Elisa Gyssels developed the visual identity for Connessioni estetiche (Aesthetic Connections), a collective exhibition at Sala San Leonardo in Venice, Italy. This included the design of the identity system, posters, flyers, and wayfinding.

The main challenge was to promote the exhibition without featuring any individual artwork, given the show’s collective format. The identity is built around abstract calligraphic strokes and typographic compositions in Redaction. The color palette draws inspiration from the muted tones of the Venetian Lagoon.

Context Window takes a McLuhan-esque mosaic approach in the form of a visual essay on the ever-expanding role and effects of computers and digital technology on our lives. As our exposure to computers and digital technology has expanded, infiltrating nearly every aspect of human existence, their ability to change our behavior through subconscious cues and otherwise invisible environmental changes should prompt deeper consideration of who these changes ultimately benefit.

On the font choices throughout the book:

Like the books I've designed and produced, Context Window is a creative outlet to utilize a number of my favorite typefaces. Tiempos being an economic and reliable family for long-form text – and especially capable in print. And Nick Sherman's HEX Franklin has become a go-to workhorse but also fitting for its historical ties back to the writing of Marshall McLuhan.

The first printing, a limited edition of 100 copies was printed by Newspaper Club in the UK and includes additional related Risograph prints and other ephemera produced in the heart of Silicon Valley.

Embrace Variety is a zine to be released in several volumes and published occasionally, as new articles appear on the personal blog of Ira Nezhynska.

Every volume will contain guides and design advice useful for anyone building a brand for their own project or for others. These guides range in their advancement from setting the overall direction for a brand to the nitty-gritty, such as explaining typefaces to non-designers.

The first volume saw the world for a beta reading at DWeb Camp 2023. The updated and public version is released on Metalabel in two formats: e-zine and print-at-home French-fold zine files.

Vol. 01 contains three guides about the core and often overlooked aspects of visual branding:

1. What is brand personality and how to discover one?
2. What is your design taboo? Or, a lost-treasure exercise to get your product noticed in a competitive market
3. How to design a North Star, or the most complete guide to brand moodboards

The zine is set in two typefaces, Lunchtype 22 by Stefan Wetterstrand and Lab Mono by Martin Wecke.

The Embrace Variety logo is using glyphs from Sloop Script, Lunchtype 22, Redaction 70, and Saint.

Festa 8 Settembre celebrates the Nativity of Mary, the patron saint of the Italian city of Fusignano. The visual identity of the event was designed by Cobra Studio, using a combination of Authentic Sans and Redaction Italic. Smaller texts additionally use Suisse Int’l for its better readability. The concept behind the design was to celebrate the city's rich traditions while adding a unique and modern touch.

NadineCorp. is an open-source accounting tool created for designers affiliated with the Maison des Artistes, the national body managing the social security system for visual artists in France. In 2020, CRC Studio collaborated with Guillaume Bonneau to design and develop NadineCorp.’s branding, UI, social media presence, and full functionality.

On the website, Helvetica is substituted with Nimbus Sans.

The NadineCorp logo pairs Helvetica with Redaction and kana from Mondwest. The division logos use Cooper BT, M PLUS Rounded, STHupo, Microsoft YaHei and Stick. The social media brand logos additionally use Cooper Black, Eurostile, and ITC Avant Garde Gothic.

The fonts used for the fictional partners and sponsors are not listed under this post’s typeface credits, but they are Frankfurter Highlight. Gill Kayo, Frankfurter, NaN Jaune, and Nympha.

Assorted social media posts. The script fonts featured on some of them are Astenia and Ultra System Script.

Bandersnatch is a graphic interpretation of an interactive episode from the Black Mirror series, in which we follow Stefan, a young developer from the 1980s who is trying to create a game based on a “choose your own adventure” book: Bandersnatch.

To create this book, I focused on gathering all the possible endings from the episode. The inside of the book consists of halftone screenshots and dialogues rewritten in a tone reminiscent of a “choose your own adventure” book.

