Armin Hofmann designed this 127×90 cm poster for a 1961 exhibition at Gewerbemuseum Basel entitled Basel und die Stadtstrassen der Zukunft (“Basel and the urban roads of the future”).

This poster beautifully demonstrates Hofmann’s ability to create effective and powerful images with the simplest elements. Here, Hofmann restricts himself to one typeface and four triangular shapes in one shade of red, yet produces a poster that is at once functional, relevant, and visually striking. The alignment and sizing of the type leads the reader’s eye in a logical order and at a pleasant pace. The negative space around the shapes is dynamic, almost creating an illusion of movement. Despite its abstract nature, the negative space is evocative of the poster’s subject matter (urban roads). Through its contrasting point sizes, alignment, and its relationship to the four shapes, the typography creates a sense of perspective or depth – without ever resorting to overlapping elements. Rather than simply being smaller, text at smaller point sizes appears to be further away.

The powerful effect of the typography is demonstrated further by comparing the poster to the accompanying exhibition booklet that Hofmann also designed, see the website of the Museum für Gestaltung Zürich. The shapes and their placement in the frame are the same. The booklet’s title is positioned in a similar place as the poster’s headline. The composition thus remains satisfyingly dynamic (now with the flow of the negative space predominant). However, due to the small size of the cover (20.8×14.8 cm), there is no supplementary text and only one point size is used. Without contrasting typographic sizes, the poster’s incredible sense of depth is lost.

Letterpress printed Weltformat poster (89.5×128 cm / 35.2×50.4 in) produced in 13 printing passes from hand-cut linoleum and a complicated large format linoleum etching. Watch the video.

The fonts in use are a completely distorted LL Ruder Plakat by Lineto for the three words “Werk-Statt-Schau” and Messina Sans by Luzi Type for the smaller information and the museum logo. Through the etching process, there is not much left from the original Ruder Plakat face… Also the smaller info and the logo in the top left corner are hand-cut linoleum, which is not an absolutely accurate reproduction of the font.

Blitz Script and G2 Erika in use for a typographic poster announcing a Klubnacht at Neubad Luzern, featuring Shubostar, Contenance & Miles Away, and Flo Dalton. Format: 895×1280 mm (F4 Weltformat).

View of the exhibition; the manicule is from Heneczek.

The exhibition This Way! was part of the Weltformat Graphic Design Festival in Luzern, Switzerland, 2019. The project examines the history and meaning of sign posts and direction indicators. Historical developments as well as today’s ways of application are explored.

The arrow as a symbol has been used in different ways for centuries and has various connotations. Legend has it that the first arrow was used to mark the way to a brothel. Today, the arrow follows us for example as a cursor on the screen.

The arrow is primarily a direction indicator, but is also used as a killing tool; and as part of Amor’s bow it’s a symbol of love. The exhibition This Way! explores the phenomenon of the arrow as a means of visual communication that permeates our everyday lives and analyses its complex symbolism. It takes visitors on a journey into the world of signposts – from the beginnings of visual communication to today’s applications. The aim is to show the historical background of arrows and to illuminate the fascinating symbol from different angles. Check out the corresponding catalogue, too, available at Threedotstype.

Di grotesk is used throughout in multiple weights.

Curation: Marian Misiak, Threedotstype (Wrocław)
Scenography: Sümeyye and Frederic Gmeiner (Berlin)
Support: Culture.pl (Poland)

This Way! Navigation tools in visual communication aims to explain the historical background of arrows and exciting phenomena related to them. Understanding the context of those signs can help clarify the development of human perception. The spectrum of interpretation is broad: the arrow could have been a tool for killing (as in the case of Robin Hood), it could be an indicator of directions or even a symbol of love (Cupid’s attribute). “This way!” initiative will not set a course for your life, but it might explain some of the stories behind arrows which are an active, but often hidden part of our everyday life.

The exhibition was part of the Weltformat Graphic Design Festival, Luzern, Switzerland, 2019.

Di grotesk is used throughout in multiple styles and weights.

“The definition of insanity, is repeating the same mistake and expecting a different results.” This doesn't only apply to addiction, but also our the current world policies. Our history repeats itself and we never seem to learn from it. One political figure perfectly embodies this will. President Donald J. Trump has generated negative headlines since his inauguration. Error after error and never learned or changed his behaviour.

This poster, screen printed on Weltformat (F4, 895×1280mm) is a manifestation of his delusional world view and a document of his lack of leadership. He is, in my opinion, the personification of a grand error. World format DXB was a collaboration between Tashkeel Dubai and Welformat Cairo. Curated by Egyptian designer Engy Aly and Mobius Design Studios and supported by ProHelvetia Cairo.

ملصق صدمة في … / في صدمة

Shock In… / In Shock Poster

Inspired by the 2017 political situation in Lebanon and the Middle East, this poster was created during the “Stop, Collaborate” workshop led by Mayar El-Bakry at Tashkeel as part of Weltformat DXB exhibition’s program.

Chaos/Order فوضى/نظام

The poster represents the fine line between chaos and order in the Middle East. It highlights some cities that experienced such conflicts. The Arabic typography is based on the Arabic calligraphic style while it is displayed in a Persian graphic style. It symbolizes the sectarian fights amongst major political and religious powers.

Format: 81 × 114 cm
Typeface: 29LT Zarid
Colors: Pantone 196 U, 570 U, Black
Design: Pascal Zoghbi
Colors Selection: Clara Sancho
Screen Printing: Christine Müller
Print Workshop: Tashkeel Hub
Exhibition: Delusions and Errors / Weltformat / DXB Edition Weltformat
Location: Dubai Design Week, D3, 13–18 November 2017
Organiser: Möbius Design Studio x Engy Aly

At the Grafikbazar held during the Weltformat 16 Poster Festival Lucerne, you have the opportunity to purchase print products directly from the designers. In addition to posters and prints, there are fanzines, books, T-shirts, etc.