On-screen graphics, set design and advertising for HBO Max’s Legendary –

a voguing reality competition web series, exploring the world of ball culture. It premiered on HBO Max on May 27, 2020. The series follows LGBT house members – predominantly from eight houses – as they navigate through nine balls (dancing/voguing/walking events), with US$100,000 prize for the winning house.

The logo is based on Rainer, with a custom barless A. The show additionally uses a range of other recently released typefaces for the names of the eight houses.

The contestants belong to eight houses, each of which has a typographic logo set in a different typeface, in all caps. From top to bottom: Lanvin (Marle), Ebony (Cosi Times), Balmain (Monarch, identified by Jay), Gorgeous Gucci (Cosi Azure), Escada (Love), West (Brutal), St. Laurent (Grand Slang), Ninja (Tina and Ben, identified by Jay).

Stage graphics with outlined Rainer.

… plus on-screen graphics in loosely spaced caps, also from Rainer.

Poster. The secondary fonts are ITC Avant Garde Gothic and the similar Gilroy, which is HBO Max’s corporate typeface.

Yellow Vision Vol.3 is the third edition of an annual magazine featuring articles about technology, modern cities, algorithms, new industries and more innovative goodness. Art direction and editorial design by Violaine & Jérémy.

The magazine layout uses Brutal, Ostia Antica, Gabriela Stencil, Modern/Scotch and (modified) Druk Condensed for headlines. The body texts are set in Kobe and Fugue Mono.

Illustrators: Leonis Bos, Jaroslaw Danilenko, Javilostcontrol, Waldemar Stepien.

Second edition of the only graphic design conference in the northern Mindanao region.

The second installment of the Oro Design Conference closed as a memorable success last February 15, 2020. Attended by over 200 participants, ODC brought together designers, students, and creative professionals for a day of talks and inspiration brought by 6 local and national creatives and design studios: Petra Gana and Mark Andres from And A Half Branding & Graphic Design, Chingkee Te-Motoomull, Dan Matutina from Plus63 Design Co., Jan Buragay, Joey Sendaydiego from Vox, and Marcelino Cahig from Bloop Studio.

Branding and Identity by Uncurated Studio
Opening titles by Nikko Bryle Tan
Photography by Van Erik Pacamo & Christian Loui Gamolo
Typography: Brutal by Benoît Bodhuin, Lÿno Jean by Karl Nawrot and Radim Peško, Adieu by Kenneth Knutsen

Uncurated Studio:

A special 2019 calendar. Each month is tearable and is positioned in reverse order. You either tear one month and bring it with you (It's small, it can fit to your wallet or phone case) or just tear it once the month is over. There is also enough space for you to write important events happening on each month.

Designed and produced by Uncurated Studio, with art direction and illustrations by Karl Adrian Aguro. The calendar come in A3 format, in two variants (black and cream), printed in an edition of 50. The typefaces in use are Brutal and Mabry.

Poster for the 2019 Annual Concert of the Hello! SEM Orchestra — a children’s youth orchestra composed of children with developmental disabilities. Designed by Everyday Practice, using Brutal by Benoît Bodhuin and Founders Grotesk by Kris Sowersby. The font used for the Korean text is unidentified.

We visualized the title ‘HELLO SEM’ with a graphical motif of the morphological features and symbols of the various instruments used in orchestra play. We tried to build a lively image of the Developmentally Disabled Children’s Orchestra with friendly graphics and bright colors.

The exhibition Skopje: Miasto, architektura i sztuka solidarności (“Skopje. City, Architecture and Art of Solidarity”) was conceived by the International Cultural Centre in Krakow, Poland, and the Museum of Contemporary Art in Skopje, Macedonia.

In 1963 the tragedy of the city that was left in ruins by an earthquake shocked entire world. Poland offered assistance in rebuilding the city, while the experience of architects who had earlier rebuilt Warsaw proved invaluable. — ICC Krakow

Design and typesetting: Weird Gentlemen (Aleksandra Braska and Łukasz Podolak).
Installation photography: Michalina Bigaj.
Typefaces: Brutal by Benoît Bodhuin and Basis Grotesque by Colophon Foundry.

The Palace of Ritual is a programme of immersive, intimate performances, screenings, and workshops organised by Arts Territory and held during the Venice Biennale in May 2019.

