The Musée de l'Orangerie is devoting an exhibition to the American artist Robert Ryman (1930-2019). Entitled Robert Ryman. Le regard en acte / Robert Ryman. The act of looking, this first major presentation dedicated to the painter since 1981 in a French public institution confirms, five years after his death, the historic importance of this artist.

The exhibition’s main titles borrow some of Ryman’s tools: wood as a support and white as a surface. This visual coherence means that the graphic design does not take precedence over the works, yet is clearly visible in the space. Quotations taken from interviews with the artist are the subject of typographic games that bring Ryman's words into resonance with his works, helping the public to better understand them.

The entire exhibition is set in Muoto, designed by Matthieu Cortat and distributed by 205TF.

Maryna Zevako designed and created this A1 poster titled “Animal Vision, Part 2”. It was silkscreen printed with custom-made ink infused with UV-reactive powder, mixed in the printing workshop of Gerhard Müller at ABK Stuttgart State Academy of Art and Design.

The content and images were generated with ChatGPT, Dalle-2, and Dreamstudio.ai to illustrate the differences between binocular and insect vision, with fun facts about bees, flies, and other insects. These creatures can identify objects by detecting UV-glowing patterns. The poster is printed “white on white,” requiring a UV lamp for reading.

The “Animal Vision” project has been exhibited at the exhibition IMAGINE it’s 2050… by the communication design class of Professor Lucienne Roberts at the State Academy of Art and Design Stuttgart, which took place in February 2024. The poster will also be exhibited at this year’s ABK Stuttgart Rundgang. It was typeset in Arial Narrow by Monotype and HAL Timezone, published by HAL Typefaces.

Poster for the 2022 edition of Typographic Printing Program, an intense design program focusing on typography and letterpress printing.

The posters have been letterpress printed back-and-front with laser-cut linoleum and freshly cast Ludlow hot metal slugs. In letterpress printing, the visual topic of unsharpness is hard do accomplish. It took me quite a while to develop the visual effect of these matte, dissolving letterforms in white-on-white.

The overall topic was “Typographic Detox”. The white and silver on transparency paper supports the idea of detoxing. In my view, the posters really work! When people hung them over any bad typography posters in the wild, they immediately and actively detoxed their typographic environment – haha!

Detox poster at the premises of Slanted in Karlsruhe, Germany

Detox poster in Detroit, US

Detox poster in Ravensburg, Germany

Detox poster in Saarbrücken, Germany

Detox poster in Stuttgart, Germany

Detox poster at Studio Zeedauw in Tilburg, Netherlands

Detox poster in Padova, Italy

F37 Neuro by F37 Foundry is in use for the Football Type 2 publication, written by Denis Hurley and designed by F37. Words from F37’s portfolio site:

Football Type 2 is the sequel and revised edition to the award winning book Football Type – a book celebrating the history of football and typography.

From a patchy beginning as strictly identificatory aids, shirt numbers have grown in significance, with players gaining such attachment to the digits on their backs that they become part of their individual brands. The business of designing fonts reflects that and Football Type 2 is a celebration of that creativity as well as the historic stories behind the numbers.

In addition to the standard version, there’s also a limited edition that comes with a numbered dust jacket with lettering found within the book using the latest digital print technology.

Although a picture may be worth a thousand words, in this case there was no better way to symbolize Begoña and Justin’s relationship than through their own words. After three years of written correspondence, we decided to select the words that represent them best. Although they are the main characters, the words – which have accompanied them so much during these years – appear in the background, printed in white on a white paper. In this way the story of Begoña and Justin is proposed as a suggestion to the reader. An invitation, not only to one of the most important days of their lives, but also to get to know them more deeply.

The words, the names and also the mongram for the sealing wax are set in Inferi, with Quasimoda used for the addresses.

See the full project on Behance.

designed by MAKKAIHANG DESIGN © makkaihang All rights reserved.

The 2016 edition of DPY’s yearbook. De Paris, Of London and Aus Berlin, the energy of thoses three cities mixed into a 365 pages book documenting skateboard scenes.

Chief Editor: Thomas Busuttil
Art Direction: Alexis Jamet
Managing Director: Stéphane Borgne
365 pages – 1,000 copies
Published by DPY éditions

Summer, New York City. A college girl falls hard for a guy she just met. After a night of partying goes wrong, she goes to wild extremes to get him back. — White Girl

White Girl is a 2016 American film written and directed by Elizabeth Wood in her directorial debut. It stars Morgan Saylor, Brian Marc, India Menuez, Adrian Martinez, Anthony Ramos, Ralph Rodriguez, Annabelle Dexter-Jones,Chris Noth and Justin Bartha.

The film had its world premiere at the Sundance Film Festival on January 23, 2016. The film was released on September 2, 2016 by FilmRise. — Wikipedia

The Hollywood Reporter called the film “squalid, shocking and sexy as hell,” while Vice called the film “the most explosive portrait of NYC youth since Kids.”

Cactus is used across posters, website, trailer and film titles. Perhaps this consistency is due to the film being a small, independent production, where all aspects of its design can be controlled and designed as part of a connected whole.

Movie film title design

Movie film title design

Movie film title design

The invisible title, set in Px Grotesk Screen, has been achieved laser cutting holes out of a PVC plate.

From the introduction of the book:

The Atlas of Visual Identity is a sinking anchor in the bottomless sea of knowledge. “What is a visual identity?” is its underlying question, although the attempt to answer to such a broad premise seems almost too naïve to be taken seriously.

The Atlas of Visual Identity consists of a heterogeneous collection of 919 images sourced exclusively from the Internet to try to capture and unveil the visual clues triggering the recognition process. The book is structured upon a dialectic relationship between two opposite poles: the first equal to the maximum level of recognisability, the second to the least. At the end of the book, an index reports all the sources with the matching date of download.

This project has been developed during the final year of the Master Graphic Design at AKV|St.Joost (Breda). This is a non-commercial project.

Concerned with notions of transparency and lightness, the book utilizes a color palette of gray and white. Referencing this “constellation”, its cover is wrapped in translucent matte white paper, with project images printed in color on its glossy reverse. Translucent glossy paper separates each chapter, divided by architect; included essays are printed on gray paper; texts are inversely set in white in Founders Grotesk.

MoMA:

A Japanese Constellation focuses on the network of architects and designers that has developed around Pritzker Prize winners Toyo Ito and SANAA. Providing an overview of Ito’s career and his influence as a mentor to a new generation of Japanese architects, the exhibition presents recent works by internationally acclaimed designers, including Kazuyo Sejima, Ryue Nishizawa, Sou Fujimoto, Akihisa Hirata, and Junya Ishigami.

The exhibition catalog was edited by Pedro Gadanho and Phoebe Springstubb. Essays by Terunobu Fujimori, Taro Igarashi, and Julian Worrall.