Source: piafleischmann.com License: All Rights Reserved.

What served as workwear for postal employees for over 20 years is now getting a new life. Together with the committed and open-minded team at Swiss Post, I had the pleasure of designing the special stamp “Upcycling – from Postal Uniform to Postage Stamp.”

Typography plays an essential role as well. The stamp features MZ OTR Grotesk by Marc Zenhäusern – a contemporary workhorse typeface rooted in Swiss design, combining legibility, precision, and character. A perfect complement to the theme.

At the heart of the project was the idea of creating a tribute to the recognizable look and strong sense of belonging among employees. The fabric of the familiar light-yellow shirt is now setting off on another journey – this time as a postage stamp. The design incorporates characteristic elements of the postal uniform: the print recalls the anthracite-colored blazers that were once part of the outfit and celebrates the diversity of the people who wore them with pride every day.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

TilburgsAns is a typeface inspired by the city of Tilburg, the Netherlands. It not only contains letters, but also a set of 123 icons picturing the local heritage as buildings, stories, events and dialect words. These icons are applied by the TextielMuseum Tilburg in woven fabric. The resulting textiles are sold in the museum shop. The first product in which this TilburgsAns textile was used is an iconic handbag.

My first project of Year 3 at Nottingham Trent University explores perceptions of the Union Jack and St George’s Cross, a polarising topic in recent discourse. The statements were collected and curated by myself from an online survey and do not reflect my personal beliefs. The photos were taken in various towns across the Midlands. I really enjoyed working on an editorial project.

Printed A3 with a fabric, screenprinted cover.

TT Chocolates by TypeType and Cigars by Heavyweight are the typefaces used in the Cotlin brand identity.

Cotlin is a manufacturer of stylish, high-quality carpets made from premium fabrics. The company knows everything about producing these products: size, fiber, and technique. Their clients are market leaders such as Mango, Hyatt Regency Tower Hotel, and many others.

Raye the Store is showcasing hundreds of products of the most innovative and exciting food, drinks and wellness brands. It brings together a meticulously curated collection of selective brands in one store with innovation, nutrition, and design at its core.

Based on a minimalistic grid system, the typographic identity is flexible to adapt a fresh look from edition to edition. So far, eight pop-up events have been taking place in the birth city of raye — London, UK. Each one has been branded with a signature color and typeface, which together with the iconic grid system formed the basis for the unique look.

Edition number 08 is a special edition focusing on brands and products in beauty and health care. To emphasize this unique edition, instead of choosing a particular color a specific material was used: silky silver surfaces were combined with the clean, elegant Gilda Display and the project’s brand typefaces Space Mono and Xanh Mono.

See also previously posted editions of Raye the Store.

Tifo unfurled ahead of kick-off between the Vancouver Whitecaps and Portland Timbers on Saturday 30th March 2024

Bradley DJR in use for a tifo design unfurled by the Vancouver Southsiders at an MLS Cascadia derby game between the Vancouver Whitecaps and Portland Timbers.

The display pays homage to the Vancouver Whitecaps’ current status as reigning champions of the Cascadia Cup. This supporters-created trophy is contested annually between the Vancouver Whitecaps, Seattle Sounders, and Portland Timbers, with the trophy awarded to the club with the best record among the three rivals at the conclusion of an MLS season.

The tifo was traced, painted and assembled by members of the Vancouver Southsiders supporters group.

Tifo painting session involving members of the Vancouver Southsiders supports group.

Tifo from the stands

Tifo practice session at BC Place ahead of the game

Tifo practice session at BC Place ahead of the game

Tifo practice session at BC Place ahead of the game

Packaging for Deutsche Edel-Stärke (“German deluxe starch”), a fabric stiffener produced by Deutsche Edelstärkefabrik Heinrich Dehnert, featuring the Stärke-Tante (“Aunt Starch”). The fonts in use – two weights of Tannenberg (1933) and one of Signal (1931) – suggest a date in the 1930s.

Lovely use of Pretorian’s capital letters in an old fabric shop in Valencia. Seen in the popular neighbourhood of El Cabanyal in 2023.

