In 2024, the Anton Bruckner Private University celebrates its remarkable transformation from a conservatory to a university. Over two decades, Anton Bruckner University has established itself as one of the most prestigious institutions for music and performing arts. To mark its 20th anniversary, the university presents the publication 20 Jahre – 20 Stimmen (“20 Years – 20 Voices”), where key figures share their perspectives on the art of being a university.

These narratives unfold in a visual crescendo – starting with a single word, evolving into condensed thoughts, and culminating in an analog photo series that captures the institution’s ever-changing story. Historical intermezzi serve as structural pauses, interweaving key facts and milestones of the journey of the Anton Bruckner University.

The typography is defined by the interplay of ABC Synt and ABC Monument Grotesk, both from Dinamo. Synt, with its precise, parametric rhythms, evokes the staccato-like pattern of musical notes, reinforcing the visual dynamism of the publication. In contrast, Monument Grotesk conveys a sense of permanence with its bold, monumental letterforms. Together, these typefaces embody the balance between tradition and innovation, lending the publication a distinctive, contemporary aesthetic.

Kasmin Books is pleased to present the fully illustrated catalogue Les Lalanne: Zoophites. The publication accompanies the gallery’s recent eponymous exhibition, staged in homage to the French sculptors Claude and François-Xavier Lalanne and drawn entirely from the collection of Claude’s eldest daughter, Caroline Hamisky Lalanne. Les Lalanne: Zoophites features over 100 color images, little-seen archival photographs, and documentation of major works, including rare collaborative sculptures. New texts by art historians Paul B. Franklin and Daniel Marchesseau provide fresh insights into Les Lalanne’s sculptural universe, grounding their unique artistry in the Surrealist tradition. The exhibition and catalogue celebrate the 60th anniversary of Les Lalanne’s first joint solo exhibition, which opened in Paris in 1964 under the title Zoophites—an obsolete French term for invertebrate animals that resemble plants in their appearance or attributes.

Slop is a magazine about produce, published seasonally. This is the first issue, released in Summer 2023.

The publication explores amazing things being grown, harvested, and bottled across the world. Whether it's fish canned on the south coast of England or wine made in the Slovakian mountains, the aim is to give people a chance to showcase their produce.

The magazine features are typeset in All Purpose Grotesk and Synt, creating a cohesive design throughout.

Buzz and Superette are used for headlines and feature titles.

Where does pop start and experimental music end? Instead of drawing lines, Red On keeps on exploring the spaces in between these supposed poles with his latest album Phantom Easy, out via Präsens Editionen. A record that offers moments of pure beauty as well as unpredictable, uncontrollable wilderness.

The design by Philipp Dittmar also plays with two poles: The photography of Meike Männel and the future 3D works of long time collaborator Sabrina Zeltner. The resulting mythical visual world fits perfectly with the elegant yet contemporary look of Kaj Lehmann’s ABC Synt. Dark Academia by Céline Hurka is given a special role: the single letter A, which marks the first side of the vinyl, is more of an illustration. Credits and infos are set in TWK Lausanne by Nizar Kazan.

The graphic concept also extends to the video for the single “Wildlife”, as well as posters for the audiovisual release tour and shirts.

[More info on Discogs]

3D cover image by Sabrina Zeltner, inner sleeve and tour poster featuring the photography of Meike Männel

Shirt design based on the cover image by Sabrina Zeltner

Joggy formulates a dynamic range of plant-based energetics designed to provide steady energy throughout the day, maintain focus and find center during the stressful moments in between, and bring you a sense of calm right before bed.

The brand was founded by Ty Haney with Tiffany Wilkinson as in-house creative director. The visual identity was designed by Actual Source including letterings by Nejc Prah and type from Dinamo: Synt and Diatype Mono – plus a few snippets of Diatype. The wordmark was designed by Nolan Paparelli based on an early version of his typeface TWK Burns. All packaging sourcing and testing by the Joggy team.

This is a screencast of the website from 2022. It has been updated since then.

Every year, Stiftung Buchkunst awards the Best Book Design from All over the World. The books are selected by an international jury. The winners and nominees are then presented in a catalog that is sent to all participating countries. In 2022, Anna Pirot from Bureau Mitte was invited to develop the editorial design for the catalog, as well as the material concept, the concept for the folding technique and the visual book presentation.

She used a great mix of Synt by Kaj Lehmann and Repro by Erkin Karamemet, both released by and available at Dinamo Typefaces. The catalog was printed on thin paper by Grammlich Offsetprint.

The design concept was also applied for the exhibition of the awarded books at the Hönnunarsafn Íslands Museum of Design and Applied Art in Iceland. The effect of the thin paper used is echoed in the overlapping wall print.

Poster and social content for Magnús Jóhann, an Icelandic composer, producer and keyboardist, and his four-nights-in-a-row concert series at Mengi, Reykjavik.

Photograph: Eva Schram. A2 offset printing with black and silver.

Detail

Detail

Coinciding with the launch of their experiential MAAP LaB store, TRiC was invited to art direct and design the second issue of the MAAP publication Off The Front.

As an extension of the LaB brand, TRiC incorporated the typefaces ABC Synt and ABC Oracle by Dinamo and Base Monospace by Emigre to bring a new dimension to the publication. These typefaces were employed within a dynamic, flexible grid system, referencing concrete poetry and early desktop publishing layouts. The energy, movement and pace of the publication reinforce MAAP’s position as a leader in design and innovation within the global cycling industry.

