Yearbook 2017 for the MMSZK (Művészeti és Művészetelméleti Szakkollégium), the Advanced College of Art and Art Theory in Budapest, Hungary.

The college was formed on students’ initiative at the Hungarian University of Fine Arts, in 2012. Not only to provide help in developing skills and knowledge of outstanding students, but also to provide a platform for interaction between divergent disciplines and a form of collaboration with artistic practices which can reach beyond the courses offered at the university. The college provides a laboratory-like situation for the students, in which knowledge production is experimental, and in which theory and practice mutually support each other.

Edited by Ádám Albert. Designed by Dániel Máté & Marko Mrkobrad (as members of Kötöde), using Messenger (work in progress) and Moholy Sans, both by László Naske.

Gorky Park, Moscow’s most popular outdoor space, turned 90 in 2018. To celebrate this anniversary, a big 7-days festival was organized. The program included lectures, museum tours, sport events, theater performances, a street art biennale, a science day, and more. It concluded with a music festival headlined by Neneh Cherry alongside The Soul Surfers, Luna, and On-The-Go.

The event identity was designed by Arthur Lebsack using Aeroport by Brownfox.

Website.

This book (“The neighborhood we imagined. Cartography of the neighborhood struggle in Sant Marceŀlí”) is a guide through the past and the present of one of the most combative neighborhoods of Valencia. Inspired by the design of social movements, tries to convey the crudity and the strength of the propaganda made with low resources.

Design by Carles Rodrigo

Jamaica Street Stores is a restaurant in Bristol. It serves modern, innovative food from locally sourced and sustainable ingredients in a casual, no-nonsense environment.

Alias Anostencil is used for the logotype, supported by Suisse Works and LL Brown for text.

Here at Sourcy we make films, sometimes we even win awards for them. We're a creative filmmaking company based in south London, led by duo Ben and Alexis. We work internationally with creative brands to create content that's as creative as we are... did we mention we're creative? If you’ve got a good idea – we probably want to make a film about it.—Sourcy

Alias AnoStencil is used for headline text, paired with small text set in another typeface from London, Dalton Maag's Aktiv Grotesk.

NOR Specialities supports the development of plantation farmers and helps sustain local communities across Colombia, Guatemala, Nicaragua and Bolivia by way of its range of chocolate, cocoa nibs, roasted coffee beans and cold brew coffee products. NOR trades directly with family farms and producers of its raw ingredients, working with them to develop transparent and sustainable practices.

Danish design studio Re-public worked with NOR to launch the brand into the highly competitive Western market, delivering creative direction and visual identity. This included packaging for coffee beans, chocolate bars and cold brew coffee cans. These are linked by a visual language based around the typographic simplicity, communicative immediacy and character of Agipo’s Bold Condensed weight, typeset in all caps in different sizes and paired with a material language drawn from the vessels and sacks of export.

Read more about this project and other Danish design on BP&O.

This collection of essays on poetry, literature and art by Ferdinand Schmatz and Gerald Bast, designed by studio VIE impressively, and excellently set in Korpus Grotesk and Rural has been honoured as one of Austria's most beautiful books 2016.

Ferdinand Schmatz is a writer from Vienna. We proudly designed his latest collection of essays, called aufSÄTZE!. Our task was to provide space for Schmatz’s thoughts without distraction. Headlines of the articles about poetics, literature, and art each have their own formatting, allowing the typeface to dance and buzz. (by Studio VIE)

Published by De Gruyter in the Edition Angewandte.

Source: www.flickr.com Uploaded to Flickr by Alexis Orloff and tagged with “robur”. License: All Rights Reserved.

Prose (XVIIIe Siècle)

This “anthology of French writers” was compiled under the direction of Léon Adolphe Gauthier-Ferrières (1880–1915) and published in several volumes by Bibliothèque Larousse Éditeur, Paris around 1910.

The cover typography pairs two typefaces by George Auriol (1863–1938): the open Auriol champlevé (1903) and the bold Robur noir (1907).

Source: www.flickr.com Uploaded to Flickr by Alexis Orloff and tagged with “robur”. License: All Rights Reserved.

Prose (XIXe siècle), Tome I (1800–1850)

Source: www.flickr.com Uploaded to Flickr by Alexis Orloff and tagged with “robur”. License: All Rights Reserved.

Prose (XIXe siècle), Tome II (1850–1900)

Source: www.flickr.com Uploaded to Flickr by Alexis Orloff and tagged with “robur”. License: All Rights Reserved.

Poésie (XVIIIe Siècle)

Source: www.ebay.fr License: All Rights Reserved.

Poésie (XIXe siècle). Title page.

A winning entry for Adobe's “Hidden Treasures” design challenge #2: design a poster inspired by the Bauhaus, using (one of) the five Bauhaus-inspired typefaces that were designed by students under guidance of Erik Spiekermann, and released by Adobe to celebrate the 100th birthday of the Bauhaus movement.

