Racist Traces is a project by Zinografie curated by Setareh Alipour for a peaceful coexistence.

On Saturday, 25 September 2021 portraits of people affected by everyday racism with their stories of experience were exhibited in Büsingpark in Offenbach am Main, Germany. It is about different negative experiences with fellow citizens, in the search for a job, the housing search, to discrimination by authorities or security apparatuses.

The aim is to encourage people to deal with the issue of everyday racism, to take a stance as an observer and to consciously stand up in everyday life against the statements and actions of others and for a respectful and peaceful society.

This book is not a dispute or a “meeting”: in these pages, Christian Laval, co-author of the acclaimed La nouvelle raison du monde (“The New Reason of the World”), intends to unfold the movement of “almost contemporary” research by Michel Foucault and Pierre Bourdieu on what they both identified as “neoliberalism”, showing how these French thinkers made it an object of reflection in contexts and with specific theoretical tools, constructing two confrontations that have as common characteristic an explanation and resistance to the historical emergence of the neoliberal event.

In this graphic project that inaugurates the Coleção Práticas Utópicas (“Utopian Practices Collection”), we were looking for an airy solution that would allow the application of titles of varying sizes and layouts on the cover, as well as a two-tone chromatic variation based on the strategy of using two color gradients. radials that interact freely through the cover area.

With the use of a central white vertical line, we try to hierarchize the relationship between title and authorship on both sides of that line as well as the rotation of the author’s name that gives independence to these two central information on the cover of a book.

The use of Bw Gradual was intended to give a marked contemporary look to the project, making a striking use of the characteristic design of this typography mainly on the front cover, spine and flaps. The body copy is set in Bridge Text.

The gradient of the cover, which seeks to represent that which is not clearly seen but which, with the text, becomes clearer, is repeated inside the book except that here it appears in monochrome, only from the black of the ink to the white of the paper.

The alignment to the right also appears as a strong element of the graphic design as a whole, appearing from the title on the cover as well as in the internal subtitles and footnotes.

As it is a collection project, the design we carry out in this work is not so much related to the content of the book itself, being, let us say, more self-absorbed, but at the same time it opens up simple possibilities for variation so that each title of the set has independence and own aesthetics.

Foucault, Bourdieu e a questão neoliberal was translated to Portuguese by Márcia Pereira Cunha and Nilton Ken Ota, edited by Tadeu Breda, and published by Editora Elefante. Design by Hannah Uesugi & Pedro Botton / Arquivo, with art direction by Bianca Oliveira.

Westport is a new condominium collection that offers the convenience of modern dwelling, balanced with a pace of life that is truly unique to Port Credit. Edenshaw, a prominent property developer and community leader, engaged Vanderbrand to develop a name and accompanying brand strategy that would inspire and excite the public about the future of Mississauga living.

Westport is Edenshaw’s newest residential project, located directly adjacent to the Port Credit GO Station and future Hurontario LRT Line. Driven by Edenshaw’s ongoing commitment to develop Port Credit in a responsible and sustainable manner, Vanderbrand devised a launch strategy that effectively communicated the relationship between connectivity and nature that defines the neighbourhood. A contemporary approach for the area, Vanderbrand established a clean and fresh visual language punctuated by engaging messaging and storied visuals to capture Edenshaw’s vision for a future-forward Port Credit.

The name Westport captures the two most prominent strengths of the project site; its connected location west of Toronto, and its abundance of public, highly accessible waterfront land. Bw Gradual features unique notches in the letterforms, giving a contemporary edge to a name that feels sophisticated and established. The modernity of the logo is pushed further by its lowercase typesetting, imbuing the name with a youthful energy that aims to inspire and engage potential purchasers. Flexible and dynamic, the wordmark pulls apart and comes together to maximize visibility on all applications, allowing for optimal brand recognition across print and digital platforms.

All information is set in TWK Lausanne.

Website and social media content for Westport, a project by Edenshaw Developments, Canada, using Lausanne by Nizar Kazan. The logo uses Bw Gradual.

