Designed to bring a new breath to the heart of independent magazines, Gummistrikk is made in the spirit of magazines from the early 1990s. It was born in Milan as a reaction against the superficial glamour, and as a part of the global counterculture movement.

Working with undiscovered, unknown artists, Gummistrikk manages to capture a fashionable world in a way that pushes away superficiality and replaces it with personal expression and quality.

The magazine logo uses Pickle-Standard, with the theme set in Fat Porn. The magazine interior pairs Roobert with two similar-looking serif typefaces: Arachne and Silk Serif.

Gummistrikk magazine is a personal design project and has not been published. See more images on Behance.

From my ongoing series of random artworks inspired by some of my favorite tracks. This self-initiated poster, inspired by “Love Song” by Marcus Worgull, uses caps from Elgoc. The small type is in Aktiv Grotesk.

Rapha Aspects is a community event that features talks and performances hosted by Rapha Clubhouses around the world. Brought together by the bike, Aspects aims to delve deeper into the culture and local community.

The Boulder Clubhouse is excited to extend an open invitation to the first ever Rapha Aspects – a night of performances and presentations. The bike is what brought us together, but this night aims to transcend cycling as we delve deeper into the culture of our vibrant community.

A literal interpretation of the word ‘Aspect’, the flyer’s backside is the front reversed. The large outlined text is BL Arctic by BoulevardLAB. Event details and speaker information is set Suisse Int’l and Suisse Works from Swiss Typefaces..

55'×7' Flyer with alternate colors inspired by the fluorescent color palette of cyclists.

11'×17' Poster

Onefold is a high-end clothing brand in New York that sells recycled cashmere garments for kids. Their approach to fashion challenges the way we think about kid’s clothes and the socialization of gender norms among children. The brand strives to create thoughtful, well-constructed, and long-lasting garments, with timeless and unisex designs that grow with your child.

The graphic solution follows the principle of simplicity, clean editorials and neutral colors, conveying the idea that less can be more. The logotype is in Traviata, with copy set in Canela and Love.

A typographic customization to fit the new single of upcoming Spanish artist Anaju.

The sleeve design features MadeType’s Bon Voyage, with customized glyphs such as the E, S, M and accent marks. It’s paired with calligraphy for the signature and Arial.

A video with the lyrics of the song was also made, featuring most of the typography in its full range.

To deepen and study what the “Museum of 900” is, in order to put the future creative development on a solid basis – that’s the soul of this project, commissioned by the Museo del Novecento in Milan.

At a first glance the reader is invited to cross the geometric threshold of the museum to discover the secrets artistically enclosed in the many graphics and, moreover, to immerse him- or herself in an accurate vision of today's cultural panorama. The artistic matrix underlying the project is recalled in every small detail, from the choice of the font to the selection of different materials and layout methods to make the reading, page after page, more and more captivating.

The typography pairs Avenir (the museum’s identity typeface) with Ogg Display and Black Mamba.

A collection of stories told through the emotional distress of reliving the most intense memories of your past lives.
At last, everyone is shaped by the cruelty of their own reality.

Visuals for math rock band Pvzzles and their first EP Sustancia, which explore across the seven stories, which is possible through a substance a man ingest as a way to escape from reality. Though the spiritual journey he encounters his seven past lives that are represented in each song.

ToY is used for the band name; bigger type uses Grand Slang, and small print uses Baskerville.

The annual report of Kunstverein Kunsthalle Basel gives members an insight into spendings, acquisitions and overall financial management.

The Annual Report 2018 was designed by Barbara Acevedo Strange and Anton Stuckardt. It represents the first use of the G2 Ciao typeface by Gruppo Due.

In the 21st-century, infographics are everywhere. In the classroom, in the newspaper, in government reports, these concise visual representations of complicated information have changed the way we imagine our world. Susan Schulten explores the pioneering work of Emma Willard (1787–1870), a leading feminist educator whose innovative maps of time laid the groundwork for the charts and graphics of today.

This is a web republication of the original essay by Susan Schulten, Professor of History at the University of Denver, and the author of several books on maps and US history.

Curbe by Olga Pankova has been used for title and headings.

