I am a creative director and multidisciplinary designer from Brooklyn, NY. For my portfolio, I use a mix of Messapia, Sporting Grotesque for headline copy and Space Grotesk for body copy. I also incorporated a little of Sprat Medium Extended on my homepage and some Wingdings characters for symbols.

For the exhibition Danser Brut at LaM (Lille Métropole Musée d’art moderne, d’art contemporain et d’art brut) in Villeneuve d’Ascq, France, Marga Berra Zubieta used Minérale Black (designed by Thomas Huot-Marchand and distributed by 205TF) and Ilisarniq (designed by Étienne Aubert Bonn and distributed by Coppers and Brasses).

Danser Brut presents an original and transversal look at dance based on art brut, but also contemporary art, cinema or even music. By bringing together more than 300 works from the 19th century to the present day, the exhibition sets out to conquer an invisible fact of ordinary and extraordinary gestures that have crossed modernity. Although they have sometimes been spotted, annotated, filmed, they have not yet been perceived as different phases of the same phenomenon. — LaM

Cellophane is a new independent magazine designed by master students at Designskolen Kolding. The magazine transmits a critical voice and experimental approach of the students, creating an alternative to publications produced by the institution. Seeing from its name, Cellophane represents the values of transparency and diversity in the thoughts and content, created entirely by students of different study lines and cultures.

The second issue of Cellophane was released in June 2019 entitled “In Tension”. The title refers to the state of being stretched and the feeling of mental and emotional strain.
Tension is also the feeling of knowing that something life-changing is about to happen, without knowing what and when. Having these ideas in mind, writers, illustrators and designers work together to tailor the contents of Cellophane.

The theme of tension is pervasive in the articles but it is interpreted in many different ways according to the sensibility of each contributor. From the tensions that are deep-rooted in ‘dark play’ to the problems related to climate change and the impact that it will have on our lives. The tension between the digital and the real, the immaterial and the material, the future and the present are all collected inside the latest issue of Cellophane.

In every issue the aim is to find fonts that represent the “zeitgeist” and the chosen topic, for this reason we focus on freshly released fonts or hidden gems we consider valuable to share with our readers. Along with the two font that are always present in Cellophane (Aktiv Grotesk and Space Mono), this time we decided to use multiple fonts to show the diversity of the design team that worked on the layout. The chosen fonts are very different: we used Pilowlava, a new font from Velvetyne, that gives a fresh touch to the mag with its crazy shapes. We also used an experimental (and not yet completed) font such as 1,617 by Leonardo Tavares alongside some of the beautiful fonts designed by the Italian group Collletttivo: Messapia and Ortica. The challenge in combining a big variety of fonts is to maintain consistency, for this reason we mostly focused on black and white in order to give a strong identity to the whole magazine.

The Boudin SF Plastic Free Food Packaging project is born from ArtCenter College of Design’s first 100% plastic free packaging course. Students were challenged to rebrand a fast or fast casual food brand, and redesign their packaging system to be fully sustainable, using no plastic or bioplastic. Students were also challenged to use new and old materials including biomaterials such as wood pulp, plant cellulose, food waste, grass, algae, and mushrooms that are sustainably sourced, and at the end of their lives, can be composted into bio-mass to regenerate depleted farming soils.

The original Boudin itself is a bakery and restaurant chain originally from San Francisco, California, known for its sourdough bread. It was established in 1849 by Isidore Boudin, son of a family of master bakers from Burgundy, France, by blending the sourdough prevalent among miners in the Gold Rush with French techniques and longevity. Today, it is famous for its ‘Bowl of Soup’, which is a sourdough boule with clam chowder inside of it. This rebranding and packaging design is recognizing sustainability as longevity and delivering Boudin SF’s same spirit but with a 21st century vibe.

The final outcomes include physical food packaging appearance models that indicate the size, dimension, and functionality for real paper pulp containers. Results also include reusable cotton carrier bags, environmental-friendly wrap papers, container tags, to-go menus, and business cards.

The brand identity is based on The Pyte Foundry’s Houdini. This unique slab typeface has a characteristic of being historic and contemporary at the same time. The basic slab serif skeleton would bring out the 19th century visual aspect while its extremely wide letter width carries the freshness. Its uppercase O is replaced by a loaf of bread, supporting the brand recognition.

The main branding typography is composed with Domaine Display and Domaine Text, and Founders Grotesk. In general, Domaine’s overall contemporary and curvaceous Latin details match the food category and its related feeling. Founders Grotesk not only visually matches with Domaine on the letterform proportion, but also shares the similarity on that curvaceous core. Both typefaces are from New Zealand-based Klim Type Foundry.

For our moving to Europe Garage Sale, Frank and myself set to do a different flyer every day of the leading week of the grand event. We would post these digital flyers in our Instagram Stories. We ended up not following through and did only four flyers.

We did the first one together, the second and third one are from me and the last one is from Frank.

For the first one, we used Nostra because it had just come out in Future Fonts and it’s awesome!

The second one I decided to play with as many typefaces as possible from the Pyte Foundry.

The third one is an ode to the female type designers present in Future Fonts.

The fourth one is an accurate description through the display of emojis of everything that we had for sale. :)

Women type designers at Future Fonts, starring from top to bottom: Inga Plönnig’s Messer Condensed; Pauline Fourest with Giboula, Sun Helen Isdahl Kalvenes with Ricochet, and Daria Petrova's Zangezi.

Apple Color Emoji and Daria Petrova's Zangezi.

Typical “artistic printing” of the late 19th century.

The sans serif is surprisingly similar to Akzidenz-Grotesk and its forebears, which didn’t arrive until at least 15 years later, and close to News Gothic which was born in 1908. Perhaps it is a face shown as Gothic No. 4 in an 1867 specimen from Farmer, Little & Co (detail), which could be imported from the UK and known there under a different name. (Due to the lack of trademarked names during this period, there are many loosely faces called “Gothic No. 4”.) The monolinear contrast, nearly circular ‘o’, and angled terminals of the ‘S’ (seen only in one size of the Farmer specimen) were uncommon among sans serifs of the time — with the notable exception of the very first sans serif typeface: Caslon’s Egyptian of 1816. The odd, open-bowled ‘g’ is also found in Marr Sans, derived from Scottish type of the 1870s.

The near-geometric “1883” may be lettered by hand, but none of the other type is, and it fits the ranging numerals of Gothic No. 4 and its cousins.

Cover detail.