Poster announcing the exhibition When People are Silent Stones Speak by artist duo Lloyd Corporation. The exhibition took place in 2012 at the Green is Gold art space in Copenhagen. Green is Gold was a non-profit artist-run exhibition space in Copenhagen, founded and run from 2011 to 2016 by artists Amalie Blunøe and Ditte Knus.

The poster was designed by GUNMAD using the typeface Separat for the exhibition title and Rather for the information.

MOB House is a luxury long stay hotel in the Les Puces de Saint-Ouen, and a sister company to MOB Hotel.

In collaboration with Or Type, we created a stretching version of their typeface Separat to reflect MOB House's long stay experience. The custom Separat MOB Bold is supported by Neue Haas Unica.

Spirited Away (2002) from Hayao Miyazaki.

Latest issue of French cinema magazine La Septième Obsession with a large focus (62 pages) on the master of Japanese animation, Hayao Miyazaki. It begins with all of his movies decrypted (from Future Boy Conan to The Wind Rises) and features themes of aviation, women, food, creatures, refuges...

For this issue, the atmosphere of Miyazaki and the Japanese theme are featured using various typefaces, such as Le Murmure (available from Velvetyne), Separat (Or Type), 衡山行書 / Kouzan Gyousho (Musashi System), 儷黑 / Li Hei (China Type, DynaComware) and Type Type (Family Type).

Sabon (Monotype) and Ano (Alias) are used throughout for repectively body text and lead paragraphs. The magazine logo is set in Flood (Adobe).

“Hayao Miyazaki” is set in Le Murmure. “Ma – Juin 2020” uses Separat. The tag line on the bottom uses Ano (Alias) and the vertically set Japanese line is Kouzan Gyosho.

“Obsession” is set in Gloss Drop (phospho).

From Frame:

A pioneering survey of leading and emerging global artists, curators and art practitioners on the question: can art aid in conflict resolution and therefore reduce global tensions and human suffering?

Throughout the centuries, art has documented the atrocities of wars, participated in propaganda campaigns, and served as an advocate for peace and social justice around the world. The aim of this project is to explore how art can assist in creating dialogue and bridges across cultures and opposing groups. Over 100 leading and emerging architects, artists, curators, choreographers, composers, and directors of art institutions around the globe explore the potentially constructive role of the arts in conflict resolution. A summarizing chapter maps out the diverse positions and examines the variety of themes and approaches that were brought up.

For the book typography, Noa Schwartz paired Separat (in all caps; for cover, headings, and other display use) with both Landnáma (for text) and the revised Landnáma Nýja (for captions).

Texts by Noam Lemelshtrich Latar, Ornat Lev-er, and Jerry Wind. Published by Frame.

From Eva Gonçalves:

Nansen is a magazine about migrants of all kinds. Each issue focuses on one migrant, honing in on the minutiae of lives lived away from home – moments all migrants can relate to, and many non-migrants too.

As a result, each issue Nansen adopts a new voice and point of view, slightly adapting to better reflect the personality, energy and experiences of the migrant it gives voice to. Each issue makes use of a new typeface, from cover logo to headlines, focusing on the individuality of its interviewee. It is constant exercise in finding the fine balance between completely reinventing itself and staying faithful to its identity.

The main typeface used for issue #2 is Separat. It’s paired with Nantes and Post Grotesk.

On the occasion of the Euro 2016, Toulouse’s archives collected photographs from reporter André Cros to make an exhibition in the public space, near the “fan zone”. The selection shows some highlights of the Toulouse soccer team in the mid 20th century.

Vif designed the graphics as a tribute to soccer graphic codes, such as sporty types and fluo colors.

Scenography: Emmanuelle Sapet. Curator: Pierre Gastou.
Type: Parade by Romain Oudin – Lift Type / Separat by Gunmad – Or Type.

