Tiquismiquis.club was responsible for the design of the ADG Laus 2024 annual, showcasing the award-winning projects from the latest edition of the ADG Laus Awards in one book, as well as the 2024 honorary awards in another, landscape format publication. The Laus Honor Award was presented to Enric Satué and the Laus Companies and Entities Award was given to Vila Viniteca. Beyond serving as a compilation of projects, the books provide insights into the main trends and the current state of graphic design and visual communication.

The concept originates from two everyday questions: What is your name? and Where are you from? These questions were used to establish a more personal connection and reflect on how an individual’s origin and experiences enrich design. From this perspective, design is seen as something that does not occur in a vacuum; it is deeply influenced by the stories of people and the places they inhabit. This idea guided the entire creative process and runs through the editorial piece as a whole.

The focus on territoriality aims to emphasize diversity, identity, and human connections. While certain locations have played a key role in the development of the design industry, the book also seeks to draw attention to other territories that contribute to enriching the field. This publication approaches design from a human perspective, highlighting how places and people intertwine. To convey this, graphic resources were used, such as textures from various geographical points, meridians (understood as lines that connect rather than divide), non-political maps, and directories. These elements are designed to showcase how design draws inspiration from its surroundings and the stories that shape it.

The typefaces used are Neue Haas Grotesk (the corporate typeface of ADG-FAD) combined with Stanley. We wanted to retain the association's corporate typeface and combine it with another to create contrast between the two, while also giving personality to the publication.

With the “Hagen Impulse,” patron Karl Ernst Osthaus initiated groundbreaking contributions to the reform movements of the early 20th century. The manifold activities, especially the experiments and models of socially effective architecture also influenced the young Walter Gropius, who had a close friendship with Osthaus. Not all aspects of the impulse were continued in the later Bauhaus.

Before the Bauhaus: Osthaus deals with the cultural implementation of modern architecture by Karl Ernst Osthaus, especially his programmatic use of photographs. Osthaus used them to make his projects internationally known and at the same time aimed at a new perception of architecture.

The design quotes in format, layout and material various publications from the time of Karl Ernst Osthaus. It combines features from the first catalogues of the Folkwang Collection and the monograph by architect Henry van de Velde. The result is a contemporary design with clear historical references.

The typefaces used are as much a historical quotation as they are a contemporary interpretation. Behrens-Antiqua is a design by Peter Behrens, published in 1907 by the Gebrüder Klingspor type foundry, which was already used in the publications of Karl Ernst Osthaus. It is used in Dan X. Solo’s digital version, alongside FF Bau by Christian Schwartz, whose design follows a grotesk by Schelter & Giesecke, which was used significantly in the visual communication of the Bauhaus in the 1920s. Ludovic Balland’s Stanley is used for running text.

O monstro e outras histórias is the Portuguese title of The Monster and Other Stories by Stephen Crane (1871–1900), translated by Jayme da Costa Pinto and published by Editora Carambaia.

The graphic design of this book is inspired by fire as a key element in the plots. In the project, it’s represented by the monochrome use of marbled paper prints, a material that has been used for centuries to decorate books.

Clifton, which appears on the book’s cover and openings, was designed by Yoann Minet and released with the French foundry 205TF. It’s a reinterpretation of Athenian Extended (c.1889). It’s also similar to Fantail (1860). Both typefaces originated in the United States, adding to the book the American spirit of the late 19th century, when the stories are set.

The Royal Academy of Fine Arts Antwerp is opening their doors to the public – or in this case their windows. Different windows of the academy’s distinct buildings are shown in a graphical way to symbolize the openness of the art school and the insights that the visitors can get at the Open House event. Illustrated books in an abstractly shown bookshelf behind these windows visualize the knowledge and the learning that is happening in the academy.

Specht Studio (Stephanie Specht) created the visual identity for the Royal Academy of Antwerp’s Master 2021 graduation exhibition. A project mainly based on expressive typefaces: Aerobik (from lift-type) and Whyte Inktrap (from Dinamo), paired with Stanley (from Optimo).

The Steidz #9 from October 2023 (with a cover by Vanessa McKeown) is the first issue to feature the new logo.