Curbe is an expressive display typeface inspired by Soviet 1960s. Technically, there are no historical letterforms—it is more about vibe and style: the script is contemporary, active, broken, dynamic.

Set in Adobe Caslon by Carol Twombly. Mrs Eaves Roman All Petite Caps by Zuzana Licko has been used for captions.

The original essay can be found on Public Domain Review.

Branding by studio ssnn for the second edition of the Antwerp Poster Festival. In collaboration with their type partner Typelab, we could use their vaste amount of experimental fonts. This resulted in the pairing of four fonts throughout the identity: three completely different fonts from Typelab (Serifbabe Alpha, Miu Miu & Slyther) paired with the legible Nuckle by Heavyweight which was part of last year's identity.

Slyther is used in outlined form throughout the branding as a graphical element. It lends the identity its graphical and exciting vibe. Slyther is designed by Floriane Rousselot, the founder of Typelab.

Serifbabe is used for the logotype as well as to highlight certain parts of the text. It feels as the perfect correlation between a classic serif and an experimental font. Serifbabe is designed by Charlotte Rohde, a speaker at the first edition of the Antwerp Poster Festival.

Miu Miu was the perfect bold type to give an extra punch to our identity. With its extended characters it fills up the space without asking for too much attention. Miu Miu was designed by Flavien Minson, a young up and coming designer. At the Antwerp Poster Festival we love to highlight those that don't have their own platform just yet.

These three fonts needed just one last thing to make everything click and found that the neutral look of Nuckle by Filip Matějíček (Heavyweight) brings everything together like glue.

See also this post about the program and crew sweater.

Ciclo is a below-the-line label from Bangkok, inspired by and tributing to nostalgic matters. Their collection showcases limtited editions of clothing, accessories and glassware, produced by Thai artisans, using dead stock materials from Italy.

Label owner and designer Nichada Duangwongsri selected Cosi Times from Nikolas Type for the brand’s iconic and omnipresent logotype while employing Dia from Schick Toikka for texts.

L’ADN Tendances (“Trends”) is an annual magazine that reports on innovation, trends and anticipations. Art direction and editorial design of L’ADN Tendances and N°21 by Violaine & Jérémy. Cover artwork by Daniel Schweizer, set design by Jonathan Bréchignac.

The L'ADN logotype is set in Cako Black. The magazine layout uses Cako, (modified) Druk Condensed, ABC Ginto Nord Black, and GT Pressura Mono for headlines. Body text is set in Stanley and Kobe, with highlights in Canela.

The Body, The Object, The Other exhibition identity and catalogue set, designed by Symrin Chawla who used different styles of Kommune, designed by Verena Gerlach and released by Laïc: Type Foundry. Kommune is paired with a yet unidentified grotesk. [edit: It’s Campaign Grotesk, see comments.]

Craft Contemporary’s second clay biennial (held January 25, 2020 – September 13, 2020 in Los Angeles, USA):

examines contemporary ceramic practices that start with the human figure as the basis for material and conceptual experimentation. The exhibition presents works from twenty-one emerging and established artists who challenge traditional notions of the body, the self, and systems of representation. Works in the exhibition include sculptural objects, site-specific installations, and performative works.

Tatequieto Fest is a digital festival of music, comedy and illustration, broadcast live via Instagram “from the middle of the world”. This poster was designed to promote the closing performance on April 5 by Ecuadorian-Lithuanian DJ and producer Riobamba. The typography pairs the two contrasting styles of Nostra, Sett and Stream.

Fictional poster for science fiction movie Fantastic Planet (René Laloux 1973). The big type is Pilowlava, designed by Jérémy Landes and Anton Moglia, available from Velvetyne Type Foundry.

Poster for the season opening event at Lizdas, featuring Stevie Whisper and Kornél Kovács. Lizdas is a bar and music venue next to the Mykolas Žilinskas Art Gallery in Kaunus, Lithuania.

The typography brings together Cristian Vargas’ Salvaje Display (Coppers and Brasses, 2018), Jérémy Landes’ Digestive (Studio Triple, 2017), Berton Hasebe’s Druk Condensed X Super Italic (Commercial Type, 2014), and a yet unidentified serif typeface [it’s Émilie Rigaud’s Tongari (A is for…, 2017), see comments].