Flyer for a pasta workshop with cannabic dinner at Dum Dum Studio in Monterrey, Mexico.

In this pasta workshop given by @parolapasta you will learn how to make three different types of fresh pasta without eggs. At the end of the course we will use a portion of the pasta for dinner and the rest you can take home for you to cook.

Lagoon Dining is a restaurant located in Carlton, Australia.

The restaurant logo is set in Production Type’s Signal Compressed, which design studio Never Now chose to customise by squaring off the outer edges of the characters to create high contrast. Information is set in SoLow by Out of The Dark and Neue Haas Grotesk by Christian Schwartz.

It's time to... poster series by Eleonora Bonorva for the Zurich Sustainability Week, an event series organized at the local universities ETH, UZH, PHZH, ZHdK, and ZHAW. More information can be found on the website together with lots of tips on how to reduce waste! Janus Bold is used throughout.

Source: www.jozefsquare.com jozefSquare. License: All Rights Reserved.

Czechoslovak poster for Stunts, also released as The Deadly Game and known in Czech as Povolání kaskadér (“Occupation: stuntman”), an American thriller directed by Mark L. Lester, starring Robert Forster and Fiona Lewis.

The illustration of a stuntman on fire is executed in only three colors, and acquires an almost impressionist quality. It’s the work of Czech painter, graphic artist, and musician Jan Antonín Pacák (1941–2007). For the typography, he used a formula that was popular in Czechoslovak poster design: an attention-grabbing display typeface found in catalogs by Western manufacturers like Letraset, Mecanorma or ITC – here Yagi Link Double – with added monolinear diacritical marks, paired with a straightforward typeface for the smaller bits, here Maršův Grotesk, a domestic design that sits somewhere between Futura and Gill Sans.

Source: www.vinterior.co Vinterior. License: All Rights Reserved.

Detail showing Yagi Link Double’s D, redrawn and filled with red.

Source: www.vinterior.co Vinterior. License: All Rights Reserved.

The second leta.today’s publication is dedicated to the champion of mass housing in Minsk — the M-464 series.

The tension in the layout is an attempt to draw a parallel with the building density of the districts using the M-464 series. The Flicker typeface by Daria Zorkina was chosen to enhance optical illusion in cover composition.

From Novag:

Novag takes farmers into the future: Modern no-tillage seed drills constructed and produced in France ensure greater yields coupled with reduced costs. Our company founders Ramzi and Antoine have strong connections with agriculture. They pursue improvement in all areas, be it innovative technologies or the development of environmental, economical and social excellence. The result is outstanding machinery, unique in terms of quality, reliability and value retention, and which pays off in the long term – for the people who operate it, as well as for the environment around it.

Since 2018, Heine Warnecke Design is responsible for the corporate design of Novag SAS. The primary brand typeface is Ciutadella Slab by Emtype Foundry. It’s supported by Supria Sans by HVD Fonts.

Karloff Negative (Typotheque) and Proxima Nova (Mark Simonson Studio) are used together for Армяне в архитектуре и искусстве XX века (“Armenians in 20th Century Architecture and Art”), a student project made by Narine Faramazyan at Stroganov Moscow State University of Arts and Industry.

From our interview with Narine Faramazyan, designer and author of the book:

Actually, it is not one book, but two that are connected by the back cover so that it is a certain two-volume edition. The first volume is red, about Armenians in 20th century architecture, while the second one is blue, about Armenians in visual art. Together with an orange flyleaf, they get together into Armenian flag.

When I’d made up approximately one quarter of the book, my teachers told me: ‘that’s smart, but something is missing’; they advised me to look at what is offered on type.today. I opened the website, took letters from various typefaces and designed a half-title — it turned out more like a children’s book about the alphabet, than a book on Armenians.

Then I saw Karloff Negative, put it in half-titles and combined it with Proxima Nova which was applied on footnotes and captions. As it turned out, two typefaces worked great together.

At some point, when I had already completed my work on the book, I found out that Karloff was somehow reminiscent of Armenian script. I came across a photo from an Armenian church on Instagram and realised that the Karloff used in quotes and on the book cover was quite similar to that carving. Clearly, there are typefaces especially designed to look like Armenian script, but if I picked such a typeface, it wouldn’t be anything special. While Karloff is not Armenian at all — but when I presented my project, I was asked ‘isn’t this some Armenian typeface?’

Read entire interview on the type.today website.

Diana Kasay, CEO at Readymag, has launched a YouTube channel titled Декрет о where she looks at women’s career possibilities (and impossibilities!) from different angles.

Designer Tanya Egoshina comments on the Decret on project:

I tried Spektra, because I’ve been wanting to do something with a variable font for ages. Eventually, I chose exactly this typeface — it became a good story of various slants and angles as different perspectives.

It was super nice working with the typeface. You get a little bit tired of angling each letter separately, but it is great that you can sculpt each word in a new way — come up with different options.

At first I gathered texts in Illustrator, but then I had to move to Figma so that it would be convenient for our SMM team to make edits. But right now Figma is not very variable-fonts friendly, so each time you have to go through the stage of pain, processing the letter using a plug-in.

