Year by Year, the first book of poetry by filmmaker Lynne Sachs, is the result of a deep collaboration with designer Abby Goldstein. Typeset in Study with headings in Freight Sans, the poems are presented adjacent to handwritten journal pages, emphasizing the relationship between content and form. The author’s eccentrically-lettered dates are isolated and collected on the book’s cover to create a cacophony of numbers that reflects the movement of time.

With one poem for each year from 1961 to 2011, the collection began as a half-century marker in Sachs’ life, reflecting on history and memory. The handwritten poems themselves became the basis for her 2017 documentary Tip of My Tongue.

Typotopografie is a magazine series by August Dreesbach Verlag that presents (typo)graphic excursions in various cities: special places, personalities, institutions or exhibitions related to typography, design and the art of printing in urban spaces.

Just in time for the Frankfurt Book Fair 2019, the anniversary edition focuses on the city of Hamburg. Editorial designer and typographer Manuel Kreuzer counts on the appeal of two Typemates releases: the raw Halvar in combination with the expressive Bridge Head and Text.

In a reference to the Hamburg coat of arms, the tenth edition is designed with red as the main colour. Kreuzer gives each section of the 80-pages magazine a new visual impression, introducing the reader to the unique characteristics of the interview partners.

Our type foundry is among the interviewees. Partners Lisa and Nils are closely connected to Hamburg and designed Halvar, adding some local flavour to the typeface selection – even when the typographic star of the publication is Bridge, a design by Mona Franz (based in Munich, approximately 800 km south of Hamburg) that started out as her graduation project for Type and Media in The Hague, Netherlands in 2018.

Museum Sans (HEX Projects), paired with the more utilitarian Beatrice (Sharp Type). Smaller all caps accents use Stellar (Pangram Pangram). From Moth:

The MassArt Art Museum (MAAM) is a place to imagine the unimagined—to see what you haven’t seen before. MAAM is Boston’s newest museum, a place where visitors experience works by visionary artists at the forefront of contemporary art.

MAAM sought a bold brand that breaks the mold of the stark black-and-white motifs at other contemporary art institutions. During a visual workshop, the MAAM team reached consensus on what they desired in a logotype: “No serif, no sans serif.” No problem, right? We delivered with a logomark that has custom letter forms that are moving forward in space. And we partnered with Nick Sherman to craft a bespoke font that is used as the display face in the system.

MAAM is a kunsthalle—a non-collecting museum that is always changing, never static. The brand identity reflects the element of surprise and unexpectedness. It’s modular, flexible, and extends to exhibition branding and sub-brands.

One of the core values of MAAM is that it’s always free and open to the public. We embraced this tenet of inclusivity with an identity that is vibrant, welcoming, and engages a broader audience in the discussion of public art.

Visual design for the 7th edition of credit exhibit, an annual exhibition for architecture and urban spaces in Hamburg, Germany.

The relation between individuals and the city itself became the focus while developing the design. People living in urban spaces might be pushed aside, sheltered, or guided by given structures. I aimed to have the design refer to brutalism, while letting typography take the lead in partly incomprehensible paths – just like one sometimes wonders how certain occasions might have developed in urban spaces.

Marteau was chosen for its clear style and especially its tall appearance. It’s used both in very big and in smaller sizes. Its condensed style allowed to accommodate a generous amount of words with loose spacing in a relatively limited space. Helvetica Now, used for longer texts, lends a broader but still prosaic perspective to the design.

Cover, issue 3, 2019.

Crossing is the magazine of the Volkswagen Group Culture. Its colorful design by Alexis Zurflüh, Ludwig Haslberger, Federico Bardelli and Yeelena De Bels features Self Modern along Suisse Works and GT America, mostly using its extended styles for headlines – and for the magazine logo.

Spread from issue 3, 2019.

Spread from issue 3, 2019.

Spread from issue 1, 2018.

Spread from issue 1, 2018.

Spread from issue 1, 2018.

Spread from issue 1, 2018.

Cover, issue 2, 2018.

Spread from issue 2, 2018.

Spread from issue 2, 2018.

The Pink Prince was born in London in 2016, and already has seen seven published issues, which are distributed in 12 countries. The magazine deals with a new generation of men’s fashion through a very fresh line, with a young spirit, and with a redesign that keeps pace with the latest editorial design trends.

For this issue, the team formed by Juan Martín (art direction) and designers Roberto Espartero and Sergio Paque, set out to give the redesign an integral character, an absolute change of look that encompasses the format, as well as the header, the cover, and the interior spreads.

