The logo

As part of its rebranding to Corinth Folklore and History Museum (Greek: Ιστορικό Λαογραφικό Μουσείο Κορίνθου), the old Folklore Museum of Corinth (Kórinthos) needed a new logo. In discussions with the people of the museum it was clear that there was a need for a logo that could function in digital media as well as in print and in the building signage. There was a need to incorporate the new historical element but also keep the folklore side which has been the museum's main theme until now.

The museum suggested a collection of images of objects and fabrics that could be used a starting point of the design. Although there were many intriguing objects among the images, what struck me as the best starting point were the patterns of the fabrics. After some initial attempts at creating a geometric logo from these patterns I focused on the rhombus shape that appeared in most of the patterns.

The need to marry foklore and history lead to a more “typographic” solution. The logo was made using 19th-century-style typefaces that relate to the early Greek state established in that period, a significant historical moment for the city.. The final shape came from combining the initials of the museum’s name ΙΛΜΚ to create the rhombus shape.

Examples of logo application

Logo variations

Header image used on Substack

The Freeman is a revival of the libertarian magazine also called The Freeman started in the 1950s by the Foundation for Economic Education (a libertarian think tank founded in 1946). The online revival of The Freeman was launched on June 9, 2025.

The typography brings together Ernst (Léon Hugues) with New Reason (Miles Newlyn) and the italic of Scotch Micro (Nick Shinn).

Article header

Article header

Article header

Article header

Daniel Roeckl is a traveller. Below the Surface is collecting architecture and portrait shots he took in the last fifteen years visiting Armenia, China, Ethiopia, Myanmar, Russia, and other places. In every city he visits, he is turning his gaze rather to the “final stations” than the “high streets”. For this book, he composed his images into a personal sequence. In several sessions, Schwarz and Roeckl refined this rhythm and set the images into a pure layout.

The chapters of the book follow twelve emotions: calmness, serenity, joy, easiness, cockiness, scepticism, confusion, depression, anger, courage, force and confidence. The publication is concluding a spiritual epilogue by the artists in English, German, and Russian.

Rooted in editorial design and journalism, my work centers around visual storytelling. My artist books are driven by an intensive personal dialogue between artist and designer, verbally and creatively. Having had the great pleasure to have been invited into the archives and production of the artists, I help translating the artworks, mindset and process into a book object.

Editorial design by Ana Mirats Studio for Paper magazine, Vol. IV by Massimo Dutti – a clothing and manufacturing company which is part of the Inditex Group. The publication compiles editorial projects for the autum/winter and spring/summer collection.

The Barcelona-based studio chose Grand Slang for punchy and expressive headlines, paired with Scotch Modern for more subtle and classic sublines. Roobert and ABC Favorit Mono are used for longer texts and smaller bits of information.

Gabriel Benderski’s Social Posters event will feature the use of posters as a communicative tool. In it, the emerging Uruguayan graphic designer analyzes how design allows the audience to have a conversation about complex and divisive issues such as peace, tolerance of minorities, or gender equality.

The flyer for the show at the University of Toronto uses Scotch Modern by Nick Shinn which was kindly provided for the design of the invitation.

Meloman is a magazine published by the Moscow Philharmonic. This is Issue No. 2, summer 2018. On the cover: composer Alexander Wustin by Anisia Kuzmina. Layout and art direction by Kirill Gluschenko. 192 pages, 168×240 mm, in Russian.

The magazine logo uses Scotch Modern. Body copy is set with Kazimir Text and Girott is used in many forms and sizes ranging from section openers and drop caps to quotes etcetera.

Illustration by Elena Chetverik

Pulp 01–04

Pulp is a “quarterly journal of people and paper” produced by Eye magazine’s John Walters (editor) and Simon Esterson (art director) for Fedrigoni. The first issue debuted with some Miller Banner, but most of the pages are set in Scotch Modern Display for headlines with Century Expanded (an Esterson favorite) for text. The logo is based on Futura Black. Pulp is produced in two editions: Italian/English and French/Spanish. I particularly admire the way the designers handle the bilingual content on these pages. Everything feels roomy, dynamic, and non-repetitive, which is not an easy task when setting the same stuff twice. (Credit also goes to the editorial staff for limiting the text.)

In 2015, Esterson was awarded “Art Director of the Year” by the British Society of Magazine Editors for his work on Pulp.

Pulp 01

Pulp 01

Outer paper for Pulp 01.

Pulp 01 with Franklin Gothic. “Big” is from a project covered in the editorial content that used Miller Banner.

Issue 01

Pulp 02

Pulp 03

Pulp 06

Pulp 06

Pulp 06

Pulp 06. A nice way to handle the two languages.

Pulp 06

Pulp 06

Posters for the Bavarian State Opera. Illustrations by Stefan Glerum

Basel University’s Sprachenzentrum, its central language teaching/training facility, is celebrating its ten-year anniversary. What started out as an improvised little place staffed by one person has grown into a bustling centre of learning, teaching, and lively exchange, with now more than a thousand students enrolled in its many classes.

For the anniversary festivities I was happy to design this fine 36-page brochure, printed on two different stocks (Tempo for the images, Munken Lynx Rough for the text), along with the accompanying invitation card. The booklet presents a multifaceted image through 18 texts (in different languages) and 12 large photographs by Christian Flierl.

The client gave me the freedom to relate only loosely to existing materials; I adopted the circle (commonly used in their materials – see logo and website) as a design element in different functions, but chose the type freely. I was looking for a combination that would feel “celebratory” enough for the anniversary, but energetic, somewhat “youthful” and a little joyous – basically the opposite of tired and dusty. Siri (especially the Black, for display) and Eames (for text) turned out to make quite a striking combination, crisp and pretty and bold.

When it turned out that portions of the text needed to be set in Russian or Greek, I settled on a compromise setting those from Scotch Micro (which in terms of color, contrast, and proportion clicked quite nicely with the Eames used for Latin, much better than did the regular optical size of Scotch Modern), as I did not want to lose the Eames for the Latin-based majority of the text. For the one Russian title I was thankfully allowed to draw the needed Cyrillic glyphs matching Siri myself.

Ästhetik des Opfers is an academic volume investigating rituals and patterns around sacrifice in different cultures and times. I was commissioned to design the book cover after already having designed a poster and flyer for a conference on the same topic a few years ago. Those older materials (flyer seen here) used a pattern of blood splotches that worked well as an eye-catcher, but the editors preferred something a bit calmer, more distinguished, for the book. After looking back over my earlier research and sketches, we decided on this image of a Viking burial site.

I wanted the type to have a lot of class, radiate intelligence and historical awareness, and also a bit of tension. I experimented with combining centered and right-aligned text; suspended high over the picture, held by a thick asymmetric rule, is the main title in Nick Shinn’s glorious Scotch Modern. For the supporting text, I found that Sindre Bremnes’s Telefon compliments Scotch Modern very well: Despite following a different ductus and referring to two distinct time periods, these two beautifully drawn faces seem to breathe the same air of historical awareness, and compliment each other well.

Guide interior (booklet/PDF).

Guide cover (booklet/PDF).

Website exibition listing.

Website homepage.