A poster for my lecture at PXL MAD School of Arts in Hasselt, Belgium, using an image that’s part of the lecture and my personal e logo.

Immigration et ségrégation spatiale. L'exemple de Marseille is the French re-edition of Migrant Marseille which analyses the impact of migration on the city’s space, urbanism and architecture through a series of case studies. Edited by Marc Angélil, Charlotte Malterre-Barthes and Something Fantastic, this book results from a research project conducted by ETH Zurich Architecture students under the supervision of the authors.

From Ensemble Books’ website:

Do cities faced with immigration have any other possible future than the hopeless one of increasingly severe spatial segregation? Is there no other way for European metropolises than to drift towards the American model of gated communities and ethnic ghettos, a real social time bomb?

Campaigning for a more inclusive and peaceful urbanity, a group of committed urban planners and architects presents the fruit of their reflections and experiments in Marseille, in the heart of some of the poorest and most run-down neighbourhoods in Europe.

Under their dispassionate and unstigmatised gaze, the dreaded "Quartiers Nord" of the city of Marseille appear for what they are: the result of a succession of architectural, urbanistic and political errors.

And as a result, the authors assert, if there are solutions to the exclusion of migrants and the most disadvantaged from the city centre and its activities, they must be sought in architectural intervention and the revision of urban

This French version is published by Editions Parenthèses and uses Simplon Norm for titles, Simplon Mono for subtitles, and Toshna mainly for body text.

GHT Global is a Strategic Consultation, Risk Mitigation, Threat Assessments and Crisis Management company that delivers specialized operational support to government agencies and commercial organizations around the world.

I had the task of creating an animated sequence that presents the services they offer, which are divided in three pillars: Green (Illuminate), Blue (Mitigate) and Black (Facilitate). The main typeface is Suisse Int’l, supported by Bell and Simplon Mono.

Design and animation: Amélie Lehoux
Creative direction: nohands

Superproducer is a French label that supplies ethically sourced, locally produced food and beverages to professionals such as bars, hotels, restaurants, and boutiques, as well as individuals.

Designed by Pepperclip Studio, the website uses a combination of JAF Peacock and Simplon Mono for headings, with Outfit being employed for the body text.

TRAÇA is a project of collection, study and exhibition of family films started in 2015 by the Lisbon Municipal Archives - Video Library.

The archive website uses Simplon Mono as its main typeface, with a supporting role from Neue Helvetica.

Diálogo(s) em só maior is a playbook where the action is centered in a dialogue between the main character of the play and the representation of past, the present and the future, in the end we understand that more than a dialogue the play is actually a sort of monologue where the character sits down with himself.

The art direction of this little book is based on the possible textures of school books from past to future, each one marks the three different chapters of the play. The design also aimed to be a bit mechanic using a monospace typeface, the text lines are actually mechanically unbalanced on purpose almost having this naïve look and feel.

This book is composed in its entirety using Simplon Mono by Emmanuel Rey from Swiss Typefaces.

Covers of issues 5 and 11 of the magazine.

Opak was a German quarterly cultural magazine which ran from April 2009 to February 2012. Founded by Oliver Koch, the former bassist of Tomte, each issue of the magazine was focusing on a specific theme, while also covering cultural news.

The magazine designers, Adeline Mollard and Floyd E. Schulze, used Simplon Norm and Simplon Mono, prior to their release, for its logotype and interior. Along the issues, some other fonts made appearance in the magazine, most notably SangBleu OG Serif (called Romain BP at the time) used for the review column spreads.

Some issues of the magazine can still be read online.

Review column spreads (rotated).

Review column spreads (rotated).

Poster for the magazine first issue launch party.

How&How’s new brand identity for On the Edge, a group of storytellers and scientists working to change the narrative for nature and endangered species, featuring TWK Everett as primary typeface used throughout alongside supporting typefaces Simplon Mono and Roboto. The organic looking E is from Pilowlava. The capital G of Everett was slightly modified for the logotype. Project description from How&How’s website:

Human. Nature. You’d think the two would get along, but we’re living in the middle of a mass extinction event and are too disconnected from nature to notice. This is the problem conservation charity On the Edge are solving in a novel way. Through the creation, iteration and measurement of scientific programs, online games and nature documentaries focused on critically endangered species; they are an experimental nature studio increasing the biodiversity of the planet... as well as the internet.

