Swiss designer Vanessa Cojocaru designed an flyer/exhibition guide for La Vie de Château | Das Schlossleben, an exhibition displaying art pieces by the artist collective Atelier Tramway at the Wallpaper Museum in Mézières (Switzerland).

The display typeface is IKANSEEYOUALL. Body text and informations are set in Neue Haas Grotesk.

IKANSEEYOUALL is part of the Lab typefaces, available from Swiss Typefaces.

New York based-industrial designer McKay Nilson launched a new website, using and mixing Ogg by Sharp Type and Lausanne 300 by Nizar Kazan.

Mckay Nilson is an industrial designer intent on blurring the boundaries and filling the space between objects and human beings.

The typography references to blurring boundaries applying a blur effect to text links upon hovering.

Commissioned by music label Milkshake/Sony Music, Gregory Page designed the visual identity for their newly signed artist Nea (Linnea Södahl). Among the produced elements: a logo with custom bold letters; a tape logo system that can be applied on everything, everywhere (campaigns, merchandising, apparel …); artwork design and music video titles for the first track “Some Say”. The serif in use is Inferi, designed by Matthieu Salvaggio and available from by Blaze Type.

Photography: Alexandra Cepeda Robles
Models: Victor & Laura

The Moon and Stars Can Be Yours is a freewheeling, far-roaming investigation into the contemporary world of spiritualism that began with Duzant’s obsessive collection of psychic fliers on the New York City subway system combined with ephemera from the NYPL Pictures Collection. In an age of increasing uncertainty, the wave of modern mysticism is always present, eagerly waiting to fill the void created by our digital lives. Duzant weaves together research-based writing with anecdotal stories, inviting the reader along for a ritualistic search for meaning, following the path of the Spiritualist and New Age movements.

Magali Duzant’s The Moon and Stars Can Be Yours is playfully designed with holographic foil and neon paper stocks inspired by the fliers found on the subway. Millionaire (Script, Roman and Italic) set together with a grotesk like Neue Helvetica is a beautiful combination: the contrast between both creates a bold, original and contemporary typographic language.

Designed by Elana Schlenker and published by Conveyor Editions. Images by Whatnot Studio.

Brands are living things, they need regular care and attention.

Home School (a JAC& venture) is for people who want to better their branding knowledge. Online, you will find a workbook, materials and insights from us and some very clever contributors. In real life, we host talks and workshops to bring together a supportive likeminded community.

In creating the Home School brand, we wanted to push ourselves outside of our comfort zone and bring a sense of fun to design education. Making use of nostalgic typography, colours and paper, a friendly mascot guides the student through our workshop process in the comfort of their own home.

There are two typefaces used throughout the project, Reckless Neue (Displaay Type Foundry) and Radio Grotesk (Pangram.Pangram).

Visual identity and website for Ari Prasetya, an Australian designer based in Copenhagen, Denmark who works with furniture, objects and space.

Art direction by Studio SPGD, with photography by (SL)Spiros Loukopoulos. The font in use is Lausanne.

Addendum is an Austrian print magazine published by QuoVadisVeritas (QVV). QVV is a media and research platform, financed by Red Bull founder Dietrich Mateschitz.

The magazine’s layout was developed by the New York-based agency Sagmeister & Walsh. Title and headlines are set in the characteristic font Larish Alte. Sagmeister and Larish Alte have both Austrian origins. The Vorarlbergian Sagmeister started his career in Vienna. Larish Alte is a renewal of Plinius, a typeface developed in the early 20th century by the Viennese calligrapher and designer Rudolf von Larisch.

On the inside, the magazine shows two very different fonts: The sans serif Mériva is a rather new, affordable, and relatively unknown font and comes with headstrong details which pay tribute to the early grotesque typefaces of the 19th century. The serif Lexicon No. 2 is a classic, exclusive, world-famous font, and a role model of Dutch type design. The layout uses these two fonts to differentiate between special issue (Mériva) and general content (Lexicon).

Museum Het Rembrandthuis (The Rembrandt House Museum) in Amsterdam is not just Rembrandt’s former home and workshop; for more than a century it has been a museum with its own collection. The collection consists primarily of works on paper. Rembrandt’s etchings are well represented of course, but the museum also has prints by his predecessors and contemporaries, as well as by modern and contemporary artists who were inspired by Rembrandt. — Museum Het Rembrandthuis

The design of the exhibition is based on three principles: focus, colors and urgency. Focus is displayed by big blow ups of the original etches of Rembrandt; Colors by using four bright colours in each room, one colour per theme; urgency is expressed by using big type for each theme which is based on the importance of reflection and looking ahead on the museum’s own collection.

