weiter bilden 3/2020, “Haltungen”

weiter bilden. DIE Zeitschrift für Erwachsenenbildung is academically rigorous and practice-oriented – serving as both a magazine and a medium for reflection. The journal is published four times a year by Deutsches Institut für Erwachsenenbildung – Leibniz-Zentrum für Lebenslanges Lernen (DIE), Bonn.

Each issue focuses on a specific theme from the field of adult and continuing education. Shown here are the issues 3/2020, “Haltungen”, and 4/2020, “Krise & Chance”.

Design by Christine Lange, using Rational and FF More. The production, publication and distribution is handled by wbv Media GmbH, Bielefeld.

weiter bilden 3/2020, “Haltungen”

weiter bilden 3/2020, “Haltungen”

weiter bilden 4/2020, “Krise & Chance”

weiter bilden 4/2020, “Krise & Chance”

weiter bilden 4/2020, “Krise & Chance”

weiter bilden 4/2020, “Krise & Chance”

weiter bilden 4/2020, “Krise & Chance”

The “You Can’t Be Here” brand identity, social media, and spatial design was developed in 2022 for Zawraq Collective.

From Ananas studio:

Built around a striking plus/minus symbol, the identity distills the essence of the pandemic years (2020–2022) into a minimal, impactful icon. Inspired by the ritual of PCR testing and the constant suspense of positive versus negative results, the design transforms a medical act into a powerful visual language.

The color palette draws directly from the atmosphere of those years: blue for sterilization and safety, red for contamination and caution. Together, they create a sharp tension that reflects the push and pull of uncertainty, resilience, and adaptation. The result is a brand that feels raw and charged – transforming a global experience into a bold cultural statement.

To inspire resilience and creativity, Barcelona-based designer Álvaro Donquiles created a series of posters in 2021, titled Do Not Desire: Issues of the Digital Era. In doing so, Álvaro Donquiles encourages people to keep moving forward in their lives – maintaining mental well-being is a formidable task.

The typefaces used in this project are Surt and Apoc by Blaze Type, highlighted by photographer Jorge Losse. The initial R is from Friedrich Peter’s Vivaldi.

In spring 2020, unprecedented measures were put in place in Switzerland and elsewhere to protect people against Covid-19. These actions against the disease have transformed our lives. Their impact, however, is specifically tied to our living conditions, housing, financial resources, state of health, and previous experience. The World March of Women (WMW) gives a voice here to those who are heard so little, and yet have often learned to go beyond the walls. Common point among women witnesses: to have one day lived in exile. What resonance did the pandemic have for them? How did they get through this period? What can they teach us?

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Nature Morte is the first artistic collaboration between photographer Ruth Ward and Studio Omelette, a creative studio founded by Cécile Dumetier. During the height of the pandemic, Ward created a series of still life photographs, featuring discarded waste collected in the streets of East London.

The term Nature Morte is the French term for Still Life. The phrase literally translates into English as Dead Nature, an appropriate play on words that encompasses both the essence of the inspiration and the realisation of the images.

The series zeroes in on three iconic items: masks, gloves and paper cups. After two years of collecting, the images were presented in a fundraising exhibition at Dalston Curve Garden in spring 2023, culminating in a stylized reflection of a unique moment in time. Prints are sold through a dedicated website, with all benefits directly supporting the community garden in London’s Hackney borough.

In addition to posters and postcards advertising the show, Studio Omelette also produced an ​exhibition catalog. The blue of the catalog cover (which can also be seen on the website and the Instagram channel) is “a nod to the artificial colour of the masks and plastic gloves popping out in nature”. The designers opted for newsprint paper, in order “to give a continuity with the disposable items featured in our photographs”. Each chapter is introduced by copy written by Francesca Tenenbaum.

