<h1> is a digital magazine made as a student project by Alessandro Nobile, Nicolò Accoto, and Gianmarco Caforio at the Istituto Europeo di Design (IED) in Milan, Italy.

The theme of h1 is Uomo e Macchina (“Man and Machine”). It analyzes the relationship between man and machine by taking into account the most common technological devices (for example: cell phones, tablets and computers). These topics are treated from a real point of view, without considering science fiction ideas, with the aim of making the reader feel a little anguish. The covered topics include Elon Musk, machine learning, Google Home, and artifical intelligence.

The font in use are Space Mono (Colophon Foundry), Mhitrogla (Brando Corradini), Avenir Next (Adrian Frutiger), and Domaine Text (Klim).

Bloodline is a collection of short stories by Ernest J. Gaines. The first edition published by Dial Press in 1968 features a striking typographic jacket design. The title is rendered in bold condensed caps from Matterhorn or similar. The interletter spaces are partly filled in red, in what looks like a visual echo of the preceding letter’s counter shape, yielding a rhythmic pattern of black and red. The author’s name is set in the dignified caps from Bulmer.

The title page is set in Lydian Bold Condensed and Italic.

For the book interior, the body copy in Baskerville is paired with headlines and chapter numbers in Lydian.

Clap magazine cover first issue

Clap magazine is a student project made for the Editorial Design course at Elisava. Clap is a monographic magazine, where the main topic is music and neighboring themes. So every issue is about a topic that can relate to the music in a direct or indirect way. As the identity of the museum has a permanent reference to Catalan culture, and the building is located in Barcelona, the magazine has both international and national content.

The first one talks about music and cinema, and it has some interviews to movies soundtrack authors, film directors, photographic reports about foley effects and instruments viewed from inside, articles about how films are developed following music and so on.

We wanted a cohesive but unique personality for the magazine style, so we continue using the same typography used in the Taral·larà identity, but a more legible one for the articles. Color, photography, and illustration are much more richer than in the identity, because of the possibilities given by the magazine's format and content.

Typotopografie is a magazine series by August Dreesbach Verlag that presents (typo)graphic excursions in various cities: special places, personalities, institutions or exhibitions related to typography, design and the art of printing in urban spaces.

Just in time for the Frankfurt Book Fair 2019, the anniversary edition focuses on the city of Hamburg. Editorial designer and typographer Manuel Kreuzer counts on the appeal of two Typemates releases: the raw Halvar in combination with the expressive Bridge Head and Text.

In a reference to the Hamburg coat of arms, the tenth edition is designed with red as the main colour. Kreuzer gives each section of the 80-pages magazine a new visual impression, introducing the reader to the unique characteristics of the interview partners.

Our type foundry is among the interviewees. Partners Lisa and Nils are closely connected to Hamburg and designed Halvar, adding some local flavour to the typeface selection – even when the typographic star of the publication is Bridge, a design by Mona Franz (based in Munich, approximately 800 km south of Hamburg) that started out as her graduation project for Type and Media in The Hague, Netherlands in 2018.

A fictional tour poster for Young Guv, whose name is set in a pile of glyphs using Jérémy Schneider’s Dida. The lyrics to “Roll With Me” on Guv I are swirling around the guitar and set in Austin News (Paul Barnes, Commercial Type).

Published by the Bauhaus Kooperation Berlin Dessau Weimar, bauhaus now is the official magazine of the Bauhaus centenary 2019.

Brands need design and language to breathe. The magazine bauhaus now shows how we network both with each other. Our designers and editors worked closely on the dramatic staging of stories, formats and visuals from the very first minute of the project. But we didn’t think in trades, we thought in roles.

Designers developed content, editors worked on the bauhaus now look. Together they built up a network of authors and artists who shared our idea of a modern Bauhaus magazine. This becomes visible through the depth of the details: the typography and typesetting reflect the anchor theme in each of the three editions. Despite their individuality, the magazines form one entity in terms of content and visuals. Photography, graphics and journalistic formats don’t steal each other’s show but rather stick up for each other.

