In 2001 and 2002, Berlin-based studio Fernkopie designed a series of lovely posters in landscape format for Komische Oper.

The Sinfoniekonzert subseries uses DTL Nobel, the revival of S.H. de Roos’s Nobel by Andrea Fuchs and Fred Smeijers, in regular-wide and condensed widths.

DTL Nobel also appears for the small print on the poster for Rossini’s Der Barbier von Sevilla. The display typefaces are Karolys Italique and tracked out Quigley Wiggly [edit: Filmotype Holly].

Charles Gounod’s Romeo und Julia is presented in Carpenter Script and Foundry Monoline.

Series of books written by Maurice Darmon dealing with the cinema of Marguerite Duras (1914–1996). The book interior photos belong to the first volume, La forêt des dames. Le cinéma de Marguerite Duras. 1964–1972. The five books were designed in Paris by Paule Palacios-Dalens and published by 202 éditions between 2015 and 2017. Section titles and quotes set in Margarita, immersive texts set in Borges (both typefaces by Alejandro Lo Celso, PampaType). Subtitles and footnotes set in DTL Nobel (originally by S.H. de Roos, digitally revived in 1993 by Dutch Type Library).

French activist magazine Prostitution et Société, nº 162, designed in Paris by Paule Palacios-Dalens, using Barnum Block (Dave West, Photo-Lettering) with P.T. Barnum (ATF) for the titles, Borges (by Alejandro Lo Celso, PampaType) in all main texts, and Antique Olive Nord (Roger Excoffon, Olive) in captions, phrases and other short texts.

The sans serif used in the footnotes is DTL Nobel (Andrea Fuchs, Fred Smeijers, Dutch Type Library).

The enlarged open quote marks are from Margarita Luce.

The monolinear script used for “citation” is Greyhound (Dave Farey, Panache).

One of the most renowned institutions for musical training in Latin America, the São Paulo Municipal School of Music is responsible for the education of countless generations of professional musicians in Brazil. Founded in 1969, the school is considered a landmark for both the municipal and the national cultural scene and relies on faculty members who are doctors, masters, and specialists with huge national and international influence. A lot of them were students of the School itself. Every end of the year a concert is held with all the school musical groups. The presentation takes place on the São Paulo Municipal Theater stage, one of the main houses for classical music concerts in the country.

In 2016 we were asked to design the program for this show. We took the opportunity to propose a poster on the back of the program. The idea was to replace the repeated letters O from the DTL Nobel (the theater's brand typeface) with colored circles as a reference to confetti. The combination of the circular letters of the regular version contrasts with the other letters of the condensed version, imposing a certain rhythm to the composition. The alignments, displacements, and repetitions also refer to musical notations.

The poster was selected at Bicebé – Bienal del Cartel Bolívia in 2017.

Liebe Kitty: Ihr Romanentwurf in Briefen uses DTL Nobel on the cover, and Guyot in the interior.

Anne Frank was given a diary for her 13th birthday. Just before and during the period in hiding Anne recorded her diary entries on the time spent in hiding in this diary and when it was full, in notebooks. When in March 1944 Anne heard on Radio Oranje that diaries would be collected after the war, she decided to write a ‘novel’ about life in the Secret Annex based on her diaries. She dreamed that this work would be published.

Liebe Kitty is unfinished; it is an incomplete manuscript of a girl who wanted to become an author. What you see here is authorship in the making. Despite the fact that it is a manuscript, it is well worth publishing. It is a literary work and shows the creative and literary choices Anne has made. This brings the reader closer to the writer Anne Frank. The book has come about through a love for literature, and as an affirmation of Anne’s qualities as a writer.

This German-language release is the first publication of Frank’s work as a book. Due to different copyright regulations, the texts are largely public domain in Germany, but not yet in The Netherlands, where the story was conceived.

Poster Design for a fictitious movie

The haunted house meets the A.I. The A.I. awakens in the smart homes of tomorrow. Window blinds won't go up. Doors will be locked. The air condition will go nuts. The smoke alarm will drive you crazy. No electricity. No internet. No TV. No water maybe. In the end you starve to death in the panic room which became your prison.

After five years and six issues, our time as the designers of the architecture magazine Quaderns has ended. It hasn’t been always easy and there are things that could have gone better, but there is one thing we are very happy with: the tone we achieved. For us, the content and form of the magazine should reinforce its temporary nature. A magazine is a document of its time. Contrary to a book, its frequent publication allows an immediate response to currently relevant themes. These themes may be irrelevant in a year’s time, but by then a new issue will be out anyway.

With each issue of Quaderns we tried to express the unfinished state of an immediate response to a specific moment and theme. Rather than giving answers, we tried to raise new questions. Allowing different voices, sometimes contradictory, to appear. In each issue we celebrated imperfection and incoherence. Not just because we thought this to be the adequate answer to the problem of Quaderns, but also because we felt that design in Spain at that particular moment was stuck in a neatly composed nostalgia. A lot of designs looked like an idealized version of northern European design from the seventies. For us, this did not and still does not make any sense, especially considering the times we live in.

This issue of Quaderns explores some of the questions raised in the previous one, “House and Contradiction”. While that issue focused on the relationships between domesticity and politics, this one aims to analyse the relationship between domesticity and the public space. This is a logical continuation if we take into account to what extent the very definition of the domestic often blurs the boundary that exists between the urban sphere and the home, between the public and the private. It is impossible to understand the domestic without understanding its indissociable bond with the public space, their complementary nature.

Design: TwoPoints.Net
Client: COAC
Year: 2016

Postcard advertising the book

In 2011, a French edition was published by Pyramyd, titled Psychologie Pour Les Créatifs / Survivre Au Travail. It uses the same basic design.

The encounter with this work might progress somewhat like this: curiosity. About the delicately arranged graphics and charts in homogeneous tones, the organised, clear, animating typography and the consistency of the stylistic means. Tasteful cover, pleasant colours, interaction of all materials. An informative and decorative numerical act.

Then: suspicion. One is overcome by the feeling that the sacred significance of the contents merely serve a graphic virtuoso as a platform for his skills. One is almost tempted to angrily put the book aside, because it is only an ornamental end in itself, a trivial succession of mindless, albeit prettily arranged, graphic claptrap.

But now: magnetisation! The attempt of visualising abstract information, the decoding efforts of the author-designer pay off, if the reader appreciates this work, takes it on himself to decipher the codes and finally ends with admiration and gratitude towards those who have created our constitutional law.

And: this visually didactic commentary also inspires the question whether there is such a thing as the beauty of law.

“Enjoy the Countryside van het Verhaal is the second issue of a small book series that we do for the artist Gilbert van Drunen. The book is confronting the both sides of a country — the city vs. the land side, and holds two opposite essays on this topic.” — Roosje Klap

The display typeface is PL Barnum Block, a digital version of West Barnum Block. A showing of Franklin Gothic has been included because it is mentioned in the book by the author. He claims that it is a typeface used by politicians for their campaigns, so it is the ‘most political typeface on earth’.

The simple addition of descending thorns turns the narrow display variant of Gill Sans into letters that reference Rubensesque type, a genre that we now associate with the dark and spooky.

Animated GIF. Click to view.

“The name of the undergarment brand Escuyer comes from ‘Esquire' in old French. As its name suggests, Escuyer is dedicated to serve and facilitate the life of the busy working & entrepreneurial men. We created a visual solution based on the heraldic system. This typographic reinterpretation of heraldry is not only strongly linked to the brand's name, but it also conveys the brand's world.” — DesignPractice