From Behance:

“Design is not art but in part, art is design.” This is the starting point for a new reflection that, beyond the exhausting debate that unites one field with another, has the purpose of delving deeper into the creators who move in parallel between these two disciplines.

At the “Art Designers” exhibition we wish to emphasize these common processes of reflection, conceptualization and of creation itself. Beyond formalization and interpretation, we are interested in the deepest discourse of the idea, the meaning and the most personal expression that brings coherence to an integral and global discourse.

See also a previous post about Espacei Tactel Toormix.

Blickfang is an international design fair which takes place every year throughout central Europe in Stuttgart, Hamburg, Cologne, Vienna, Zurich, Basel and Bern.

Zürich’s show required a new identity due to the move into a new exhibition space. The new design needed to differentiate itself from its other European sister events as well as enabling a comprehensive communication system that could prove its flexibility through a multitude of print, digital and spatial applications. Special considerations allowed for the identity to function as animations and moving image cycles.

All typography uses NN Nouvelle Grotesk (Nouvelle Noire).

From Drum Machine Editions:

Handsome Pants is the ongoing home recorded music project of Chad McGaw, a Pennsylvania native and English teacher by day who relocated to Denver in 2015. Construction Ruins is his 20th album, collecting material recorded in his first Denver apartment. He currently resides in his second Denver apartment.

Construction Ruins (DME-001) was released as cassette in a limited edition of 100 copies, in addition to digital. Tape duplication and pad printing by Analog Media Technologies Inc, Verdun, QC, Canada. Comes packaged in a clear Norelco case with Riso-printed inserts (black and blue on FPC Speckletone Starch White, 80#T) and a fold-out poster with liner notes, measuring 8″×12.5″.

Designed, printed, and assembled by Erik Pedersen at Drum Machine Editions. The album art and liner notes are set exclusively in Forma DJR by David Jonathan Ross. In the first image (the digital album art), “Handsome Pants” was distressed by hand using an X-Acto knife. The DME lettermark is set in Zigzag by Benoît Bodhuin.

Album art for the digital version of Construction Ruins.

Pile of cassettes produced by our new friends at duplication.ca.

Monster Kitchen and Bar is located at Hotel Hotel in Canberra. The 200 seat restaurant meanders through the hotel lobby and ground floor, and is preoccupied with local and seasonal produce prepared for sharing.

U-P designed the identity for Monster applying it to menus, signage and other ephemera. As part of the identity, U-P designed and developed the Monster Kitchen website. U-P uses ZIGZAG designed by Benoît Bodhuin and Courier for the identity.

Wereldreizigers (“globetrotters”) is an educational children’s program, rooted in the ideas of Bauhaus and offered by Galerie West in “Onze Ambassade” (Our Embassy), a cultural project in the former American Embassy in The Hague:

In which country have you never been and where would you like to go? Do you dream of a country that doesn't really exist? What does your dream country look like? During this workshop, students are encouraged to fantasize and imagine that they are traveling to different non-existent places to fill a “pop-up” passport.

I was asked to design the printed matter for Wereldreizigers. All the material arose from the question: ‘What’s your ideal country?’. We produced a map, passport and sticker sheets, all printed in two spot colors. The typeface is Gedankenexperiment, designed as a custom type-in-progress by typefoundry Underware. Its capitals clearly reflect on the trapezoid tiles that form the façade of the iconic embassy, designed by Marcel Breuer in 1956. The embassy logo, also designed by Underware, is based on Gedankenexperiment or vice versa.

These trapezoids can be found in the educational material, along more type by Underware. All explanatory text is set in Zeitung and the logo for West (co-owned by Underware’s Akiem Helmling) is related to Fakir.

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

Furora is a magazine/newspaper, designed as part of Publishing Studio, University of the Arts in Poznań, 2019. The text focuses on the topic of space: both as a feeling and as a subject of scientific and philosphical debate, with references to architecture and urban space. Featuring articles from Autoportret magazine (issues 2[41]2013 and 4[43]2013). Printed on 80g color xero papers.

For the typography Joanna Dyba used Object Sans and Grafier (Pangram Pangram)

Outlined and solid Fabrik in use on the flyer for a contemporary jewelry exhibition with works by Jorge Manilla and Corrina Goutos, shown at 84GHz during the Munich Jewellery Week.

Rijksmuseum Boerhaave, one of 16 national museums in the Netherlands, is home to "One of the most important scientific and medical history collections in the world", according to The Times.

The rebuilding of the interior in 2016 was also an opportunity to reconsider the museum's position. The Hague-based Silo Agency developed a new brand strategy, identity and means of communication; Fabrique is responsible for the new Boerhaave website. Boerhaave's focus shifted from being “treasurers of a collection” to “offering the experience of discovery”.

Looking at the new graphic identity, the rebranding process must have been fun and exciting. On Silo’s Vimeo channel, a case animation and an experiment reel show how the main parts of the new logo, a square and a circle, can interact. Where circle meets square, chemistry happens. Glitches, distortion, blobs and sounds present Boerhaave in an abstract way exciting, fun, maybe even slightly disturbing.

In the main uses of the new identity (posters and website), the experiments are toned down. The logo animation became a mouse-over behaviour in the website. In print, the extra large ‘b’ logo somehow still seems to suggest it could change shape any moment. The suggestion of change is reinforced throughout all means of communication through the use of Optimo’s Px Grotesk for all text, from wordmark to logo. Px Grotesk changes its face from square to round, from human to mechanic in almost every word. In text sizes, Px Grotesk’s quirks almost seem absent; in larger sizes, its quirky glyphs amplify the colourful imagery, while adding a twist to the rational and austere side of both the font itself and Silo's typography.

Billboard with one of the posters introducing the new identity.

Logo and logo stills

Poster campaign

Video still

Video still

Video stills

Pages from the new website. The English language part of the website covers the most important information for non-Dutch speaking visitors.

Detail page of the Boerhaave website. Part of the collection is accessible through the website with clear photography and compact information about a variety of collection objects.