JT Picolo (Edward Dżułaj) and Kompas (Hanna Boslau) are the fonts used for Platform Pudding. From the magazine’s website:

Platform Pudding is a reflective platform on design – from graphic design to fashion and architecture, from Senseo coffee machines to Marcel Breuer’s S-32 dining chair. Design is about the tools that play a role in our daily lives. Pudding aims to foster a cross-pollination between theory and practice within design. Pudding explores the impact design has on society through diverse perspectives and various writing formats.

The magazine title appears to mix parts of Times New Roman and Helvetica.

A beautifully designed booklet for the the Gerrit Rietveld Academie in Amsterdam, featuring information in preparation of the exhibition of graduate students’ works. It was designed by Chloé Gourvennec and Eliot Kristofer Axelsson, making early use of JT Javel.

Description of the book by the publishing house Changes:

From the rubble of Uber Eats, Beyond Meat, and collapsing cities, Chariot Wish’s debut P.E.A.C.E. incants a radiant, visionary, and irreverent poetics of queer devotion. A lapidary for the end of one world, Wish’s ecstatic, embodied poems are pierced with holes, drenched in fluids, and alive with longing—for sex, for love, for a new world order. Channeling interlocutors like Simone Weil, Pier Paolo Pasolini, and Robert Glück, Wish blends Christian mysticism with a punk lineage of queer transgression, mending an urgent through-way between sacred and profane. What emerges is a text that is worshipful in the way only prayer and erotica can be. In P.E.A.C.E. the poem becomes a site of raw contact, where language touches flesh and readers encounter a world worth desiring, even in its ruin.

Chariot Wish is a poet living in New York. They are associate editor at Wonder Books and online editor at Amygdala Journal.

Silkscreen poster for a Soli Punk concert in Berlin, with proceeds going to legal aid for Palestinians and allies against state and police repression. The show took place at KØPI’s Koma F and featured gigs by Zanjeer, Krayat, Teppebombe, and Molbo, with DJ Moppi Gallopi and Rita Riot taking care of the aftershow.

Poster by Stavros Gialamidis, using JT Peleton, Sauber Script, and a yet unidentified sans.

July Type’s typefaces JT Peleton and JT Picolo are used for the catalog to the exhibition Repeat after Me II by Open Group, shown in the Polish Pavilion at the 60th International Art Exhibition, Venice Biennale in 2024. See also the previous post about the audiovisual video installation.

The publication was designed by Janek Bersz of Full Metal Jacket and publsihed by Zachęta Narodowa Galeria Sztuki. It’s available in its bookshop in Warsaw and the official bookshops of La Biennale in Giardini and Arsenale. A pdf can be downloaded from the Polish Pavilion’s website. Made with support from the Berliner Künstlerprogramm des DAAD with funds from the German Federal Foreign Office.

Pictures by Jacopo Salvi, Ewa Mielczarek, and Janek Bersz.

July Type’s typeface JT Picolo is used for both Latin and Cyrillic text throughout the exhibition Repeat after Me II by Open Group in the Polish Pavilion at the 60th International Art Exhibition, Venice Biennale. The exhibition, curated by Marta Czyż, runs until 24 November 2024.

Repeat after Me II is an audiovisual video installation created by the Ukrainian collective Open Group (Yuriy Biley, Pavlo Kovach, Anton Varga). Their work is a collective portrait of witnesses of the ongoing war in Ukraine. The videos presented were created in 2022 and 2024. All the protagonists are civilian refugees speaking of the war through the sounds of weapons they remember, then inviting the audience to repeat after them.

The graphic design of the show was handled by Full Metal Jacket Studio.

Pictures by Jacopo Salvi, Ewa Mielczarek and Janek Bersz

Poster and banner for the 2022 graduation show by the Royal Academy of Art ( KABK) in The Hague.