Wer Bringt Den Kuchen? Who Brings The Cake? was a series of art events (talks, screenings, workshops) happening during the year 2024 in Kunstbunker Nürnberg. Designer duo Lucia Schmuk and Elisabeth Thoma created a poster for each talk, keeping the overall same layout but changing the colour duo and the titling font each time. The poster series was selected among the 100 beste Plakate 2024.

The font used for the series title and the name of the place on each poster is Lÿno Stan by Radim Peško, while smaller text is set in Suisse Int’l by Swiss Typefaces. Then are used Gulax, Terminal Grotesque, Gap Sans and the free weight of NaN Holo as unique titling fonts for each poster. The condensed sans used for “The End of the End of Selling Out” is yet unidentified.

Apart from Lÿno and Suisse Int’l, almost all of the selected fonts – if not all – are free to use or open-sourced.

For the 2020 edition of Barcelona Design Week, the challenge was to visually articulate a moment of global uncertainty and digital transition. The identity, conceived by ESIETE, confronts this new reality head-on, translating the discomfort and potential of a pixelated digital existence into a powerful and cohesive campaign.

Source: www.esiete.com License: All Rights Reserved.

The core concept behind the Barcelona Design Week 2020 identity was to mirror the collective experience of a society abruptly thrust into a digital realm. The studio moved away from polished aesthetics, intentionally introducing an “uncomfortable pixelated digital piece” as the campaign’s centerpiece. This bold approach served as a metaphor for the fragmented yet interconnected new reality, emphasizing design's role in navigating and solving emerging challenges.

The visual proposal, built upon this typographic foundation, was brought to life across the city of Barcelona. The studio’s work for BDW 2020 was a testament to the power of collaboration, uniting professionals, associations, and institutions like the Barcelona Design Centre (BCD), FAD, and the Museu del Disseny to empower design's value as a key factor for societal success.

Source: www.esiete.com License: All Rights Reserved.

Source: www.esiete.com License: All Rights Reserved.

Source: www.esiete.com License: All Rights Reserved.

Source: www.esiete.com License: All Rights Reserved.

Source: www.esiete.com License: All Rights Reserved.

Source: www.esiete.com License: All Rights Reserved.

Source: www.esiete.com License: All Rights Reserved.

Source: www.esiete.com License: All Rights Reserved.

Source: www.esiete.com License: All Rights Reserved.

Source: www.esiete.com License: All Rights Reserved.

Raquel Virgínia is a trans woman artist and activist from São Paulo, historian, journalist and also a singer and songwriter. She founded the band As Baías and was nominated twice for a Latin Grammy. In 2021, she created Nhaí, a startup that accelerates innovation in companies and brands based on diversity

Raquel brought us a challenge in 2023 to release her new album Raquel à Venda starting her solo career. Her entire album revolves around contemporary consumer relations. Where the vernacular and material meets the digital. Where the body is put up for sale over and over again, just like casual and romantic relationships. The album is a mockery of sales languages ​​linked to human relationships.

From a design point of view, we understood Raquel’s references and came up with a solution that we call “pay-per-feel”, which mixes signs of capitalism and the collective unconscious related to sales and constant exposure of oneself on the internet, on social media, on adult platforms, etc. To achieve this, we included a wide typographic variety, linked to the hierarchy of Pangram Pangram’s Formula Condensed and Arial Narrow as its supporting typography – purposefully chosen because it is a standard font that anyone can access.

The project applications ranged from the creation of Raquel’s logo and stickers for each song, to the creation of posters, posts on social media, art direction for Raquel’s motion and “consumption” music video, digital invitations, banners, merchandising, album cover, website and more.

The graphic design of the entire visual identity was developed by Eduarda Nieto, with creative direction by Diego Limberti.

The iconic poster for the 2022 Big Steppers tour, hosted by Kendrick Lamar and sponsored by Amazon.

The poster [designed by Chris Burnett, with creative direction by Dave Free & Kendrick Lamar, see comments] mixes a wide variety of typefaces, most prominently including multiple weights of Roc Grotesk by Nikola Kostić as well as Jim Parkinson’s Amador.

Hosted at Somerset House in London, co-curated by Iain Forsyth & Jane Pollard and Claire Catterall, The Horror Show! was a journey to the underbelly of Britain’s cultural psyche. The exhibition presented an alternative perspective on the last five decades of modern British history in three acts – Monster, Ghost and Witch. Recast as a story of cultural shapeshifting, each section interpreted a specific era through the lens of a classic horror archetype with thematically linked contemporaneous, new works and a survey of the counter-culture of the time. We were tasked with designing all 2-D aspects of the show. The graphics inside the exhibition, the marketing, publicity and the catalogue. Each one needed to fit seamlessly with the other and explain the complexity of the exhibition in a sympathetic form.

To accompany the exhibition, The Horror Show! catalogue is constructed with a unique, irregular concertina fold. When closed, this features a “Frankenstein’s monster” face, grotesquely confronting the viewer. Whilst once open and fully extended, it is revealed that the face is made up of photographs of artworks and cultural figures from in the show. This collaged cut-up is a metaphor for British society, consisting of the mainstream and counter-culture, the two constantly pressing and grinding against each other. The back of the catalogue features the main collage used in the publicity for the show, with the addition of a very important key, so that you understand who everybody is in the image.