The Redaction typeface serves as a bridge between the halftone images and the video game featured in the episode.

“States” is the third installment of NOIA magazine.

States are the conceptual and physical constructions of borders – however tenuous – to define ideas and purport control. They are artifices presented as logic, defended as truths, manipulated as oppressions.

From Magculture:

A self-identified ‘open and participatory’ publication, Noia offers a physical space for ‘creatives and thinkers to visually react to the complex problems of our contemporary times, both as individuals and as a society.’ Oh, and the name? It means ‘boredom’ in Italian.

London-based studio They That Do has rebranded Protein Studios, an event space and creative co-working community.

Drawing inspiration from the 90s, the new pixelated identity incorporates the lively F37 Britain Sans typeface, which provides a more dynamic and relaxed feel compared to the polished rigidity of a neo-grotesque font like Helvetica. F37 Britain Sans is used in headlines, paired with Redaction and its pixelated styles, creating a striking contrast while keeping the energetic vibe of the identity.

Main program posters with the names of the first four guests

Posters and booklet created as a student project for the cultural event “Les Rencontres de la Bibliothèque” at the École Duperré Paris.

At this event, visitors can attend presentations of literary and/or philosophical works by their authors, followed by a moment of exchange with the public. “Les Rencontres de la Bibliothèque” is organized by the school’s teaching staff.

Redaction (by Jeremy Mickel and Forest Young) was chosen for the titles because of its pixel-style variation; by playing with its classic style and its pixel style, the idea was to create a deciphering effect, an effect found with the speakers when they explain their theses and ideas to the audience. Area (by Blaze Type) was chosen for its clean, coherent structure, making it an excellent alternative to popular linear fonts.

This proposal was shortlisted but eventually remained unrealized.

Booklet with a short presentation for the first four guests and a map of the event’s placement at École Duperré Paris

Poster variations for each of the first four guests

In a world full of large grotesk fonts and blocky layouts, my portfolio website aims to offer an unconventional mix of fonts that invoke a strong sense of emotion. Throwing out the prejudice of ugly and beautiful allows the artistic combo of typefaces to shine through, complimenting the retro aesthetic.

This website aims to give an impression of “familiar yet not at the same time”, thanks to the nostalgic mockups combined with MCKL’s innovative degradation concept of their Redaction. An unexpected pairing of fonts is attained by adding Söhne from Klim Type Foundry and Self Modern from Bretagne. The typesetting – a mix of all lowercase and all caps – ensures a refreshing impression.

Holise in use for the first ever Other Publishing collaborative zine, titled Vessels: Hands, Summers, and Other Goodbyes.

This zine is a collection of poems, short stories, illustrations, and comics themed around holding, grieving, raging, loss, memory, touch, and how all of these are carried.

Design by Rey Carlson and Rin Kim, with illustrations by Mai-Phuong Bui and Nix Ni. Risograph printed and bound by TXTbooks.

Holise is used alongside DT World Tour, with Redaction 50 Italic for emphasis (see the fourth image). Chinese text uses TW-Sung and Ryumin.

A promotional campaign for Linear, a project management tool for software development. All materials use the various degrading styles of Redaction, designed by MCKL. Redaction also features in the glitchy bitmap illustrations. It’s accompanied by iA Writer Quattro and Inter.

The landing page includes a series of four posters available to download.

Black Campaign School is a year round leadership, political education and strategy program started in 2017. I was approached by BCS in the summer of 2022 to work with the team at Three Point Strategies to revamp the brand identity of Black Campaign School as well as develop the identity for the resurrection of “Black Camp”: a hands-on, immersive camp.

The goal was to create a brand that separated itself from the typical political / Washington DC world. Something that showed intentionality but also screams joy and black excellence. Organizing and campaigning is loud, in your face and direct, therefore I knew that the logo needed to be a reflection of that. After a lot of exploration I found the recently released Artex type family from Optimo and we knew that it fit perfectly. Redaction is used as the secondary typeface.