The fonts in use are Lab Grotesque by Letters from Sweden as the all over typeface in issue one. For each of the subsequent issues, we added a new headline font. For issue two it is Stadt by Michael Cina and for the third and final issue it is Totentanz by extrabrut.shop. See and read more on Stan Hema’s website.

Issue 1 featuring Lab Grotesque.

Issue 2 featuring Stadt.

Issue 3 featuring Totentanz.

Akb Architects is the award-winning, internationally acclaimed, Toronto-based architecture studio of Robert Kastelic and Kelly Buffey. Dedicated to the practice and art of building, their quest to capture the poetic and ineffable qualities of space is what drives and focuses the studio’s design process. The work of Akb Architects has been featured in numerous international publications, including Dezeen, Designlines, Atrium Magazine, and The Globe and Mail.

Engaged by Akb, Vanderbrand developed and executed a comprehensive strategy that refocused the studio in a way that would enhance global brand recognition. Repositioning the studio formerly known as Atelier Kastelic Buffey as Akb Architects provided a modern naming solution that would better reflect their capabilities and purpose. The new brand identity and strategy establishes a sense of clarity, and allows for consistency across various platforms and scales; from digital design to environmental signage.

TT Norms is used for the logo; all text on the website is set in Maison Neue.

Urbanlike is a lifestyle magazine focused on urban life and issues in Seoul, published by Urbanbooks since 2013. For every issue, the editorial team chooses a topic that revolves around us in the city life, for example hotels, meals, printed matter, stationery.

Issue 39 is about workplaces where creators like artists, designers, or photographers make something meaningful. In this issue, we used a number of different fonts to reflect the diversity of workplaces. Likewise, the texts and images have a wide spectrum. We chose each font to adequately express the character of the topic.

The issue’s title uses PP Monument. The Urbanlike logo is based on Futura.

The table of contents combines Gopher with Sandoll GothicNeo and Neue Haas Grotesk.

This article features GT Super Display.

Art catalogue for the exhibition Calder. Un inventeur radical / Radical Inventor, the first major Canadian retrospective of Alexander Calder (1898–1976) which was on display at the Montreal Museum of Fine Arts from 21 September 2018 to 24 February 2019.

The book – an award winner at Applied Arts magazine — was designed by Compagnie et cie using Kinetic and Mercury. Published by 5 Continents Editions in two language editions, French and English.

ILIT (illustratore italiano) is the magazine of illustration and Italian illustrators. Published quarterly, it is designed by Filippo La Duca with art direction by MOM Studio.

“ILIT 100” is a special edition produced in cooperation with Winsor & Newton, the manufacturer of fine art products. The topics covered in this issue include travel, arts, print lab, design, food, and more. National is used throughout, in several weights plus italics.

Editorial and graphic design by Helmo studio in Paris (France) for Entorse, an athletic – but not that much – magazine about basketball. The images shown here are from the second issue published in March 2019 (first issue in December 2017).

The big numbers are set in David, a sans-serif font by A is for …, spiced up with the decorative Vroum typeface from Lift Type and Vulf Mono from OH no.

For the typography of Anima, Thom Yorke returns to Radikal, the typeface already used for Tomorrow’s Modern Boxes from 2014. Nootype’s geometric sans again is used in all caps, but this time with upright letters, in bright red. The album comes with art by Dr Tchock (i.e. Thom Yorke) and long-time Radiohead collaborator Stanley Donwood.

Radikal also appears on the poster and in the trailer for the accompanying short musical film directed by Paul Thomas Anderson. While the album cover features the Bold weight, the title in the trailer shows the Black.

The mysterious viral marketing campaign preceding the album/film release paired Radikal with Windsor.

“A beautiful hardback book containing both the lyrics and many strange drawings done in pencil by Stanley Donwood & Dr Tchock. Orange 180 gram double vinyl with an additional 10th track (Ladies & Gentlemen, Thank You For Coming). […] Printed onto Italian Fedrigoni special brown material paper and section sewn, the book is made up with an exposed orange cloth spine and orange gilt edging and finished with bodonian binding.”