Our typographic weapons of choice are Arges Black Condensed (Blaze Type) and Moderat Extended Regular (Tighttype).

Nomda Didone from the Nomada Type Collection by Jordi Embodas (Tipografies) is used for all typography in the new identity of Senyor Estudi — a graphic design studio in Ventalló, a small village at the Costa Brava.

The “I see faces” phenomenon is used for a series of promotional postcards and business cards, created using an early twentieth century die-cutting machine, reminding of these vintage photos that all families save at home in a shoebox.

From De_Form (edited):

The starting point of the Tigris a múzeumban (“tiger in a museum”) event series is the relationship between museum, book, and reading, viewed from different perspectives, and over time. Kenneth Hudson (1916-1999) was an English journalist and museologist, creator of the concept and method of industrial archeology. The phrase “A tiger in a museum is a tiger in a museum and not a tiger” draws attention to the difference between the everyday world and the museum world, which must be shown and understood, and not hidden. The tiger as a concept also refers to the role of the museum in the colonial and post-colonial approach, the early links between zoos and museums, the museum display of stuffed animals and the visually rich world of animal portrayal. Tigris a múzeumban is a joint series of the Museum of Ethnography’s MaDok program and Lumen Café, which launches an additional episode every 1.5 months.

Curator: Zsófia Frazon
Graphic design: de_form
Typeface: Subjectivity by Alex Slobzheninov

Jose Berrio, a designer based in Brooklyn created a “locked screen” wallpaper which aims to remind us that “there are other things to do besides looking at our phones every 5 seconds.”

The wallpaper, available for various screensizes is available for free download.

Solenizant is combined with a semi-psychedelic, grungy aesthetics of a gradient that almost looks like a hand-made texture. The design is balanced by thin hand-drawn lines and lettering.

Dominic Xavier is a Melbourne based photographer. His latest series showcases the diversity of Iran’s landscape and the ornate daily rituals of its inhabitants. The contemporary calligraphic typeface nods to Persian type traditons while providing a beauty and elegance — juxtaposing against the rugged landscape captured throughout the work.

Sometimes
it’s the small things
that matter most —
small stories,
small publications,
small events.

Sometimes
it’s the ordinary things
that are the most dear —
dearest objects,
dearest people,
dearest moments.

Graphic design for a small publication that is an ode to ordinary objects. Containing 55 word stories that are the results of a flash fiction workshop run at Onomatopee by Lara Chapman and Edoardo Tedone of the Master Department Design Curating and Writing at Design Academy Eindhoven. The booklet was written, designed and risoprinted during the Super Book Saturday, 30 March 2019 at Onomatopee, Eindhoven.

Cover drawing: Kirsten Spruit.
Special thanks: Josh Plough, Nadine Botha.

Eighth issue of Die Epilog, a German magazine that deals with the change of our society. By looking into the small things that are changing in our everday lives, it wants to explore and welcome the bigger shift around us.

Nothing is certain except! We are surrounded by tutorials that show us how we structure our lives, achieve goals as effectively as possible, and even suggest that only losers are haphazard. As long as we have a goal in mind, we have our lives under control. However, this planning fanaticism in our microcosms is counteracted by the suspicion that there is absolute lack of planning at the macro level. Nothing but distraction maneuvers? Epilog No. 8 raises its head from the flow of stress, trying to get an overview needed for the big biographical and political situations.

The extended version of Moderat is used largely for headlines as correspondence to this issue’s topic “Great plans”. It’s contrasted by the edgy Serifbabe and its alternate version.

Book designed by Ana Helena Arévalo as graduation project at the MA Graphic Communication Design at Central Saint Martins. It’s the first use of Zorn, designed by Laura Csocsán and released in 2019. The display typeface is paired with SangBleu Kingdom, Suisse Int’l, and Till (not pictured).

From the project description:

With the fire at the Museu Nacional of Brazil on 2nd September 2018 as its core premise, Deserts, Voids, and Disrepair: A Critical Reader strives to question what happens after a repository is destroyed.

