Identity for the second volume of the Purewal Cup football tournament. This is a neighbourhood event where a team of young people organise a two-day party every year. The “Mondiale del Kebab” comprises a 5vs5 football tournament, a beach volleyball tournament, and many other small activities. The intent is to keep the neighbourhood residents united and proud, all against racism.

Моя любимая страна (Moya lyubimaya strana, “My favorite country”) is a book with collected writings by Elena Kostyuchenko (b. 1987), a Russian journalist and gay rights activist in exile.

The English translation, titled I Love Russia: Reporting from a Lost Country (2023), was named a Best Book of the Year by The New Yorker and TIME. It also was a winner of the Pushkin House Book Prize and a New York Times Book Review Editors’ Choice.

Shown here is the second edition of the original Russian-language version by Meduza from early 2024. The title is set in Solid and Stencil styles of CoFo Kabeltouw, with the word “favorite” replaced by asterisks. The author’s name and “больше чем репортажи” (“more than reports”) are added in Wremena Bold.

Poster for the exhibition The F*room. From MK&G Freiraum (translated):

The open space of the MK&G becomes The F*room – young designers from HAW Hamburg use this place of dialog to position themselves in the discourse with their own intersectional design positions and critical food for thought. Inspired by the current exhibition The F*word – Guerrilla Girls and Feminist Graphic Design, the students have worked on surprisingly personal and yet universal questions: How do I discuss gender issues at the dinner table? How many sexist jokes does the public broadcaster want to air? How do we create space in the archive for a diverse collection? How can we create safe(r) spaces to celebrate? How beautiful can a cycle actually be? How do we ensure productive discord? […]

A project by communication designers from HAW Hamburg in the course “Annoying, too loud, too messy”, supervised by Prof. Heike Grebin and Lea Sievertsen. Funded by the Claussen-Simon-Fonds für Wissenschaft & Hochschule.

Let America Read is a campaign created by CAA Foundation in collaboration with Campaign for Our Shared Future. It raises awareness of 2023 book bans and challenges in schools and public libraries, as they hit an all-time high, including titles such as Margaret Atwood’s The Handmaid’s Tale, Toni Morrison’s Beloved, and The Diary of Anne Frank.

CAA Brand Studio created the campaign identity for Let America Read leveraging the typeface Exposure’s variable (Federico Parra Barrios, 205TF) and ink weights, exploring text-driven visual devices to highlight the importance of diverse literature in equitable education and the caution of censorship.

Cortamambo is an album from the Uruguayan rock group El Cuarteto de Nos, one of my favourite bands, released in 2000. The album cover features a blue background with someone’s boobs in it (the band had that type of humor back then) and a rectangle in inverted colors that has the title, which translates to “Killjoy”.

In the upper part, there’s the band name and the text “4.TETO”, which sounds similar to “cuarteto“ (quartet in Spanish), set in what appears to be italicized caps from Impact. The title is written in Techno, which is a very cool font ngl. If you know Spanish and you like humor, I highly recommend this album. If you don’t know Spanish, I highly recommend this album, too – because of the instrumentals.

The image below shows the censored Argentinian version of the album cover, in which the bar with the negative colors is replaced with a black rectangle – it’s censored for obvious reasons.

[More info on Discogs]

F[2]CKED serves as a platform for expressing frustration arising from life circumstances (the legal problems with international students' spouses integration into a social and economic system in the United States) when there is no other avenue to speak out and shed light on a problem. The zine includes quotes from the research paper titled "How Immigration Law Impacts the Household Life of F-2 Wives in the USA" by Samit Dipon Bordoloi, who is affiliated with the Department of Health and Community Studies at Western Washington University in Bellingham, USA. The zine provides insights through the lens of personal experience.

The grid consists of blocks that have the dimensions of a passport picture, and constraints images and paragraphs sometimes displacing and cropping them, in the same way, formalities and laws restrict the rights of F2 visa holders.

Designed during the intensive typography course at Alkali.Design School and printed by Irrelevant Press.

You can flip through the zine on Issuu.

