Have you seen them? We mean, the alumnis from HBKsaar, (University of Fine Arts Saabrücken) who are exhibiting their final projects and also celebrating their graduation.

This poster with its loud and flashy design, as a part of a more complex graphic idea, invites you to take a closer look at the event. Inspired by typical Have you seen this cat?-flyers, we riso-printed in large numbers on cheap colored paper and distributed the results excessively throughout the hole city.

The Autry Museum of the American West is a museum in Los Angeles, California, dedicated to exploring an inclusive history of the American West. This (fictional) redesign was made as a student project at ArtCenter College of Design.

The complexity of the American West story compels for a neutral sensitive approach. In the most neutral sense the American West is a convergence of paths. Upon creating a grid of vertical and horizontal paths, the reference of the Navajo weaving loom was discovered and used as inspiration for the logotype and identity system. Trim and its monospaced grid reflects the ethos of the visual identity. The posters combine Trim Poster and Trim Mono. Other items exclusively use Trim Mono.

This image celebrates the unusual and iconic architecture of the Denver Art Museum.

These icons are part of a broader series representing various cultural institutions in Denver, Colorado. Evanston Alehouse was selected to evoke a sense of adventure and exploration. The two weights used are 1858 Black and 1858 Medium, with some texture and smoothing added to the letterforms.

The icon for the Denver Botanic Gardens celebrates the corpse flower that the museum is known for.

The icon for the Children’s Museum of Denver draws inspiration from the newest installation — a humongous exploration structure called the Adventure Forest. The central feather is the actual logo for the Adventure Forest, and the accompanying symbols are found throughout the structure.

This icon features a ceramic pitcher created by a Pueblan craftsperson living at Mesa Verde circa 900–1150 AD. The triangle and dot motifs are other elements common in hand made items from this location and time period. My reference for this artwork was an actual display at the History Colorado Center in Denver.

Inspired by the artwork for 1950s jazz, country and swing albums released by Verve, Sun, Blue Note, Capitol and similar this cover uses Futura Bold Oblique on the top part of the visual, Futura Bold for the artist name, Indubitaly NF for “Guitar In” and Franklin Gothic caps for “Hi-Fi”.

Alias Harbour has been used for various independent, arts-related projects in Nottingham. These include the identity for the Castle Ruins art exhibition, and artworks by Nottingham-based artist Martin Rayment.

Harbour was also used for the Notts Zine Library exhibition, 2018, which included N to M zine, by Nottingham-based studio Waste. In the booklet, Harbour is paired with other typefaces including Gza and LL Circular [see comments].

#resist, for Not for Print.

60th anniversary edition of George Orwell’s classic dystopian novel, Nineteen Eighty-Four, published in 2009 by Penguin Classics, with a type-heavy cover designed by Jon Gray at gray318. The front showns neither the title nor the author’s name, only doublespeak slogans, set with each line alternating between Brothers (with a modified ‘A’) and Heroic Condensed. The back features hand-lettering of the repeated phrase “DOWN WITH BIG BROTHER”, referencing a page in the journal of Winston Smith, the story’s protagonist.

I’m not sure if it was an intentional reference or not, but the back cover counters the front not only in its message, style (lettering vs. type), and color reversal, but it also seems to oppose the typography directly: the typeface Brothers is set big on the front.

Concert program for July/August 2016 at the Openluchttheater Caprera Bloemendaal, presented by Patronaat Haarlem.

A classic example of LTypI, but in this case the choice was stylistically and chronologically appropriate, despite the naming similarity.

I really dig this flyer for Jugendclub No Name in Großpösna, Germany. Amid the silly chaos of Latino kitsch is sense and order. Designers Lamm & Kirch made some careful decisions: digging up Cortez, a wedge serif Letraset face that was popular in its time but since forgotten, choosing the right styles of Champion Gothic for even optical weight throughout “MEXICO”, using a checkered pattern rather than more cliched Mexican ornamentation, and keeping everything readable while the party is still popping.

The ‘V’ in the Cortez font, by the way, is mirrored from the conventional shape in which the heavy weight is on the downstroke. I’m not sure if this was a conscious decision by the typeface’s creator Philip Kelly to acknowledge the sort of use that might be common in amateur wood type (flipping the letters the wrong way around), but it works for this emulation of imperfect letterpress design.