Tilearoundtown is a creative tile consultancy specialising in crafting bespoke ceramic tile solutions for architects and interior designers. Based in Valencia, Spain, and the Cotswolds, UK, they work closely with artisan factories, seamlessly blending design, functionality, and craftsmanship.

The typography uses two typefaces inspired by early grotesks from the 1800s. The logo is set in Pirelli, and refers to the sans serif lettering often used by brick manufacturers to stamp the maker’s name into the clay. Body copy is set in Founders Grotesk. The colour palette reflects the earthy tones found in different clays.

With works that exuded cool elegance and transgressive sensuality, Tamara de Lempicka (1894–1980) helped define Art Deco. Her paintings captured the glamour and vitality of postwar Paris and the cosmopolitan sheen of Hollywood celebrity. This exhibition at the de Young is the first major museum retrospective of Lempicka in the United States.

Lempicka’s work is characterized by bold lines, geometric, and angular shapes. Her figures possess a volumetric presence and monumental scale within the frame, often situated against the backdrop of a looming cityscape.

To create a backdrop for the graphic identity, we borrowed visual cues from the kind of narrow hypervertical linearity found in Art Deco architecture, vertical slat blinds, and corrugated glass. Vertical panels functioned as a backdrop and recurring visual motif within the marketing campaign and the exhibition space.

Because the vertical panel gradient referenced the Art Deco period, we wanted to contrast that by using a contemporary sans serif that brings this exhibition into the present day. For the title lock-up, Pirelli lent itself well to a tight stacked orientation which gives it a clean and concise expression.

Metropolis M is an independent bimonthly magazine on contemporary art. Issue no. 4 from August/September 2024 was designed by Elisabeth Klement and Benjamin McMillan.

From the magazine’s website (translated from the Dutch):

How do you want to live? By competing with each other (Competing), or by helping and supporting each other (Composting)? Metropolis M Number 4 is about competition. How do artists deal with it? Do they go along with it or do they resist it, and if so: how

The typefaces in use are commonSans (notyourtypefoundry), Pirelli (JungLee Type Foundry), Equitan Sans (Indian Type Foundry), and Eurocat (Maxitype).

Rhea Karam is an artist based in New York, NY. Her branding and website uses Pirelli by Jung Lee Type Foundry and Article Text by Matter of Sorts. Pirelli is distinguished by its unusually high-waisted capitals. The capital R is especially striking, making it the perfect font for Rhea’s wordmark.

The Gold Art Prize is a biennial award founded in 2021 to support artists from the Asian diaspora. A publication accompanies each cycle to highlight the five awardees, featuring interviews, artworks, and essays that help contextualize the awardees’ work within art history and the contemporary cultural movement. In response to GAP’s theme this year—body and technology—the 2023 book embraces clashes between visual elements to further explore how each component complements or contradicts one another. On one hand, the catalog borrows the common structure of books and sandwiches awardee interviews with commissioned essays. On the other hand, it employs the common material, trim size, and aesthetic of fashion magazines. Additionally, uncoated sheets of kintsugi patterns appears throughout the book every 32 pages, mimicking algorithmic digital ads encountered in the digital landscape, while a less organic pixel block pattern takes over the cover and opening spreads.

Design by Ming Hsun Yu with creative direction from Chris Wu. All text is set in Jungmyung Lee’s Pirelli. The Gold Art Prize logo uses a beta version of Berton Hasebe’s HB Hue.

Metropolis M is an independent bimonthly magazine on contemporary art. Issue no. 4 from August/September 2022 was designed by Elisabeth Klement and Benjamin McMillan.

From the magazine’s website (translated from the Dutch):

Issue 4 deals with LARP (live action role play), masks, masquerade, code switching, witchcraft and other role play – how everyone adapts to circumstances in every possible way and why. With the artists Aneta Grzeszykowska, Philth Haus, Yamuna Forzani, essays by Laatje Bauwens, Carina Erdmann, and Erika Sprey […] To the delight of the many fans and art scouts, our annual cross-section of the graduates of the art academies from the Netherlands and Belgium: final exams 2022, this year with almost 70 portraits!

The typefaces in use are Pirelli (Jung-Lee Type Foundry), Equitan Sans (Indian Type Foundry), Clock 1st (notyourtype foundry) and NEW-FONT (by Quirine Kennedy).

The entire fore-edge of the book is painted with the black India ink. The title of the book is printed on the corners of the front and back cover and the spine.

Lateral Movements in Multifaceted Time and Space is a Graphic Design MFA thesis of Ji Kim at the Rhode Island School of Design. This book is a collection of investigation and experimentation toward the reasons and consequences of the dominant single point of view in the current time.

The distribution of the internet and satellite photography has heightened the perception, interaction, and access to the world—time and space have become flexible. The book introduces four movements; orient, shift, calibrate, soar that change common perception toward dynamic and multiple perspectives. Both in physical and digital space, the designer creates visual environments into which people can enter, inviting them to maneuver the alternative directions of reality and visibility.

The book is typeset with Pirelli, designed by Jung Myung Lee of Jung-Lee Type Foundry. Pirelli is selected because of its playful, eccentric, and contemporary feeling, which perfectly fits the concept of the thesis aesthetically.

The entire book is accessible on RISD MFA Graphic Design 2019 Arena page.