This portfolio highlights Berke Uysal’s presence in galleries between 2018 and 2020.

Berke, an independent sculptor from Istanbul, was born in Antalya in 1997. Since 2018, he has worked as a freelance artist, crafting his pieces mainly in his small atelier in Üsküdar and in Mimar Sinan Fine Art University’s metal sculpture atelier. He predominantly employs metal as his raw material and centers his creations around modern existential questions.

During her UCLA course, media arts design student Amy Fang made a publication called TypeUnseen, focusing on the textual element, creative typography, and the trend of brutalism in graphic design.

How do contemporary graphic designers utilize illegibility within the art of typography? Type Unseen is a reader on designed illegibility and visual nonsense; it analyzes the influence our youth culture has had on experimental typography, all the while exploring the multitude of philosophies that drive us to construct and deconstruct meaning.

Type Unseen was conceptualized in early 2020 as a means to uncover trends followed by young typographic designers, championing abstract experimentation and ornamentation over meaning. The book is a compendium of ten case studies, catalogued within four different sections: showcasing typography as image and pure form; as a means of producing identity; as a catalyst for protest; and as a way of being. However, in the context of a year shaped by a global health crisis and racial reckoning, Type Unseen asks another question for young designers—what messages will ultimately materialize and shape the aesthetics of our generation?

The book typography uses Suisse Int’l as text typeface, with Charon, Deformi, Euphoria, and Al Fresco for display. In addition, Amy Fang includes a spread with a quote by Michael Bierut in which “he contemplates his jump from typographic fidelity while working for [Massimo] Vignelli, to typographic promiscuity.” She has set his words in 25 typefaces, “some of the craziest I’ve collected over the past year.”

The front and back cover feature stretched caps from Charon and Al Fresco.

Charon is mixed with Euphoria.

The condensed all-caps Charon is being paired with Deformi.

Spread with the quote by Michael Bierut, set in 25 different typefaces. From top to bottom, these are:

Gang, Kraft, Charon, 12:51, Lapicide, Parabole, Clifton, Pilowlava, Euphoria, Salicorne, BD Retrocentric, Alt Display, Basylisk, CNVS, Glyphworld Meadow, Digestive, Icarus, Apfel Grotezk, Love, Misto, Grand Slang, Le Murmure, Halyard Micro, Sprat, Ornamentum.

Poster and online advertisement for Appleton, a cultural space in Lisbon, announcing concerts and exhibitions.

Most of the text is set in VTC Bayard, mixing the two sets of capitals included in the font. “Garagem” uses Charon, while text in parentheses is in a bold weight from Vollkorn. The Appleton logo is set in Jaapokki.

Sphères is a quarterly magazine that focuses each issue on a very specific community of passionates – pipe smokers, deep-sea divers, pilgrims, historical reenactors –, with an important place accorded to photography.

Body text, captions and subtitles are set in Minotaur and Minotaur Sans (Jean-Baptiste Levée, Production Type) with discretionary ligatures, paired with several typefaces for headlines and quotations: Boogy Brut Poster (Julien Priez, Bureau Brut) Motter Ombra (Othmar Motter, Motter Fonts), Obviously Narrow and Ohno Blazeface (James Edmondson, OH no Type Co.). The logo has been drawn by Océane Juvin in September 2020 ft. Fazeta (Andrej Dieneš, Adtypo).

From Sphères no. 4, January 2021. Half title page set in Boogy Brut Poster.

From Sphères no. 4, January 2021. Boogy Brut Poster paired with Minotaur Sans, both in all caps.

From Sphères no. 4, January 2021. Headline in caps from Obviously, introduction in Minotaur.

From Sphères no. 4, January 2021. Boogy Brut Poster paired with Minotaur Sans.

From Sphères no. 4, January 2021. Motter Ombra paired with Minotaur.

From Sphères no. 4, January 2021. Quotation set in Minotaur and Minotaur Sans.

From Sphères no. 4, January 2021. Boogy Brut Poster paired with Minotaur Sans.

From Sphères no. 4, January 2021. Headline in Minotaur Sans.

From Sphères no. 4, January 2021. Headline and quotation in Boogy Brut Poster.

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Different typefaces has been used in the three first issues, for headlines and drop caps, before a slight redesign for the fourth one: such as Charon (Matthieu Visentin, ECAL Typefaces) and Radiator (Ellmer Stefan, The Pyte Foundry) in Sphères no. 1, or SangBleu OG Serif both in Sphères no. 2 and 3.

From Sphères no. 3, September 2020. Headline and drop cap from Ohno Blazeface, paired with SangBleu OG Serif.

From Sphères no. 3, September 2020. Ohno Blazeface paired with SangBleu OG Serif, both in all caps.

From Sphères no. 1, January 2020. Radiator (Ellmer Stefan, The Pyte Foundry) in all caps.

From Sphères no. 1, January 2020. Radiator (Ellmer Stefan, The Pyte Foundry) in all caps.

From Sphères no. 1, January 2020. Charon (Matthieu Visentin, ECAL Typefaces) in all caps.

From Sphères no. 1, January 2020. Headline in Minotaur Light Italic.

Poster and pamphlet design for 2017 fall concert of the Daegu National University of Education Orchestra.

Feast Magazine is a fictional publication. A magazine with interesting facts and articles about food and art. This is Issue 1 — Food For Thought.

Vögel von unten betrachten (“Viewing birds from below”) is a publication conceived by photo artist Mara Pollak, featuring footage found on the Web. The book was self-published in an edition of 50 copies and is available from the artist.

The design was provided by Sophia Goedecke, using the typeface Charon by Matthieu Visentin:

The book cover was initially typeset using the trial version of Charon, which doesn’t include umlauts or other special characters. That’s why I built myself a makeshift ‘Ö’ from ‘o’ and ‘e’. I later licensed the full version, but by then, the stacked umlaut had grown on me, and so I kept it — a happy accident!

Catalog to Charles Gounod’s Faust at the Vilnius City Opera, Lithuania. Art director and graphic designer Tadas Karpavicius

[…] uses a thoroughly modern color palette of bold green, black, and white; with the pages punctuated with Matisse-like cutout graphics. The mixture of various font types and typographic treatments makes for a fresh and contemporary feel, though the designer says that his designs were “inspired by the story and the characters of the opera. — Emily Gosling, AIGA Eye on Design