Birds Records is the first non-profit label that saves birdsong.

BBDO Moscow worked together with the World Wildlife Fund (WWF) and local audio streaming platform Yandex.Music to create Birds Records, the first non-profit label that saves birdsong.

In North America alone, over the past 50 years, the bird population has declined by over 3bn – almost a third of the total number of individual birds. Scientists have long suspected that the planet’s ecosystem is in a critical condition, but no one had thought it was so calamitous.

The tracks from Birds Records use samples of birdsong, and all the money received from listening to them and selling merchandise will be sent to the WWF Russia, to boost bird numbers and protect the habitat of endangered species.

The website is available in Russian and English versions. CoFo Sans is used for both, in Cyrillic and Latin. PP Monument Ultrabold appears for the logo and the header animation.

Starting from the premise that the new Valencian Institute of culture covers different cultural areas, such as music, audiovisual/cinema, dance/theater, comprising several institutional entities, we needed a brand that took this diversity in account. In order to carry out the brand, we focused in researching the common features shared by all the disciplines represented in the institute, namely the stage, the show and the audience.

We studied the origins and evolution of the space where all these disciplines took part throughout history. In ancient times, the theater was understood as a physical space where all kind of cultural activities were held: music, theater, singing, dance … By analyzing the building plans we realized that those aforementioned common features tend to form a C‑shape.

The brand for the Valencian Institute of Culture comprises a symbol, the letter C for culture, and a wordmark with the Institute’s name. C represents the culture, the Institute’s central activity, taking its morphology from the space where it took place.

A strong brand, in white and anthracite black, with a clear, direct font, and a secondary color range for the diverse applications to be developed in the second phase of the project. The color symbolizes the diversity of areas, entities, disciplines and activities that the Valencian Institute of Culture develops.

The font used for this brand is GT Pressura, by Grilli Type.

Client: Institut Valencià de Cultura. Generalitat Valenciana

Equally as controversial as Kanye West’s latest album, the work done by A$AP Mob’s creative collective AWGE for Jesus is King’s merchandise is bold and brash. The album and movie poster use GT Super Display (Grilli Type) and convey the royal simplicity of their title.

There is a stern difference between the two styles of design – that which is purely Jesus is King is much cleaner and presentable, whereas the rest of the merchandise really goes its own way typographically.

Much of AWGE’s type work breaks professional design standards, stretched type, pixelated images, and un-centered text plague the merchandise line in an attempt to be “so bad it’s good”.

Track list. GT Super’s kerning has been deactivated, see “We” or “Water”.

Cassette

Album release announcement

Movie poster

T-shirt with bible quotes in Cooper Black Italic, by Kanye West x Cactus Plant Flea Market

Kanye West x Cactus Plant Flea Market

Arial Black, stretched and outlined.

Longsleeve featuring a crossword in all-caps Brush Script.

Brandpad is a service where designers can share, control and modify styles guides and assets with their clients. In September 2019, for their typography showcase month, Brandpad replaced the usual typeface on their website, Graphik by Commercial Type, with a different typeface every week. The idea was to illustrate how changing only its font can affect a visual identity and the feelings that it conveys.

During the first week of September, Brandpad’s website was therefore entirely typeset in Gangster Grotesk, a typeface in three weights that is free for both personal and commercial use. The subsequent weeks, the website was temporarily typeset in Styrene, then in Reader and lastly, in Favorit.

Although it is now back to normal, you can still appreciate the impact that changing its font had on the website's look and feel.

Brandpad’s website typeset in Graphik (default)

Brandpad’s website typeset in Graphik (default)

Brandpad’s website typeset in Gangster Grotesk (week one)

Brandpad’s website typeset in Gangster Grotesk (week one)

Brandpad’s website typeset in Styrene (week two)

Brandpad’s website typeset in Styrene (week two)

Brandpad’s website typeset in Reader (week three)

Brandpad’s website typeset in Reader (week three)

Brandpad’s website typeset in Favorit (week four)

Brandpad’s website typeset in Favorit (week four)

For the past nine years, UN Climate Change’s Momentum for Change initiative has been shining a light on global climate action by citizens, organizations, businesses and governments. Each year, we recognize some of the most innovative and impactful action happening throughout the world. We refer to these as “Lighthouse Activities” and the Momentum for Change 2018 Annual Report highlights 15 such activities and projects.

We must remember, however, that lighthouses do more than shine a light—they also act as beacons. They help those who have strayed off course find their way to safety. Currently, the world finds itself in a perfect storm when it comes to climate change. Extreme weather events are getting worse, emissions continue to rise and it’s clear that if we’re to achieve our climate change goals, we must raise our collective climate ambition.