For headings, Juan Martín selected PP Monument, a wide bold grotesque that adds a severe and contemporary appearance. The cover holds several lavish details such as the barcode integrated in a box (with all the information related to a price, web, etc.), in addition to the theme (in this issue: “Survivor”), which functions as a link between all content. This becomes visible in the use of coordinates, looks, aesthetics, locations, etc. Smaller text elements are in Bw Gradual.

Photos: Salva Cerdá / Rayitas Azules

ALP is an Austrian magazine about “higher life”, i.e. life in the alps, conceived and edited by Armin Thurnher and Josef Rupp. Editorial design by Great, with Boogie School Sans for logo, cover, and headlines, paired with Sabon Next for body copy.

Typotopografie is a magazine that takes a closer look at the typography and printing art in urban centres. Each edition focuses on another city and displays its unique typographic flair. The first three issues about Munich, Düsseldorf, and Berlin were published simultaneously in 2012. Typotopografie is published by August Dreesbach Verlag. The design is credited to Anne Dreesbach, F.J. Keselitz, Munich, and Manuel Kreuzer, Büro für visuelle Gestaltung, Hauzenberg. Since issue 4, the design lays in the hands of Dreekreuz (Dreesbach & Kreuzer).

Meret Pro Bold is used for the magazine logo. For the interior typography, various weights from Meret Pro are paired with Soleil. The images show the issues 4 and 5 about Leipzig and Vienna, published in 2013.

John Morgan Studio:

First published in 1981, AA Files is the Architectural Association’s journal of record. It contains essays and articles on architectural history and criticism, work by contemporary practitioners and designers, photography and art. It was redesigned by John Morgan studio in 2008, from issue 57 onwards.

“There are two ways of looking at graphic design. You can over value technological change. The technological-revolution-that-is-changing-everything is all that matters. You would then consider only the very latest innovations in design as being meaningful. The ipad magazine app that came out last week that “shows us the future of magazines”. The phone coming out next week with a swizzy new screen that displays text with unparalleled clarity. With this view, any design that is not about exploiting technology is regarded as pretty much passé. Irrelevant. Another way of looking at design is that you can see it as a continuum. That the challenges of making magazines, for example, are essentially the same today as they were twenty or forty or sixty years ago. This argument says that although the media that deliver us the reading experience are changing by the hour – our eyes and brain are not changing, and that the experience of reading and looking are pretty much the same as they always have been.

AA Files is produced using some of the latest technology, but produced as old technology. A magazine, printed with ink on paper. But, in its old-fashioned way, I think AA Files is a fabulous example of both design and content. A perfect marriage of the two. Magazines need to be attractive, clear, powerful, coherent and identifiable, and yet full of incident and change. Magazine the word is derived from the Arabic for a store-house (transliterated as makhzan). AA files is a magical store-house. For what is ostensibly a magazine about architecture – the house magazine for members of the Architectural Association – the content is the freest possible definition of architecture and its concerns.” — Quentin Newark, 2011

The magazine uses Big Caslon for masthead and numbering on the otherwise empty front page. Inside, Arnhem is complemented by its finer self for headlines.

Mestizo is a quarterly magazine about artistic demonstrations through the Latinamerican popular culture.

See more at Behance.

Final class project for the Postgraduate Diploma in Graphic Design and Publishing Projects in ELISAVA School of Design, under the direction of Óscar Germade (Solo Studio). This is a non-commercial project.

Pack was conceived as a magazine about moving from one city to another, something young people are increasingly familiar with. Each issue deals with the move of one couple or individual from a particular city, with all the good and bad that that entails. This first issue deals with a couple's move from Berlin to Toronto.

“Exposed” or “showing something as it is” are some of the definitions for the word uncovered. Through this concept is born an editorial collection which proposes to avoid the clichés and question what was previously established. Structured in monographics, each publication addresses a range of topics (art, literature, photography, history, society) under
one single concept: dreams, emptiness, or even silence.

This final degree project was awarded with a Silver Laus 2014.

Link. Idee per la televisione is an Italian editorial project focusing on TV and media. Issue № 14 is about the seven deadly sins. The magazine is 17×24 cm in size, and the typefaces in use are Aperçu and Aperçu Mono by Colophon. Link has been printed in two colors, black and Pantone® Warm Red, on Favini Shiro Echo White paper. Link. Idee per la televisione is also available for iPad and Android devices.

Exposed underside of roof shell house by G.K. Muennig, from photo by Wayne Wright.

Fray is described as the quarterly of true stories and original art.

Issues 1 and 2 relied heavily on Georgia. For issue 3 the site switches to Chaparral and Proxima Nova with Archer used on the cover of the print edition.