Silky Way is a magazine which allows the reader to understand the vibe of the place and encourage to experience it, rather than just see it.

In its 3rd issue Silky Way talks about everything that Warsaw, the capital of Poland, has to offer to the visitors. While usually under Kraków's shadow, the capital of Poland is an extremely lively place with a very captivating history. Warsaw is a big proud city with visuals heavily reflecting its troubled past. Referred to as a “Phoenix City”, it’s currently one of Europe’s fastest growing cities, making it an extraordinary spot right in the middle of the continent. Issue 3 “What is Warsaw” explores some of the most interesting quirks of the Polish capital. It has been released in April 2019.

Magiel again is being used as the main font, present in the logo and also used as title type. Avenir Next in both Regular and Bold is used as a main body type, and Olympic for subtitles. Abril Fatface (the second heaviest style of April Display) and Quentin are used for Polish words and some titles across the issue.

Silky Way is a magazine which allows the reader to understand the vibe of the place and encourage to experience it, rather than just see it.

The 2nd issue discusses and explores Europe's youngest capital; Cardiff, the capital of Wales, UK. It explores Cardiff from a local's point of view and utilises a number of script and bold typefaces to represent the scruffy nature of the city. It has been released in April 2018, following the 2017 release of the 1st issue, ‘Tokyo Experience Guide’.

Magiel is being used as the main font, present in the logo and also used as title type. Avenir Next in both Regular and Bold is used as a main body type. Olympic is used for subtitles.

Lombard and Quentin are used for Welsh, while Good Foot is used for the English translations.

Summer Hearts and Cyklop (as well as Pops, not pictured) are also occasionally used across the issue to emphasise the names and phrases specific to Cardiff.

Maratho 26.2 represents the etymology and history of the word “marathon”. The typographic structure is formed from aspects of marathon race conventions; the piece emphasises the relationship between the fennel plant and the history of the running race.

The typography mainly uses Avenir Next since it contains multiple weights which gives the opportunity of a better typographic hierarchy. It was also chosen due to its simplicity and lack of notable details — the clean structure of each letter makes the text appear visually less distracting than if it were typeset with a typeface with intentional decoration. This typeface was also chosen based on the fact that marathon runners mentally pay a lot of attention to their well-being while running, they have to stay focused and avoid distractions in order to finish the race.

For quotes and interview answers, semi-slab typeface Chapparal Pro is used, aiming to attract the reader more due to its subtle detail if compared to the more neutral Avenir Next. It aims to put emphasis on the content since most of the text is sans serif.

Architecture: power, business, ambition is a book by Łukasz Wojciechowski. The cover was letterpress-printed from handset Paneuropa, a Futura follower made in the 1930s by Polish foundry Jan Idźkowski. The interior is printed offset with Pantone spot colors, typeset in Avenir Next. Read more about book (in Polish) on unpubleashed.pl.

Silky Way is a new magazine which allows the reader to understand the vibe of the place and encourage to experience it, rather than just see it. It aims to appeal to those who are interested in something more than just sightseeing. The 1st issue has been released in May 2017 and talks about Tokyo, Japan.

Magiel is being used as the main font, present in the logo and also used as title type. Avenir Next in both Regular and Bold is used as a main body type. Olympic is used for subtitles.

Created as a final major project at Cardiff School of Art & Design.

Omakase Room by Tatsu is a unique sushi dining experience located on New York’s Christopher Street. The concept is rooted in the centuries-old family traditions of Japanese Executive Chef and host Tatsu Sekiguchi and the celebration of the individual and personal. This can be experienced in the restaurant’s unique and intimate setting, one that seats only eight, and a menu carefully crafted by Tatsu for one evening and for that specific group of eight, based on their mood, curiosities and preferences.

The restaurant features a light interior design of soft bamboo and fabric centred around Japanese minimalist traditions. Materials are few but high quality, the ceiling is low, and the design of the table and layout of chairs lend the restaurant a quiet and earthy material quality with little distraction, and establish an intimacy with the chef, and focuses the mind on the food.

Building on this, design studio Savvy developed a multi-sensory brand identity, with a similar restraint, materiality and discretion. This offers something of its own subtle character but does not detract from the food, while also working in small thoughtful details such as scent and semi-transparent paper that links type with interior.

Much like the restaurant’s high quality materiality but stylistic restraint, Savvy’s choice of few fonts, pairing the free brush strokes of font Kouzan Gyousho with the generous spacing of Avenir Next Condensed, finds a balance between individual aesthetic character and conceptual subtlety, channeling something of New York’s architectural signage, and the personable calligraphic craft of the East. These are nuanced but discernible ideas and details that layer but remain in line with experience.

Read more about this project on BP&O.

Frameline is a San Francisco-based nonprofit arts organisation and LGBT film festival that intends to change the world through the power of gay cinema, and to connect filmmakers with audiences locally and internationally. Graphic design studio Mucho worked with Frameline on its brand identity and campaign for its 40th LGBT film festival, delivering a system based around a framing device, a bright and diverse colour palette and the contemporary qualities of Avenir Next. This links membership cards, stationery and business cards, as well as campaign material such as invitations and posters.

Read more about this project on BP&O.

The two beautifully minimalist posters of Yorgos Lanthimos’ dystopian movie The Lobster have been created by Greek designer Vasilis Marmatakis (cofounder, but no longer part, of MNP). The pair of posters feature once Colin Farrell, once Rachel Weisz, embracing a person-shaped void. Both versions use Avenir Next.

Tagline ratings agency’s famous logo was created in 2006. Over the subsequent 9 years the logo went through some simplifying modifications but essentially remained the same. The main problem was the lack of any continuity of style and graphic order.

It was obvious that the project had long ago outgrown its own visual image as well as its initially built-in legend. Tagline needed a completely novel, easily recognizable and modern style. The approach to its visual design had to be more organized and neat.

All this time the idea hadn’t been hard to plumb: we just had to take it and make it work.
It’s a decent step into the next decade. New Tagline is so special and bright!