Huracán Abatido is a personal project born from seasons of hurricanes and the research, introspection, and visual interpretation of the metaphor between natural and emotional phenomena generated during a storm system.

The texts in this publication are quotes and excerpts from literature, music, and emotions; the images and their sequence are also metaphorical.

As this is a publication that deals with intimate and introspective topics, I sought to use fonts with feminine aesthetics and lots of character that at the same time allowed for typographical games where the typography creates images and allows for a fluid reading of the compositions. Sharp Roman Italic was used as the main font for large texts due to the beauty, sinuosity and curvature of its shapes, which emulate the movement of the winds; Droulers and HG Mincho were chosen to highlight texts since their angled ends and curved shapes complemented each other and gave a more daring character to the texts; finally Montagu Slab is used for longer body texts since it is very clear and easy to read.

A single copy of the publication was printed using home printers.

The 2024 graduation catalogue for the Design Academy Eindhoven was created by Pedro Lobo, graphic designer, visual artist, artistic researcher and alumnus of the school. The book was typeset in HAL Timezone with Mono, published by HAL Typefaces. Ronald Smits is responsible for the bookshots.

The DAE website offers a digital archive of their graduation catalogues, dating back to 1966, with scans of many of the older publications available as PDFs.

From the Academy’s Instagram post:

This year’s catalogue, designed by Pedro Lobo, is based on the concept of a Rhizomatic Archive, inspired by the philosophy of Deleuze and Guattari. It serves not only as an archive documenting the range of projects from this year’s graduates but also embraces a non-hierarchical, interconnected structure—inviting readers to explore project connections in any direction.

With 476 pages, the catalogue breaks away from a linear structure. Instead, it offers multiple entry points, uncovering connections between projects through a system based on keywords provided by the students, allowing readers to curate their own experience of the book.

Printed by robstolk® amsterdam on Fedrigoni Paper, the catalogue features an open spine for ease of navigation and includes a two-sided poster as a dust jacket. One side offers an overview of the projects, while the other showcases textures and close-ups inspired by the graduates’ work.

The Kapellenhof is one of the largest wineries in Rheinhessen. The Schätzel family is the fifth generation of the family to successfully run the 18-hectare vineyard. The fascination and enthusiasm can be felt and seen in every move and every decision.

Studio Oeding designed a cuvée series of selected wines and the combination of joy and history that Kapellenhof associates with these wines and grape varieties. The design consists of various components that together capture the viewer’s attention.

The chosen colors are bold and positive, the illustrations are based on editions of previous generations of the Kapellenhof. The third component is humor, which is expressed with entertaining illustrations and unexpected image compositions that make everyone stop at the wine rack.

Dudler is used for nearly all text, except for the blurb which uses Barlow. Photography by Bernd Westphal, illustration by Beto Val.

The Mess front cover. Notice the inner sleeve within the die-cut circle.

From YAGOW:

The Mess takes you on a drive across a desert wasteland in a big old rust bucket of a car — with sunglasses on and your head bobbing to the music of the bumps in the road. YAGOW set a timeless mood that transports you away from the meddles of everyday life and into higher spirits.

Four years after their self-titled debut album, the psychedelic rock trio YAGOW return with The Mess. The album is released through Berlin-based independent label Crazysane Records. The album cover is printed in a combination of PMS neon orange on top of purple hues built up in CMYK. The cardboard stock is coated — matte on the outside, and glossy on the inside.

Like on the artwork for their previous release, the revived Hershey Fonts, a type family with roots just as obscure as the music, appear all over. Frank Grießhammer dug deep and told their story at TypeCon2015 in Denver. The album’s typography combines different fonts:

Yagow’s “logo” is rendered in (Hershey) Italian Gothic, a set of Lombardic caps that A.V. Hershey modeled after Will Bradley’s Missal Initials (ATF, 1904). The album title is set in Simplex Script. Ornaments and the large word mark on the back are set in a customized version of Italian Gothic. The side indicators A and B are set in Complex Script. The track list uses the triple stroke Triplex Roman with initials set in a mixture of Italian and English Gothic (depending on the look). To fit long words on a single line, the O’s of Triplex Roman are swapped for their Italian Gothic counterparty, which are a touch narrower. The two emblems are composed out of various Gothic glyphs. Liner notes and other small information are set in Simplex (single-stroke) and Simplex Script – and there are probably more combinations which I forgot to mention, sorry!