The typefaces used for the project are Production Type’s Cardinal and Dinamo’s ABC Favorit Mono. More specifically, the filigrane Italic style of Cardinal Fruit serves for the Nature Morte wordmark. The wider Cardinal Classic Mid (with extenders of moderate length) was used for text.

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Bolsonaro Genocida compiles an investigation that demonstrates the action of the government of Jair Bolsonaro to promote the lack of respect for Indigenous rights and the preservation of the environment and the spread of the corona virus in Brazil.

The political manifesto nature of the book led organically to a cover depicting discontent with the elected president. Thus a more urban language of popular expression was conceived and, along with it, the desire to transform this language into something interactive to transcend the pages of paper. That gave rise to the idea of ​​the stencil as a mass communication tool, and by making a die-cut in the flap of the book, this could materialize, allowing the reader to also intervene with the stencil on walls, T-shirts and flags, becoming part of a collective action.

This work won the Latin American Design Awards golden trophy and AIGA's 50 books 50 covers contest from 2021.

The concept of everydayness took on a new dimension over the course of 2021. Under the influence of the advancing global pandemic and constantly changing measures, most of us were forced to significantly adjust our lifestyles in order to adapt to the new situation.

This new reality was the subject of Všednost (“The everydayness”), held at Muzeum umění a designu Benešov: the Museum of Art and Design in Benešov, or in short MUD*.

The catalogue and exhibition pair Mabry – the museum’s brand typeface – with Danzante. Design by Jan Košátko, Ewa Chodzicka, Anežka Rozehnalová from studio Košátko. The exhibition itself was designed by architect Michael Kohut.

Designed by Where’s Gut, Gratimo Grotesk works from headline to text in Head On: Mental Well-being, a project that is talking about mental health issues.

In light of increasing mental health cases due to the Covid-19 pandemic, members of the studio conducted a short survey to better understand the obstacles of being in a conversation about mental health; be it as “The Sharer” or “The Listener”.

They summarised the results from that survey together with expert counsel from a practising psychiatrist in the poster/zine titled Head On: Mental Well-being. It’s a project that the designers learnt a great deal from and hope everyone will find it as enlightening and encouraging as they did. On the back is an accompanying manifesto on being better communicators and listeners when in a conversation about mental health.

Gratimo Grotesk works here both as display and body font, showing the variety in which it can be used for.

Mukta is used for the Covid pandemic campaign across the state of Maharashtra as well as for the infographics by the Prime Minister’s Office in Hindi language.

Relative in use for the book version of Designers Against Coronavirus (DAC), a self-initiated project by CRSL Carosello LAB, launched at the beginning of Covid-19 pandemic to inspire and unite people through beauty and creativity.

During the quarantine period, our team engaged remotely in the creation of this project, a challenge against time. The idea was born on March 25 and was implemented and launched in a few days thanks to an excellent team work. In less than two weeks, more than 2,000 proposals have been sent: after careful revision, today the digital archive presents more than 350 works from 44 different countries. These include illustrators and designers of the caliber of Malika Favre, M/M Paris, Gio Pastori, Anagrama Studio, Akatre and many others. In the first month, the website received more than 20,000 unique visits and the Instagram profile designers.against.coronavirus over 7,000 followers.

The most important goal of DAC, in fact, is to raise funds to fight the virus epidemic, by supporting the Italian Red Cross, through a direct donation button on the initiative’s website.

Given the success of the Instagram page, CRSL Carosello Lab decided to transform the digital archive into a book, to leave a physical testimony of the project while continuing to raise funds for the Italian Red Cross.

The sixth RUFA annual report, designed by Intorno Design (Guido Lombardo, Roberta De Cristofaro, Fabrizio Crollari), presents the two-year period 2020–2021 as a single temporal unit, the time of COVID-19, the narrative of a year made up of 24 months and 320 pages, the most voluminous academic report to date. The graphic, photographic, and illustrative choices respond to the horror vacui generated by the pandemic and recall the artifices, physical or digital filters, that society has chosen to adopt as tools to stem the contagion. The variety and saturation of the chromatic tones serve as a sort of artistic compensation: having lost the warmth (human, relational, vital), we return it and compensate it in the form of color.