While we have the Paris Agreement as our guide, and nations and businesses promising to work together to keep us moving forward, it’s valuable to have examples of results-driven, practical climate action throughout the world. While many people understand the why when it comes to boosting climate action, they need clear examples of how.
— Patricia Espinosa, UN Climate Change Executive Secretary

The interactive report includes the showcase of the winning projects as well as a presentation of the initiative and a breakdown of the selection process.

The design features Larish Neue by Radim Peško for titles and introductory texts. Its combination of classic and contemporary feel make it suitable for this institutional context while remaining playful and distinctive. It’s visually strong enough to balance the massive use of gradients. IBM Plex Sans is used as its counterpart for the body text: It was chosen for its rather neutral look and good readability. Furthermore, its slightly squared design balances Larish’s round shapes when juxtaposed.

Concept, design and development by Alex Piacentini. Thanks to Ilaria Roglieri for her help with typography.

ROOK Supply is a Rotterdam-based bicycle store/workshop. In addition to bicycles and bicycle accessoires, the store has a Banana T-shirt on sale, with small print using Lausanne 300.

Guest Editions is a new publishing house created by Studio Thomas. Working closely with artists to create unique printed projects, which share a vision, question or story.

Our aim was to create a publishing platform that challenged the traditional publisher/artist relationship we had experienced, which was much more skewed to the publisher’s motives and less towards the vision and ideas of the artist. We wanted to create a place for genuine collaboration, not just as a buzzword, but as a way of really understanding what the artist is trying to communicate, and finding a way of amplifying that through a design and printed project. That is what lead us to Guest Editions, we are imagining we are all guests, the artist is a guest of the platform, but we as publishers as well as the reader are all guests in the artist's world. It’s about sharing in a vision and in that other place that has been captured.

The identity uses Steinbeck and Sainte Colombe.

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

Lynn Fisher’s web project USFlags.Design provides an analytical view of the United States’ flag designs. The site offsets detailed diagrams and informational graphics with airy typography—the academic voice of Study and the informational tone of Proxima Nova. Fisher describes the site as a meeting of “a budding vexillology interest and a love for visual design guides.”

Probably around 2010, the Bretagne region of France got a new identity – Brand New wrote about it all the way back on January 31, 2011. That redesign is from Communiquez in Lyon, and the typeface it employs is TheMix, from Luc(as) de Groot.

The region’s logotype – featuring vertical-stemless E’s – was designed at Communiquez by Xavier Mercier. The vertical stripes in the logo call the region’s flag to mind. Rather uniquely, Bretagne (Brittany in English) has a flag design that is just black and white.

The current website promoting the Marque Bretagne is much newer: 2019. Agence LunaWeb in Rennes developed it. All of the text is in webfont versions of TheMix.

Ensuring the highest professional standards of practice in forestry in Ontario for over 60 years, the Ontario Professional Foresters Association (OPFA) are champions of sustainable forest management practices, and caring for our most valuable renewable resource for generations to come.

The new brand identity grew out of exploring the shapes and colours of trees native to Ontario. The O is represented by a simplified deciduous tree, and the A a coniferous tree. The light teal represents the fresh new growth of spring saplings, while the red-orange represents the incomparable autumn colours we enjoy in Ontario. Both of those are complimented by a deep green representing old growth forests and our rich history of forestry.

Styrene A is used for the full name in the logo lockup. The more economically proportioned Styrene B was chosen as text typeface.

Read more in the case study on officebureau.ca.

As part of the rollout of this refreshed brand, we also launched a new website and membership hub. The website features bold photography and engaging layouts, with subtle animations to bring every page to life. The site is fully responsive, with a focus on usability, accessibility, and performance driven by the diverse membership.

For the visual identity of the Paris based school Camondo, Travaux-Pratiques used the typeface Maax designed by Damien Gautier.

C series

PaperSizes:

Launched in April 2017, PaperSizes is a side project by UK Designer Rob Lafratta and developer Richard Franklin, who in their spare time wanted to create a tool for themselves and for others who needed quick access to paper sizes.

All type is rendered in two weights from Work Sans, a typeface family designed by Wei Huang and released under the SIL Open Font License in 2015.

This website makes it much easier to find this information than it is elsewhere. The grid, the grotesque font and the ragged-right column compose a reference to the international style, which is apt for such a topic as international weights and measures. The boxes on the top half of the website are unrelated, though, and thus it mixes design languages, and not unsuccessfully.

While in a high-contrast serifed font we might have wished that the larger text be in a larger optical size, evening out the stroke width (at its thinnest), here the bolder appearance of the regular weight at a larger size serves only to aid its display function. The consistency also helps the site seem more “minimalist”, but it does use the bold weight for table headings.

Full page on the A series, showing all the recorded details

B1 paper specific page

Paper size comparison

Full page on US paper, showcasing yellow theme and measurements in points

P3 Canadian paper page, showcasing blue theme and inches measurement

JB4 Japanese paper, showcasing white theme and centimeter measurement

Piedra is an online dissemination project by Tono Vizcaíno that aims to bring together archeology and mass culture. That is, to show how the past is present in 21st century advertising, television, music, cinema and fashion, among others. The objective is to explain the history through contemporary references and with humor, trying to connect with a young audience.