Logotype

Visual identity by Studio Gangplank for Lande, a young and energetic architecture practice based in Melbourne, Australia. Lande’s philosophy centres around functional, personalised and evocative spaces.

Their love for mid-century modern architecture goes further than an adoration for the minimalistic style. With a commitment to principles of efficiency, standardisation and modular ability, Lande’s designs are no more—and no less—than what is necessary.

The logomark is a stylistic L inspired by mid-century breeze blocks that are equally decorative and functional. The logo further reenforces the mid-century aesthetic with the pragmatic essence and decorative character of the geometric grotesque Bw Gradual.

Project sheet and business card detail

Business cards

Logomark and logotype

Stationery suite

Project folder

Project folder

Business card detail and interior

Gift chocolate packaging

Interior and business card detail

Project sheet

Just a Sunday night creative exercise listening to one of my faves, Durand Jones & The Indications. The central figure of the poster is the ampersand, present in the name of the band, in addition to referring to the other two bands that will accompany them on this tour.

Font on the lipstick and carton

When given an opportunity to work with a FAE Beauty, a brand for vegan and cruelty-free cosmetics, the first thing we did was a gut check on whether we’d be able to do something that questioned this status quo. Our client was on the exact same page, and that was a green signal to work together on something not just fun, but also meaningful. Even though it meant not fitting into what may be easier to market.

FAE Beauty was born from this thinking and ethos. FAE Beauty stands for ‘Free And Equal Beauty’ which is exactly what we wanted our purpose to be.

We even named the lipstick shades with bold statements that people think of in their heads when they try on or look at a certain shade – playing on the unspoken perception largely created by media and society. We created a strong brand ethos, a bold & dynamic brand identity and built a set of visual assets for the brand from photography to graphic illustrations.

The main typeface is Bw Gradual, picked for its unique and edgy set of glyphs and letterforms to represent the ethos of the brand. The website uses Muli.

Designing the packaging was about creating an iconic statement for the brand. We chose a clean white bullet to stand out against most brands in the beauty space in India. The iridescent finish on the carton, is meant to subtly imply the inclusiveness of the brand in every respect. We worked closely with the product development team to pick and choose size, finish, color for lipstick bullet.

Logo set.

Homepage of the website. Please visit www.erydel.com to see the animation with its proper speed and colours.

This is the homepage of the website I designed for EryDel, a biotech company that won “best Italian startup of 2019”. Since they had only a logo (in Myriad) but not a corporate identity, I decided to choose a typeface that stands out and that could represent their innovativeness in just a glimpse. I decided on Bw Gradual.

Design and interactions by Davide Benatti. Photo and illustration by Claudia Pace.

The Pink Prince was born in London in 2016, and already has seen seven published issues, which are distributed in 12 countries. The magazine deals with a new generation of men’s fashion through a very fresh line, with a young spirit, and with a redesign that keeps pace with the latest editorial design trends.

For this issue, the team formed by Juan Martín (art direction) and designers Roberto Espartero and Sergio Paque, set out to give the redesign an integral character, an absolute change of look that encompasses the format, as well as the header, the cover, and the interior spreads.

For headings, Juan Martín selected PP Monument, a wide bold grotesque that adds a severe and contemporary appearance. The cover holds several lavish details such as the barcode integrated in a box (with all the information related to a price, web, etc.), in addition to the theme (in this issue: “Survivor”), which functions as a link between all content. This becomes visible in the use of coordinates, looks, aesthetics, locations, etc. Smaller text elements are in Bw Gradual.

Photos: Salva Cerdá / Rayitas Azules

The V4 Art Connects exhibition series offers a sampling of art from the countries of the Visegrád Group (the Czech Republic, Hungary, Poland and Slovakia) along a wide range of the spectrum in terms of genres.

The exhibition, which can be viewed at various locations in the Buda Castle District in Budapest, comprises three parts: Structures is dedicated to sculpture, Illusions to video art, and Interactions to the traditional branches of fine arts, with special emphasis on painting and graphic art.

Curator: Fruzsina Kigyós.
Supervisor: Zsuzsanna Deák.
Exhibition and editorial design: Andrea Csuport