“Why can’t we keep our dreams?” This flyer that was handed out on the London Tube.

“Do you have trouble remembering your dreams?” at Tate Modern. From a series of projections on London landmarks.

“Here at ANIMA we’ve built something we call a Dream Camera.” Projection in Sydney, Australia.

“Have you lost your dream?” Anima ads were also plastered across Amsterdam, The Netherlands.

“Hai perso i tuoi sogni?” Italian ad spotted in Milan.

“Você perdeu seus sonhos? Você tem dificuldades em lembrar de sonhos?” Portuguese version spotted in São Paolo, Brazil.

“Just call or text the number and we’ll get your dreams back.”

C series

PaperSizes:

Launched in April 2017, PaperSizes is a side project by UK Designer Rob Lafratta and developer Richard Franklin, who in their spare time wanted to create a tool for themselves and for others who needed quick access to paper sizes.

All type is rendered in two weights from Work Sans, a typeface family designed by Wei Huang and released under the SIL Open Font License in 2015.

This website makes it much easier to find this information than it is elsewhere. The grid, the grotesque font and the ragged-right column compose a reference to the international style, which is apt for such a topic as international weights and measures. The boxes on the top half of the website are unrelated, though, and thus it mixes design languages, and not unsuccessfully.

While in a high-contrast serifed font we might have wished that the larger text be in a larger optical size, evening out the stroke width (at its thinnest), here the bolder appearance of the regular weight at a larger size serves only to aid its display function. The consistency also helps the site seem more “minimalist”, but it does use the bold weight for table headings.

Full page on the A series, showing all the recorded details

B1 paper specific page

Paper size comparison

Full page on US paper, showcasing yellow theme and measurements in points

P3 Canadian paper page, showcasing blue theme and inches measurement

JB4 Japanese paper, showcasing white theme and centimeter measurement

Carolyn Pennypacker Riggs is a Los Angeles-based interdisciplinary artist and composer who creates immersive public rituals with sculpture, video, costume, and collective performance. The core theme of her practice is the conviction that the creation of new mythologies can lead to the deconstruction/devastation of real-life hierarchical structures. These performances often take place at museums and performance spaces including The Broad Contemporary Art Museum, House of the Book, REDCAT (Roy and Edna Disney/CalArts Theater), and The Triforium in Downtown Los Angeles.

The programs for Carolyn Pennypacker Riggs’ performances were designed to serve as a poster on one side, announcing the performance, and a program on the reverse side, listing information such as the names and order of pieces performed, words and lyrics from selected pieces, and credits for performers, costumes, etc. The typesetting of the lyrics follows their performance, for example call and response pieces such as Who Do U Want 2 Love use different widths of text to indicate individual vs chorus lyrics. There in the Inbetween and A Journey That Wasn’t have songs which are sung in a loop so the words are typeset in an oval shape with no beginning and no end. And A Journey That Wasn’t additionally includes backwards text for lyrics which are sung backwards. The programs also include photography from the artist which relate to the specific, such as costumes, masks and sculptures used in the performances.

From Eremenko Visual Communication:

“The Verge is an art project based on documentary photographic materials from the Second World War. After working in various photography archives, I came up with the idea of tracing the lives of individuals during this period. Previously unknown negatives from Soviet and German sources allow us to see the everyday realities of the war from both sides.”

The photographs from the Arthur Bondar Collection are introduced with an English-language text by Arthur Bondar and a Russian/Cyrillic summary (not shown here), all set with various weights of CoFo Sans. It comes in a cardboard case with a screen printed title. More information can be found on a dedicated single page website in an English and a Russian version.

xbyz initiates dance, theater or movie performances in collaboration with young people. The project demands high individual commitment and responsibility. This stimulates will power and curiosity among all participants. Each participant's situation appears in different light and suddenly carries new potential.

Together xbyz and NAMENAME walked the extra mile: from the very founding of the project to defining the brand core to elaborating the project profile and its services. The printed matter shown here combine arrows that seem to be moved by magnetic power, a strong red and black color palette and FF Mark in use for all typography.