Design. Share. Win. It’s your turn to create like a Bauhaus master. Enter one of our design challenges using the restored fonts in your own work. A selection of the best submissions will be featured in an exclusive exhibition at the Bauhaus in Dessau, Germany.

This design, titled “Hommage à Hidetaka Yamasaki” managed to convince the jury and won the poster challenge. Hidetaka Yamasaki is the designer of the CarlMarx typeface that is used for the poster.

Soil 2017 is a book published by Slow Money, a non-profit dedicated to catalyzing the flow of capital to local food systems. This book serves as a wide-ranging, often irreverent reference on the topic of nurture capital, from global economics to microbes in local soil. We worked closely with author and Slow Money founder Woody Tasch, to create a book that reflects its sustainability-focused contents.

The optical sizes available in GT Sectra (Text, Display and Fine) were all used extensively in this book. Robinson was used for sidenotes and captions.

Soil 2017 uses various weights of Neenah Conservation, a beautiful line of paper that’s 100% postconsumer recycled. Conservation is also exceptionally economical, making it a great choice for projects with limited budgets. We were thrilled that the book’s writing, editing, design, print production, and binding all took place within a five mile radius. Not only is this hyper-local approach analogous to the book’s core proposition, it results in a markedly reduced environmental impact since, typically, a significant portion of a book’s carbon footprint comes from transportation emissions.

OK-RM:

Commissioned by the British Council; an international touring exhibition that illustrates how innovative contemporary architecture is enabling scientists to live and work in one of the most extreme environments on our planet.

Exhibition design in collaboration with We Made That.

Maratho 26.2 represents the etymology and history of the word “marathon”. The typographic structure is formed from aspects of marathon race conventions; the piece emphasises the relationship between the fennel plant and the history of the running race.

The typography mainly uses Avenir Next since it contains multiple weights which gives the opportunity of a better typographic hierarchy. It was also chosen due to its simplicity and lack of notable details — the clean structure of each letter makes the text appear visually less distracting than if it were typeset with a typeface with intentional decoration. This typeface was also chosen based on the fact that marathon runners mentally pay a lot of attention to their well-being while running, they have to stay focused and avoid distractions in order to finish the race.

For quotes and interview answers, semi-slab typeface Chapparal Pro is used, aiming to attract the reader more due to its subtle detail if compared to the more neutral Avenir Next. It aims to put emphasis on the content since most of the text is sans serif.

Permanent intervention at the piegon tower with the coordinates, as a public signal of the Fond Régional d’Art Contemporain de Lorraine in Metz (France).

The FRAC font was designed by Nik Thoenen in 2003 to create a new signage and thereafter also the corporate design for the Fonds régional d’art contemporain de Lorraine (FRAC). The design of the typeface is based on a 7×7 dot grid inspired by early CAD-fonts, using only capital letters. The lower case letters are laid out with arrows.

The hand painted typography with the coordinates at the pigeon tower and the listing of all artist names of purchased works are permanent interventions with lime paint and will disappear over time. The signage opposes architecture and the patrimonial aspect of the place.

See also this post with posters designed for FRAC 2003–2011.

Permanent intervention at the piegon tower with the listing of all artist names of purchased works. The inscriptions are applied with lime paint and will disappear over time.

Permanent intervention at the piegon tower with the listing of all artist names of purchased works. The inscriptions are applied with lime paint and will disappear over time.

République Studio were chosen to design the new face of France Football magazine, the sports bible for football addicts. They produced all design, creative and art direction: a new logo, new cover principles, a new selection of typefaces and a new layout.

Heritage: A User’s Manual was an exhibition at Southbank Centre’s Archive Studio — a temporary space located within the foyer of the Royal Festival Hall — that took place between the 24th November and 13th December 2016. The exhibition was curated by MA Culture, Criticism and Curation students from London art school Central Saint Martins and “was founded on the belief that the heritage of a building is characterised by the ever-changing contributions of its community.”

The London office of international graphic design studio Bond developed a visual identity for the exhibition that would create a unifying visual story for the different eras it covered. Drawing on the archival material and architectural components that were the basis of the exhibition, Bond created an typographical visual identity, based around MuirMcNeil’s Cut, that is utilitarian, structural and of two different historical periods in its stencil cut qualities and lettershapes. This, alongside bright colour, warm greys and material quality, links programme, information packs and single sheets.

Read more about this project on BP&O.

AKU:

The exhibition concentrates on the later part of Estonian farm architecture (from mid-19th to mid-20th century. A revival of an early 20th century grotesk was therefor chosen as the text typeface and a modern, slightly robust serif as the headline font. The bold typography complements the minimal white structures resembling the shape of a farm house.

Exhibition design: KAMP Architects
Exhibition photos: Terje Ugandi