Designed by Where’s Gut, Gratimo Grotesk works from headline to text in Head On: Mental Well-being, a project that is talking about mental health issues.

In light of increasing mental health cases due to the Covid-19 pandemic, members of the studio conducted a short survey to better understand the obstacles of being in a conversation about mental health; be it as “The Sharer” or “The Listener”.

They summarised the results from that survey together with expert counsel from a practising psychiatrist in the poster/zine titled Head On: Mental Well-being. It’s a project that the designers learnt a great deal from and hope everyone will find it as enlightening and encouraging as they did. On the back is an accompanying manifesto on being better communicators and listeners when in a conversation about mental health.

Gratimo Grotesk works here both as display and body font, showing the variety in which it can be used for.

Census is about data, an operational analytics platform that syncs warehouse data with all daily workflow apps. Designer Matt Yow joined the startup to take care of the rebranding:

Our brand typography is set exclusively in Gratimo Classic, a font family designed by TypeMates. Gratimo Classic is professionally geometric (near perfectly circular o) and personally humanist in its construction and feel (which means it loosely follows calligraphic hand lettering). Letterforms are drawn from simple, elemental standards while having a unique and identifiable visual tone.

The weights are clean and easy to maneuver—easily combining for the headline, subhead, and small text settings. This font was a great match for the simplicity and cleanliness we set out to design with our rebooted logo.

Furthermore, Matt wanted to emphrase the human aspect and choose the alternate double-storey lowercase g as a default in this first, pre-release usage:

Working with TypeMates, we customized the lowercase “g” to change the entire texture of the font. This small tweak more perfectly aligned the font with our DNA as a data-driven, trustworthy brand while still coming across bold and expressive. The sans serif is a classic, familiar favorite, but still unique and identifiable.

Further reading: on Fontstand News, Matthijs Sluiter takes a closer look on “Three business outfits”.

Default g compared to customized double-storey variant, changing the entire texture of the typeface.

Old logo with Lato and new one set in Gratimo Classic.

With the 25th issue titled “All Inclusive”, the magazine Akademische Mitteilungen (“Academic notices”) celebrates its anniversary. For this occasion the designers of the Staatliche Akademie der Bildenden Künste Stuttgart (Academy of the Arts Stuttgart) decided to work with Bridge by Mona Franz, available from Typemates.

Bridge Head is classically responsible for large and characteristic headlines, while Bridge Text does what it can do best – working reliably in reading text. The two sans serifs are Adieu (Good Type Foundry) and Beatrice (Sharp Type).

Among the contributors to “AM25” is photographer Martin Parr, who, with his British humor, shows some ludicrous and absurd beach snapshots. Photographer Norman Conrad takes us to the artificial holiday world Tropical Islands. Christoph Niemann illustrates a fictious image of an “all expense tour” in a polemic dispute which is written by philosopher Prof. Daniel Martin Feige. The anniversary issue is designed by Alina Wenzler and Dominik Schnabelrauch, class of editorial design by Prof. Hans-Georg Pospischil (Communication design, ABK Stuttgart).

Produced by Territory, an affiliate of Gruner+Jahn, DB Mobil is Deutsche Bahn’s client magazine. Featuring a prominent figure, profiled and often interviewed in the magazine, DB Mobil’s cover stories always have a distinctive design. The April 2021 issue chose Mona Franz’s Bridge Head to highlight their cover story on Vanessa Mai. With body copy set in various members of the custom DB Type series (incl. DB Serif, DB News and DB Head) by Erik Spiekermann and Christian Schwartz, the magazine appears at the beginning of each month. Available for free on many German trains, it reaches an audience of some 1.25 million readers.

Art direction by Max Nelles. Graphic design by Natalie Brychcy, Anne Stiefel.

This book is not a dispute or a “meeting”: in these pages, Christian Laval, co-author of the acclaimed La nouvelle raison du monde (“The New Reason of the World”), intends to unfold the movement of “almost contemporary” research by Michel Foucault and Pierre Bourdieu on what they both identified as “neoliberalism”, showing how these French thinkers made it an object of reflection in contexts and with specific theoretical tools, constructing two confrontations that have as common characteristic an explanation and resistance to the historical emergence of the neoliberal event.

In this graphic project that inaugurates the Coleção Práticas Utópicas (“Utopian Practices Collection”), we were looking for an airy solution that would allow the application of titles of varying sizes and layouts on the cover, as well as a two-tone chromatic variation based on the strategy of using two color gradients. radials that interact freely through the cover area.

With the use of a central white vertical line, we try to hierarchize the relationship between title and authorship on both sides of that line as well as the rotation of the author’s name that gives independence to these two central information on the cover of a book.