Plan Libre / PLAN L**** is a magazine produced by the Maison de l’Architecture Occitanie-Pyrénées. Plan Libre was started in 2002 with the aim of disseminating architectural culture and promoting its qualities to a wide audience.

The art direction is assured by Pierre Vanni and the layout is produced by Documents. The new version of the magazine, entitled PLAN L****, was redesigned in 2023 using Modale Antique by Formagari and Affairs by SM Foundry.

KSP Productions is a full service production company that partners with brands and creative teams to produce photography and video content.

Their website uses Marlide Display for titles. It’s paired with Dunbar Text. The script used for the signature is Turbinado. The logotype appears to be custom.

Cute mascots. Saccharine do-gooders. Utopian futures. There’s a huge gap between what sustainable brands promise and the gritty reality of making real impact. Bettr is a B Corp coffee brand that doesn’t shy away from the grit, sweat and tears; its new brand system celebrates the work of doing good in all its messy imperfect glory.

The Bettr style blends a loose-edged illustration style for its characters with a bold unfussed wordmark set in a customised version of Italian Plate No1. The pairing creates a world that’s unfiltered, rough around the edges, and very much a “work-in-progress”. Job Clarendon by David Jonathan Ross was used for the headline typeface to convey the feeling of letterpress posters, which highlight the brand’s social advocacy ethos. Paired with Agipo by Radim Peško for a playful touch.

Source: www.festival-cannes.com © Festival de Cannes. License: All Rights Reserved.

In May 2023, during the twelve days of the 76th edition of the iconic Festival de Cannes, more than 38,000 professionals and festival-goers went up the 24 steps of the “Palais” under the eyes of millions of cinema lovers. For the occasion, the festival launched an updated website and social media presence designed by Paris-based agency Bronx, using TWK Everett by Nolan Paparelli and Tiempos Fine by Kris Sowersby & Noe Blanco.

Source: www.festival-cannes.com © Festival de Cannes. License: All Rights Reserved.

Source: www.festival-cannes.com © Festival de Cannes. License: All Rights Reserved.

Source: www.festival-cannes.com © Festival de Cannes. License: All Rights Reserved.

Source: www.festival-cannes.com © Festival de Cannes. License: All Rights Reserved.

Source: www.festival-cannes.com © Festival de Cannes. License: All Rights Reserved.

Source: www.bronx.fr © Bronx. License: All Rights Reserved.

Source: www.bronx.fr © Bronx. License: All Rights Reserved.

Hole is a gay hook-up app. Indgila Samad Ali and Shuka worked on the identity design and conceptualized the mobile design, using Aeroport by Brownfox.

PPP stands for the Perpetual Peace Project ~2022, which is created and maintained by the Center for Philosophical Technologies and is a part of the School of Arts, Media and Engineering at Arizona State University. Its third edition is an academic/educational response to the Ukraine War, enabling conversations about the concept of peace in different directions with multiple perspectives. It begins from the understanding that for many today “peace” is a poorly defined word that has many meanings in different contexts – defined negatively as the absence of war.

From 2022 onwards, the project will investigate those political and institutional spaces best equipped to forge new practices of peace, especially in addressing current geopolitical conditions that seem to make peace unlikely, if not impossible.

The developed visual identity has its journalistic approach with a minimalistic color palette of grey tones, accompanied by black and white images from the war area. Effects like color inversion, image distortion, overlays, and contrast in the used typography add dramaturgy to the whole. Additionally, the use of a bit of mechanic but plenty of character Approach combined with its fixed width version Approach Mono brings an aseptic voice to the identity.

The PPP logo symbol contains three monospaced letters – where each of them has a separate stem and bowl from the other. This treatment gives a DIY / stencil feel to the sign but also emphasizes the destruction and fragmentation which is happening due to the war. The abbreviated PPP form is accompanied by the text in the monospaced typewriter style adding a rhythm and journalistic vibe to the developed visual system.

The repetitive aspect of the letterforms in the logo, as well as the usage of monospaced typography, allowed us to put the identity in motion and play with the perpetuity of animations or interactions on the project website.

Credits
Project organizers: Gregg Lambert & Adam Nocek
Branding and website design: Gabriela Baka
Website development: Owls Department

The redacted update of Immanuel Kant’s Perpetual Peace combines EB Garamond and Dreaming Outloud Script.