On the Edge approached How&How for brand identity, website design and Headless CMS website build… all to be done in 8 weeks. The new brand needed to speak to On the Edge’s Gen Z target audience, without alienating the scientists that make up 50% of the company. Bravely unconventional, technologically savvy and relentlessly experimental; these 'internet outsiders' are intent on bringing the outside into the digital realm.

“Our design system therefore used glass panels and literal 'edges' to represent the blurred interface between our online screens and the outside world,” explains How&How co-founder and creative director, Cat How. “Sometimes these appear with more clarity, in others they distort into noise and oblivion. Or extinction.”

TWK Everett by type foundry TYPE.WELTKERN®, was chosen for its sharp cuts and edges, and paired with Simplon Mono by Swiss Typefaces for an academic touch.

On the Edge's icon was inspired by the patterns on endangered tree frogs, whose markings look like letterforms and characters. “By ‘reading’ an animal in a typographic way, we wanted to reinforce the communication and dialogue needed between humans and nature,” explains Cat. A colour palette (inspired by bioluminescence which is nature's own self-defence and conservation technique) was paired with a strong grid, neon accents and minimal aesthetic in order to counter the huge amount of colourful, zany content that OTE produce.

Novembre × ECAL special issue using Simplon Mono for the texts and a custom version of Suisse Int’l for the title of the magazine. From the ECAL website:

At the occasion of Paris Photo 2017, Novembre Magazine & ECAL/University of Art and Design Lausanne present a performative photography exhibition and a special issue of the magazine. […] This special issue and this exhibition present a selection of images produced through a period of four years during workshops conducted by Novembre Magazine in the Photography Department of ECAL. Through the eyes of over 60 students, it becomes a kaleidoscopic snapshot of contemporary attitudes towards the body and new definitions of beauty, encouraging a truly interdisciplinary approach to photography.

Simplon Mono and Suisse Int’l are available from Swiss Typefaces.

Harugo no Mayu is a new Tokyo-based service that works with selected artists to produce high-quality limited edition prints. The artworks are unique to HNM and are printed carefully on beautiful Washi paper and then shipped globally. At the start of each season HNM announces the five artworks that will be sold in a one-of run of 30, the prints are reasonably priced with a focus on high-quality production. All the selected artists are connected to Japan whether they are Japanese, or people living in Japan. The name Harugo no Mayu translates as the “spring silkworm’s cocoon” – the idea behind this was that the project was born at a time artists are in lockdown working in isolation.

Harley Johnston Design was approached to create a brand identity to help launch HNM. We focused on the Japanese roots, exploring many visual references whilst being careful to avoid clichés and tropes. The logo takes inspiration from both Japanese Kamon (family crests) as well as the zen art of rock gardens where careful raking leaves concentric lines around pretruding feature stones. The colour scheme draws on traditional Ukiyo-e prints with a focus on the white from cocoons.

Simplon Mono Regular in uppercase was chosen as the main display font for its mix of simplicity, being fairly monolinear – echoing the line work – and its industrial feel, it also worked well for the logo symbol due to its proportions. Halyard Text and Display are used as a supporting family for lower-level text, as seen on the website. PingFang SC is used for Japanese text.

Javas Lehn Studio worked closely with the Solento team to concept, define, and articulate the brand identity system, bottle design and campaign imagery for a new type of premium organic sipping tequila.

The name Solento derived from combining the Spanish words for sun (sol) and slow (lento). The name set the tone for much of the brand expression and bottle design. These concepts run through every aspect of the brand identity: from the color palette (punctuated with golden yellows) to the bottle design, which is accented with diagonal ribs that evoke rays of sun, to the brand’s sundial logo. The Solento identity is infused with a warm, slow-sipping ethos, reminding us to slow down and enjoy the moment.

[from Javas Lehn’s website]

The whole identity is built around Simplon Mono, using its fixed letter-width to align the three signature 7-letters words into a squarish bloc. Simplon is paired with Neuzeit-Grotesk on stationery and the brand’s website.

