Bilingual catalogue for an exhibition at the Pushkin Museum of Art, showing a selection of the painting collection of the Fondation Louis Vuitton:

Fondation Louis Vuitton is presenting for the first time, a significant selection of works from its Collection at The Pushkin State Museum of Fine Arts, Moscow. This exhibition, which represents the Fondation’s commitment of showcasing works by some of the world’s greatest modern and contemporary artists, is one of its most important “off-site” presentations since it opened in October 2014. The exhibition features a variety of artworks in a range of media, demonstrating the breadth of the Collection and bringing it to the widest audience.

Designer Daniel Bondarenko designed the bilingual catalogue with two contrasting styles of typography. Two weights of Ida by Maria Kharlamova (Paratype), set in one size, are used for all information in the book interior allowing the artworks to take the stage. For chapter openings and biographies, Karloff Negative (Typotheque) offers striking headlines: Cyrillics on the left for Russian text; its Latin counterpart used for English on right hand pages. Karloff Negative is the “ugly” part of Typotheque’s Karloff collection, Biľak’s take on the possibility of a conceptual typeface. Karloff Negative was designed by Peter Biľak and Pieter van Rosmalen; Cyrillic was added by Maria Doreuli in 2017.

Album artwork and accompanying poster for the third album of London-based band Psychic Markers. Ivar Display Condensed is the primary typeface, chosen to achieve something that feels both classic and modern. Ivar is combined with Ambiant Sans on the vinyl label, and on the poster.

The album is due for release on 29th May, 2020 via Bella Union Records.

Poster for a fashion feature in Pylot magazine, designed by Allan Yu AKA MarsMaiers using PVC Banner. The ultrawide style that is part of Production Type’s PVC family is featured in rotated lines of tightly spaced, electronically condensed, and partly outlined caps. The technoid glyphs by Hélène Marian are contrasted with handwritten scribbles and digital spray paint.

This book is a personal work designed in honor of poet Miguel Hernández (1910–1942), who fought alongside the Republicans in the Spanish Civil War. The book consists of poems and a biography of the poet, and my illustrations inspired by his poems.

More images can be found on Behance.
Self Modern is used throughout.

Shown here are Nicola Peter’s cover designs for Temple Solaire’s Ceremony tapes, which are a series of seven playlists on Spotify, curated by the seven members of the band.

The grotesque that is exclusively used for the covers is Ambiant Sans, designed by Laura Csocsán.

Kaleidoscope Magazine was founded in Milan in 2009. The publication features stories on up-and-coming, envelope-pushing artists and designers from across the globe. Since Issue #32, designer Mirko Borsche of Bureau Borsche has used Sharp Type’s Ogg on the printed magazine and website. Issue #33, shown here, was launched at the 2018 Frieze Art Fair in London, using both Ogg and Neue Helvetica Light.

See more images at Sharp Type News.

Artwork made by Shin-woo Park of Paperpress (furniture by Tiel Studio), displayed at the 2018 edition of Typojanchi, the International Typography Biennale of Seoul, using a double A from the Langulaire typeface.

Artwork for a soft_copy project EP named Petrol Station Flowers. Graphic design by Yasseen Faik Studio set in mix of Langulaire by Loris Pernoux and Good Sans by Good Type Foundry. The font used for the Japanese text is unidentified [It’s Kozuka Gothic, see comments].

From Bluedot collective:

Anima Mundi is a trans-media project directed by Olivia Wünsche (Bluedot Collective) which aims to bridge the gap between western mentality and indigenous worldview. The work carries on both theoretical and visual research about the deep ecology movement which promotes developing a physical, intellectual and above all, emotional bond with nature.

Langulaire is used for headlines, paired with an unidentified sans serif for body text.

Poster

It Takes Several Minutes For The Eyes To Adjust To The Dark is the title of the graduate show of the Communication Design students of the Faculty of Fine Arts, Lisbon (FBAUL). The identity articulates the striking serif typeface Apoc (Blaze Type) with the more sober Neue Haas Grotesk (Linotype/Font Bureau).

From the collective:

In this post-digital era, reality and fiction have been diluted. The expression of this lack of definition isn't limited to just creative and artistic endeavours, but is often weaponized by various power structures, whether formal or informal. This instrumentalization deconstructs core values such as democracy, individual and collective identity, ethnicity, and other fundamental principles of our society.

Before this current and desirable identity crisis, design always worked with and for reality. Its objects belong, circulate, and (re)construct reality. The frailty of the majority of communication design objects also contributes to this idea of a practice that serves the present. In short, the inevitable shock with reality defines the social status of design. If design and reality is a (false) truism, design and fiction might appear to be an improbable hypothesis. In the face of historical, legitimized practices—such as literature or cinema—design now reclaims its place in fiction.