Read the entire article on the type.today website.

Seven RCS/Realtron brochure covers.

The Realtron, produced by Realtors Computer Service in 1967, was a system for storing, updating, and retrieving real estate listings over the phone. These brochures were printed in 1969. The RCS/Realtron logo is set in Gemini Computer, which must have been the typographic equivalent of high tech in the late 1960s.

Learn more from Travis Rosenbaum who acquired a Realtron device and fully restored it in 2021.

Interior spread from RCS/Realtron Printing Terminal brochure.

Back cover of RCS/Realtron Personal Computer Terminal brochure.

Nameplate on the Realtron terminal.

The Black School is an “experimental art school teaching radical black history”. Founded by Joseph Cuillier III and Shani Peters, this multifaceted school is building a community center, hosting festivals, running workshops, and more — all with the goal of creating agents of change. The founders are responsible for the org’s look, with help from Mitchell Reese Johnson and web designer Kacy George. Generously spaced ITC Honda serves as the brand's wordmark and headline type, balanced with Poppins for body copy. These two work well together to create a feeling of strength while remaining approachable.

From The Black School website:

The Black School brand identity is inspired by the history of independent community run schools throughout Black history. The visual identity is anchored with the recurring motif of composition notebooks to playfully reference a common experience for American school children. The brand was designed to unify a broad range of activities and initiatives by The Black School.

Ogg Display joins ITC Honda for event flyers.

Poppins serves as a secondary typeface for web buttons and text.

This year’s collections of streetwear brand Goodbois is divided in two designs. The first we introduce is named “Flowerpack”, with a colorful and vintage flower design that is inspired by Finnish brand Marimekko. It resembles vulnerability with the use of flower designs and that even the smallest step can change things in our world. The typeface chosen for the attached slogan is the Italic style from Caxton, which was used before in releases of FW2020.

Included as well in the SS21 Drop of Goodbois the graphic tee and more sporty part of this season, called “World Care”, which comes in green (healthy planet) and purple (global warming planet).

It combines the two styles of the Nostra typeface family. Nostra Stream represents the signature of the world. The bold Nostra Sett is used for the statements of the brand Goodbois over their graphic tees from recent collections. World Care is a big topic for Goodbois who display a great opinion with an urban touch on their shirts.

Photography by Mara Fischer.

Visual identity for Horizonte.cc, a brand for audiovisual creative content.

The identity was based on the idea that to reach the horizon you need to travel or find ways to send your message at a distance, whether by text or a letter. Thinking about the envelope format, we built the brand with a geometric and dynamic grid, also referring to the period of the Brazilian concrete movement. The typography pairs the two disparate styles from Luca Marsano’s Messapia family; Messapia Regular, a wide serif inspired by 19th-century designs, and Messapia Bold, an extended sans serif.

To celebrate Women's History Month 2020, the Women Make History campaign by GovLoop celebrates women who have made history in government in the United States. The typeface used for the slogan is Digitalino, in all caps. Names are set in League Gothic. The “Women” animation features a range of diverse fonts.

See the full project on Behance.

A Japanese cuisine based in Kuwait City, inspired by a dark kitchen concept, Koto is created as a bold and playful restaurant where customers are served a delivery-only experience. For the brand to be appealing, the visual identity had to be developed with an engaging timeless narrative.

Typography is the key foundation for Koto’s identity. The logo – set in GT Maru Mega – is rooted and grounded in urban Japanese aesthetics, and recalls the Japanese pop culture concept kawaii. The secondary Information is typeset in the narrow, rounded Miso; the Japanese texts use PingFang.

Likewise, following the brand’s personality, the logo required an uplifting logomark as well. Ms. Koto is designed after two iconic Japanese pop culture characters in the early 80s. Mariya Takeuchi’s emblematic smiling-album cover encourages a sudden familiar warmth while the happy pink cheeks give a nudge to the anime character Heidi; these attributes tighten the logomark’s brand construction.

One of the biggest challenges nowadays in packaging design is to reduce the waste that it generates. Care packaging is part of the brand’s values; we created a modular system layout for labeling the biodegradable containers and bags to produce a flexible and eco-friendly brand.

Koto is a love letter dedicated to Japan.
ありがと

As described from Marshall’s website:

RE is an augmented reality scavenger activation established to change the narrative of plastic consumption and disposal and evoke a new future for our planet. This project breaks away from the traditional doom and gloom message around plastics. Instead, RE uses a visual language that makes plastics fun to talk about, rewarding to participate in and intriguing to learn about.

Toronto-based photographer and designer AJ Marshall used Everett throughout his thesis project RE. It includes an app and a process book.

Topo Designs is a manufacturer and retailer of outdoor gear, based in Colorado, USA. For their new brand named “The New Outdoor”, they use all-caps Eckmannpsych for the logo. Eckmannpsych is paired with their standard typeface, Gotham Narrow. From Topo Designs:

We see a New Outdoor, one that expands the very definition of being outside. It’s an inclusive place that allows us, regardless of who we are, to be both the outsider and the insider, the novice and the pro. It embraces utility, which allows us to do more with less, and blur the boundaries between life and outdoor. Above all, it approaches sustainability as a way to design life, rather than an isolated initiative or short-term fix.