Designed by Our Place with Benoît Bodhuin’s Brutal, mixed with Neue Helvetica.

Fictional program for 2019 of the Opéra de Lyon using Brutal light, Basier Square, and CSTM Xprmntl 01. Design by Justine De Roaldes, who explains:

“This is a fictional project made for school, the aim was to realize and to make a free interpretation of the content from the website of the Opéra de Lyon. Then take, hierarchize and lay out all the content in our way. Use it, edit it and print it. Mine was a bit more than 200 pages.”

This book was published on the occasion of an exhibition celebrating the first decade of Inna Art Space.

This exhibition is more a sort of get together for the space, a group photo, a celebration. The work of thirteen artists will be presented at the exhibition site, all of different backgrounds, nationalities, ages and at different stages in their artistic careers. Yet for the Inna Art Space, they are all companions, fellow travellers along the way, supporting and trusting in one another for fellowship and for art.

Artists: Walter Robinson, Bignia Wehrli, Candida Höfer, Chen Dongfan, Fang Wei, Kiki Smith, Liao Wenfeng, Noriko Shinohara, Seton Smith, Ushio Shinohara, Hsieh Tehching, Yang Fudong, Elian

Art Director: Yu Qiongjie
Designer: Transwhite Studio
Typeface: Brutal by Benoît Bodhuin
Client: Inna Art Space

Milhões de Festa is all about music, partying hard either by the pool or deep into the night with electrifying music and genre-defying sounds. Milhões de Festa has been building a reputation as the truly alternative festival in Portugal, and deservedly gathering attention throughout Europe.

A great design of the website and the communication by Sérgio Couto, Serafim Mendes and Cátia Laranjeira, based on a mix of Brutal and Gosha Sans.

O.OO Design & Risograph Room launch a series of wallets (in three singe colour prints, and three multicolour prints) and plastic bags (in either fluorescent pink or green) with designer 8enny Lin, using Benoît Bodhuin's typeface Brutal.

The Visual Communication Design Programme at Aalto University returns to Flow Festival with a concept titled “Snapshot”. It captures the whole festival experience and atmosphere in powerful visuals. These snapshots, or frozen moments, are described by eight illustrators in one over 100-meter-long mural, and the concept is brought to life by five designers in short animations looping on the stage screens. — Flow Festival

The typeface used on the wall is Brutal, designed by Benoît Bodhuin.

Typography: Joosung Kang and Oona Viskari
Artists: Samar Zureik, Juliana Hyrri, Robert Lönnqvist, Tiia Lindström, Terhi Adler, Veera Krouglov, Aino Salonen, Iiris Halme, Matias Ylikangas, Lukasz Geratowski, Anni Tolvanen, Anni Sairio, Veera Kortelainen, Joosung Kang.

“We’re the Superhumans” — Brutal with its broken calligraphic gesture is used as titling typeface for étapes: 244, an issue about special handicaps.

Identity designed and printed by Corners for Vacation Land, a show at contemporary art center Platform-L in Seoul, South Korea.

The logo and date are set in Brutal, a capricious display typeface by French type designer Benoît Bodhuin, who has built a library of quirky typefaces that seem to match with Korean art-related design. Brutal, described by Bodhuin as “a not stencil calligraphic typeface” has different approaches for each glyph: stencil/not-stencil, normal contrast/reversed contrast, small/large character size. For “Vacation Land” the result is a bouncing wordmark with one stencil character at the end.

Information and body copy in both print and web are set in Akzidenz Grotesk (Latin) and Noto Sans (Hangul).

Adidas Originals Workshop × Blanc turned ImaginCafé, Barcelona, into a space for experimentation and creativity where what matters most is the process and the people. Adidas and Blanc have selected a group of creative people formed by illustrators, designers and visual artists to carry out various workshops and artistic interventions in the space, under the adidas Samba concept.

Design by Gerard Marin with a custom version of Brutal.

Activist 2.0 by Max Rawlins is an investigation into the sociological and political effect of satirical memes. It contains an adaptation of his dissertation and 100 rare Pepes.

Poster for Wiley’s concert at Het Bos in Antwerp, designed in 2018 by Ward Heirwegh, with the typefaces Brutal, Suisse Int’l, and Siren Script II and IV.