At the end of another cycle of study in communication design at the Faculty of Fine Arts (University of Lisbon), we have gone over the dilemmas, the contradictions and the themes that pertain to contemporaneity. Through the projects produced this year, the students have either commented, critiqued or essayed reality, or turned it into fiction. We've steered very close to cinema, literature, mythology, but also to the hard truths of a reality that insists on presenting itself, suprising us, and deconstructing itself before our eyes.

The show is on display till 18 October.

Exhibition

Catalog

Website

Album launch poster. Illustration by Keith Rankin.

Mogollon Studio designed the complete music packaging and promotion for the amazing musician and artist Sui Zhen. The new album is called Losing, Linda. We created the wordmark “SUI ZHEN” and all the graphic alphabet.

We used a combination of Dinamo’s Favorit and Blaze Type’s Apoc for the whole package which includes a vinyl LP and some promotional posters.

Abum packaging.

Inner sleeve design.

Vinyl packaging poster insert.

Poster insert back.

Album back cover.

Single cover and animated typographic video for the band Squid and their song “Houseplants”.

Lazybones is the main font, paired with Salvaje Display for the logo artwork. Both fonts are used exclusively in capitals.

All artworks by Raissa Pardini (@raissa_pardini).

Continua in use on the website of Amigo Total:

(...) an audiovisual design studio focused on direction, working in the fields of advertisement, art, music and fashion. Creating content for the digital era such as films, campaigns, VR/360 and experiential, they create bold and engaging solutions through the exploration of styles, techniques and moods, seeking contemporary aesthetics and a cheeky sense of humor.

Creative direction & design: Querida
Code: Feijoomontenegro

An interactive web poster for a lecture and workshop by The Rodina at CalArts entitled “Action To Surface.” The workshop’s goal was to rethink surface production in terms of performance. The designer Jae Ee writes, 'Unlike traditional posters, in which all form is flattened, all surface graphics on this poster are not fixed to respond to actions.'

Printed poster.

Apoc(alypse) and Osmose in use in the poster for Swedish musician Summer Heart’s show at Bottom of the Hill, a classic San Francisco venue that hosts a wide range of upcoming musicians. The two typefaces bring a contrast of utilitarianism and humanistic attitude to the design.

A project by Evan Tolleson for an ongoing collaboration with Bottom of the Hill.

The Bottom of the Hill logo is set in Apoc Light Italic, with custom hyper-extended descenders.

An experimental cyberpunk magazine about the questions of the digital revolution and its ethical, socio-political meanings for humanity: K1M3R4 – Issue 01 “Empathy Dystopias”.

K1M3R4 is an experimental, multilingual cyberpunk magazine that explores the changing role of humanity in the age of the digital revolution. Inside the magazine contributions and statements from people of all kinds of different professions (artists. theorists, technicians etc.) collide and therefore create new ideas.

The name of the first issue is “Empathy Dystopias”. It asks the question of the future of empathy between humans and humans, humans and machines, machines and humans and machines and machines.

Through “hyperlinks” the linear structure of the printed matter is refined and a form of a connecting network is created.

Art Direction by Michael Clasen
Guest Artworks by Vivien Hoffmann, Arthur Vincent Boer, Boris Smeenk, Baptiste Bernazeau, Jasper Scholma, Fabian Fohrer, Jack Kimberley, Loïc Movellan, Matteo Sardina, Quentin Gomzé, Alexander Dueckminor, Carlos Henriquez
3D Rendering by Obby&Japparii
News logo by Michel Lörz

Paper: DCP Coated Gloss 135g

MOLD is “a platform about designing the future of food”, that recently completed a successful crowdfunding campaign to launch a printed magazine. The publication is being designed by Eric Hu and Matt Tsang, making promintent use of The Pyte Foundry’s Gyrator as well as Forgotten Shapes’ digitization of Gerstner Programm.

Eric Hu was interviewed about the project by Emily Gosling for AIGA’s Eye On Design blog, and explained some of the thinking behind the type-centric design:

“It’s about eating bugs and eating dirt—the subject matter is strange and we wanted to create a design that was equally as strange. We also wanted to avoid the tropes of the word ‘future.’ A few years ago it was the highly geometric sans serif, all clean slick lines; but when you think ‘future’ now, a lot of designers try to make it all very dark, or use a bunch of evil corporate logos. We wanted to hold a mirror up to the fetishization of food with its emphasis on happiness and tweeness.”

The Eye On Design article only references Gerstner-Programm as “a slick Swiss sans serif”, and it fails to name or link to The Pyte Foundry as the creator of Gyrator, but it continues with more info on the type choices:

Hu explains that he found the type through a process of “looking for the source of twee, whether that’s Americana or Victorian England. If we go past the 20th century, we can go way beyond nostalgia. It’s taking twee to its most logical conclusion—what do you do when you run out of reference points?”

The Kickstarter campaign for the magazine has ended, but you can still order or subscribe from MOLD’s online store.