Apart from the logo, Gerbera is used throughout. Design by Carles Rodrigo.

http://lawebdepiedra.com

The exhibition A History of Possible Encounters was conceived by Para Site and first shown in Hong Kong in 2012. It subsequently traveled to SALT Istanbul, NUS Museum Singapore, and e-flux New York. The catalog was designed by textandpictures and co-published with Sternberg Press in 2015. Proto Grotesk is used throughout. It’s paired with Monotype Baskerville for captions and obliqued Hobo for inline emphasis.

How did Ai Weiwei, Frog King Kwok, Tehching Hsieh and Martin Wong—four artists of Chinese heritage hailing from mainland China, Hong Kong, Taiwan and San Francisco, respectively—all end up in New York in the heady 1980s? By considering them together, what might we learn about their practices and this storied time and place in art history? With these questions in mind, Taiping Tianguo: A History of Possible Encounters takes nuanced glimpses of the artists’ overlapping experiences, networks and friendships. Including a rich collection of photographs of the artists’ work, a timeline (1841–2011) charting general history, art history and biographical information from the exhibition, and essays by Hong Kong curator Doryun Chong, Para Site director Cosmin Costinas, among others, this book underlines the political and gendered nature of the music/art scene in New York art of the 1980s and the simultaneous emergence of contemporary Chinese art.

6¾×9½ inches / 144 pp (47 b&w and 69 color) / ISBN: 978-3-95679-116-1

The Université de Paris is a new public university, created in March 2019 from a merger of the Paris Descartes University, Paris Diderot and L'Institute Physique du Globe de Paris. The University of Paris chose Graphéine to define its brand image and its graphic charter in a co-construction process. The opportunity to collegially exchange qualities made it possible to define a relevant visual identity.

The logo echoes the Didone style typefaces that were massively used in France from 1810 to the 1950s for regulatory printed matter and school textbooks. By combining the letter U and a stylized representation of the Eiffel Tower, we created a symbol that gives the impression that it has always existed. Wearing the emblem of the University of Paris should be seen as a reward, like the Varsity Letter awarded in the United States.

The strong contrast of Darby Sans offers a form of beauty and refinement that is traditionally associated with luxury and elegant letters with Didone-style serifs. Its structural qualities and humanistic style perfectly complement the “heritage” aspect of the emblem, while adding a contemporary touch.

Learn more about this project:
[FR] https://www.grapheine.com/portfolio/identite-visuelle-universite-de-paris
[EN] https://www.grapheine.com/en/portfolio/brand-design-universite-de-paris

Marquis Towers is a real estate development project in Atlanta, Georgia. The identity was designed by Resource, using an m initial derived from AT Archistency. This modular typeface was made by Zhalgas Kassymkulov in FontStruct in 2013, inspired by Glue. It is paired with Gotham (Hoefler & Co, 2002).

Yearbook 2017 for the MMSZK (Művészeti és Művészetelméleti Szakkollégium), the Advanced College of Art and Art Theory in Budapest, Hungary.

The college was formed on students’ initiative at the Hungarian University of Fine Arts, in 2012. Not only to provide help in developing skills and knowledge of outstanding students, but also to provide a platform for interaction between divergent disciplines and a form of collaboration with artistic practices which can reach beyond the courses offered at the university. The college provides a laboratory-like situation for the students, in which knowledge production is experimental, and in which theory and practice mutually support each other.

Edited by Ádám Albert. Designed by Dániel Máté & Marko Mrkobrad (as members of Kötöde), using Messenger (work in progress) and Moholy Sans, both by László Naske.

Graphic identity for Creixem al Carme, a cultural initiative born with the aim of strengthening the relationships between the cultural-educational environments and their neighbors in El Carme, the original urban nucleus of the city of Valencia. 73% of the city's cultural activity is concentrated in this neighborhood. Its surroundings are made up of vestiges and layers of history that are still preserved in the layout of its streets.

The aim was to create a dynamic and attractive graphic identity that would value the three premises of the project: ‘the basic is extraordinary’, ‘art as a learning tool’ and ‘the environment constructed with layers of history’.

The brand identity is built from a wide range of bright colors that combine to generate different layers to solve all communication needs of the project. La Nord, a sans serif typeface with gestural details in its characters, gives clarity and proximity to the identity.

For the visual system, the basic geometric shapes (square, circle and rectangle) allude to the learnings of art. These shapes are playing, moving and deforming to provide, along with the range of color and typography, endless visual solutions.

Poster for “An Antwerp Block Party” — a block party bringing silent disco listening sessions and strictly vinyl DJ sets to the streets of Antwerp. Organized by David Tricot / Foot juice art vzw.