Once you have opened the catalogue, you are confronted with three sections which, as in the show, are designed completely differently from each other with contrasting typography and paper stocks for each. The Introduction section is dark black and takes its styling from the combined spaces in the show. Monster puts on the stinking clothes of Punk DIY. Ghost is grey and washed out, never fully materialising on the page. Witch is bold, proud, modern and old – daring you to disagree.

The catalogue design needed to refer to the decades in the exhibition – the 70s, 80s, 90s and onwards but also be something very contemporary. This meant a selection of fonts which referred to the era of the ‘feeling’ of each section but were used in a contemporary way. They are thrown up against each other in ugly juxtapositions, symbolising how counter-culture needs to push into the mainstream to change us all and move creativity and society forward. The layouts also referred to this historical context. The Monster section is based on the 70s and 80s and is an updated version of the DIY punk fanzine. Ghost is ethereal, with typography almost not there. Witch is bold, alchemic, and strongly gothic but looks towards the future as much as the past.

The title on the spine brings together Ouroboros, Infidel, Trickster, Nylon & Draylon, Bastard, Virus VujaDe, Terminal Grotesque, Tourette Extreme, and Bradley DJR (for the exclamation mark). The O’s are custom drawn pictograms.

Back cover: “A twisted tale of modern Britain” combines Ouroboros, Serpiente Display, Trickster, and Nylon & Draylon.

Text inside the mouth is set in Combat. The fonts used for the “MONSTER” letters include Ouroboros, Bastard, Trickster, Fleshy Font, and Newspeak

Spread with text set in T1 Korium and Combat. “Freak Scene” combines Gandur Alte with Trickster. Year dates are from Zloy.

The “Ghost” letters are taken from Lapicide and Marian Black. The italic for the text on the ear is from Faust.

More Marian Black and Lapicide, with Melancholia Italic used for captions

Captions feature Faust Italic, upright Melancholia, numerals from Gosna, and Tourette Normal.

The text on the left half of the eye is set in Ni Resolution Blackletter. The “WITCH” letters are from Infidel, Nylon & Draylon, Ni Resolution Blackletter, Virus VujaDe, and Prototype.

Titles feature overlapping letters from Ni Resolution Blackletter and Nylon & Draylon. The byline is in Terminal Grotesque, the text in Larish Alte.

More text in Larish Alte, with initials and page numbers from Ni Resolution Blackletter

From &Walsh:

Isodope is the online persona of Isabelle Boemeke, a nuclear energy influencer who wants to change what the world thinks about nuclear, one TikTok video at a time. This is a self-funded project with the goal to change public opinion to help solve the climate crisis.

Nuclear historically has had a bad rep & Isodope's goal is to change the public’s perception on it. After all, it is one of the safest and cleanest forms of energy available to us today. The Isodope persona and brand is built to put people’s fear around nuclear at ease through memes that are easy to digest and even easier to share.

Isodope is changing the face of science communications, to share good ideas and mobilise people behind them.

The brilliant design agency &Walsh worked closely with the Isodope team to create a brand refresh and used F37 Foundry’s font F37 Judge to ensure the headlines pack a punch. Terminal Grotesque is used for single line sentences, ABC Monument Grotesk for long copy, and Tronica Mono for captions and numbers.

These are some of the results of the workshop called “Read Me” that Stephanie Specht gave in November 2021 during the Google Visual Design Summit by Google Design:

A short hour where participants received a folder with a selection of typefaces, color swatches and guidelines so they could create a simple typographic poster in InDesign using all kind of treatments. They also had to collaborate in pairs on their design. Minimum input, maximum output! From the 23 typefaces they picked Terminal Grotesque, Selva Script, Editorial New, Mineral Solid and Millionaire.

For the cover I used all designs on top of each other. Wondering what could have been done in one day with this workshop though … many more layers and collaborations could lead to something super vibrant!

Throughout the publication, ABC Monument Grotesk and ABC Monument Grotesk Mono are used for information.

Poster and visual identity designed by Célia Grandhomme for OK Open Lab, a collective exhibition and event hosted at Cosmodule in Lyon.

The artists from the workshop presented a unique OK typeface design, a live coding music performance by DJ Spinelli, a metallic sculpture, various video projections, an interactive laser installation, freshly prepared cosmic food, and an original ceramic piece.

This poster for the Erasmus+ programme at HBKsaar not only tells the students where to go abroad, but also where to apply. The font used in the speech bubble – Nonplus Light, an enthusiastic script – makes it seem as if Mrs. Rauber, the person in charge at the university, would call us personally.

Other fonts used are Apfel Grotezk Regular and the ink-saving Apfel Grotezk Brukt, as well as Terminal Grotesque Open for links. They both make a nice contrast in their strictness to the more freely designed Nonplus.

Personal website for Kane Robinson. Based on original article by Joe Zadeh.

The loose and inconsistent layout is dictated by the absurdity of circumstances and the disproportional punishment in Kanes’ case. This longform is unsystematic, dynamic, animated, whimsical, wrong and disproportional in its’ details. It can be perceived as an attempt to grab the attention at all costs. Even at the cost of readability.

Gunilla Jähnichen is a Berlin based artist who commissioned us to do a poster to showcase her work for an Art Fair in Zürich.