From Pentagram’s case study:

lululemon athletica is one of the world’s leading activewear brands, defining the athleisure category with its high-performance, yoga-inspired technical athletic apparel for women and men. The company goes beyond retail to function as a holistic lifestyle brand for a devoted following of consumers who apply its vision of wellness to their everyday practice of yoga, running, working out, self-care and mindfulness.

This is captured in the lululemon manifesto, a graphic representation of the brand’s core values.

According to lululemon:

The newly designed manifesto showcases Lululemon’s long-standing brand values across nine themes, including: integrity, personal responsibility, social impact, honesty/authenticity, overcoming fear, greatness, purpose, elevating the world (even on hard days), fun + laughter, sweat + the practice of yoga.

The manifesto in itself is designed with no less than four contemporary typefaces, namely: SangBleu Empire, Druk, Messina Modern, and Cut. Calibre, lululemon’s brand font, is also used sporadically in smaller sizes. All those typefaces are combined in Tetris-like playful composition, creating a type-filled pattern. This pattern has been applied on many products from the brand, ranging from retail ones (yoga pants, sports apparel, sports bottles, etc.) to promotional ones (shopping bags, shipping boxes, shop window fronts).

Learn more about the project and see more applications on Pentagram’s website.

SangBleu Empire is part of the SangBleu family, available from Swiss Typefaces. Druk is available from Commercial Type. Cut is available from Muir McNeil. Messina Modern is available from Luzi Type. Calibre is available from Klim Type Foundry.

A manifesto flag in front of Berlin’s lululemon shop

“It’s the manifesto—IRL. To celebrate our 20th birthday, we partnered with artist Shawna X to bring one of our most iconic manifesto lines to life in Brooklyn, NY.”

Source: www.instagram.com Poetry School. License: All Rights Reserved.

Cut is the primary typeface of the Poetry School’s visual identity. The bare-bones stencil by MuirMcNeil is used in all caps, for the logo (introduced in March 2018) and also for other display purposes, like the graphics for the quarterly programs. Interestingly, the national arts organization additionally uses other similar stencil designs, including Balega and Avia. While the former appears to have been a one-off deviation for “Where words meet music” (February 2020), Avia is a reoccurring choice. It’s used alongside Cut, and also in mixed case.

Poetry School has teaching centers across England and also offers online courses, “providing inspiring tuition and opportunities for writers, poets, and poetry audiences”.

Source: www.instagram.com Poetry School. License: All Rights Reserved.

Source: www.instagram.com Poetry School. License: All Rights Reserved.

Stage graphics with the Poetry School logo in Cut and Avia in mixed case, for Yomi Ṣode’s lecture at the Verve Poetry Festival in 2020.

Source: poetryschool.com Poetry School. License: All Rights Reserved.

Source: poetryschool.com Poetry School. License: All Rights Reserved.

Poetry School. License: All Rights Reserved.

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Source: www.instagram.com Poetry School. License: All Rights Reserved.

Source: poetryschool.com Poetry School. License: All Rights Reserved.

Source: www.instagram.com Poetry School. License: All Rights Reserved.

Source: poetryschool.com Poetry School. License: All Rights Reserved.

Source: poetryschool.com Poetry School. License: All Rights Reserved.

Production Type’s Dr and Origin Super Condensed take the lead in the striking typography developed by Wagner Rexin and Finken & Bumiller for Architekturgalerie am Weißenhof.

The two design studios have worked on the visual identity of the architecture gallery for more than ten years. For each exhibition series, they develop a distinct and predominantly typographic identity. The only constant is a silhouette of Le Corbusier and Ludwig Mies van der Rohe. This quasi-logo is based on a photograph taken at the Weissenhof Estate in 1926.

In the Bauhaus anniversary year 2019, they designed a series of large-format flyers for the annual program and the four exhibitions. The A3 sheets serve both as announcement posters and as invitations. Exhibition titles are set in caps from Dr. The geometric sans serif is supported by Origin Super Condensed, which is mostly used in the eye-catching Backslant variant. Dirk Wagner elaborates on the typeface choice:

Dr is full of character and beautiful details. The contrast between the relatively massive Dr and the extremely narrow Origin Super Condensed was particularly appealing. We found that the two also pair well with Traulha Jornau, which we used for body copy. The latter was drawn by Yoann Minet of Bureau Brut, who is also behind Dr. The mix is complemented by Radim Peško’s Agipo Mono. The monospaced typeface is used for highlighting information like date and address, or for setting smaller texts. In further roles: Cut by MuirMcNeil and Joost by Type-Ø-Tones.

Since we always aim to use as few font styles as possible, and since the text sides of the flyers are mostly black and white, we introduced lines and bars for emphasis, and worked with punctuation marks or decorative glyphs.

The same set of typefaces is also used for the exhibition graphics.

Détour musical n° 20

Détour musical is Étienne Pouvreau’s musical show on Studio Zef. For the visuals, he wanted to try something new, like making a hand-made mask instead of using a Photoshop effect. “A home-made stencil. Me & my razor blade!” The letterforms are modeled after MuirMcNeil’s aptly named Cut.

Each episode of Détour musical brings one hour of music, selected by Brother John and presented by Étienne. No. 20 is made “to counter the November coldness, taking you from California to Brooklyn, via Verona and Perpignan.” You can listen to it on Mixcloud.

Détour musical n° 19

Détour musical n° 21

Détour musical n° 22

Publishing house Chose Commune entrusted Atelier Pentagon with the graphic design of the book Sobras, which presents the latest series of photographs by the Brazilian artist Geraldo de Barros (1923–1998). For this series, made at the end of his life, the photographer cut out and recomposed images from the archives of his previous works.

Sobras is the first international publication of this series. Text by Vanessa Barbara. Trilingual edition (French, English, Portuguese), 230×330 mm, 188 pages, hardcover.

Heritage: A User’s Manual was an exhibition at Southbank Centre’s Archive Studio — a temporary space located within the foyer of the Royal Festival Hall — that took place between the 24th November and 13th December 2016. The exhibition was curated by MA Culture, Criticism and Curation students from London art school Central Saint Martins and “was founded on the belief that the heritage of a building is characterised by the ever-changing contributions of its community.”

The London office of international graphic design studio Bond developed a visual identity for the exhibition that would create a unifying visual story for the different eras it covered. Drawing on the archival material and architectural components that were the basis of the exhibition, Bond created an typographical visual identity, based around MuirMcNeil’s Cut, that is utilitarian, structural and of two different historical periods in its stencil cut qualities and lettershapes. This, alongside bright colour, warm greys and material quality, links programme, information packs and single sheets.

Read more about this project on BP&O.