ABC Synt’s Turbo style

Returning for the sixth time, Vilnius Gallery Weekend hosted citizens and tourists at more than 30 art spaces between the 9th and 12th of September. During the weekend, audiences in Vilnius were participating in exhibition openings, tours, educational programmes, audio performances, meetings with the artists, and discussions.

The visual identity by Takita paired ABC Synt Turbo (Dinamo) with Suisse Int’l (Swiss Typefaces).

F37 Glaser Stencil by F37 Foundry is used for the title of Utopia or Oblivion, a playlist inspired by R. Buckminster Fuller and his book of the same title. It was compiled by Ian Stoufer, multidisciplinary graphic designer, art director, and illustrator from Denver, who also designed the cover art. F37 Glaser Stencil is combined with Ogg Display Italic by Sharp Type and ABC Synt by Dinamo, all of which have been modified with distressed outlines.

ABC Synt is used for music notation and accompanying text in a graduation project at the Ravensbourne University. From (then) design student Thomas Golding:

This project from my final year at university consists of a selection of graphic scores, designed by myself, with accompanying tracks from different musicians based on each score. The concept focuses on the journey between audio and visual music, as detailed below.

Using the unique visual language, I created the first score, designed by the sounds that surround me on a day to day basis. Step two: I sent this over to the first candidate with the following instructions:

- Using the graphic score as a reference create a 30-second track
- Try to limit yourself to 30 minutes of writing before you wrap up the song
- And finally to have fun, and not to take the score too literally, but enjoy the process

After listening to the track from the candidate, I created a new song inspired by their sounds. With the new score complete, I repeated from step two but with a new candidate.

This back and forth process between musician and designer created a journey that can be seen both through the graphic score and the evolutions of each track.

Goodfight is a Los Angeles based fashion label and creative studio. Mouthwash Studio developed their new strategy, visual identity and website. In the new identity, ABC Synt is used as the brand typeface, supported by Swiss 721.

In a webpick article on Communication Arts, Mouthwash and web developer Adrien Picard share some favourite and challenging parts of the design process:

Redefining the branding and wordmark for Goodfight formed an exciting portion of this project that helped solidify the web launch as a line-in-the-sand moment for the brand. The new wordmark is typeset in Synt, an unreleased font by ABC Dinamo. Being one of the first to use a font is a big moment for a brand, and it helps create an ownable and memorable mark that will stand the test of time.

The brand website opens with a carrousel showing images that stretch as they slide from left to right:

The rotating images you encounter on the homepage are a memorable way to experience the brand’s look and feel. Being easily browsable with a unique distortion effect, it really encourages and rewards interaction and exploration. The pace of the entire site is really up to the viewer, giving them control and freedom that deviates from traditional approaches. This feeling is also echoed by the transitions found on the archive page, shifting in and out of the individual stories. It’s a foundational piece to the overall UX of the site, and it served as a through line in the design and development process.

Kunsthal Extra City found its new location in a former Dominican monastery in the city centre of Antwerp, Belgium. It transformed the space into an inspiring exhibition space for contemporary art, a place to reflect on the city and our changing society. In their search for meaning, Extra City dares to make radical choices, guided by a deliberately open-minded – even slightly naive – attitude. The graphic identity embraces that attitude, in trying to build a meaningful relationship with the location and Extra City’s past. Settling down in a deconsecrated church also means that you will have to answer to the questions: how can you build exhibitions within this specific setting? How can you go all out with losing respect for the location itself? These questions translated into remarkable exhibitions and a fitting graphic identity.

The scope of the project overspend all sorts of logical, and illogical, applications: a logo, typefaces, colour scheme, printed matter, a new website, entrance stickers, signage, gadgets … The very specific location of the new Kunsthal was the starting point for the graphic approach. From the floor tiles to the windows with coloured glass, a square/hatch is present. This quickly became a structural element which could be manipulated to fit several supports. It’s a carrier of the word “Extra City” in the logo but can also become a grid for the constructions that form the permanent signage. (For this we used a metal roster that is often seen in Belgian churches, carrying the typical communal wooden crosses youngster leave behind.) The entrance desk of the museum was designed by the Brussels based Rotor, using leftover scraps from a previous exhibition at MuZee in Ostend. Circularity and Extra City’s nomadic existence go hand in hand.

The fresco above the former churches entrance gates could not be touched so we put a floating hatch in neon just inches above the tableau, mimicking both the Basilica of Koekelberg’s red neon cross and/or local night show signage systems. A nice blend of high and low culture, lighting up the space with losing respect for its past. The x marks the spot.

The main Extra City logo is spelled out in Dinamo’s ABC Synt. The vertical and distinguished feel of the typeface worked when paired with ABC Monument Grotesk: the perfect couple. For the main exhibition, branded Radically Naive/ Naively Radical, a full exhibition guide was put together. The two smaller shows (Periphery and Watermarks, silent traces) each got a leaflet, which nicely folds around the main exhibition guide. The purple for the RN/NR hints again to its religious past and pops out in the streets of Antwerp. Using a limited budget we put together a website design which could be implemented in the backend of the previous site. The same machine, but with a new look. (Sort of like the old winAmp skins.) Studio RGB was responsible for the code.

Aprender Design is an education platform for people in the design & tech industry, and my latest project. Synt (to be released with Dinamo) is used as the primary typeface of the identity. Combined with the restrained Neue Haas Grotesk, its pronounced curves stand out even more prominent to the visitor.