The “special feature” of The Mess is a die-cut circle that acts as a picture frame for the artwork. The uncoated black front cover forms a haptic contrast to the coated innersleeve and the coated inside of the album jacket (which is also printed in 5 colours). A peacock, the new mascot animal of the band, is shown before a Suminagashi background on the innersleeve in a resting position. Once you draw the innersleeve out, the printed inside of the jacket is visible and shows that same bird, but proudly crowing.

It should be noted that the vinyl labels are a part of the Crazysane Records corporate design, developed by Fabian Bremer. The labels are basically the same for all CSR releases and the color is adapted to suit the cover artwork.

Designing The Mess was, once again, a joint project of my dear friend Daniel Fuchs and myself (Manuel). Thank you, Daniel, for being there! And big ups to the band whom we call friends for a decade now. Thank you for letting us do whatever we want, especially letting me fool around with these lovely-yet-slightly-silly fonts.

The Mess front cover and the limited edition “peacock” vinyl color option

The Mess front cover the partially drawn out innersleeve — the crowing bird appears

The Mess back cover with Hershey Fonts typeface combinations, and the black vinyl color option. The vinyl labels use the Crazysane Records template with all text set in a Scangraphic’s Ad Grotesk: a copy of Akzidenz Grotesk.

The Mess, the complete story: cover, innersleeve and “peacock” edition record

The Mess back cover, details

Detail photo of the front cover, showing the contrast between matte and glossy cardboards and 1C (outside) and 5C (inside) printing methods.

Longsleeve shirt released by Mythical Entertainment, web-content company owned by YouTube music and comedy duo Rhett & Link, who gained mainstream fame mostly for their weekday-morning unscripted talk show Good Mythical Morning.

It's been interesting to see them branch out into merchandise not directly related to their content and experiment with more streetwear-style clothing, and it's also been interesting to see more and more typography creep in as it has throughout cutting-edge fashion.

Le Murmure, from Velvetyne, makes a nice appearance here and the word “Mythical” lets it show off its distinctive terminals. The forced variable width applied to the side text (now identified as Syne Extra by the desiger, thanks Caleb!) is … an interesting choice that works a lot better on the R than the W. The small green serif (in which “Creativity Through Curiosity Since” is set) appears to be Avara, another nice Velvetyne pick. Fit lives up to its name and gives this highly neu-grunge design the requisite outlined bold type.

Overall, pretty fun design, and sleeve prints are especially hot right now. I’d love to know where they sourced the central illustration.

The shirt in action, from a recent episode of Good Mythical Morning.

Pretty good bit.

Klabu is club night that has a musical environment where you travel across continents. Where Western electronica comes together with African rhythms and South-American melodies. Where cultures melt together and genre boundaries dissappear

With the use overlaying primal shapes (cut and painted by hand), tribal elements, colour schemes inspired by 1970s vinyl covers and African cloth patterns, and a contrasting mix of the hyper-modern Monument Extended with the more playful Woodland PP, it creates a sense of depth to the identity that Klabu represents musically as well. It visualises the steadfast optimism of world music of the 20th century with a modern touch that blends right in.

We designed and printed a world map based on a butterfly projection, created using only open source data and mainly open source tools. Following the open source spirit, we wrote a do-it-yourself guide with detailed information about the software, and how we used it. The color scheme is nature-inspired but abstracted. The map itself measures two and a half meters from side to side.

Römisch by German Cartographic Design is used in three styles (Regular + Italic, Light Italic) to convey geographic information. National Regular by Klim Type Foundry is used for city labels. The main sources of typographic inspiration were the maps from Swisstopo.

More information about the motivation behind this project can be read in our essay.

Floios jewelry is hand made from sustainable recycled silver. 100% designed by nature.