The use of Bw Gradual was intended to give a marked contemporary look to the project, making a striking use of the characteristic design of this typography mainly on the front cover, spine and flaps. The body copy is set in Bridge Text.

The gradient of the cover, which seeks to represent that which is not clearly seen but which, with the text, becomes clearer, is repeated inside the book except that here it appears in monochrome, only from the black of the ink to the white of the paper.

The alignment to the right also appears as a strong element of the graphic design as a whole, appearing from the title on the cover as well as in the internal subtitles and footnotes.

As it is a collection project, the design we carry out in this work is not so much related to the content of the book itself, being, let us say, more self-absorbed, but at the same time it opens up simple possibilities for variation so that each title of the set has independence and own aesthetics.

Foucault, Bourdieu e a questão neoliberal was translated to Portuguese by Márcia Pereira Cunha and Nilton Ken Ota, edited by Tadeu Breda, and published by Editora Elefante. Design by Hannah Uesugi & Pedro Botton / Arquivo, with art direction by Bianca Oliveira.

Ølzn is a small German beer label founded by Enno Warnecke, Felix Brinckmann, and Helge Neidhardt. For their visual identity, Franz Sans is used throughout.

The new book by Berlin star chef Tim Raue is dedicated to the classic cuisine of French bistros and brasseries. Published by Callwey Verlag, Rezepte aus der Brasserie (“recipes from the brasserie”) is Tim Raue’s personal journey across Paris, documenting the milestones of his apprenticeship and his everlasting culinary journeys. His love for the brasserie has uncovered historical and modern elements and in the end he looks enthusiastically into the future. Of course he also presents his three Colette restaurants.

The book was written by Katharina Raue, with photography by Joerg Lehmann. It is divided into three main sections: The entrée is an evocative magazine, followed by factual and concrete recipes, concluded with a register of tips and glossary that range from personal to rational. The typefaces are used accordingly: Heike Czerner’s combination of Bridge Text plus Bridge Head and Cera encompasses a range from the atmospheric to the factual. As designer Heike Czerner wrote in an axial:

For me, the Bridge typefaces represented the French typography well, while they are well readable in text and have an enormous formal appeal in large headlines.

The cover features Edelgotisch, which was chosen for its similarity to French Art Nouveau letterforms, like Hector Guimard’s work for Paris Metro made at the beginning of the 20th century. The recipes section additionally uses Obsidian to strengthen the visual connection to the Colette Restaurant’s website.

Typotopografie is a magazine series by August Dreesbach Verlag that presents (typo)graphic excursions in various cities: special places, personalities, institutions or exhibitions related to typography, design and the art of printing in urban spaces.

Just in time for the Frankfurt Book Fair 2019, the anniversary edition focuses on the city of Hamburg. Editorial designer and typographer Manuel Kreuzer counts on the appeal of two Typemates releases: the raw Halvar in combination with the expressive Bridge Head and Text.

In a reference to the Hamburg coat of arms, the tenth edition is designed with red as the main colour. Kreuzer gives each section of the 80-pages magazine a new visual impression, introducing the reader to the unique characteristics of the interview partners.

Our type foundry is among the interviewees. Partners Lisa and Nils are closely connected to Hamburg and designed Halvar, adding some local flavour to the typeface selection – even when the typographic star of the publication is Bridge, a design by Mona Franz (based in Munich, approximately 800 km south of Hamburg) that started out as her graduation project for Type and Media in The Hague, Netherlands in 2018.

106Hz CLINICS – 10 days, 10 workshops relating to pop music.

Their very own studios become the location for several workshops – the vibe of a collective formed by passionate musicians and new emerging artists to fill up a building. Tutors are known characters from the German landscape of producers, songwriters, vocalists and instrumentalists who worked for national and international artists and bands. The visual is based on architectural elements to represent the studios which are flown through by the sinus curve, a 106Hz (= Hertz) key element. As related to popular music the visual is meant to have a contemporary speech in typography and colour.

The work comprises sticker flyers, posters, Instagram and Facebook campaigns, layout for interviews with the artists, and a promo presentation.

As a commitment to diversity and openness in Munich, Martin et Karczinski have started an extraordinary campaign. Along with the motto “Mir san mehr!” (We are more!), the “Open Kindl” communicates how all world religions and lifestyles enrich our city. It is derived from the city’s coat of arms. An “Open Kindl Kit” is available from openkindl.de.

The kit includes a poster, postcards, stickers, a stamp, a stencil, a pencil, a bag pack, patches, a button, coasters, a keychain and more. The revenues of the initiative go to the SchlaU-Schule, a school that provides lessons to young refugees and promotes the integration and the coexistence of different religions and cultures.