"Act For Democracy" is the focus of the 2018 edition of the Forum On European Culture, a biennial event focusing on the strength, impact and value of art and culture for Europe. Amsterdam-based design studio Van Lennep opted for an urgent looking variation on the identity they designed in 2016 for the first edition of the event. Both editions use a (custom?) stencil version of Colophon Foundry's Relative.

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Resistance is not something generally good. It is always just something different and to some extent, alive in architectonic activity. Some- one who creates is always at odds to actuality. It refers to reality so much and just as little, as it is subject to evaluation, which can also be applied to resistance. […] Just like architecture, resistance appears on different levels in various contexts. Between social work and formalism, delusions of grandeur and modesty, participation and autonomy, incest and oblivion, everything is dissolved in an empty spectacle of discourse from which we cannot escape – in its 10th edition, Horizonte attempts to make a connection between the unknown and the unexpected.

The 10th issue of Horizonte Journal for Architectural Discourse (Bauhaus, Weimar), celebrating 5 years of publication has been designed by German studio Happy Little Accidents, who originally designed the very first issue back in 2010. They were helped by Paul Stolle & Robin Weißenborn.

Making the size of the booklet 10% wider, the designers created a new typographical hierarchy and significantly reduced the cover layout. Apart from these formal changes, they chose to deal with the subject of the issue, “Widerstand/Resistance”, by using striking color surfaces and strong contrasts. This is especially visible in the use of Proto Grotesk Bold for headlines and some highlighted text. A peculiarity of this issue are the hidden quotes by well-known architects and intellectuals. The folded pages must first be torn open in order to read them.

This issue has been awarded by a Certificate of Typographic Excellence from the Type Directors Club in 2016. You can read some extracts on Issuu.

“A brand identity and creative direction for Malt Coast a new brewing venture from the North Norfolk coast.”

Polytechnic was approached to design bottle labels for a new beer. The designs pair custom lettering with clean minimal layouts to frame honest, warm and inviting painterly image-making from illustrator Alicia Galer.

Galer’s images are abstact and contemporary-feeling depictions of the brewers’ farmland and surrounding North Norfolk region. Each beer features a different scene, with the idea being to bring the audience up from the coast, closer to the farm and the barns where the beer is brewed with each new product label.

With this in mind, the IPA, the first beer, is a Peter Lanyon inspired ariel shot, establishing the coastline of the Malt Coast from afar, and the next beer, the Pale Ale, is a view at eye level of someone on the sand dunes approaching the beaches. The Amber Ale, which we are working on at present, will go some way to revealing the red-brick farm buildings and brewery from a distance in Galer’s distinctive abstract execution.

The letterforms of the logotype were drawn up from references gathered on a visit to the farm. We found an eclectic range of grotesques in use and out of use, on the farm’s own printed hessian sacks through to vehicles and signage in film footage and photos from the 1950s to the present day. The amount of archived material was staggering and inspiring.

Much of this lettering was carried out by local sign painters, and the resulting neat yet slightly odd feel to this lettering was something we wanted to mimic in the brand’s new letterforms. This old type had a warmth to it which we wanted to emulate.

We drew up bold uppercase grotesque letterforms for the main logo, and the forms of an unusual oblique to be used for the beer names and other supporting logo lock-ups. Neither exist yet as complete character sets but we hope to complete them for use in the future.

For the purposes of the body copy on the labels and elsewhere, we paired cuts of Colophon Foundry’s Basis Grotesque and Yassin Baggar’s Beausite, resulting in a complimentary feel to the main brand lettering.

Project in collaboration with Aaron Skipper. Studio photography by Victoria Siddle with additional brewery photography by Spencer Wilton. See more images on polytechnic.works.

Stills from Norfolk Farming 1953, BFI film archive

Soirée graphique is a series of exhibitions, organised by Komet since 2008 and promoting good graphic design and good photography. The magazine accompanying the Soirée Nº8 documents the artworks of the 2015 exhibition on paper.

Suisse Int’l is part of the Suisse collection, available from Swiss Typefaces.