Artwork and layout for trait d’union’s first LP, adieu la fête. Released on tape and vinyl by Frozen Records in May 2024.

This editorial project is a result from personal questions, explorations, research and readings around popular religiosity. This book explores religiosity and spirituality with a local and popular graphic look. It was printed in a single copy.

The texts presented in the publication are results of personal notes and individual interpretations.

The book seeks to show the process of deinstitutionalization and individualization of beliefs, and the contrast between different religious and ideological systems, so the fonts used need to have an evident contrast between them, so a blackletter typeface (Respira Black) was used in contrast with a script font (Carta Nueva) and other contrasting fonts for the headlines, including Ohno Fatface, Gopher and Faglia Serif. On the other hand, Kiffo BT was used as the body text font since it is an easy-to-read and fluid font.

The classic regional dish Leipziger Allerlei is increasingly degenerating into a canned dish from the supermarket around the corner. The word “pea”, an important component of the dish, is sprayed metaphorically. Various printing techniques and papers were used within my book to illustrate the theme even more diversely. Shown here is a riso print made for the book.

Natália Tímea Szabó’s Faglia Serif is beefed up with a thick pink contour. The headline (“the vegetable mix from the GDR cookbook”) is set in Auto Italic 3, the swashiest of the three italic flavors included in Underware typeface. The text at the bottom is set in all-lowercase Necto Mono by Marco Condello.

History and art through the eyes of one of the most iconic Spanish pop artist.

After several years designing #VersionaThyssen, we had the chance to take part in a very cool project together with the Museo Nacional Thyssen-Bornemisza. They wanted to promote several pieces of their collection through the figure of Alaska, one of the most iconic artists of La Movida. The videos show Alaska’s visual universe with a modern touch and a bold style; referring to pieces that range from Carpaccio’s details to the Russian vanguards and how they inspire music and literature.

Our graphic proposal creates a coherent system for the four videos and at the same time, allows each one to have their own personality depending on the picture showing. We achieved this combining different typefaces that conceptually and formally matched with the era and aesthetic of each painting.

As we said, each video has its own typeface related to the painting’s era and aesthetic. On Carpaccio’s Joven caballero en un paisaje, we chose Faglia Serif by Natalia Timea because of the serifs’ resemblance to knight’s aesthetics. A similar choice for Thomas Cole’s Expulsión. Luna y luz de fuego. Here we chose Faust by Bouk Ra for its gothic aesthetic, height and the serifs that looked like flames.

With Pollock, we used Pilowlava from Velvetyne. The dripping style, typical in Pollock’s work inspired us to pick up this font with similar details to its paintings. And lastly, for the Russian vanguards, we chose Due Studio’s Nodo, a geometric typeface with rational aesthetics that reminds the shapes of the paintings of the Russian movement.