C/ de Josep Benlliure, 108, 46011 València (Spain).

These labels were designed by Lorenzo Boero and Alice Guarnieri for Frolicking with the Guys, a collaboration between Ascend Beyond and NOIA magazine.

The three jacquard labels represent the touch points between the two projects, the idea of embracing boredom and resting, to later use them as a push to be creative and explore.

The Future is Blinking was the first exhibition of Museum Rietberg to focus on the work of the earliest local photographers working in West and Central Africa.

Towards the end of the 19th century, together with their clients, they began to produce captivating images in outdoor studios. Future viewers of their images were always kept in mind; the sitters posed as they wanted to be seen by posterity. These images are remarkably different from the work of colonial photographers whose work served to confirm the Other as backward and exotic.

The background image on the poster is made with cyanotype on fabric. This exhibition design represents the first use of NN Knit Grotesk.

Never Felt Better is an art installation / audio visual experience by Jan Grebenstein, shown in May 2022 in Kassel. The font in use is Skanaus by Daniel Gremme. Photos by Can Wagener.

Lanificio Fratelli Cerruti is an Italian fashion and clothing company renowned for its fine fabrics for haute couture. Established by Antonio Cerruti together with his two brothers and a cousin in 1881, it has been managed by the Cerruti family for over 140 years. In the woollen mill in Biella, Piedmont, Lanificio F.lli Cerruti 1881 processes different raw materials of the highest quality, such as Australian wool, Mongolian cashmere, but also cotton, linen, hemp and more.

The latest collection for Autumn/Winter 2023 is being launched in times of both great and small changes. Centered around the theme of crossroads, it’s defined by seven keywords; Crossing Layers, Crossing Stories, Crossing Threads, Crossing Worlds, Crossing Lines, Crossing Horizons, and Crossing Time. The collection is “inspired by the concept of frontiers, the idea of a no-man’s land, taking its cue from the literary experience of the author Gloria E. Anzaldúa, who wrote Borderlands.” It was first presented during the 35th edition of Milano Unica fashion fair.

The accompanying campaign consists of beautifully shot photos and videos that illustrate “fabric as a border area, a fluid space, suspended between the raw material that has already been transformed and the garment that is waiting to take shape.” The featured typeface is Kessler by Production Type. Alaric Garnier’s contemporary take on inscriptional serifs is offered in three optical sizes. Kessler here appears in the finest cut, the Super Display. The collection’s title set in italic capitals, with a thread wrapping around it, marking the ever-changing borderline.

Houses of the Future brings out a reflection on how will the world evolve in the near future and how will we live in it. The emptiness and uncertainty fuse into the hope of being able to reformulate our purpose to save the earth. The installation is part of Later Came Early exhibition at Fabrica research centre in Treviso, Italy. (Via Lucía Peralta)

Holise in use for the art exhibition Elegy: Lament in the Twentieth Century, shown through July 24, 2022 at the Philadelphia Museum of Art:

An elegy is a song or poem expressing sorrow or mourning, often reflecting on someone who has died. This exhibition explores how artists have created visual elegies to respond to death, tragedy, and violence.

When the arts address grief, is their role to be cathartic, allowing the artists to express and viewers to feel intense emotion? Are they meant to be catalytic, instigating actions to rectify circumstances surrounding deaths that were unnecessary, unjust, and atrocious? Do the works offer some a sense of commiseration and comfort? The goal of this exhibition is to create a space for thinking about these powerful emotions and possible responses.

All the works of art on view are from the museum’s permanent collection, with most created between 1900 and 2000 by artists who either lived or worked in the United States for some part of their careers. The chronological distance allows us to see how artists of the last century worked to keep people, events, and states of being alive in memory and to place the collective grief and trauma of our present moment into a broader context.

