Varianz High Serif and what looks like slightly stretched caps from Fraktion Mono being used for the exhibition and award ceremony of the Arthur-Petersen-Preis 2023.

The Muthesius Kunsthochschule writes:

The Arthur Petersen Prize for Master’s graduates of the Muthesius Academy of Fine Arts and Design will be awarded for the first time at the end of November. The Arthur Petersen Foundation is providing the university with a total of 10,000 euros to honour Master's graduates. The scholarship jury will award four prizes of 2,500 euros each for final theses and projects in the Fine Arts, Spatial Strategies, Industrial Design and Communication Design degree programmes. The award ceremony will take place on Thursday, 30 November, at 6 pm at sp ce | Muthesius. Afterwards, the four prize-winning works will be on display in the exhibition space of the Muthesius Academy of Fine Arts and Design at Andreas-Gayk-Straße 7-11, Kiel.

Location: sp ce | Muthesius; Andreas-Gayk-Straße 7-11, 24103 Kiel
Date: Friday, 01.12.2023 - Saturday, 13.01.2024
Time: All day

This project includes the design for the annual exhibiton Einblick Ausblick (“Looking inward, looing outward”) of the Muthesius Academy of Fine Arts and Design, as well as the annual catalogue 2022, which comprises over 700 pages. In addition to a collection of projects selected by professors, various members of the university provide personal insight into the university with their answers to a questionnaire.

Published in a run of 650 copies.

The fonts in use are Ambiant Sans by Laura Csocsán and Sugarshop Jell (Solid + Outline) from Typearture.

Spechte am Meisenknödel (“Woodpeckers at the fat ball”) is a publication for the exhibition of the same name at Ernst Barlach Haus, Hamburg. It shows works by students of Elisabeth Wagner’s sculpture class at the Muthesius University of Fine Arts and Design in Kiel.

Hamburg-based designers Insa Kühlcke-Schmoldt and Nina Massow from Káschem Büro have designed the entire catalogue with just one typeface family: Sombra, from title and headline to the body text.
Their reflections on the design (translated from German)

When we were thinking about the catalogue “Spechte am Meisenknödel”, it was important to us to find a design that would fit the exhibition as well as the museum itself. So we tried to let the essence of the functionalist architecture of the Barlach House influence the concept of the overall appearance: through a simple structure, a clear design of the inside section, the calm and restrained colours.
We chose the Sombra as a counterbalance to this overall appearance of simplicity. Its proportions, based on a geometric structure, are reminiscent of the formal language of classic modern architecture. At the same time, the eye-catching graphic features (for example the hairline diacritics, a high stroke contrast, flourishing terminals and tapered details) bring a refreshing contrast to the layout.

The striking title set on the grey cover subtly reflects the irony and humour of the exhibition title. The exaggerated content of woodpeckers pecking at titmouse dumplings is underlined by the visual exaggeration inherent in the details of Sombra. The letters of Sombra Poster, for example, could in themselves represent sculptural objects. Sharply cut, pointed inner forms like pecking beaks, letters like expressionist Barlach sculptures.