The concept of everydayness took on a new dimension over the course of 2021. Under the influence of the advancing global pandemic and constantly changing measures, most of us were forced to significantly adjust our lifestyles in order to adapt to the new situation.

This new reality was the subject of Všednost (“The everydayness”), held at Muzeum umění a designu Benešov: the Museum of Art and Design in Benešov, or in short MUD*.

The catalogue and exhibition pair Mabry – the museum’s brand typeface – with Danzante. Design by Jan Košátko, Ewa Chodzicka, Anežka Rozehnalová from studio Košátko. The exhibition itself was designed by architect Michael Kohut.

Atmavictu is the new album by Giorgio Scaramucci AKA Eyor, released on 9 April 2021. The official cover was designed by Not Found Studio, using Acqualung. The track listing is set in caps from Tusker Grotesk, combined with ITC Edwardian Script for the guest artists and Helvetica or similar for the numbers and run times.

During her UCLA course, media arts design student Amy Fang made a publication called TypeUnseen, focusing on the textual element, creative typography, and the trend of brutalism in graphic design.

How do contemporary graphic designers utilize illegibility within the art of typography? Type Unseen is a reader on designed illegibility and visual nonsense; it analyzes the influence our youth culture has had on experimental typography, all the while exploring the multitude of philosophies that drive us to construct and deconstruct meaning.

Type Unseen was conceptualized in early 2020 as a means to uncover trends followed by young typographic designers, championing abstract experimentation and ornamentation over meaning. The book is a compendium of ten case studies, catalogued within four different sections: showcasing typography as image and pure form; as a means of producing identity; as a catalyst for protest; and as a way of being. However, in the context of a year shaped by a global health crisis and racial reckoning, Type Unseen asks another question for young designers—what messages will ultimately materialize and shape the aesthetics of our generation?

The book typography uses Suisse Int’l as text typeface, with Charon, Deformi, Euphoria, and Al Fresco for display. In addition, Amy Fang includes a spread with a quote by Michael Bierut in which “he contemplates his jump from typographic fidelity while working for [Massimo] Vignelli, to typographic promiscuity.” She has set his words in 25 typefaces, “some of the craziest I’ve collected over the past year.”

The front and back cover feature stretched caps from Charon and Al Fresco.

Charon is mixed with Euphoria.

The condensed all-caps Charon is being paired with Deformi.

Spread with the quote by Michael Bierut, set in 25 different typefaces. From top to bottom, these are:

Gang, Kraft, Charon, 12:51, Lapicide, Parabole, Clifton, Pilowlava, Euphoria, Salicorne, BD Retrocentric, Alt Display, Basylisk, CNVS, Glyphworld Meadow, Digestive, Icarus, Apfel Grotezk, Love, Misto, Grand Slang, Le Murmure, Halyard Micro, Sprat, Ornamentum.

Altered.Code is a student project made at Elisava, created by Marion Garnier and Desislava Danova as part of their Master’s degree.

Altered.Code is a [fictional] monthly online magazine that tackles the prejudice and negativity regarding our future as a society. It is a platform for the curious, for the digital, and the creatively fearless. For those who seek what tomorrow might bring and are ready to push the boundaries of the expected. The platform adopts an attitude of positivity and eagerness for the future. We feature creatives, artists, and brands shaping their industry in regards to the digital era in which we live. We welcome those who are ready to step out of the norm and create a new reality.

The visual identity uses Mhtirogla in all caps as display typeface. Aktiv Grotesk is used for text.

Danzante in use for a T-shirt designed by Gian Pancrazio Pala (GNPNCRZ™️):

Although the situation we have been facing within the past few months has been tough, and, I hope everything will end soon, there are several positive things that I have found out by interviewing many people. I have made a list (for you).

rebirth of humankind /
to be the height of bodily pleasure without emotional pain

Danzante in use by CGI artist Alessandra Vuillermine aka Hardmetacore. Read more about Hardmetacore in a recent interview (in Italian) by i-D Vice.

The boat is a floating piece of space, a place without a place, that exists by itself, that is closed in on itself and at the same time is given over to the infinity of the sea, from port to port, from tack to tack, from brothel to brothel (...). The boat, from the sixteenth century until the present, has been the greatest reserve of the imagination. The ship is the heterotopia par excellence. In civilizations without boats, dreams dry up, espionage takes the place of adventure, and the police take the place of pirates.
M. Foucoult [sic]

Zabra Records is an electronic music label based in Lisbon. Artwork is designed by João Pedro Fonseca, using the Shawty typeface, paired with Kraft and Misto [see comments]. On their website, Zabra Records use Neue Haas Grotesk for headlines and Nitti for all other smaller text.

Every year the students of the degree programme Fashion Design at the University of Applied Sciences Hamburg (HAW), Campus Armgartstraße, present the final collections in a fashion show named A+. The 10th edition of the fashion show took place in a car park of a shopping mall.

The visual identity was designed by Finn Reduhn using Mhtirogla. The typeface by Brando Corradini appears in all media, from the posters and banners to title boxes in the show itself. It’s also used as the display face on the exhibition catalog.

Animation and posters on the topic of (virtual) reality, designed by Luca Paggio using Mhtirogla by Brando Corradini.

<h1> is a digital magazine made as a student project by Alessandro Nobile, Nicolò Accoto, and Gianmarco Caforio at the Istituto Europeo di Design (IED) in Milan, Italy.

The theme of h1 is Uomo e Macchina (“Man and Machine”). It analyzes the relationship between man and machine by taking into account the most common technological devices (for example: cell phones, tablets and computers). These topics are treated from a real point of view, without considering science fiction ideas, with the aim of making the reader feel a little anguish. The covered topics include Elon Musk, machine learning, Google Home, and artifical intelligence.

The font in use are Space Mono (Colophon Foundry), Mhitrogla (Brando Corradini), Avenir Next (Adrian Frutiger), and Domaine Text (Klim).

Digital Maximalist – Alice Chacka’s final year work at the London College of Communication – talks about the digital overload that many of us experience in our lives in the 21st Century.

How many emails, notifications and text messages do we receive daily? Why do we keep so many photographs on our phones? Why do we follow hundreds of people on social media when we only really care about a dozen? Why do we have so many gadgets?

This project aims to explore the relationship between people and digital media. It also tries to answer if digital maximalism has a substantially negative impact on people and if not, what are the advantages of it.

The publication includes interviews with worldwide known creatives to find out how is the digital maximalism affecting the creative industries. It also includes a special interview with a well-known astrologer to find out what the future of this digital phenomenon is looking like.

Lookbook for the Summer/Spring 2019 collection by Goodbois, contemporary streetwear designed in Germany. Graphic design by Julian Schröpel, using Mhtirogla.

Paris 巴黎 Zine is a zine based on a short journey to Paris in December 2018, edited by Sin Hui Teh. 66 pages, 15×21 cm, ring binding. The fonts in use include Mhtirogla (Brando Corradini), Times New Roman (Monotype), Archivo (Omnibus), and Lantinghei Tc for the Chinese name of Paris.