Upon further exploration we kept stumbling upon the theme of horizon. Knowing that BCS would be hosting Black Camp at Haley Farm for the foreseeable future, we took the prominent and historic library and paired that up with the motif of a new horizon for the logomark.

Cover, brochure and labeling system design for PONJAVA 2, the annual overview exhibition of the best student projects of the Department of Photography, 2022 at the University of Ljubljana, Academy of Fine Arts and Design.

Ponjava is the Slovenian word for “tarpaulin” or “sailcloth/canvas”, and the exhibition is organised as a launch pad for emerging artists from the academy. The brochure presents artworks and descriptions and is ready for the students to bounce off and continue their studies.

The typography uses Redaction in different levels of disintegration.

Students:
Tjaša Bon, Bor Cvetko, Rok Černezel, Tina Dernovšek, Nataša Ilec Kralj, Valerija Intihar, Oskar Kandare, Tine Lisjak, Tilyen Mucik, Eva Nicoletti, Hana Podvršič, Lana Požlep, Markus Röder, Lana Soklič, Kaja Škorjanc, Vita Tušek, Lara Žagar

Mentors:
doc. mag. Emina Djukić, doc. Peter Rauch, izr. prof. Peter Koštrun; Klemen Ilovar, doc. dr. Tomo Stanič, doc. Kristina Rutar

Inspiration Information is a typographical installation designed by the multi-disciplinary designer and type artist Raissa Pardini for Ses12naus in Ibiza. Pardini describes the project as follows:

I was invited to Ibiza by curator Linda Rocco and foundation Ses12Naus in February for an art residency. I've never attended an art residency before but I felt at a point of my carrier where everything was too comfortable so I urged to challenge myself by pushing my creativity to places I’ve never pushed it to before. It was awkward and hard at times but our best work comes out of struggle.

Me and another 8 international artists were invited to work on the presence of the island, exploring Ibiza and take inspiration from the frequencies and magnetism the island offers during the winter. I started thinking about the contrast between its presence in the summer – when tourism is booming – and the winter, when the island offers locals unique smells, stunning views and interesting sounds that lived there for thousands of years and will always be present in Ibiza, no matter what happens in the summer.

I spent weeks recording anything I could pick up in Ibiza. By recording the sound that organically came out of the island I produced a track with Diego Torán that invites people to meditate to the real presence of the Ibiza.

Once the track was done, I produced a big wooden box which I painted completely black inside and tested the sound there. I wanted people to feel very connected with the island and really isolated at the same time. Next step was covering the box and I had the idea of making posters out of some of the sound I recorded and promote them as street posters, looking like they should be from dance clubs in Ibiza.

That way I managed to promote the listening space as a club, tricking tourists and music lovers to come and enjoy the real presence of Ibiza.

I present you (proudly!) my first installation which it was launched in Ibiza through an exhibition on the 6th of March, 2022. This is the first time I combined music and art in the same art piece. I guess I needed to do both separately for a while without rushing.

Inspired by the island and its (real) sound. Also inspired by Futurism, Russolo and ambient artists like John Cage.

Wood, paper, ink, glue, sound, 237×126 cm. The fonts in use include Brass, Sea weed (or probably its digital incarnation named Polly), Euphoria, Crayonette DJR, and a slightly modified Redaction 70 Italic. The typeface made of dots is yet unidentified. [edit: it’s ARK-ES, see comments.]

NOIA is a magazine born in 2021, during lockdowns across the world. As a reaction to that moment in which we were all stuck, NOIA uses boredom as fuel for fostering collaborations and creating novelty. The first issue focuses on the idea of radical actions and creates a discourse around what is the act we, as a society and as individuals need to perform in order
to challenge the status quo and create a real change. The magazine is composed of two parts, one is a curated series of articles, interviews, essays, the other is a collection of diptychs created from the combination of different artworks from different artists.

Album Art Galerie's logo

Album Art Galerie (pronounced gah·luh·ree) is a project directed and curated by Stephen Gombakomba, looking at the importance of album artwork in a musical context. The aim for this is to amplify the role album art plays and appreciating how the artwork can be viewed as it's own artistic entity while appropriating workflows of a physical gallery.