Graphic design by Hanna Karraby and Ridge Chin, with creative direction from Luis Bravo
Exhibition design: Natalia Quinteros and Jillian Matthews
Curator: Jessica Smith

“The title treatment was printed on soft fabric draped freely from the ceiling, intended to represent a mourning veil, or the barrier between the living and those who have passed.” – Hanna Karraby

“A printed pamphlet with grief resources was produced for the Reflection Space.” – Hanna Karraby

Custom woven blanket featuring HWT Etta East (Hamilton Wood Type Collection, 2021) for Faire Type’s studio. HWT Etta was designed by Lynne Yun together with Maxime Gau of Faire Projects.

VIP Samples is a supplier of fabric sample books and swatch books based in Grand Prairie, Texas. This logo is based on True Cross Fire (VGC). It was used already in 2006, and still in 2017. In 2018, it got replaced by a new one in Palatino.

The bachelor project dead_gold was made by Eva Lotta Landskron, who graduated in 2020 from the University of Applied Science and Arts Dortmund. It was supervised by Lars Hamsen, second examiner was Dirk Gebhardt.

The brand dead_gold was created after the examination of the epic of the golden calf. This is found in the story of the Exodus in the Bible: Moses leads the Israelites out of Egypt and frees them from slavery. But Moses leaves them by themselves in the desert. They feel alone, insecure and disorientated. To deal with their fears, they create a golden calf. They celebrate it as their new god and their new leader.

The aim of the brand dead_gold is to find a common ground in the differences of individuals. Today there is no longer just one golden calf in the desert, because each individual searches for his or her own way to satisfy his or her needs for security, orientation and self-affirmation. But as soon as we define ourselves based on the differences to other people and lives, the different worlds drift apart and the heterogeneous society is no longer capable of discourse. It paralyses its own progressive development. By thematizing and criticizing our calves and the calves of others, the brand dead_gold can call for a new emotion-free discourse.

The catalog is divided into three parts: First, it shows the objects of the brand dead_gold. After that, their origin and content is displayed: An Amazon catalog shows the different products that are depicted on the objects. Finally, it shows the objects in a scenographic staging. Across these three environments the brand identity is based on a minimalist positive/negative alternation of Antipol and GT America.

After 25 years of being in business, Diagram had grown. More people. More offerings. New leadership. Bigger and better projects all the time. Together, we workshopped a fresh brand strategy and new identity. We equipped our client with all the tools they’d need to take ownership of their (truly wonderful) story and step boldly into their bright future. Hello world. Meet Diagram.

We took a deeply collaborative and interactive approach to articulating the what, how and why behind the business. What set Diagram apart from the competition was their cheerful blend of playful authority and strategic risk-taking, their all-around approachable cool, tech savvy and of course, the good time family feeling.

Emotive, connective and scalable, the new logo references the spark of innovation —the moment where collaboration and process give way to brilliance. Intersecting lines show different ideas and perspectives coming together in a strong, unified whole.

A more straightforward read on the spark and logotype keeps the strong connection while building brand awareness.

With the identity finalized, we got to work helping Diagram launch their new brand. The Diagram identity system was designed to be not only flexible, but fun. Cards, notebooks, totes, an oh-so-cozy hoodie, campfire mugs, a step and repeat, even a custom beer can label done in collaboration with Solemn Oath (a Diagram client and neighbor!).

Karelia is used throughout.

Building upon the visual language of weaving and textile production, we created a distinctive logotype and a set of elaborate patterns, which serve as a vehicle for Bokhari's brand. With its modern expression and working across multiple media formats, the identity communicates their core values: sustainability, continuity and social engagement.

Using Garnett from Sharp Type for this project helped us to achieve a fine balance between character and simplicity. The pattern’s grid is based around the inner proportion of the typeface and its specific stroke contrast, which brought an organic dimension to the otherwise strict and rational approach. The b shape in the logo is followed by “okhari” set in Garnett with a custom single-storey a.

For the exhibition The Wasteland at the Mona Bismarck American Center in Paris, scenographer David Lebreton and graphic designers Julien Lelièvre & Emmanuel Labard conceived a quiet reading room, putting into space the eponymous poem by T.S. Eliot.

The text is reproduced on a big veil surrounding the room but also on paper leaflets for convenient reading. It is typeset in Minotaur.