Common Architecture is an architecture firm in South Africa whose approach is based on a simple yet powerful idea: the common as a method. Its brand identity is functional, direct, and designed to work; it accompanies the project, not compete with it.

Beyond the logo, what defines Common Architecture is its operating criteria: clarity, legibility, and consistency. Every decision serves the content and readability of the project, reducing noise and avoiding unnecessary gestures.

The graphic system is sober and utilitarian: neutral typography, clear hierarchies, and a modular structure that organizes without imposing itself. The color palette is discreet so as not to detract from the images and plans. The identity is designed to work equally well on the web, in print, and on signage. In digital media, it prioritizes readability and accessibility; in physical pieces, honest materials and minimal finishes reinforce the idea of durability and real use.

This LinkedIn post for Döhle Assekuranzkontor announces its participation at the Monaco Yacht Show. The design combines the event’s signature blue hue with red rhombuses from Monaco’s coat of arms, reflecting its flag’s colors and creating a regal, distinguished look. The prominent title “Monaco” is set in Fujiwara from W Type Foundry, while the subtitle “Yacht Show” uses Friends. The supporting text is in Karlsbader Grotesk.

Acre is a multidisciplinary creative house that merges technical creative direction with production expertise to craft inspired narratives from the ground up. From Mouthwash Studio:

New brand identity for the Acre Team. We introduced motion design through their logomark and a typographic system that categorizes projects based on the coordinates of their global production locations. Because Acre is a team that is constantly on the move, it made sense to leverage physical location as a variable that is constantly changing in their identity, offering an element of surprise each time it’s introduced.

Karlsbader Grotesk was used as the primary typeface to create the new wordmark and the coordinates in the printed matter, while the body copy is set in Akkurat Mono.

As Tim Starl writes in his Eine kleine Geschichte der Wolkenfotografie (“A short history of could photography”, published in 2009): “Clouds are like photographs: results of a chemical process”.

Wolkenbericht documents clouds and weather data in Berlin for every day in June 2022. Temperature, wind strength and direction as well as precipitation are visualized at the time of the photograph. The thirty cyanotypes can be read diagrammatically in their entirety.

Wolkenbericht (“Cloud Report”) is a semester project for the visual communication course at UdK Berlin by Jonas Gerber. The fonts in use are Karlsbader Grotesk 700 and 800.

Subiectiva is the Visual Communication Bachelor’s thesis of Malin Liv Günther at Hochschule Mainz.

This project deals with the perception of persons and addresses the question of what role the perception of a person plays in communication and why it is important to reflect on this topic. It focuses on the non-verbal, micromimic communication of an encounter and shows by means of a video installation in a shop window in the Neustadt of Mainz how faces can express themselves without words. In addition, reference is made to the question of what role one's own identity plays in the perception of people and how one's own experiences influence judgments about other people.

The full video, additional information about the project and behind the scenes footage can be accessed via www.subiectiva.de

The fonts in use are Karlsbader Grotesk 400 and 600.

Unfertige Häuser 未完的建築 (“Unfinished Houses”) is an exhibition shown at Architekturgalerie am Weißenhof Stuttgart. Subtitled The world of tomorrow – reflections of Florian Kaiser and Guobin Shen, it presents the works of Atelier Kaiser Shen. From Architecture Exhibitions International:

Architects usually try to create finished houses, i.e. coherent works of art for eternity. But does this claim stand up to reality? Should that even be the claim? Finally, it cannot be ruled out that the structure will change after completion.

Inspired by references from the history of construction, art and anthropology, the young Atelier Kaiser Shen developed various theses at the beginning of its practice and tested them on the basis of its own projects. The central question is how buildings change during their lifetime due to external influences and what this change means for the idea of space.

The accompanying bilingual catalog was designed by Dirk Wagner of Finken & Bumiller, using Karlsbader Grotesk 700 for the German text and PingFang Semibold for the Chinese. It was published by Edition Axel Menges.

Edwin Europe have teamed up with the natural wine, rare vinyl and printed matter enthusiasts of Fro. Paris Est to celebrate the first anniversary of for a limited edition run of T-Shirts, with custom graphics by Diplomatie Studio. The typography pairs Karlsbader Grotesk with Japanese characters set in a yet unidentified typeface [edit: It’s Source Han Sans, see comments].

Graphic design for Le Collezione Astaldi and Le Collezione civiche at Casa Cavazzini.

Casa Cavazzini, home to Udine’s new Museum of Modern Art (Museo d’Arte Moderna e Contemporanea) is a result of the combination of several properties between Via Savorgnana and Via Cavour.

The Astaldi Collection is undoubtedly one of the museum’s most emblematic body of works. Bequeathed to the city of Udine in the will and testimony of spouses, Sante Astaldi (Sannazzaro de 'Burgondi, 1895 - Rome, 1982) and Maria Luisa Astaldi (Tricesimo, 1899 - Rome, 1982). An engineer by profession, Sante Astaldi was one of the most prominent figures in the field of public works in the period following World War II, while Maria Luisa, an extremely cultured woman who, in addition to being a scholar and professor of English literature, also took a particular interest in art, as the number of works that make up the collection - over one hundred and ninety works in total – clearly testifies.

For the design of the exhibitions, Giovanni Zenarola and Francesco Tonon used Karlsbader Grotesk.

Obou Gbais (b. 1992), visual, sonic and performative artist from Abidjan, Ivory Coast, explores the multiple meanings of the mask in his rich body of work. From sky-high murals to delicate sketches, from music videos to photography: The mask as a concept, and as the specific mask of the Dan, Peintre Obou’s community, is everywhere. The mask represents, hides, lures, invites. It is an archive of experiences, of pain and joy, of war and love.

In Maskology the graduate of École National des Beaux Arts Abidjan presents fresh works. The solo show in Munich’s Orangerie im Englischen Garten is hosted by Büro Himmelgrün.

The exhibition poster for Maskology is set in Karlsbader Grotesk.

Karlsbader Grotesk 800 in use for the new visual identity of Paris based vine, vinyl and magazine boutique Fro. Paris Est by Diplomatie Studio. On the website, all body copy is rendered in the visitor’s system fonts — the image below show the website using San Francisco.

Rasender Stillstand is an artist book about Max Bresele (1944–1998). Although he was mainly known as an harsh outsider artist and one of the key figures of the anti-nuclear movement in Wackersdorf 1985, my own research revealed that behind the facade of this impulsive anti-capitalist and misfit there was also quite calm and peaceful person.

This publication attempts to show the other side of an artist who was often misunderstood and received little to no attention. The place where this side became most visible was the garden on his small property, or as he himself said, “My garden, where I can be all sister.”

Self-published in a limited edition of 25 copies, using my Karlsbader Grotesk throughout.