Civilisation is understood primarily in regards to the material culture and knowledge that has been produced throughout the centuries, but above all, through all the remains that have superseded cycles of destruction. These fragments are often collected, arranged, classified, and categorised in spaces dedicated to their protection, conservation, and preservation. Nevertheless, we now live in a time where museums and cathedrals are burning to the ground; where monuments and relics are being pulverised into oblivion, and so it is imperative that we acknowledge this fragility and the multiple ways it affects our understanding of culture and civilisation overall.

The reader, then, comes as an attempt to do so. It exists as a book, wall, vitrine, and shelf, simultaneously; as a moment of tension between logic and fantasy, and a space of both containment and dispersal. It stands as a memento mori because in a time when civilization itself is paving the way towards its own destruction, conserving the contemporary comes as a means of critical resistance.

Thomas Coward is a Melbourne based product designer. SPGD were asked to create an identity and website that reflected his work and flexibility through a broad range of products and projects he works on.

A logo was created by heavily manipulating Akzidenz Grotesk to create a completely individual outcome for his practice. On Thomas’s website, visitors are welcomed with an animated logo, showing its the flexibility in movement.

Lausanne by Nizar Kazan is used throughout.

Casey Spooner is running for President of the United States of America. This is not a joke. For better and for worse, we find ourselves in the midst of a new paradigm in which politics and entertainment have merged to become one thing. In this new world, Casey Spooner is the leader we need. — Spooner2020.com

Artist Casey Spooner is running for president. “Much of my work is about systems and personas. Government is the next system I plan to explore – particularly the conflict between capitalism and democracy. The point for me isn’t winning. It’s about understanding and growing. It’s about shifting the narrative. It’s about demystifying the system for others.”

One-off Spooner 2020 training kit designed in collaboration with Nike. Buy the t-shirts at spooner2020.com.

Spooner2020 trunks and bandana produced by Homoco were made available as a limited edition in December.

A custom version of Alias Barb is used for the identity.

Sainte Colombe is the typeface chosen by POST for the packaging and the website of Evermore London Candles. The delicate serif by Production Type appears in raised caps to present the fragrance names on the colored boxes. It’s contrasted with a logo set in the sans-serif LL Brown. Sainte Colombe also serves on the website, where it’s used for body copy in journal posts and for description texts in the online shop. Here it’s combined with Suisse Int’l (headings) and Courier New (labels and buttons).

Covers

Elvin Hu designed this book series of printed scripts from popular musicals as an unpublished student project.

Hu approached series from the perspective of a book buyer: “When someone buys a script book, they either love theatre scripts, they have a favorite show in mind, or they are buying it because their professor or director told them to.” He wondered if he could design a unified series where readers could easily spot the script they are looking for, even when all the books look essentially alike.

His solution was to fill the cover with the initial letter of each title. Using colors from each show’s original branding, he was able to give each script some sense of individuality while have them fit nicely into the larger visual system.

When it came to choosing a typeface for these gigantic initials, Hu says, “Fit became an obvious choice because of its versatility and eye-catching design when used as at a large scale.” Fit is also used to set the title on the back cover, with words sometimes split to create interesting text shapes.

Meanwhile, FF DIN is used in all the places where actual legible text is needed: the titles and themselves, the spines, as well as author names and supplemental text on the back cover.

Hu also gave the covers an intentional slightly-worn look, a nod to the many pirated photocopied scripts on the market.

Back covers

Spines

Wicked, front cover

Wicked, back cover

Dear Evan Hansen, front cover

Dear Evan Hansen, back cover

Rent, front cover

Rent, back cover

Next to Normal, front cover

Next to Normal, back cover

Natasha, Pierre & the Great Comet of 1812, front cover

Natasha, Pierre & the Great Comet of 1812, back cover

Hellovision is a family-friendly version of Hellavision, held at at the Tattersall distillery during the Art-a-Whirl® Open Studio Tour in North East Minneapolis.

Hellavision Television Animation Show is a series of episodic experimental animation screenings and zines. Screenings are held quarterly, free to the public. Anyone and everyone is welcome to participate. Artists are encouraged to create work as quick as possible and without self-judgement.

Designer Peter Steineck used bb-book B family by Benoît Bodhuin for the call for entries, posters etcetera.