Call-out poster for Agency2017, the 2017 Australasian Student Architecture Congress (ASAC).

Starting off in the 1960s as a series of informal mass gatherings of students, ASAC has since become an established conference, visiting cities in Australia, New Zealand and Papua New Guinea at least 30 times. Since then it has featured world renowned architects, designers and thinkers including Cedric Price, Buckminster Fuller, Glenn Murcutt, Peggy Deamer, Sarah Wigglesworth and even our 21st Prime Minister Gough Whitlam! This year, for the first time since 1999, the Australasian Student Architecture Congress (ASAC) will be heading back to Sydney between the 28th November to 2nd December.

For more information, visit the Eventbrite page.

YUCA is an independent publication integrating art, photography, culture, and literature. In each issue we're inspired by an alibi that entices us to reflect upon cultural constructs and personal identities through visual and written content.

The second issue of YUCA is inspired by architecture, and places, and the way they constantly give us a spot from which to get a sense of the world that surrounds us. Almost since the beginning of civilization built spaces have surpassed their raison d’etre ––providing shelter–– to respond with astounding sophistication to aesthetic, social, and spiritual purpose. Starting with the simple gesture of drawing a line on a piece of paper the architect masterfully constructs balance between artistic expression and functionality to create places in which we enhance our creativity, strengthen our family ties, learn new ways to appreciate long-known landscapes. These constructions witness our most intimate moments, provide us with the perfect setting for an expression of love, or with the proper conditions to get in touch with the spiritual.

The editorial staff of YUCA might be Spanish speaking, but the magazine has a clear typographic gusto americano. Morris Fuller Benton’s Century Oldstyle proves its worth as a contemporary workhorse, despite its age that surpassed a full century already a decade ago. Layouts are set in justified columns. For the recurring section Behind the Zines, we have a rare sighting of Century Schoolbook Monospace (!), hitting that sweet spot between typewriter and mid-century. The typographic palette is completed by Hoefler’s wooden catalyst Champion Gothic.

Poster.

Poster detail.

Mailer.

Mailer unfolded.

Mailer detail.

Calendar brodside.

Calendar detail.

Judith Schalansky’s self-initiated Atlas der abgelegenen Inseln was published to great acclaim by German publisher mareverlag in 2009. That same year, it was featured in the selection of The Most Beautiful German Books competition. In 2010, the book was picked up by Particular Books (an imprint of the Penguin Group) and gained a huge following the world over amongst map lovers, geography buffs and graphic designers alike.

Schalansky designed the book herself using Alan Dague-Greene’s exquisite MVB Sirenne, whose origin in 18th-century copper-engraved map lettering makes it a very astute choice for such a project.

Detail photo by John Self of Asylum. Note use of optical sizes and various numeral styles (lining and oldstyle, tabular and proportional).

Detail photo by John Self of Asylum.

Sentinel and Gotham.

Starbucks' coffee beans packages are typeface parties. In many cases the basic information is set with Avenir (regular or condensed) or Gotham, leaving room for different expressive typefaces to shine.

ITC Edwardian Script with shaded caps from Franchise Bold. White text (“Dark Roast”) is in Gotham, and “NET WT 16OZ” in Avenir.

Univers Ultra Condensed

More shaded sans serif caps, here from Sullivan. “Antigua” again is in ITC Edwardian Script.

Octogonal caps with Tuscan spurs from Haymaker.

Big gold “R” in Gotham. “ETHIOPIA” is yet unidentified.

“NICARAGUA” is in Tommaso.

Engravers.

Akzidenz-Grotesk Condensed or similar.

Trajan and Miller.

More Tommaso.

More shaded sans serif caps.

Neutraface.

“Roast” is in Engravers Gothic, “Since 1971” in Futura.

The ADI, organizer of the prestigious Delta Awards, was founded in 1960. The first icon was designed by one of the founding members, former president of the ADI, designer of the torch of the 1992 Summer Olympics and winner of the Spanish National Design Prize (1987), André Ricard.

TwoPoints was not just commissioned by the former ADI president Viviana Narotzky to create a new symbol for the new award and a formally coherent visual identity for all three awards, but also a flexible visual system which would make the constant redesign of the symbol for each new edition of the awards unnecessary.

