Large in use by Simon Conus in animated posters for La jetée, by the French artist Asinine. The animation relies on mixed-media techniques, with footage from a concert by the artist. The text displayed is the track listing of the EP.

For HEAD Genève’s Welcome Week 2024/25, Swiss studio Trojans Collective designed the visual communication applied to posters, various digital formats and animations for social media, as well as content for campus screens. The design agency states:

We worked with a pale pink and black palette, using a typographic structure based on a pyramid-like composition.

The display font used is Baustraße designed by Fantasia Type and distributed by Future Fonts.

The accompanying sans is yet unidentified. The HEAD Genève logo uses the school’s standard typeface, Executive.

This book is an editorial project realized at HEAD Geneva by Nina Wandoch as part of the layout course. It is a fictive reprint on the work of Flora Mottini, artist and winner of the New Heads 2020 prize.

Flora Mottini is living and working in Geneva.

Milid, MicroLearning for Information and Data, is an educational app developed by HEG & HEAD Genève (HES-SO) for Geneva students universities. The app was created during a microlearning course, accessible on smartphone on the topic of introduction to information research and data analysis. From the university website (translated):

In this age of social media and fake news, the ability to search, interpreting and evaluating information and data is a skill key for the students, future professionals and citizens that we train. In order to make them aware of these issues, we propose to create a microlearning course accessible on tablets and smartphones (mobile learning). Students will be involved in all phases of the training, from conception to evaluation.

The visual identity is inspired by the computer world and in particular by the visual of punched cards, represented by a cluster of circles. These symbolize the information and data, knowledge and knowledge that the user acquires during his training. They also represent the network of people on the application and the moments of sharing they experience through multiplayer modes. They can challenge their friends and compare their score, a more fun way and stimulating to learn.

Jodie Aeschlimann and Joanne Joho, two students from the Geneva School of Art and Design (HEAD), paired to design the poster for the 43rd Paléo Festival during a workshop with Geneva-based studio BaseDesign.

The poster conveys Paléo’s very essence: abundance, discoveries & diversity, through a vintage punk rock aesthetic made of overlapping layers of torn up papers. All the pictures used as graphics’ raw background elements come from the festival’s archives and depicts festival-goers, mud, concerts, sun, food…

The poster was then adapted into all other graphic elements, including stage graphics, promotional materials, goodies, printed programs and leaflets, staff gear, etc. They are all set in Simplon Norm Medium, like the original poster.

Simplon Norm is part of the Simplon family, available from Swiss Typefaces.

Master Thesis of Spaces & Communication at HEAD-Genève 2016, conveived and designed by Lisa H. Moura and supervised by Alexandra Midal.

“What is it that makes us feel that we belong to a certain place?” This question introduces the analysis of the ways design can influence, create and reinforce feelings of self or collective identity. Droid Serif, being a typeface with a classic feeling, but a bold voice, suits the subject perfectly, as it shows both the 'dreamy' aspect of the moon, as well as its undeniable force in the collective imagination.

Student project for HEAD Media Design, Genève. A critical design project on the behaviour of governments.

Improve your life while keeping peace on the streets! Get tax cuts, food stamps and other benefits by fulfilling your patriotic duty. Help the police force, overwhelmed in this chaotic era. Search the map for the nearest riots and increase your standard of living while keeping fit! ––– David Héritier

Bold Climbers collects essays, records of high mountaineering expeditions and a portfolio of artworks around the themes of alpinism, art, and the psychological notion of peak performance.
The content is organised to build a symmetric progression through the book, which is to say two essays, the portfolio as a culminating point, and the last two essays. The text layout is reminiscent of late 19th century books on one side and a more contemporary construction of the page on the other, accommodating bilingual versions of the texts interrupted by visual anecdotes of the expeditions treated to generate an effect of moiré patterns.

The text is set in Icone (designed by Frutiger) and Futura (Renner), with extensive use of old style numerals for both typefaces.