Separat and Stanley are used in the identity for Roth Bar & Grill, part of the Hauser & Wirth gallery in Somerset. From the website of Atelier Dyakova:

The Roth Bar & Grill combines gastronomy with contemporary art, serving honest, simple and seasonal food. The restaurant, designed by Luis Laplace, has at its core a site-specific bar created by long-term friends of Hauser & Wirth, Björn and Oddur Roth, the
son and grandson of the late artist Dieter Roth. The chefs work closely with local farmers, gamekeepers and gardeners, to use entirely local and ethical British produce. A stone’s throw away from the Roth Bar & Grill, there are farms that produce fruit and vegetables and rear free-range livestock. The menu also includes wild birds and responsibly sourced fish that is delivered daily from the south coast shores. The kitchen team cure local
meats as well as making their own preserves, pickles, jams and chutneys. Vegetables, flowers and herbs are also grown in the garden amongst the farmland.

The letterforms of the identity mark echo the wooden beams of the Durslade Farm's roof construction.

Can art bridge across geographies and gaps of knowledge?What connects Sápmi, Surinam and Switzerland? How do Christianity and Vodun intersect? Do Karen Blixen and Fidel Castro share common beliefs? What might seem far removed, share close bonds when we look beyond national and historic divisions.

The publication BAT: Bridging Art + Text, just released by Hurricane Publishing, looks into complex historical and current connections across the globe presenting international artists, scholars, curators and writers in 3 volumes of 800+ pages. The book, curated and edited by Michelle Eistrup, presents contemporary artists born or based in the Caribbean, Africa, Europe and the US creating an insight into aesthetics not often presented in Scandinavia.

The first volume shows connections between art, performance and religion. In the second volume, artists and writers deal with racism as well as the omission of voice and identity. The third volume gathers artists and writers who actively critique history and its influence on present times.

The transfer of cultural and spiritual knowledge from Africa across the Atlantic and further towards Europe show the potential and strength of maintaining a shared cultural heritage. The strength of bridging creates ways of facing racism and prejudice and seeing old and new connections.

Magazine title set in SangBleu Empire, number in SangBleu Courtesan, subtitle in TheW Clan ODB and fine print in Suisse Int’l.

In the third issue of Type Life, Swiss Typefaces take a look beyond their own work and celebrate contemporary type made by others. The Swiss design studio compiled a selection of their favorite typefaces, licensed the fonts and used them to design a magazine. The resulting specimen of “Non-Swiss Typefaces We Like 1569–2018” comes with a text by Florian Hardwig (Fonts In Use) and is visually enriched with works by lettering artist Julien Priez (boogypaper).

Type Life 3 showcases 19 fonts from 19 international foundries: 29Letters, Adobe Type, Commercial Type, CSTM Fonts, Dinamo Typefaces, DSType, Extrabrut.Shop, Future Fonts, Hoefler & Co., Letters From Sweden, Linotype, Milieu Grotesque, Or Type, Production Type, Sharp Type, Sportsfonts.com, The Enschedé Font Foundry, Typotheque, and Velvetyne Typefoundry. The selection is a representative sample for the diversity in type design and gives an illuminating overview of the current scene. While the majority of the fonts was released in the past few years, many draw inspiration from all kinds of sources from previous eras. There is blackletter, script, slab serif, sans serif, and more. This – a stress on newness, historical references, and a vast stylistic plurality – reflects three major trends in today’s typography, as Florian Hardwig points out in his introduction. Other recurring themes that he identifies as being symptomatic for 2018 include highly conceptual projects and a quest for extreme aesthetics. At the same time there are functional fonts designed to solve specific problems. Just like the fonts, the type designers who created them have diverse backgrounds, in terms of geography, or how they entered the field. The represented distribution models range from traditional licensing to subscriptions, free and open-sourced fonts, as well as experimental or even unfinished releases.