The choice of GT Maru by Grilli Type, which incorporates many emoji within the stylistic set, the type composition and layout refer directly to the modes and practices of digital devices, to which we have been and still are overexposed every day.

The photographic project on the first pages presents portraits of people with leading roles within the Academy who interact symbolically and playfully with a physical Plexigas filter often used in academic premises.

The illustration project introducing each course of study, on the other hand, pays tribute to the great international personalities who passed away over these two years, leaving a great legacy through their work to the students and creatives of today.

The photo project presenting the RUFA staff also evokes attitudes and moments of life that we all experienced during the pandemic period, ironically mocking the collaboration of the academic team.

To support the art world that was facing difficulties due to COVID-19, Sofitel Legend The Grand welcomed a variety of artists for 52 weeks to stay for a week in their specially designed Artists in Residence Suite. In exchange for a stay at the suite, the artists donated the items they worked on during their stay for an auction, benefiting the Dutch Cultuurfonds.

The project was documented in a catalogue, invitation and flyer, designed by Studio CXM. The typography uses Autre Display Regular and Italic throughout.

BAU, Centro Universitario de Artes y Diseño is an art and design school in Barcelona. BAU alumnus Sergio Lairisa was commissioned to design a gift for a generation of students that didn’t have a proper final term because of the restrictions caused by Covid-19. El que no pot impedir una pandèmia (“What cannot be stopped by a pandemic”) showcases the graduation projects of the 2016–20 design class.

From the designer’s Instagram page (translated):

During confinement, most of the work could be carried out thanks to the messengers and the messengers who managed to deliver everything necessary for the students. Homes became a graveyard of bar codes, strange letters, numbers, cuboids, and lots of cardboard. The proposal is a material metaphor from a beginning (the container box) to an end (the formalization of the project), an appropriation of messaging languages. Each student owns a sheet with a unique composition, a total of 144 students with dedications from the direction and teaching staff (300 pages).

The book design uses Benoît Bodhuin’s Mineral and Dinamo’s ABC Favorit.

The multidisciplinary Tribu Festival is celebrated in different spaces of the city of Burgos, Spain, during the last days of summer.

Due to the pandemic, this edition was held with limited capacity and unlike in other years the activities were reduced.

The visual identity for this special edition is based on digital 3D art that represents the essence of the city’s culture and gastronomy.

Retor (by Laïc Type Foundry) was used as the main typeface all across the visual identity.

Source: kashpersky.com Wired Italia / Alexey Kashpersky. License: All Rights Reserved.

Wired Italia is a quarterly bookazine. Last year’s spring issue was entirely devoted to the topic of health, and entitled “L’altro vaccino” (“The other vaccine”). In a time dominated by the Covid-19 pandemic, medical research has not stopped. The special Health Edition has stories from laboratories around the world, of pharmaceutical companies, doctors, scientists and researchers who have moved on and continued to make breakthrough discoveries, develop drugs and cures that could save or extend our lives, and explore new horizons in medicine and biology.

So, among the articles and authors in this issue, we find science journalist Roberta Villa telling us how research on messenger RNA, which carries genetic instructions to cells, could now help in the fight against cancer and other diseases; American popularizer John Nosta, on the other hand, explains why assigning a technological quotient to people, just as is done with the IQ, could help them cure themselves better; philosopher of science Sabina Leonelli illustrates Plan S, the project that will give us free access to the most important discoveries; and 2020 Nobel Prize winner in Chemistry Jennifer Doudna reveals all the secrets of her creature, Crispr, the revolutionary genome editing tool that has disrupted the way research is done.

