Kessler has been put to exquisite use for Flora Synthetica, a book that showcases 32 artificial flowers. Conceived by Julie Vallon, it was published by H2L2 éditions as the first book in a new series dedicated to artists who work with photography.

For two years now, Julie Vallon has been interested in flowers and their relationship with humans. She explains that the flower is as much an ornamental motif as a symbol of political or religious power, and that poets see in it a metaphor of amorous passion, of life, of the ephemeral. However, she believes that there is no consciousness without imagination. It is in this cultural landscape that Flora Synthetica belongs. The book synthesizes the organic flower and the imaginary it inspires. It presents a herbarium, or rather a botanical codex with its nomenclature, whose taxonomy follows the laws of imagination.

H2L2 éditions combined Vallon’s photographic plates with precise typography in an uncongested layout that references scientific publications from the 19th century. Kessler is used in several styles from its three optical sizes. The cloth cover was designed by Studio Emblemata.

Flora Synthetica comes in a bilingual edition (French, English) of 500 copies. With an introduction by Inès Hosni (translated by Marie de Villette). 80 pages, 220×300 mm.

Designed for a small exhibition, this catalogue shows artworks by Titina Maselli, an Italian artist who moved her style crossing movements and currents, never turning into abstract, learning from abstraction the power of colours and composition. An abstract sculpture by Flavio Favelli completes the exhibition. The catalogue shows a simple layout in order to enhance the strong impact that artworks have on the page.

From Humboldt Books:

Tel Aviv – Jerusalem Diaries is a book made up of two books. The first is the diary of a journey embarked upon in the spring of 2018 by the artist Keren Cytter and the art critic Antonio Grulli. Destination: Tel Aviv and Jerusalem, the capitals of an exceptional and anomalous country. It’s a diary written in two voices, in which text and imagery together weave a fabric of recollections and reflections that go far beyond the journey. For Keren Cytter, it’s a return to the land where she grew up but where she has not lived for some time; for Antonio Grulli it’s the discovery of places imagined for a long time and which provide the input for a range of considerations on Israel, Europe and art. The second book within the book is the screenplay of the film Des Trous (The Holes), the work that Cytter created during the journey in Israel. The film is closely linked to the artist’s recent life experiences: a mix of autobiography and fiction intertwining detachment and melancholy, contrasting feelings towards that universe of relations that no longer belongs to her in the same way.

The book was designed by Federico Barbon, using Hercules (Storm Type Foundry) throughout. Paperback, 96 pages, 17×23 cm.

Auckland-based studio Seachange has updated the identity of Cazador, a family-run neighbourhood restaurant specializing in wild game.

In 2016, Seachange already designed an award-winning cookbook for Cazador. The font used back then was Zuzana Licko’s Matrix. For the new identity, Seachange followed this lead and again went for a style with triangular serifs, but further bumped up the spikiness.

We created a slightly eccentric, yet classic logotype that alludes to wild game with its antler-esk exaggerated serifs and knife-like chisels. — Seachange

The wordmark is based on Zangezi, a recent reinterpretation of Salem (1901), by Daria Cohen. A preliminary version was released in April 2018 via Future Fonts. Seachange customized some of the letterforms. Most of Zangezi’s already pronounced serifs were further elongated, and the wedge terminals in C and r bent to point inwards. Zangezi is such a wild design, it can easily bear such modifications. However, with the tightened overall spacing including the interlocking d-o-r, the gap created by the za pair now is particularly evident. I wonder if making the bottom of z a bit narrower would have helped here. The other edit I can’t quite get behind is the top terminal of d: The bracketing is not found back in any of the other letters. These are minor quibbles, though – the result is a unique and expressive logo, and the debossed version on the leather-bound menus sure looks mouth-watering.

The custom logotype is paired with Maison Neue (incl. Maison Neue Mono) for print. On the restaurant’s website, Maison Neue’s role is filled by Nimbus Sans.

Master thesis written in the department of Information Design at the Design Academy Eindhoven in 2019.

Analysis of the the relevance of the current given national symbols in Germany, in particular of the viewpoint of young German millennials. German? Expression of Nationhood critically investigates the importance of national identity in todays fluent society. Cross-border practices — the increase of mobility — offer us new possibilities of identification across our own nation/state borders. To convey the criticality, it was important to choose a design that is not typically German, starting with the choice of the used fonts – Serapion (from the Czech Storm Type Foundry) and Suisse Int’l (by Swiss Typefaces).

This change and acceptance towards pluralism can be seen as a a benefit for a part of the society; for others an adaptation to this change is not possible and connected with the rejection of pluralism. This group shows a strongly identification with the given national symbols to promote their idea of national identity, as seen with for instance right-wing populist party Alternative für Deutschland (AfD). As national identity is influenced by acceptance and intolerance, we should ask ourselves if this is a society we would like to represent. We are in need to question national identity and emphasize the changing notion of nation and national identity in today’s post-migrant society that is shaped by fluent offers of identification.

Supervisors: Joost Grootens, Gert Staal, Simon Davies, Vincent Thornhill, Irene Stracuzzi, Noortje Van Eekelen

In times of unprecedented human displacement, human dignity and proper living conditions are not guaranteed for millions of people. Fleeing — no matter for what reason — is a transitional status, a hopeful expectation for a change, withstanding the unbearable for a new live. Za’atari is a refugee camp in Jordan which is now turning little by little into a perpetual home for thousands of people. It is one of the biggest refu­gee camps in the world and one of the biggest cities in Jordan. The visual reader is dealing with the photojournalistic representation of children in the Za’atari Refugee Camp in Jordan. Therefor it is setting the Za’atari Project made by NOOR into context to underline the importance of photojournalism in this area. The second part introduces the NOOR pro­ject and the four photographers being involved and following it up with a stylistic and thematic comparison of the photographers work in Za’atari.

2018; together with Ines Glowania; Supervision: Delphine Bedel, In collaboration with NOOR images, Nina Berman, Andrea Bruce, Alixandra Fazzina and Stanley Greene, Design Academy Eindhoven; Printed on Betty at the American Book Center, Amsterdam

Every year, République Studio are in charge of the new design of the free Parisian cultural magazine Le Bonbon. For this A5 format zine, in 2019, they decided to use two freshly baked fonts: Production Type’s Kessler by Alaric Garnier, and Whyte Inktrap, published by Dinamo. While Kessler is used in almost all the layout (from Super Display for big titles, to Text version for small texts), Whyte (inktrap version) appears in small doses for folio and rubrics. The masthead, set in Underware’s Bello and slightly modified, didn’t change since the creation of the magazine ten years ago.

“Speculating Systems” is the first of a series of publications that will now be published yearly by the Sandberg Instituut Design Department. As a reflection of this year’s Sandberg Instituut Design Department this publication contains the students’ graduation essays as well as the first year students’ column texts.