The Steidz is a publication focusing on contemporary art, fashion, and design. The magazine has a print edition and a small exhibition space in Paris, opened in 2022.

The Steidz’ website uses Stanley and Plain by Optimo. The project’s logo is set in Loos by CSTM Fonts. Both the logo and the website were designed by Élie Quintard.

From MoMA:

Inspired by the visionary Swiss artist’s own plans for an exhibition of her art, Meret Oppenheim: My Exhibition brings together nearly 200 works that offer a wide retrospective view of Oppenheim’s lifelong innovation, remarkably open concept of art, and fierce originality and wit.

Millionaire Script by Raphaël Verona and Stanley by Ludovic Balland, both designed in Switzerland, met in MoMA New York on the occasion of this major exhibition. Both are based on interpretations of historical typefaces and calligraphy masterpieces, with contemporary design features.

From the publisher:

The Never Taken Images documents a unique long-term project that Swiss photographers Françoise and Daniel Cartier have been pursuing since 1998. They have put together a vast collection of unfixed photographic papers, glass negatives, and films, mostly dating from 1880 to 1990. Samples of these are mounted and displayed, and, over the course of several exhibitions, exposed to light, causing them to evolve towards color saturation. Instead of looking at still images, the Cartiers’ installations, titled Wait and See, allow viewers to perceive a kind of reality for themselves.

This book features the entire test catalog that the Cartiers have put together to date, showing some 900 different papers and photosensitive supports. These facsimiles offer an almost real impression of their formats, colors, and materiality. Essays by photo historian and curator Kathrin Schönegg and scholar of art history and critic Thilo Koenig supplement the images and place the Wait and See project in the art historical and technological context of abstract media art. The Never Taken Images also celebrates the industrially manufactured photosensitive support, representing the centrality of the long pre-digital period in the history of photography.

The book by F&D Cartier was published by Scheidegger & Spiess in a multilingual edition (German, English, French). Design by Balmer Hählen, using Antarctica by newglyph and Stanley by Optimo.

Heatmap is a climate newsroom monitoring the busy intersection of science, technology, economics, and culture. Before publishing their first article, the Heatmap leadership – a fiercely curious group of former editors hailing from a range of widely circulated magazines – tapped Abbr. Projects to design a new identity and apply it to the tidy wireframes created by the site’s development partner, RebelMouse.

Avoiding the obvious graphical representations of heat maps, often seen as cloudy, organic gradients, Abbr. Projects landed on a concept that zooms into single pieces of data, abstracting individual data points as colorful enlarged pixels. We then used this system to frame content, indicate categories, and emphasize text or imagery on the new site. Equal parts pop art and popular science, the system is endlessly applicable, from newsletters to subway ads, always in the service of bringing new color to the climate conversation.

We utilized the Dinamo Font Customizer tool, turning to their ABC Diatype, activating its friendlier alternate schoolbook characters as defaults. Body copy uses Optimo’s Stanley, a more beautiful and flavorful take on Times New Roman. When neatly framed within the four points of the graphic system, every headline is truly screenshot worthy.

Since the dawn of time, we humans have explored and mapped the world around us. On the other hand, our brains are largely uncharted territory. To change that, a team of neuroscientists and AI, and supercomputing experts from the Forschungszentrum Jülich (Jülich Research Centre) and Heinrich Heine University Düsseldorf, are developing a three-dimensional atlas that combines all facets of what we know about the human brain in an open-source interface.

We created a visual design system using in which we combined the mechanistic Karelia (Frode Helland, Monokrom) with the nostalgic Stanley (Optimo), which was developed by Swiss type designer Ludovic Balland, to visually represent the project’s multidisciplinary nature. We also create additional visual tension throughout the entire design system by superimposing text onto images to present information at different levels of analysis.

View the Jülich Brain Atlas online, and see more images in the case study.

Brand development and website by g31 design, in collaboration with Thanh-Thao Tran and awwwesome. Photography by Mareen Fischinger.

Flecha in italic and roman styles on the book’s spine

Celestial Intelligences: Angelology, Cabala, and Gnosis: Giovanni Pico della Mirandola’s Quest for the Perennial Philosophy by Greg Kaminsky, is a book that explores the life and ideas of Italian Renaissance philosopher Giovanni Pico della Mirandola and his angelology in order to interpret the process of spiritual ascension that he prescribed in his Oration.

