Jameel Arts Centre is an independent institution dedicated to exhibiting contemporary art to the public and engaging communities through learning, research and commissions. Founded and supported by Art Jameel, the Centre is located in Dubai, United Arab Emirates.

Every year, they organise a Career Day:

This second iteration of Creative Careers Days, titled You Can’t Have Art Without…, is dedicated to showcasing the multiple roles that can contribute to the growth of the arts ecosystem. Discover how you can apply your core interests from business, accounting and law to humanities, social studies and languages, as well as fine and performing arts to the creative industries.

They realize a sub-identity for every of these events. For this year, they chose to work with BVH BLine and BVH BDot, apparently with matching lettering for the Arabic. Their standard typefaces are Greta Text (with Arabic) and Graphik (with Arabic).

To mark the 50th anniversary of the social institution FoyerBasel, Studio von Aarburg was commissioned to design a new visual identity that appeals to both referring organisations and young women. This includes a new logo, colour scheme and images. They designed some brochures but the identity is mainly developped over the website, coded by Arteria. They worked exclusively with the combination of BVH BLine and BVH BDot, the dots materializing the connections between people.

FoyerBasel has been in existence since 1973, providing residential care for girls and young women with psychiatric disorders. From the outset, the institution’s working methods have been based on the non-hierarchical interaction of social education, psychology and psychiatry.

Back in 2013, Marseille was designated as the European Capital of Culture, a label coveted by all European Union cities. A place of intense economic and cultural exchanges between the two shores of the Mediterranean, Marseille occupies a special place in France. The event reduced the distances in the territory, bringing Arles, Salon-de-Provence, Martigues, Aix-en-Provence, Aubagne, and Istres closer together. The partners were committed to creating a large scale, internationally renowned cultural event that promotes the cultural identities of the region through a dialogue between Europe and the Mediterranean. This project aimed to bring together all relevant stakeholders, producing lasting impacts on the cultural, economic, urban, and social aspects of the territory, with the goal of enhancing its international appeal and visibility.

Lyon-based graphic designer Thomas Serrière was in charge of creating the identity for the event. He worked on various mediums, from posters to badges, from signage to flyers, to cover the whole event.

From Thomas Serrière’s Behance page:

The identity is based on a typographical system. I designed a complete visual language in order to provide the maximum versatility and expression across every channel, format or material. The typeface was developed with André Baldinger, adapting his BVH BDot in which we introduced little “diamonds”. The MP2013 logo itself consists of a very tiny hyphen, linking all the places, events, dates of the capital year.

The logo combines BVH BLine and FF DIN Round. Some applications additionally use FF DIN.

Du&Ma is an agency dedicated to exhibition design and works in the fields of museography. They called upon the graphic designer Toan Vu-Huu to rethink their graphic identity. He used the BVH BLine and BVH BDot in duo, to represent the duality and the plurality of missions of the agency.

André Baldinger designed the catalog for his exhibition Kanji, Kana, BLine that took place in 2020 at La Fenêtre in Montpellier and in 2021 in an extended setup at the Bibliothèque universitaire des langues et civilisations (BULAC) in Paris.

Explaining his BLine Japanese-Latin project, this exhibition catalog enters the universe of these two scripts, their formal repertoires and their history to highlight the research related to the creation and work in progress of this new bi-scriptual typeface.

Bulac exhibition view

Bulac exhibition view

This set of a correspondence card and business cards perfectly illustrates the joint use of BVH BLine and BVH BDot. Being typeset together, they act as different weights of the same typeface, highlighting sequences of words. The cards are designed for Bloomit, a French tech counseling firm.

This is the first catalog of Une Saison Graphique (“A Graphic Season”), a yearly event celebrating graphic design that started in 2011. For two months, the city of Le Havre in France is its epicentre with exhibitions, meetings, lectures, and events around graphic design and graphic designers.

The 500 covers are printed on test sheets of original posters of Une Saison Graphique. Each one is unique. Inside, the texts and image booklets offer a parallel reading of the graphic work of each exhibitor.

In 2015, the Paris City Hall worked jointly with graphic design studio Baldinger•Vu-Huu to create the Paris Culture program. This program, which became a poster, brings together all the cultural programming of the year 2015-2016 in Paris. They used the BVH BLine, as well as a custom stencil version of this typeface.

Graphic designer Catherine Gottraux Roos chose BVH BLine to typeset the titles of Le Gothique Urbain: Une crise d’identité(s), its roundness contrasting with the sharpness of all the blackletter shown (Goudy Text). This book by Philippe Buschinger is about the use of blackletter in the public space. The author analyzes the different uses of blackletter, as well as the effects caused by its use, sometimes funny, sometimes offbeat or anachronistic. The body copy is set in BVH Baldinger.

