This project was conceived as part of the temporary exhibition Grandeur Nature 2025, led by the Atelier de Didactique Visuelle at HEAR in Strasbourg. The in-situ installation measures 200cm × 100cm and is made of wood and Plexiglas.

I highlighted the former Geistel printing house through four archive photos redrawn in dotted lines. The installation, intended for local residents, combines testimonials and images to revive memories of the place. The drawings on Plexiglas are superimposed on the printing house, inviting a sensitive and participatory reinterpretation of history. Each panel explores a theme (family, lithography, workers), supported by typography that evokes a memory in motion.

The (fictional) planning office TIEFPLAN develops subterranean living as a response to global challenges. With a focus on the crises and issues of our time, plans and simulations for underground living spaces are designed. Model experiments are used to test and analyze various implementation approaches.

This student project was made by Luis Bullinger and Laurin Stemmann at the Faculty of Design of the University of Applied Sciences Würzburg-Schweinfurt.

Brik used by the Karl Lagerfeld brand for Cara Loves Karl (stylized as CARA ♥ KARL), the collaborative fashion line with Cara Delevingne.

Dreams is a lifestyle store in Los Angeles’ Atwater Village created by creative entrepreneur Monica Navarro and spatial designer Adi Goodrich of Sing-Sing. Studio Elana Schlenker and Élise Rigollet took care of the branding

The identity is anchored by a strong logotype with softly blurred edges used in concert with a toolkit of eclectic type (an elegant serif, glitchy pixelated font, and bubbly display text) and surreal illustrations by Julia Dufossé that add texture and intrigue to the brand’s communications.

The main fonts in use shown in this post are Moore, WT Kormelink and Lo-Res 15, supported by Tiny. The website uses Twentieth Century, and on social media, Dreams makes recurring use of Swear, Snell Roundhand, Vivaldi, among other fonts (not pictured here).

Shop photography by Ye Rin Mok, Adi Goodrich, Dreams.

NATI (НАТИ, Russian abbreviation for New Archive of Limited Edition Art) is an initiative of Shaltai Editions gallery, an homage to the project conceived by Moscow Conceptualist artists Andrey Monastyrsky, Lev Rubinstein, Nikita Alexeev back in the 1980s. They packed the works of artists close to their circle into folders, calling them the Moscow Archive of New Art, MANI (МАНИ). Each participant put a new work they wanted to submit into an envelope, while a compiler brought all the envelopes under one cover and wrote an accompanying text.

From the interview with the designer Maria Rudakova:

When it became clear that the construction would be made of metal and plexiglass, I started looking for a typeface that I would associate with these materials — Brutalist and wide. I decided to play with justification — and found out that Metal was a perfect fit for it. I chose the № 8 style — it has a certain balance, not too stretched and not too narrow. The typeface does the large part of the work for you in page headers and at large sizes — even two words on the line look good.

Read the entire article on our website.

For the contribution Visit by Boris Groys, CSTM Xprmntl 02 Italic by Yury Ostromentsky was used.

52 illustrative playing cards, made to always win…or lose.

Laser cut and UV print on 1/16″ plexiglass, using IKANSEEYOUALL from Swiss Typefaces. Made during the Co-Works workshop led by Professor Angela Torchio at RISD in Spring 2019.

The Hölderlinturm (“Hölderlin Tower”) in the picturesque city of Tübingen, Germany was recently renovated by Coast Office Architecture, Stuttgart. The landmark of the city was once the home of the famous poet Friedrich Hölderlin.

Coinciding with the 250th anniversary of his birth, the three-story house has been turned into a museum honouring the life and work of the poet who has been called “the poet of poets”.

Hölderlin’s use of meter (rhythmic structure in verse or line of a verse) plays an important role throughout the permanent exhibition. Visitors are able to use all of their senses while interacting with his poems. In the museum the typography is either silkscreened, stencilled, digital printed, CNC milled in plexiglass and wood, or presented as 3D lettering in brass.

The two typefaces Suisse Int’l (sans-serif) and Suisse Works (serif) harmonise with one another and maintain their integrity in very large und small sizes.