In addition, you can read about how biohackers decided to make their own anti-Covid 19 vaccine, the true story of Sputnik V (told by science journalist Alexandra Borissova), urban legends about so-called superfoods, the cure for imaginary sick people, how much our medical records are worth on the black market, what the hospitals of the future will look like (architect Mario Cucinella explains), which startups are working on the food we will eat in the next 50 years, and much more. The epilogue is given to writer Diego De Silva and the amusing tale of his hypochondria.

Pitis e Associati were in charge of the art direction and editorial design. They invited almost two dozen artists and illustrators who came up with fantastic imagery that accompanies and enriches the various features and articles. The cover shows a 3D graphic of a human immunodeficiency virus by Ukrainian-born artist Alexey Kashpersky.

Wired Italia. License: All Rights Reserved.

Wired Italia. License: All Rights Reserved.

In terms of typography, Pitis e Associati relied on the established Exchange by Frere-Jones Type for long-form text. It is combined with two typefaces from Production Type’s library: Cardinal and Enduro. The former is used for author names and is mixed with the latter for article titles. The sans-serif Enduro is also used for the index, the preface, intro texts, drop caps, and the stacked page numbers.

The Cardinal Collection spans five subfamilies. The variant used here is Cardinal Photo. Designed for big, bold headlines, it has compact extenders, just like Cardinal Classic Short (and Enduro), but is distinguished by more dramatic contrast, and extratight spacing. Inspired by magazine typography featuring large headlines with shallow linespacing, Cardinal Photo has come full circle here: the designers of Wired Italia played to the typeface’s strengths, utilizing it in large and gigantic sizes, in both roman and italic styles. Single glyphs and whole words are often shown playfully cropped by lines and boxes, further emphasizing the compactness found both in Enduro and Cardinal Photo.

Wired Italia. License: All Rights Reserved.

Wired Italia. License: All Rights Reserved.

Wired Italia. License: All Rights Reserved.

Wired Italia. License: All Rights Reserved.

Wired Italia. License: All Rights Reserved.

Wired Italia. License: All Rights Reserved.

Wired Italia. License: All Rights Reserved.

Wired Italia. License: All Rights Reserved.

Wired Italia. License: All Rights Reserved.

Wired Italia. License: All Rights Reserved.

Wired Italia. License: All Rights Reserved.

Wired Italia. License: All Rights Reserved.

Wired Italia. License: All Rights Reserved.

Wired Italia. License: All Rights Reserved.

Wired Italia. License: All Rights Reserved.

Source: kashpersky.com Wired Italia / Alexey Kashpersky. License: All Rights Reserved.

Body Type is both a typeface and my ongoing research.

Understanding the body is an important and fundamental dimension of self-identifying recognition. This project aims to acknowledge how the body is the medium of all perception for us humans. The body is a vessel that hosts all our initial perceptions of the world, and thus shapes our physical and spiritual lives. Break the traditional font design and explore more possibilities for font changes and font emotion transmission.

Here, it is shown in use by designer Nina Jua Klein:

Somewhere in the middle of Christmas, New Year and Lockdown, the brilliant Andrew Meredith miraculously managed to document the SMC REAL:TIME exhibition designed for the London College of Fashion showcasing work of students from the School of Media and Communication. Due to ongoing restrictions we created an installation in the windows of an empty shop on Carnaby Street, for people to view from the street. With prevalent themes of identity and the body it was the perfect opportunity to use Haocheng Zhang’s Experimental Body Type.

The sans serif used for information appears to be Helvetica or similar.

The Body Type was purchased and presented by the University of the Arts London, London College of Fashion, and won an ADC 100th silver cube in the US and a D&AD Award in the UK.

According to the report Big Data and What it Means, Leslie Bradshaw, U.S. Chamber of Commerce Foundation, 2020:

Assumingly 90% of all information / data ever created appeared in the past two years

Following the outbreak of the Covid-19 pandemic, this number has likely increased several times. We have reached a point of oversaturation, fatigue, and the stress it entails. We have become surrounded by percentages, numbers, and terabytes that conceal human vulnerabilities, suffering, and insecurity.