The HKU Architecture Degree Show 2021 exhibition was held in the University of Hong Kong Knowles Building Architectural Studios from early June to early July 2021. Happening in the era with shifting paradigms and uncertainties in the city, the key visual for the series of events, including Final Review, Public Review and Degree Show, carries the theme “In the making”.

Commonly applied in architectural studies and presentations, the visual presence of modeling foam blocks serves as an idiosyncrasy of the graduation showcase of architecture students. The rough texture, vibrant colors and unpolished look perfectly reflect the creativity, authenticity and honesty shown in the final works of the graduates. The shapes of the foam blocks seen on the visuals are related to the topics studied and discussed in their final works, including robotic architecture, collective housing in Hong Kong, the influence of social circumstances to architecture in Hong Kong, etc., these blocks are virtually stretched, twisted and stacked in various ways to generate relatable yet surreal imagery to give a quirky but exciting vision to the unknown future awaiting.

English text is set in Swear, paired with Obviously, both by OH no Type Co. Chinese text is set in GenRyu Mincho, a free font family by ButTaiwan, derived from Source Han Serif.

Beatrice Display and Favorit in use for a participatory workshop session exploring material futures at Finsbury Park, London, UK. Participants were invited to fold their own banana leaf tableware, commonly found in South East Asia, which was then used to serve them a series of Indonesian dishes. By manipulating a UV printer, information regarding the plant is printed onto fresh banana leaves to be used as material for the workshop. Similarly, the contrasting strokes of Beatrice highlights the mechanical precision of the UV printer and delicate nature of banana leaf as a material.

Future Folds is a graduation project by Chiquita Kusumahadi while at Central Saint Martins (BA Graphic Communication Design). The project looks at how materials from the past can be used to design for the future, at the same time encouraging discourse between individuals about our relationship with food. Future Folds was nominated for the LVMH Maison/0 Green Trail Award (2019) and featured in ‘Further Reading Print No.2: Boundaries’ (2020).

Kunsthal Extra City found its new location in a former Dominican monastery in the city centre of Antwerp, Belgium. It transformed the space into an inspiring exhibition space for contemporary art, a place to reflect on the city and our changing society. In their search for meaning, Extra City dares to make radical choices, guided by a deliberately open-minded – even slightly naive – attitude. The graphic identity embraces that attitude, in trying to build a meaningful relationship with the location and Extra City’s past. Settling down in a deconsecrated church also means that you will have to answer to the questions: how can you build exhibitions within this specific setting? How can you go all out with losing respect for the location itself? These questions translated into remarkable exhibitions and a fitting graphic identity.

The scope of the project overspend all sorts of logical, and illogical, applications: a logo, typefaces, colour scheme, printed matter, a new website, entrance stickers, signage, gadgets … The very specific location of the new Kunsthal was the starting point for the graphic approach. From the floor tiles to the windows with coloured glass, a square/hatch is present. This quickly became a structural element which could be manipulated to fit several supports. It’s a carrier of the word “Extra City” in the logo but can also become a grid for the constructions that form the permanent signage. (For this we used a metal roster that is often seen in Belgian churches, carrying the typical communal wooden crosses youngster leave behind.) The entrance desk of the museum was designed by the Brussels based Rotor, using leftover scraps from a previous exhibition at MuZee in Ostend. Circularity and Extra City’s nomadic existence go hand in hand.

The fresco above the former churches entrance gates could not be touched so we put a floating hatch in neon just inches above the tableau, mimicking both the Basilica of Koekelberg’s red neon cross and/or local night show signage systems. A nice blend of high and low culture, lighting up the space with losing respect for its past. The x marks the spot.

The main Extra City logo is spelled out in Dinamo’s ABC Synt. The vertical and distinguished feel of the typeface worked when paired with ABC Monument Grotesk: the perfect couple. For the main exhibition, branded Radically Naive/ Naively Radical, a full exhibition guide was put together. The two smaller shows (Periphery and Watermarks, silent traces) each got a leaflet, which nicely folds around the main exhibition guide. The purple for the RN/NR hints again to its religious past and pops out in the streets of Antwerp. Using a limited budget we put together a website design which could be implemented in the backend of the previous site. The same machine, but with a new look. (Sort of like the old winAmp skins.) Studio RGB was responsible for the code.

Poster and event identity for A Smooth Transition Back from Isolation, an event by the electronic music collective Trips at Jazzit Musik Club, Salzburg. For the first time the collective is combining a night of music and dancing with an art exhibition and a podium for talks. The poster was realized in collaboration with Lithuanian 3D artist Lukas Gecevičius (Aetherways).

The central element, the sphere, gives a glimpse on the work that will be shown during the curated exhibition of the art of Lukas Gecevičius in the night of the event. The surrounding layout is purely created using typographic elements and presents all the relevant information to the viewer. Still, it can be perceived as an encrypted message, leaving the viewer curious to find out more. For digital applications the poster has been taken a step further and has been turned into a video with an animated texture moving the shape of the sphere.