Logo and brand development for Schöne Felder e.V., an association for urban and contemporary art.

On 2,000 square meters, their Haus Schöne Felder in the center of Augsburg, Germany, houses open studios, ateliers, workshops and a shop, providing space for over 35 creative professionals.

The identity was designed by Mara Weyel of MMW Studios – who’s a tenant herself – using Honza Zamojski’s Rubin Sans (Threedotstype) as the main typeface. It’s supported by Matteo Maggi’s Halibut (Collletttivo) and another, yet unidentified serif.

Experiments change our perspective. This experiment serves as a starting point for discussing the role of language and letters. The show HAHAHA / AHAHAH: Practical and Impractical Typographic Exercises show is part of the Bydgoszcz Design Days 2024 that took place at Młyny Rothera.

Through a series of algorithm-generated posters, the show reflects on the evolving nature of language and the interplay between artistic expression, technology, and unpredictability. The posters were created using p5.js and AI and are based on statistical data about various aspects of languages.

The designers and authors of the show (Pola Małaczewska, Marian Misiak & Honza Zamojski) have used all typefaces from the Threedotstype library for the posters, along with an unreleased font.

The exhibition „Mitologia” Jana Parandowskiego i inne mitologie / Jan Parandowski’s “Mythology” and other mythologies at Warsaw’s Adam Mickiewicz Museum of Literature was organized to commemorate the centenary of the publication of this renowned work, which falls in 2024.

Through a collection of oil paintings, graphics, photographs, sculptures, film materials, and unique book editions, including the first edition of Parandowski’s Mythology, the exhibition immerses viewers in the world of ancient perceptions of the universe. The narrative is enriched with quotes from Mythology and works by writers who drew inspiration from classical art, antiquity, and stories from that era.

The set design was designed by Kuba Maria Mazurkiewicz. The designer used Rubin Sans by Threedotstype throughout the exhibition, together with Open Sauce [see comments].

From the website of Italian publisher NERO Editions:

Who is the Middleman? A viewer? An author who mediates between the world of ideas and the material world by creating drawings, sculptures, and texts? A simplified and symbolic puppet that can be moved by various forces?

In his latest book, artist Honza Zamojski makes an illustrative and poetic attempt to describe the Middlemen, their everyday life, and the realities that surround them. The book’s short punchlines mark the rhythm of the Middlemen’s life and their movements in the illustrations, which are wryly reminiscent of Kafka’s fictional world.

Produced by the International Centre of Graphic Arts (MGLC) in Ljubljana and realized on the occasion of the exhibition Middleman (10.3.–28.5.2023), the publication comes with a Middleman cardboard puppet, literally the “hero taken from the book and put aside,” a playful object to be screwed together, assembled, and dealt with, sometimes feeling a bit guilty.

160 pages, 23,4×31,4 cm. ISBN: 978-88-8056-207-8

Ceramics, 78×25×25 cm

A copy of the “OKO” vase, crafted by Malwina Konopacka, was typographically altered by Honza Zamojski using Rubin Sans and auctioned off during the “Spragnieni Piękna” charity event hosted by DESA Unicum in 2018.

From the artinfo.pl website:

OKO is a limited series of ceramic vases by Malwina Konopacka, designed in the style of Polish industrial design from the 1950s and 1960s. The title feature, an eye, appears on each of them in the form of visually emphasized circular indentations.

Inspired by the "OKO" vase, Honza Zamojski composed a short poem. Did he write it? It would be more accurate to say he “composed” it, as the words of the poem were integrated like purely visual elements into the shape of the vase. In this treatment of text, one can discern the tradition of a calligram, a form that was perfected by the surrealist and leading figure of poetic avant-garde, Guillaume Apollinaire.

Rubin Sans has been developed throughout the works of Polish artist Honza Zamojski over several years: in drawings, murals, sculptures and art books. Initially, Honza’s letters had an important feature – they had to be easy to draw with a ruler and draftsman curve. Individual letters and pictograms were created for subsequent artistic projects, while their shapes and proportions evolved during the digitization of the font. Rubin Sans was released with Threedotstype in 2022.

Ceramics, 78×25×25 cm

Trojan Home was Honza Zamojski’s first solo exhibition in the UK, and the first solo exhibition from an international artist for London-based gallery Turf Projects. From their statement:

There was a war. A total war. A chaotic war set in the background. The conflict, whose birth few people still remember, ultimately became a permanent physical value, something like an additional time vector (past – present – future – war) or previously unknown property of a solid figure (height × width × length × war). The presence of war has become so common and mundane that a special button on calculators, cash registers, scales and other computing devices was introduced (laid down in the Decree-Law). This special button included to the result of the given equation the potential and likely consequences of the ongoing conflict. To this day, nobody have succeeded in identifying the names of analysts, who developed the mathematical script.

Rubin Sans has been developed throughout the works of Polish artist Honza Zamojski over several years: in drawings, murals, sculptures and art books. Initially, Honza’s letters had an important feature – they had to be easy to draw with a ruler and draftsman curve. Individual letters and pictograms were created for subsequent artistic projects, while their shapes and proportions evolved during the digitization of the font. Rubin Sans was released with Threedotstype in 2022.