If the symbol for the Delta was based on a 3-fold symmetry and the Medal on a 6-fold symmetry, the new award had to be based on a 12-fold symmetry. Besides the logic of it, it made visually and conceptually a lot of sense to use a dodecagon. It is easy to distinguish from a triangle and hexagon and it reiterates the order in which the awards were created.

But a flexible visual identity is more than just a static symbol. TwoPoints came up with the idea to use the symbols to create a modular typeface based on the shapes of the early Futura. If one pays close attention to the first printed items by the ADI, one recognizes that the most used typeface is Futura. Futura, created by the German Paul Renner, but produced and distributed by the Hartmann family and their foundries Bauersche Gießerei (Frankfurt am Main, Germany, 1837–1972) and Fundición Tipográfica Neufville (Barcelona, Spain, 1885-1995) was highly successful all over the world but especially in Spain. Even today the successor of both foundries, Bauer Types, is based in Barcelona and led by Wolfgang and his daughter Vivian Hartmann.

Viviana Narotzky, former president of the ADI-FAD:

When we decided to work on a new identity for ADI’s awards, we knew we had a complex structure that needed to be unravelled and made visible at the same time. It was quite a challenge: different awards, each with a distinctive history and profile, nestling inside an institution that was, itself, part of a larger whole. And we wanted something that would endure without becoming static.

It was necessary to find a visual way of giving ADI and its awards both flexibility and a very distinctive character. Very early on, it was clear to us that TP had the right approach to tackle this, with their focus on creating dynamic identity systems that have a strong visual footprint.

TP created a set of symbols for the awards that updated existing icons, some of them going back to the 1960s, and created new ones. They brought everything together with a striking typographical treatment and a colour palette that will allow for controlled transformation of a beautiful and strong identity for years to come. We couldn’t be happier with the results.

Client: ADI-FAD
Year: 2015–2016

The Delta symbol played an important role in the visual communication of the award and the institution itself. Until today the symbol has changed little. Rather than redesigning it, an additional, temporary visual identity has been developed for each new edition of the Delta Awards. The old symbol co-existed with the new interpretation. In 1976 a second award, the ADI Medal, was created to reward student work. Initially the symbol used for ADI Medal was a transparent disc. Later the disc received a metallic case, holding the disc. In 2007 the disc was converted into a circle and in 2012 to a hexagon. In 2015 a third award was created, the ADI Culture. The new award focuses on cultural projects, not limited to the industrial production of objects. ADI Culture had no symbol at that point.

Community Jameel annual report designed by The Brand Union in Dubai.

The IKKM (Internationales Kolleg für Kulturtechnikforschung und Medienphilosophie — “International Research Institute for Cultural Techniques and Media Philosophy”) is located at the Bauhaus University in Weimar. The research program “Operative Ontologies” is dedicated to contemporary discourses and questions.

Approach: Transfer of the existing visual appearance into this theoretical framework and creation of corresponding designs for all communication tools and channels — including the website. Key task was the development of a visual leitmotif, which refers and interprets the media philosophical meta discourses “Framing/Sewing”, “Appearing/Disappearing”, “Repeating/Reflecting”.

OK-RM:

Strelka Institute is a pioneering architecture, media and design institute based in the heart of Moscow. At the centre of the visual identity is a grid which acts as a metaphor for public space. It promotes a democratic relationship between the institute, events and people that shape it. Dual language is employed throughout to portray a Russian institute with an international outlook whilst the varied mantra communicates an institute that is continually redefining itself. In application the grid is recognisable, efficient and flexible for the display of multiple levels of content across various formats — from printed materials and digital media to architectural scale signage and publications.
Website development with Studio Scasascia, motion development with Hudson-Powell and signage with 42 Architects.

Party poster for BTW at TPF in London. Bariol Bold only.

Digital Version

A self-initiated art based project—re-purposed for display—inspired by Leif Podhajsky and similar artists.

Physical printed version photographed for portfolio.
~ Sorry about the nip slip ~