Museum architecture concept and implementation by Coast Office Architecture
Graphic concept and implementation by Toussaint x Teachout (Devin Teachout)
Interactive Media: 2AV
Curator: Dr. Thomas Schmidt (German Literature Archive, Marbach am Neckar)

In 2019, the Franco-German Film Academy invited me to design its first award. The prize was awarded to Mia Hansen-Løve to salute her commitment to film cooperation between the two countries.

I created a series of shapes referring to light or sparks representing cinema and movement. The typeface used is Inferi (Blazetype) in two weights. One for each language, both languages are mixed in the format. A bicolor design for a bilingual award.

The primary objective of the Academy’s meetings is to boost cultural exchanges in the film industry, in particular by initiating new international cooperation projects. Since last year, the Academy presents its award to someone who embodies this Franco-German partnership in cinema.

Designed by Nicolas Turki Duchesnay and Riso printed in Paris by Studio Fidele.

Lasercut tests on plexiglass

Lasercut tests on plexiglass

Lasercut tests on plexiglass

For the 2018 Poetry Festival of Larvik, Norway, Fredrik Høyer collaborated with programmer Daniel Mahal to produce a part human, part computer-generated, poem that restructures the Norwegian language into borderline coherent sentences. Snippets from the 8 minute spoken piece Men vi er et slags sammen? (the English translation, “But we are a sort of together?”, is equally jumbled) were typeset in Monokrom Skriftforlag’s Riks stencil typeface, cut out of large sheets of plexiglass and spray painted onto the pavement outside the local cultural center Bølgen with a special nanotechnology coating that repels water molecules. The result is an art piece that only reveals itself to Larvik’s citizens on rainy days. The project was facilitated by Kulturbyrået Mesén.

One of the most successful projects by Fabrizio Schiavi Design is certainly Siruca, the typographical system created in 2006 for the wayfinding of the complex Al Hamra in Kuwait City.

On the occasion of Milan Design Week 2018, a special stencil in plexiglass containing the essential letters of the Siruca alphabet was exhibited in via Ventura 12. As a part of the presentation, every visitor could write whatever he or she wishes on a 100 meter paper roll.

Hanging sign, saying: “This way for drawing with Siruca stencil”

A stack of Siruca Stencil stencils

Every visitor can leave a message on the walls, using the Siruca stencil

The synopsis wall

Waiting room pictogram

Makeshift sign saying “If you are in need of a strong character, do come in!“

Like ghostly figures haunting the space, eight structures mounted on wheels are scattered across the exhibition Muda, Muri, Mura. They’re made with a backlit Plexiglas plate on which the shadow of a brass mask appears, enhancing they’re feeling of irreality. The “bodies” are built with aluminium tubes originally conceived for office furnitures and engraved by the artists with management jargon. The Minotaur Lombardic typeface that they used evokes fantasy aesthetic and echoes some real-time strategy video games (like Age of Empires), creating a temporal clash between Middle-Age and high technology.

French artist duo Juliette Goiffon & Charles Beauté were inspired by Japanese facial sheet masks and telepresence robots skeletons, used during meetings for visio conferences or remote working. Connected to a webcam, such robots allow managers to run their tasks remotely. In some companies some rooms are set for virtual meetings, imagined as dematerialized meeting places. These robots are symptomatic of disembodiment effect happening in the corporate world but also of some kind of standardisation: both reassuring and disturbing, their glowing faces seems to look into our eyes.

For the project Italian design is coming home. To Switzerland, Dafi Kühne was invited to do a poster in collaboration with Marco Nicotra. They decided to use Google Maps’ driving directions from Zurich to Milano.

From distance, that black heavy block is all you can see. Zurich looks a bit oldfashioned with that blackletter typeface. Milano a little fresher with that geometric gothic. But still both are black and nothing special. Just if you get closer you can see that in between Zurich and Milano there is something happening. Like little neon sparks that show the friction between Zurich and Milano … — babyinktwice.ch

The four-color letterpress posters were printed from lasercut Plexiglas letters and handset metal Helvetica in 7 point. Don’t miss Dafi’s behind-the-scenes video about the production process.

The poster was chosen to be among the 100 best posters of 2011. The 2012 selection of the “100 beste Plakate” from Austria, Germany and Switzerland can be seen in an exhibition that opens tonight at the Berlin Kulturforum.