Simplon Mono is part of the Simplon family, available from Swiss Typefaces.

7th graphics was made as a student project at UNIRSM.

The objectives of the project are to make the research of this kind of material more accessible, in the simplest possible way with the purpose of informating and educating. At the same time we want to show through images the amount of graphic work required for the set design in a film. Given the close relationship between graphics and set design, I decided to design an open source web platform for creatives and film lovers, who have the possibility to search and publish information/images in order to create a collection of usable material.

The choice to create a website is due to the fact that the internet page can be updated with the release of new films. The project also includes a printed version in addition to the website, which aims to spread and promote the concept of the project. The publication will contain the most interesting examples of the graphics in the films: images of artifacts and related content such as title and plot of the film, production information, but especially the names of the graphic designers who worked on the film.

From Hive.fi:

The website uses Simplon Mono for text, with Boogie School Sans for headings. Druk Bold and ITC Cheltenham Italic, both in all caps, add another level of emphasis. The illustrations feature White Oleander.

The Calendário Dois Mil E Dezoito is a typographic exercise that looks at the 365 days of the year 2018 from a different point of view. Each concentric circle brings the days of the months. They line up by the outer circle, which indicates the days of the week.

License: All Rights Reserved.

Typefaces Gza and Simplon Mono in use for the freshly redesigned biannual AnOther magazine. Issue 35 “Fearless” Autumn/Winter 2018 stars the women of Suspiria – Tilda Swinton, Dakota Johnson, Mia Goth, and Chloë Grace Moretz.

Creative Directon: Marc Ascoli
Editor-in-chief: Susannah Frankel
Fashion Director: Katie Shillingford
Editor: Alexander Fury

License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

Source: www.anothermag.com License: All Rights Reserved.

Source: www.anothermag.com License: All Rights Reserved.

Source: www.anothermag.com License: All Rights Reserved.

Source: www.anothermag.com License: All Rights Reserved.

Source: www.anothermag.com License: All Rights Reserved.

Umor Rex is a record label and publishing house based in Mexico City. This entry shows four of their releases from 2017:

• UR095 — Terrence Hannum: Impiety
• UR096 — Missing Organs: Old Speakers
• UR097 — Mukqs: Dame Ningen
• UR100 — Rafael Anton Irisarri: The Shameless Years

Studio Pigment designed and art directed the visual identity for the international exhibition watch.swiss, set to travel all around the world for an approximative duration of 10 years (2017-2027). This contemporary and adaptive identity is resumed by a logo system in 5 variants (static and/or animated), each pictured in a precise time frame. Each logo can be displayed alone or combined to create infinite visual possibilities. watch.swiss is a project commissioned by the Federation of the Swiss Watch Industry FH, whose aim is to promote and showcase the excellence of the Swiss watchmaking industry, from prestigious brands such as Rolex to more accessible brands like Swatch.

Simplon Mono, used for the logo, is part of the Simplon collection available at Swiss Typefaces. All text and titles are set in Euclid Flex, also available at Swiss Typefaces.

ILIT (illustratore italiano) is the magazine of illustration and Italian illustrators. Published quarterly, it is designed by Filippo La Duca with art direction by MOM Studio. The images shown here are from the cover story of June 2018 issue (year 3, number 10). See more images on illustratoreitaliano.net.

With more than 10 years of experience in the architecture sector, Binomio commissioned us to redesign their brand, as well as various applications.

In response to their expansion strategy, we proposed a name change, from Binomio Estudio to Binomio Arquitectura. We focused on the term Binomio as the sum of two aspects that repeat in all of their projects: an artistic part and a technical part. We took as a reference the Bauhaus school, whose main motto was “form follows function”. Sans-serif typography, layouts with movement, no-frills impressions, austere colors and a mix of textures in the papers used are a nod to this movement and its different disciplines. In addition to the stationery, we also developed some collectable booklets of their most outstanding projects as marketing material.

ILIT (illustratore italiano) is the magazine of illustration and Italian illustrators. Published quarterly, it is designed by Filippo La Duca with art direction by MOM Studio. The images shown here are from the March 2018 issue (year 3, number 9). See more images on illustratoreitaliano.net.