As a curator whose workflow has been limited due to COVID-19 restrictions, I wanted to appropriate elements of a physical gallery to the digital space. With the social media usage increase over the lockdown period through recreational uses such as challenges, motivational quotes and throwback posts I also saw the power social media had through the support for civil and human rights activist groups.

Album artwork is where my love for music and design intersect and as I am involved in both music and graphic design communities I feel I can use this to further not only mine but my peers' knowledge too.

The logo uses Redaction, a typefaces inspired by an art project. On the website, all information is set in Manrope. For images and information, visit Album Art Galerie’s website and Instagram channel.

Audio Guide Tapes is a series of interviews by Album Art Galerie whereby a guest selects five of their favourite album artworks to display in the gallery and guide you through the selections while you view them. The idea is inspired by the audio guides you get at exhibitions and museums and is another element appropriated from the physical galleries to fit within a digital context.

Welcome to the foyer, a place you can enjoy music we are playing from the office.
This will be regularly updated and will feature a wide range of sounds and textures so there’s always going to be something different. Feel free to use this foyer to provide you with a soundtrack while you work or while you scroll through our site space or gallery space on a separate tab.

Phase II was an exhibition curated by Jerome Harris and shown at the Maryland Institute College of Art (MICA) from April 7–21, 2019. The motion graphics for announcing the exhibition online were designed by Will Kuria who currently is completing his BFA in graphic design at the MICA.

Kuria used Redaction, a recently released typeface family designed by Jeremy Mickel, with creative direction by Forest Young. Inspired by The Redaction, an art project by Titus Kaphar and Reginald Dwayne Betts, it comes in seven grades of degradation. The initial Redaction is not unlike Times or Century Schoolbook, but with deep cuts at the joins. Redaction 10 starts to exhibit jagged curves. By the time one reaches Redaction 100, the letterforms have deteriorated into a barely decipherable pile of coarse pixels. From the project website:

As files were faxed, photocopied, and otherwise reproduced, the letterforms became bitmapped, bloated, warped, and were sometimes reduced to near-illegible forms. This particular aspect of variable legibility inspired subsequent experiments for future iterations of the fonts.

The animation playfully mixes Redaction’s roman and italic styles, and switches back and forth between the smooth and the pixellated cuts. The question “Can you name five designers of color?” is overlaid with the names of designers whose work was represented in the show.

Learn more about Redaction and its intent in an interview with Young and Mickel conducted by Rob Giampietro, Director of Design at the MoMA. The Redaction fonts are free for personal use.

From Jerome Harris:

Phase II is an exhibition that showcases the work of contemporary designers of color who are currently active in the field. It isolates a sampling of practitioners working across a variety of industries and shares their work collectively in an effort to circumvent dilution due to a lack of diversity. According to the results of the 2016 design census taken by the AIGA and Google, 7% of designers were Hispanic, 8% were Asian, and 3% were African-American. With so few practicing designers of color in the field, what would design as a whole look like if these numbers matched or exceeded the national percentages for each of these racial groups?

Phase II acts as the contemporary companion exhibition to the historical As, Not For: Dethroning Our Absolutes. The title denotes this exhibition’s direct progression from the last, and borrows its name from one of the artist exhibited in the original show, with permission of course. The two shows both confront patrons with similar questions: Can you name five designers of color? How often are designers of color featured in publications and media outlets that you frequent? In addition, this exhibit acts as a point of entry or familiarity into the design profession for all designers of color through professionals who look like them.

Read more about As, Not For: Dethroning Our Absolutes in Madeleine Morley’s interview with Harris for AIGA Eye on Design. In his talk at Typographics 2019, Harris focused “on the formal hegemony of Modernist typographic tropes, and how this imbalance, in turn, determines the standard by which designers and non-designers alike judge ‘good’ or ‘bad’ work.”

This still shows Redaction 70 for the big type.

Redaction 50 Italic

Redaction 10 Italic