On January 11, 2022, according to official data, we exceeded the number of 100,000 people who died due to infection or complications caused by the coronavirus in Poland. It is as if a medium-sized city disappeared from the map of Poland. The death toll continues to rise. Nothing interesting…

Having worked for the media for several years, I created information. I used my camera to record, describe, and try to stay objective. Did it work? I don’t know. After the outbreak of the pandemic, I felt the information overload. Maybe it was fear? I got on my bike. I explored other places and started meeting new people. The photographs I took were different. I steered clear of the tribal divisions that vividly decorate the landscape of social life. The ambiguous intangibility of the times we live in was set aside for a moment.

The photographs were taken in 2020 and 2021, the publication was issued in 600 copies by the Pix.House fundation. Magnet Headline and Magnet Standard are used throughout.

Photos and text: Adrian Wykrota
Design: dobosz.studio
Photo edits: Krzysiek Orłowski
Content supervision: Anna Molter
Proofreading: Michalina Łabiszak
Translation: Konrad Baranowski
Preparing the photographs for printing: Ieva Austinskaitė​​​​​​

Creativity School was born with the goal to help kids all over the world be who they want to be, and teach them how to do the things they love. The School nurtures the imagination of its students, empowering them to become the next generation of artists and innovators. Founded by award-winning creator Arree Chung, it offers the biggest library of art classes taught online. The best part is… it’s live!

As millions were impacted by Covid-19, parents around the world were left exhausted figuring out how they would keep up with their kid's endless creativity, not to mentioned feeling incredibly isolated and disconnected. Creativity School bridged that gap by providing live online classes with 100s of children interacting with each other, leaving them feeling inspired and connected. Overwhelmed with the school’s rapid growth, Arree reached out to Nothing Design Studio to help them develop an identity to match.

Nothing designed a brand identity that captures the school's big audacious mission with a vibrant visual language that is bouncy, fun, and full of creativity. We brought the school’s big world philosophy to life through bold variable type for endless creativity, and vibrant colours for diversity and freedom of expression. Brice (Studio Sun, 2020) is used for display, in various weights and widths from its variable font version. It’s paired with Roboto for text. The logo is custom drawn.

Because music venue EKKO had not seen their friends for a while due to lockdowns, the closing of cultural spaces and other government measures, I designed this classic Dutch friendship book for them to pass around and reconnect with old friends, colleagues and relations. This particular friendship book is meant to go from one friend to the next until it's completely full.

EKKO’s Vriendenboekje (“EKKO’s Friendship Book”) is a unique and sincere way to keep in touch with ones that once were closer to you, but now can’t see you due to the circumstances. Since 2021 has been EKKO’s 35 year anniversary, they wanted to make it a little more special while celebrating responsibly.

Friendship books are a typical Dutch and German cultural object used by mostly children to exchange with one another. It can almost be described as some sort of proto-Facebook. Once you receive a friendship book, you glue a picture of yourself on the left page and answers questions about one’s personal information, hobbies, memories, experiences and much more, before handing it back to the owner. In this case, the recipient is asked to pass the book on to another (potential) friend, until the booklet is complete and to be handed back to the music venue.

I used Fadoli for its friendly and playful characteristics, to try and capture the child-like concept behind the booklet. The EKKO 35 JAAR logo and banner are designed by Sasha van den Haak and use Folio.

Zurita by RodrigoTypo is the typeface chosen for the title of this book by Zophia Edwards, published by Daraja Press, in cooperation with Zand Graphics Ltd, Kenya. It’s set in four stacked and justified lines, and is paired with Chinese Rocks by Typodermic for the author’s name. The cover image is RAT RACE – unfinished business (2018) by Trinbagonian artist Karl Doyle. The series name, Thinking Freedom, uses Harman Sans (Ahmet Altun).