This second issue of Mushroom People magazine, published by Broccoli, features “astromycologists, academics, architects, pharmacists, foragers, fashion designers, home cooks, shopkeepers, composers, and poets all inspired by the many radical ways of being fungi embody.”

Exploring the topics of “creation, destruction, attraction, and revulsion”, each chapter is printed on a different paper and uses a different set of typefaces.

The nameplate is set in all-caps Bradley DJR, and most body copy is set in ABC Marist and Calibre.

“Habitats for humanity” is set in Charlottenburg.

“Destuct” is set in Respira Black, “Two” uses Michaux and the small type is Calibre.

“Spores” uses ABC Asfalt.

“What” and “Lurks” are both set in typefaces from Dinamo: ABC Laica and ABC Maxi Round.

The text on this page is set in three columns of pink Certeau, with the headline added in Cancellaresca Script, partly arranged on a curve. The drop cap appears to be custom.

Nombril is a magazine that highlights contemporary stories from the perspectives of artists and authors. It aims to be free, collaborative, and evolving.

From Studio Vacarme (translated):

The Nombril Movement is a free exercise initiated by the members of Studio Vacarme. It was born of an attraction to the world of the imaginary, a desire to bring people together, and a desire to express, without constraint, a shared passion for art, photography and writing. Each Nombril magazine will have an abstract theme that highlights contemporary stories. These subjects are the subject of short stories, typographic creations and graphic experiments. Alongside them are photographs, illustrations and CGI art chosen to correspond to the given theme.

Texts are set in G2 TGR (Gruppo Due) and ABC Laica (Dinamo), with captions and details in Millionaire Script (Altiplano) and headlines in Bastardo Grotesk (Giulia Boggio). The bold cursive used for the logo is either custom or from a yet unidentified typeface.

Nombril is distributed by Cachier Central.

Web design for Jazminos, a restaurant in Bilbao that celebrates the richness of Arab-Mediterranean cuisine through a concept that blends tradition and modernity.

The website, designed to offer an immersive and intuitive experience, combines a minimalist and modern design with interactive navigation that allows users to visually explore the dishes and beverages. Functionality has been prioritized with a clear structure that guides the user and highlights both the unique flavors and the values of Jazminos. The choice of colors and graphic elements adds warmth and elegance, reinforcing the welcoming atmosphere of the restaurant.

The main typeface is ABC Laica in roman and italic styles. It’s supported by Editorial New Italic and Suisse Int’l. The Arabic name features Simplified Arabic as included in Arial.

The result is a digital platform that strengthens Jazminos, highlighting its cultural roots and unique gastronomic concept.

The website comes in three languages. In addition to Spanish, there’s also a version in Basque …

… and a version in English.

Mvh has redesigned the brand identity for Odin Forvaltning, one of Norway's largest and oldest fund managers. Translated from the Norwegian:

Odin Forvaltning has maintained the same investment philosophy since its inception in 1990. However, the expression and visual identity had also remained untouched, and they wanted to do something about this. Along with a communication strategy, a new website and updated content for all channels.

Typefaces used are Laica from Dinamo, and Store Norske Geita from Skriftkompani.

See also the previous post about the website.

Mvh has redesigned the website for Odin Forvaltning, one of Norway’s largest and oldest fund managers.

Translated from the Norwegian:

We have carried out a comprehensive upgrade of our visual profile and website. But we see no reason to change our 34-year-old investment philosophy. The updated visual profile involves modernising the logo, colour palette and graphic elements, which now appear more contemporary and appealing. The website has also been given a comprehensive facelift with a user-friendly design that makes it easier for you as a customer to navigate and find the information you are looking for at any given time.

Typefaces used are Laica from Dinamo, and Store Norske Geita from Skriftkompani.

Aardvark Wine & Beer is a boutique shop created “to take the snobbery out of wine”. Founded by a self-taught connoisseur turned certified sommelier, Aardvark brings a humble, community focused approach to learning about and loving wine. They arrived with an idea and an off kilter name. We took it from there and created the visual system, character and illustration, and tone of voice that make Aardvark a destination.

The primary Aardvark logo is based on Retail Display, with modifications. It is paired with a custom secondary script logo, and an eclectic typeface palette, consisting of some of the solid styles of ABC Grow plus ABC Laica and Ostia Antica.

Art direction, creative direction: Nonfiction
Exterior murals: Nick Stull
Environmental: Creative Palette
Signage: Graph X Productions
Apparel: Tonic Studios

Poster for Stefanie Egedy’s lecture concert that took take place on Friday, May 5, 2023, at Saal Altes Theater of the Duale Hochschule Baden-Württemberg in Ravensburg, Germany.

Stefanie Egedy (São Paulo/Berlin) has studied public administration and philosophy. In the last years she has established a career as sound artists/musician, working exclusively with subwoofers as instruments and sub-bass as sonic medium.

On the occasion of the ten-year anniversary of its artist residency programme at Villa Kamogawa, the Goethe Institute in Kyoto, director Enzio Wetzel and curator Michael Hirschbichler invited former residents to submit “connecting pieces” (Japanese: つなぐモノ語り, “tsunagu mono gatari”, German: “Verbindungsstücke”) of Japanese-German cultural exchange for an exhibition and catalogue.