Miel au Carré’s purpose is to “bring bees and humans together”. Beekeepers Vanessa and Claudine offer hive installation, apiary education, as well as honey and related projects from Les Cèdres, Québec.

The brand design is by Montréal-based Studio Couleur Vive, developed together with Simon L’Archevêque. It features a wordmark and other graphic elements based on Snare.

The poster and the jar label additionally use Almarena. On the website, the logo in Snare is combined with Archia for text and Libre Franklin for menu and navigation.

“When I Was a Kid” ft. Ed Roman with shadow effect and a customized i dot. The typeface with the bouncing baseline is part of the Ed Benguiat Font Collection (2004) by House Industries.

“Twas the Night Before Christmas” with Charlie Murphy, ft. Goudy Text (with gradient) and Pabst Oldstyle, two designs by Frederic W. Goudy. The blackletter initial is custom or from an unidentified source.

Remedy Entertainment. License: All Rights Reserved.

Remedy Entertainment’s 2019 game Control takes place in a paranormal building that appears in a 1960s brutalist design – and that seems intent on making sure nothing inside gets much more modern. The game’s designers expertly reinforce that aesthetic with a limited palette of utilitarian typefaces.

Case files, research papers, and correspondence you come across are set in Linotype’s version of Akzidenz-Grotesk, Basic Commercial (the question mark is the tell tale glyph), a style favored by ‘Swiss’ design which became popular in the 1960s.

Remedy Entertainment. License: All Rights Reserved.

Basic Commercial helps convey a sense of plain, matter-of-fact, government bureaucracy.

Remedy Entertainment. License: All Rights Reserved.

The game warns players the interior of the building shifts around; pay attention to green directional signs to avoid getting lost. What better typeface for green wayfinding signs than Interstate, based on the FHWA fonts that saw wider exposure in the 1960s as the Interstate Highway System expanded.

ITC Avant Garde Gothic sees restrained use with its bold weight announcing the entry to major areas, remaining on screen even while action continues, commanding attention. It also pulls double duty, serving as the wordmark, also with restraint; just a single ligature and no alternate letterforms help give it a plain-but-unique style. While the typeface did not appear until the 1970s, its inspiration, Avant Garde magazine’s logotype, had its origins in the 1960s.

The designers even keep the typographic identity consistent in-world, and out, with both UI and HUD elements set in a mix of Interstate and Basic Commercial.

Remedy Entertainment. License: All Rights Reserved.

Wayfinding signs typeset in Interstate

Remedy Entertainment. License: All Rights Reserved.

Remedy Entertainment. License: All Rights Reserved.

ITC Avant Garde Gothic wants you to know where you are

Remedy Entertainment. License: All Rights Reserved.

HUDs keep the design aesthetic consistent with objectives & locations set in Interstate, and supporting information in Basic Commercial

Have a Nice Day was Roxette’s last album of the 20th century. It was recorded at El Cortijo Studios in Marbella and at Polar Studios, Cosmos Studios and Atlantis Studios in Stockholm between January and October 1998.

The album was released worldwide except the U.S.A. where Roxette still did not have a record contract at the time of the album release.

When the album was to be released in the Middle East the cover of the album had to be changed before it could be distributed to the record stores. For religious reasons the naked children had to be removed from the cover and therefore a special edition of the sleeve was made.

Have a Nice Day was released on vinyl in 2019 for the 20th anniversary.

The Roxette logo is hand-made by Karl-Magnus. There is a matching font you can find online, but it’s fanmade, based on the album art.

[More info on Discogs]

In some countries Have a Nice Day was re-released in the fall of 1999, but this time the album included three Spanish songs as bonus tracks. ITC Ziggy was used for the Spanish version of the album.

UAE version without naked kids.

The MD version

Back sleeve. As you can see they've splurged with the fonts here. Salter (a digitization of Perspective), Profil and Vineta. The credits are set in Bosis by Swedish designer Bo Berndal.