The book was published by Cadrat Éditions in an edition of 150 copies, with a cover screen printed in a metallic Pantone spot color.

Detail

This German-English book is a synthesis of the Type Design studies at Zurich University of the Arts (ZHdK), Switzerland. It compiles 70 text typefaces drawn by the students, shown as specimen pages, as well as 17 cross-discipline essays on readability, type history, calligraphy, teaching type design, etc.

Katharine Wolff emphasises “the importance of calligraphy in the digital age”. Georg Salden insists that type design is a physical process. Walter Haettenschweiler tells us about his career as one of the world’s most illustrious designers for title and display typefaces. Robin Kinross uses Monotype as an example to explain economic, social and technical correlations. André Baldinger comments on teaching methods, attitudes and zeitgeist in type design, while Anton Studer contemplates on seeing and perceiving. There are further contributions by Rudolf Barmettler, Remo Caminada, Christian Flepp, Hans-Jürg Hunziker, Bruno Margreth, Fiona Ross, Mischa Senn.

This book was designed by Baldinger•Vu-Huu. The book’s jacket is designed as a specimen, showcasing different weights of BVH Baldinger, from ExtraHairline to Heavy.

In the interior pages, essays are mixed with the student typefaces. The text is set in BVH Baldinger and the legends and captions are set in BVH BLine Mono.

Zurich Type Design was published by Triest in November 2020.

Fréquences is an unclassifiable digital book for iPhone. It’s a collective project created by Célia Houdart (text), André Baldinger (visual and typographic conception), Sébastien Roux (sound design) and Graziella Antonini (photographs). The narrative and visual conception oscillates between passages to read and others to listen. A hybrid object where the visualisation of the texts and their reading are articulated. At once a miniature radio fiction and a strange slide show.

The short film version was presented at the ¡Viva Villa! festival in 2009 at the Collection Lambert in Avignon and also in May 2011 at the Centre Culturel Suisse, in Paris.

Graphic design studio Baldinger•Vu-Huu has chosen an iridescent hot stamping to make BVH BLine glow and shine to wish a colorful new year for their 2017 greeting card.

Back in 2013, Toan Vu-Huu, with Wanja Ledowski, jointly with architects Frenak + Jullien, realized the signage of the Pavillon Vendôme, a contemporary art center in Clichy, France.

They chose to work both with BVH BLine and BVH BDot, creating pictograms with dots, creating a connexion and respiration in the signage. For the front sign, the typefaces are both in relief and engraved in the stone.

In 2010, Baldinger•Vu-Huu won the competition for the creation of three new visual identities for the institutions inalco (institut national des langues et civilisations orientales), the BULAC (Bibliothèque Universitaire des Langues et Civilisations), and the Pôle des langues. Their visual identity project is based on a modular system with a common base. The main subject of languages and cultures is supported by the use of translations in scripts from different cultures, and by the iconography that complements and accompanies these scripts. The two logos of Bulac and Inalco each exist in a set of three variants with different translations. These sets of logos and the translation sets also present in the applications thus represent the panel of more than 90 languages present at the Language Center. For this identity, they used BVH BLine.

BULAC is translated in Korean, Hindi, Burmese and Ethiopic, inalco in Amharic, Serbian, Hebrew, Japanese and Arabic, and Pôle des langues et civilisations in Persian, Korean,Tamil, Amharic and Macedonian.

Of Bridges & Borders is a curatorial experience, organized around two books edited and curated by Sigismond de Vajay. It is a group of contributions that materialized through exhibitions, urban interventions, concerts and conferences, with diverse formats including installation, video art, cinema, architecture, music and performances. Given these different forms, Of Bridges & Borders aims to provoke new ways of reading by proximity, difference and contradiction in a cultural background.

After the Vol. I, designed by André Baldinger, and two exhibitions, in Buenos Aires (2011) and in Valparaiso (2013), Of Bridges & Borders, Vol. II, designed by Baldinger•Vu-Huu, extends the vision of the project by bringing together a broad range of writers invited to share their ideas about bridges and borders. From singular stories to complex research, the essays address new technologies, contemporary art, migration and city developments, innovations in construction, freedom of speech, and utopian urbanism.

The two books have been conceived in close collaboration with Sigismond de Vajay, to give a body and a visual representation to all these different voices. The game of duality between the BVH BLine and the BVH BDot transcribes the plural atmosphere of the book.

Three posters to promote the ZhDK post-graduate degree in Type Design in Zurich, Switzerland, designed by André Baldinger, in 2007 and 2011. All three posters are typeset with his own typefaces. Information is set in BVH Baldinger (with discretionary ligatures). The 2007 posters use an early version of BVH Eiffel; the 2011 poster pairs BVH BDot with BVH BLine.