wit. 

The Flade is a Catholic secondary school and the successor to St. Gallen’s monastic school. In its all-lowercase logo, the ‘f’ bar is to the left side only. To anyone with some knowledge about the history of letters, this reads ‘slade’, not ‘flade’ – it’s a ‘long s’ (ſ).

On the Tÿpo Letter Walk, my theory was that the designer scrolled through the glyph palette and suddenly stumbled upon a ‘fancy f’ that would spice up the logo. This doesn’t hold water, though: FF DIN does have an ‘ſ’, but it has no spur. The right half of the bar has been deliberately cut off here.