Berlin-based typographers Toshiya Izumo and Ferdinand Ulrich developed the visual concept for the bilingual exhibition catalogue Verbindungsstücke/つなぐモノ語り. The biscriptual design is centered around a playful, unconventional approach to the different directions of reading: from top to bottom, from left to right and vice versa. The catalogue consists of 73 artist cards and a 60-page brochure of essays, held together by two wrappers. The three covers follow a color concept by fashion and textile designer Nari Haase, they were printed letterpress by Daniel Klotz at Die Lettertypen.

All text is set in Alessio D’Ellena’s ABC Laica (Dinamo) and in Akira Kataoka’s Marumin Katura (Kinuta Font Factory). The layout does not favor one language, nor is the typographic design of one language forced on the other. Instead each layout suits the respective language, carefully adjusted to complement each other. In addition to this convergence, the titling face Ribaasu offers a connecting element between the two languages. Type designer TienMin Liao exclusively donated her unreleased yet award-winning typeface to this project. Ribaasu’s character set covers Kanji, Katakana and Hiragana, as well as the Latin alphabet.

All photographs of the printed catalogue are captured by Norman Posselt. The catalogue is available from the Berlin publishing house Wasmuth & Zohlen.

The catalogue has no ›front‹ and ›back‹, but two cover titles and two spines.

The color palette of the three covers was selected by textile designer Nari Haase: Lockwood Green, Lavender and Factory Yellow of the Colorplan collection. Daniel Klotz printed them letterpress on a Heidelberg cylinder.

The artists in residence at Villa Kamogawa are divided up into four cohorts named after the four seasons. The order of the artist cards follows this theme.

The typographic design of one language is not forced on the other. Instead each layout suits the respective language, carefully adjusted to complement each other.

In the Dirt was an exhibition held at Engine, a gallery in Biddeford, United States, from 13 December 2021 to 14 January 2022.

From the website of Deciduous Studio:

In the Dirt is a 6-week duet exhibition by Grace Foxen (ceramics) and [Danny Gugger] (photography). Together, [they] created the concept, branded the exhibit and opening event, and made the artwork. The exhibit visually explores the concept of preservation and its relationship to our natural environment.

The title of the show is set in Paraiso Heavy (Lucas Descroix, Future Fonts), in all caps, with a bit of the Regular weight used on the front window of the gallery. The accompanying text in the exhbitions is set in Laica (Alessio D’Ellena, Dinamo), and Self Modern (Lucas Le Bihan, Bretagne) for the printed documents.

Super fun pairings on this website dedicated towards introducing designers the basics of Python programming by Roberto Arista.

The illustrations (by Beatrice Bianchet) and Gig do a great job of making this approachable, and visually engaging. The wonkiness of Arnold turns the code samples into works of art, but is still very readable. And Laica does a great job stringing it all together in the body copy.

http://pythonfordesigners.com/

Curiosités judiciaires et historiques du Moyen Âge. Procès contre les animaux (“Judicial and historical curiosities of the Middle Ages. Trial against animals”) was written by Émile Agnel (1810–1882) and originally published in 1858. Axel Pelletanche Thévenart’s interpretation of the text is set in Laica. The digitally printed book has 84 pages and measures 108×175 mm. Learn more about the history of animal trials on Sarah Lippincott’s website.

“The paintings of Julie Mehretu captured the spirit of our fragile, new century. Monumentally scaled and visually explosive, they resonated with a perception of the world irrevocably impacted by an accelerated consciousness of the simultaneity of events in time and place and the intersecting flows of economies, geopolitics, and people that were their engine.”
— Suzanne Cotter

Published on the occasion of Julie Mehteru’s exhibition A Universal History of Everything and Nothing at the Serralves Museum of Contemporary Art in Porto and at Centro Botín in Santander, this book reflects the formal, pictorial, critical and poetic overlays that are fundamental to the artist’s work. It includes newly commissioned essays by renowned authors Amin Maalouf and Marina Warner and a curatorial overview by Suzanne Cotter, Director of the Serralves Museum of Contemporary Art. New photography documenting Mehretu’s process in the studio, together with details and large scale reproductions of paintings and drawings are accompanied by images selected by the artist as part of a richly layered and urgent visual universe.

Stills from the film A shade of what remains unsaid by Enrico Boccioletti. The artwork is part of the group exhibition Hybrid Layers at ZKM Center for Art and Media, Karlsruhe.

Hybrid Layers explores the diverse aspects of what can be described as “the digital condition.” The digital becomes the picklock, the a priori, that unlocks the specific cosmos, the cultural and conceptual scenarios revealed by the individual artworks. The exhibition focuses on a generation of artists, who were confronted with the growing presence and impact of the digital sphere; it presents new perspectives on digital technology, the internet, and social networks, and explores both the virtual and the physical appearance of an artistic practice that is profoundly influenced by the digital.

(We will play with words; I will pay with words; we will play with worlds; play will pay with words; we will play a world; worlds will pay in words; pain will play with words; words will pay with pain; plain with place in worlds; will in words which play; worlds be placed in words; words be plain in worlds; worlds at play in wars; pay with pain in words; play with pain and words; plain in playing with words…)