The raw, brutally honest, and hilarious voice of comedian Kelsey Darragh is the focal point of this groundbreaking book that anyone struggling with mental health should go pick up right now. For my part, I knew when I first read Don’t F*cking Panic’s manuscript that this book needed to feel like a safe place while also serving as a refuge where you could heartily laugh about your own very real (and often scary) panic attacks, anxiety disorder, or depression. Not easy subjects to tackle but the broad sweep of joy in this book is ever-present. My strategy was to bundle heavy subjects with human-feeling and often goofy illustration. Typographically, we allowed the book to be friendly, punchy, and brash.

From Manifest Group—

To help spread the message about ‘One On Us’ a platform created by craft beer brand Brewgooder for people to donate beer and send a personal message to NHS staff during the coronavirus pandemic, Manifest created a nationwide billboard takeover featuring messages of gratitude and support from generous Brits who had already donated beer to front line workers.

The billboards, which were stationed across the country, featured some of the thousands of messages of appreciation that have been submitted by the public alongside the 24,000 cans of beer donated to NHS workers leading the fight against COVID-19.

In just four days, the campaign garnered over 3,000 pledges of support resulting in over 12,000 donated brews.

James Hughes, head of brand at Brewgooder said: “The core purpose of the campaign was to provide a way for the British public to show love and appreciation to NHS and healthcare workers across the UK.

The genuine messages of support submitted via the campaign by members of the public, which could be seen by thousands of healthcare workers traveling to or from work, hopefully, brightened their day.

Alias Elephant is used throughout. See also Elephant in use for Brewgooder Clean Water Lager project.

As part of the campaign a limited edition One On Us beer was brewed in collaboration with craft beer industry legends Williams Brothers, available exclusively via Flavourly

A collection of “news” stories encountered on the internet by the author during two years living in Dallas, Texas. An unreliable pocket guide to Texas and Texans. Riso printed in two colours on mixed paper stocks, paired with a glossy xerox printed appendix.

Front cover of the double LP

Things Falling Apart is an album with remixes of tracks from Nine Inch Nails’ third studio album The Fragile (1999). Also known as Halo 16, it was released by Trent Reznor’s Nothing Records in cooperation with Interscope Records on November 21, 2000.

The typeface chosen for Things Falling Apart is Index. Designed by Joshua Darden and Timothy Glaser at Scanjam, it had been released through GarageFonts in 1997. Index came in two sans-serif weights, Book and Bold, each with Italic, plus a solitary BookSerif style. The family further included a large number of extras, like small capitals, oldstyle and lining numerals, 49 ligatures, alternate glyphs, special characters like the long s (ſ), a kosher symbol, and an audio rights mark, as well as superior capitals for honorific titles. This was just before the rise of OpenType, and the extras had to be provided in separate “Expert” fonts. Some of the features like the optical sizes for Index BookSerif were still very much a novelty in digital type design. Index won First Place in the Text category of GarageFonts & Macromedia’s “In Search of the Next Big Whatever” International Type Design Competition. The family was discontinued around 2000.

While The Fragile was designed by David Carson, with Rob Sheridan working on the web integration, the design of Things Falling Apart was solely in the hands of Sheridan, who recounts:

We’d spent the last year [1999] working with legendary graphic designer David Carson, who designed The Fragile. I learned so much from the way he approached design. The way Carson shrugged off rules & embraced happy accidents was key to his iconic style, and changed me forever as an artist. It’s because of him that I never felt afraid of doing things the “wrong” way — indeed, doing things the “wrong” way became key to my own signature style.

In regard to the typography, the things that were done the “wrong” way include the exclusive use of lowercase letters, the excessive letterspacing, letterspacing lowercase text in the first place, the omitted word spaces in the band name, and the stacked and (force) justified text on the sticker.

[More info on Discogs]

Back cover of the double LP with track list (uncensored)

CD front cover

CD back cover with track list (uncensored). Of course the numbered list is not aligned to the dot, and has no space before the title.

CD back cover with track list (“starfuckers inc.” is censored with asterisks)

CD with “halo sixteen” in Index

Screenshot from thingsfallingapart.com, a website made to promote the release of the album. Index is here used with its small caps, a feature that was still pretty uncommon for sans-serif typefaces at the time.