This publication was released in three different editions: a Standard Edition (shown here), a Collector’s Edition, and an Artisanal Edition with slipcase, all in limited copies.

Illustrations and typography by Joseph Uccello.

The imprint is set in Calluna and lists the typefaces used for typesetting the book. Marbach and Px Grotesk are not shown in the images included here.

The title page features an early use of Chassi (2021, here with red initial C), paired with Heldane.

The frontispiece chart uses LL Catalogue and Stanley Italic.

Chapter beginning with Flecha in Extralight and Italic. The main text is set in Calluna, the footnote in LL Catalogue.

A drop cap from Flecha

The book field; scope; site by Emma Nilsson was published by Sailor Press in an edition of 300 stapled copies. From the project page:

The most straightforward way to introduce of field; scope; site would be to call it a photographic documentation of Landskrona Idrottshall, a building designed by the Danish architect Arne Jacobsen in the sixties. Albeit correct, it is a somewhat misleading characterization. Landskrona Idrottshall is indeed the object of study, but above all, it constitutes an objective to conduct a series of investigations, where photography is explored as a method for architectural thinking and making.

Initially produced and displayed as an exhibition, the photographic work and accompanying writings have since been transformed into this book. Similar to the original photographic acts not aiming to depict a particular building, the book is not a documentation of an exhibition. Rather, we have reinterpreted the exhibited work into the spatial logic of the book. The book enacts another chronology as well as a different chorology, creating its own photographic space.

Ark Life was an online exhibition and auction organized by Dublin-based Pallas Projects to benefit both artists and eco-focused groups including TreeSisters, Friends of the Earth, and Extinction Rebellion Ireland.

The centerpiece of the event was a commissioned work by Irish artist Celina Muldoon celebrating biodiversity through banners, totems, and wearable sculptures created in public workshops, culminating in a celebratory parade (postponed due to the COVID pandemic) performed to a new score by composer Paul Murnaghan.

The typography uses Auger Mono as the main typeface. Stanley is used for body copy.

Cover of the exhibition journal, French language, 24 pages.

From 9 October 2019 to 27 January 2020, the Grand Palais in Paris showed a huge exhibition of works by French painter Toulouse-Lautrec. It was the first major retrospective in the artist’s home country in decades. The show was accompanied by a number of publications, including an illustrated exhibition journal, a bilingual paperback edition with reproductions of all featured images, and a full-featured hardback catalog edited by Stéphane Guégan.

The display typeface used for all these publications is Zangezi. Started in 2018, Daria Cohen’s in-progress design is inspired by Salem, a metal typeface first cast by the Keystone foundry in 1901 – the year of Toulouse-Lautrec’s death. It’s used for headings and quotes, occasionally featuring its italics, too. Zangezi is also used for the exhibition logo that shows the artist’s double name in two stacked lines. The initial letters here touch each other, with unilaterally clipped serifs.

Zangezi is paired with Stanley for text. With its sharp details, Ludovic Balland’s reimagination of Times New Roman is a good fit for the eccentric Zangezi. Captions are set in Aidos. The “semi-proportional typewriter” face by Alexander Rütten nicely blends into the mix, echoing Zangezi’s “Latin” wedge-shaped serifs.

Spread from the exhibition journal with Danièle Devynck’s text about Lautrec and women.

Cover of the exhibition catalog, French language, 352 pages. Zangezi Italic is used for the quote by Thadée Natanson on the banderole.

Title page of the exhibition catalog.

Opening spread for Stéphane Guégan’s biography.

Chronology of Lautrec’s life, set in Stanley Regular and Italic, featuring its oldstyle numerals.

Spread from the catalog, with Zangezi for the quote and Aidos for the source and the image captions.

Tote bag showing the logo in Zangezi with modified serifs for the capital letters.

As Danish architectural studio Henning Larsen celebrated 60 years of practice in 2019, they presented their first monograph: It begins with curiosity, a book that explores how architecture shapes the communities, contexts and cultures that define our lives.

