AJAP (Albums des Jeunes Architectes et Paysagistes) is a biennial competition organized by the French Ministry of Culture. They distinguish young European architects and landscape designers under 35 who have realised a project or participated in a competition in France. The exhibition presents the work of the twenty winners constituting the 2018 promotion, fifteen teams of architects, five landscaping teams.

République Studio designed the exhibition identity including a series of booklets, signage, and other collateral for AJAP 2018. It will be exhibited in all the French Institutes around the world for the next couple of years.

Set design by Gaspard Pinta / Photos by Julien Lelièvre

Narrated by its former presidents and team members, the book 50 years of Abralin: Memories and Perspectives gathers historical records of the Brazilian Linguistics Association. Each chapter presents a generation, a period, a set of voices that, together, recollect and recreate a half-century trajectory.

Through its graphic and material features, the book design relates to the commemorative, institutional, and affective aspects of the publication. The light and elegant shapes of Lector, used for titles and texts, were paired with a luminous yellow hue. Ronnia, in turn, was used for the page numbering and for the preface. The result is a traditional, but also inventive layout.

Archivo Rastro is an exhibition project based around a photographic archive that was generated by digitalizing and cataloguing more than 3,000 negatives and slides found in Madrid’s flea market “El Rastro”.

The Archivo Rastro team requested that the identity should be used both for the archive and for the graphic image of the exhibition, in addition the images of the archive should be present, but without confusing the receiver about the exhibition purpose.

The identity is based on the concepts of latency and ordered disorder, to communicate ideas such as collection, diversity or explore and discover. Plain and Atlas Typewriter were used looking for a contemporary sensation disconnected from nostalgia.

See more images on Fase Studio’s website.

Benign Duplicates is a limited edition publication, presenting twelve days from the diaries (1962) and photographs (1954–1993) from the archive of Nikolai Kozakov. Under the moniker of publishing House Gluschenkoizdat, Kozakov’s notes and images were processed in various productions including this English edition, an audio drama and a website with the same diary excerpts as used for this booklet.

(...) In writing down his every step, Kozakov remains unknowable, like outer space — the conquest of which he devotes so much attention to in his notes. Who is he? A man of the ‘60s? An intellectual wretch? Your father’s older brother? Anti-Semite? Loser? Poet? Extraterrestrial? The diary is clearly not intended for anyone else to read: Kozakov writes it for himself and remains hermitically sealed within its text, exposing the reader to the principal and tragic impenetrability of “the Other.” Kozakov’s peculiar relationship with reality has no parallel in today’s world. It is like a message in a bottle that he sent not 50, but 500 years ago. (...) — book cover text by Maria Kuvshinova

1962, Soviet Union. On the brink of inevitable coming of communism, Nikolai Kozakov, a truck driver from the Gorky region, steals from the collective farm property, goes to Kazakhstan to work on the gas pipeline construction and is treated for stuttering by hypnosis in the Ukrainian city of Kharkov. Behind the ostentatious masculinity — he hunts, rides a motorcycle and is constantly drunk — Kozakov hides a secret life of a man with developed taste, a subtle observer, a student of ancient mythology. He writes poetry, takes photographs, pities himself and falls in love, perhaps too often. — Grigor Atanesian, Gluschenkoizdat publishers

Text and headlines are set with Journal (Paratype), and Akzidenz Grotesk is used for the introduction paragraph on the book cover and for captions. A few numerals use Journal Sans.

Edited by K. Gluschenko
Translated from Russian, by B. McGarr and M. Shipley.
200×260 mm, 128 pages, first edition of 10 copies
Order № 184.

Benoît Bodhuin's Elastik in use for an artist's book from South Korea. Island, designed by Kang Joosung, consists of artworks that will be exhibited at Factory2 in Seoul from 11 May to 2 Jun 2018.

The book contains etching works by Choi Kyungjoo, plus a soundtrack by Lee Dongyoul (trumpet) and Kim Kieun (guitar). The musician recorded the island title song and added eight related tracks. To include sounds from various spaces, the music was recorded in three different spaces (AP shop, Studio Araby and Kim Jongwan’s Atelier). The 27 etching prints by Choi Kyungjoo are inspired by the songs and printed at Printon in Tallinn, Estonia.

Size: 230×310mm, 54 pages
Binding: hardcover, hand-sewn binding
Print: offset, silkscreen

Poster, riso-printed by Corners Printed, Korea

The Frankfurt-based form is a magazine about product and graphic design. It is not to be confused with the Swedish one. The German form was founded as early as in 1957 (initially named Internationale Revue) by industrial designers Wilhelm Wagenfeld and Jupp Ernst in cooperation with the museum curators Curt Schweicher and Willem Sandberg. Their first art director was Karl Oskar Blase. For many decades, the driving force behind form was Karlheinz Krug, a graduate of the famous HfG Ulm. Krug was succeeded as editor-in-chief by Petra Schmidt and, from 2006 to 2012, by Gerrit Terstiege. After publisher Birkhäuser filed for bankruptcy in 2012, Peter Wesner became the new owner and editor of form. The new editorial team is led by Stephan Ott. Learn more about the magazine’s history on the form website.

For the redesign that was rolled out with issue №250 in October 2013, Heimann und Schwantes use Theinhardt, Optimo’s revival/reconsideration of early German grotesks. It bears the name of Berlin type founder Ferdinand Theinhardt (1820–1909), who has been [edit: incorrectly] credited as the designer of Akzidenz-Grotesk. From Optimo:

François Rappo developed the Theinhardt family after researching the DNA of Grotesque drawings from the early 20th century to design an optically optimized contemporary font family organized in a wide range of weights.

Theinhardt is arguably the best available digital version of this classic. Not only is it technically up to date and comes in a wide range of weights. Unlike other options, it can also be licensed in single styles and for the web — plus the money goes to living type designers.

All photos courtesy of Slanted.