The design of the book (Sam Sandvig Hosman x Henning Larsen) comes from the idea of unboxing a gift. The red dust-jacket wrapped around the textile hardcover tempts the user to unwrap and open the book. A traditional hardcover balances the playful treatment of photography, allowing no two architectural projects to be treated the same and thus supporting the unique context of each project.​

Like a building, It begins with curiosity is a book built up of a sequence of spaces: Past, Present, and Future. These three sections include imagery and text about Henning Larsen, voiced by either staff or outside writers close to the practice, such as architectural historian Hans Ibelings and Kent Martinussen of the Danish Architecture Center.

Content from the hands of people at Henning Larsen is set in various weights of the modern san-serif typeface Proto Grotesk from Production Type (incl. its monospaced styles). Content by writers outside of Henning Larsen are set in the academic serif typeface Stanley from Optimo. This typographic distinction gives each party a unique voice that eventually comes into dialogue with each other in the epilogue of the book.

You can also read more at ArchDaily. It begins with curiosity can be purchased from Arvinius + Orfeus Publishing.

L’ADN Tendances (“Trends”) is an annual magazine that reports on innovation, trends and anticipations. Art direction and editorial design of L’ADN Tendances and N°21 by Violaine & Jérémy. Cover artwork by Daniel Schweizer, set design by Jonathan Bréchignac.

The L'ADN logotype is set in Cako Black. The magazine layout uses Cako, (modified) Druk Condensed, ABC Ginto Nord Black, and GT Pressura Mono for headlines. Body text is set in Stanley and Kobe, with highlights in Canela.

About design studio Firebelly:

As a community-centered design studio, we are committed to diversity and inclusion, with the goal of creating a more equitable, just world. We understand diversity—across age, gender, race, religion, citizenship status, ability, sexual orientation, education, class and culture—builds perspective and empathy, which are critical to responsible design.

The studio website shows a nice typographic combination between Stanley (Optimo) and Surt (Blaze Type).

Grimace is a quarterly magazine devoted to contemporary art. The pilot issue was designed by Yann Eouzan and Estelle Petit of Yeep for Édition Éclats / La Nerthe.

Gemeli Micro was primarily drawn for sizes smaller than 8pt. Derived from Gemeli, it has a larger x-height, shorter extenders, wider proportions and looser spacing. In this project, it was chosen for its eye-catching ink traps, and used for display purposes. Gemeli Micro is paired with the seriffed Stanley. Both families are used throughout the magazine, in a number of styles.

“I Would Rather Be a Cyborg Than a Goddess” was made as a student project at ArtCenter College of Design. It uses post-humanist thinking to speculate the changing human relationships with technology. Through the history of cybernetics, feminism, postmodernist thinking, and conversations in the popular press, the book investigates the meaning of a cyborg and what it means to be a human. Postmodernism’s uncertainty leaves our future open to question or contemplates upon.

The book opens with the electronic circuit board and e-paper display to create the experience in between the mechanic component and the human interaction.
E-paper display asks different provocations for readers to ponder.

Alan is an interactive installation component to contextualize the contents of the book in real-life. It was created by using Artificial Intelligence algorithm (Cleverbot) to have real-time conversations with humans.

Montefiore is used in caps for display, on the cover, the title page, or the table of contents. Text is set in the sans serif Dada Grotesk and the serif Stanley, accompanied by the monospaced Pitch.

Instructor: Brad Bartlett. Special thanks to Alex Seth, Matt Adams, Kevin Martin.

Posters for the book release

Renowned as art history’s leading kinetic artist, Jesús Rafael Soto (1923–2005) explored the dematerialization, or ‘disintegration’ of the art object, breaking new ground while anticipating conceptual strategies to come. A believer in art historical evolution, Soto built upon the work of artistic masters that preceded him in order to challenge figurative tradition via abstraction and repetition. Imbued with vibration and movement, Soto’s early works constitute a breakthrough in his output, laying crucial groundwork for his later kinetic works and the uniquely fluid style that shaped his artistic vocabulary.

The 120-page softcover publication is wrapped in a silkscreened PVC dustjacket, creating an optically-layered cover. Ludovic Balland’s Stanley was chosen for its sharp line quality, and Neue Helvetica was chosen as a contrasting typeface for its clean Modernist roots.