Each issue of Type Life features a guest contributor. This time it’s the up-and-coming French lettering artist Julien Priez. A graduate of École Estienne, Paris, he’s a member of the international collective High on Type, best known for organizing the annual festival All Eyes on Type. Priez gives workshops at various schools and is an instructor at the prestigious TypeParis program. His work oscillates between the analog and the digital. Alphabets are first calligraphed, then cut in wood, and eventually digitized. Priez is just as comfortable painting meter-high letters with a triple brush on a wood fence as he is animating ornate pixel letters with kaleidoscopic patterns. Type Life #3 shows a range of his repertoire, starting with a still from his animated Nightmare Alphabet and two of his in-progress fonts Boogyroma and Boogylink on the cover. Mandinor Gothic is used to render the word “KING” on top of a kinetic gesture. The next page answers with “KONG”, in letterforms that pay homage to Jean Midolle’s Alphabet Lapidaire Monstre from 1835. With such historical references and the stunning stylistic versatility, Priez’ work is a perfect fit for the content of this issue.

At a whopping 40 pages, Type Life 3 is the most substantial issue so far. It’s printed in three Pantone spot colors plus silver and black, on two different paper stocks including transparent paper.

“Dream” set in Boogyroma and “Chasers” set in Boogylink, two in-progress typefaces by Julien Priez. Foundry names set in TheW Clan GZA by Swiss Typefaces. The caption that mentions the typefaces is set in Suisse Int’l Condensed.

Essay, set in SangBleu Republic (body text) and Suisse Int’l Mono (streamers, side notes). The green type on the left and at the very top of the right page is KOPYME As Uzual.

Galapagos (Felix Salut, Dinamo) and Xprmntal 01 (CSTM Fonts) visiting each other’s page. Typeface names (top) are in KRSNA. In the margins left and right, the foundry names are set in stacked letters from KOPYME (Swiss Typefaces).

Winner (Sportsfonts.com) × Quarto (Hoefler & Co.)

A pattern of Patron (Milieu Grotesque) with a guest appearance by Vincent (Letraset) is juxtaposed with a collage featuring elements from a Caslon Old Face specimen by H.W. Caslon & Co. from 1924.

On the left, a page from the book Il perfetto Scrittore Di M. Gio. Francesco Cresci, Italy, 16th century. On the right, (raster) pattern tiles are mixed with Frank Adebiaye’s Montchauve (Velvetyne).

Perfil (DSType) and Cardinal (Production Type). Cameo: Magnificat.

Julien Priez’ Mandinor Gothic in combination with his lettering.

Pattern by Julien Priez, printed in fluorescent and metallic ink.

Separat (Gunmad, OR Type) on the left, and Azal (Pascal Zoghbi, 29 Letters) as well as a tag lettering on the right hand.

Times Europa (Linotype) vs. Line (Letters from Sweden), with interventions by Good Vibrations and Block Up (Letraset).

Type that looks like it cannot be moved, and type that looks like it couldn’t sit still for a second: Berton Hasebe’s Styrene (Commercial Type) and Jérémy Landes’ Digestive (Triple Studio).

Thesaurus Display (Typotheque) × Respira Black (Sharp Type)

Feature page with Benoît Brun’s Shakotan (work in progress), printed in neon spot color.

On the left, a selection of A monograms (mostly dating back to the 15th and 16th century) shine through their overlying page with a big silver A set in Bram de Does’ Lexicon No. 2 (The Enschedé Font Foundry).

Pull quote in SangBleu Sunrise, printed in silver metallic ink.

Back cover with a sneak preview of the upcoming KOPYME and SuisseU.

OK-RM:

Commissioned by the British Council; an international touring exhibition that illustrates how innovative contemporary architecture is enabling scientists to live and work in one of the most extreme environments on our planet.

Exhibition design in collaboration with We Made That.

The Cocktail from Zürich proposes a wide range of pre-bottled cocktails. Their minimalist typography uses Or Type’s Separat.

Separat is also used on the website, for headings and text as well as the footer menu.

A newspaper created at the Graphic Design department of the Royal Academy of Fine Arts in Antwerp during my 2nd bachelor year, containing drawings made by the students from different departments, including graphic design, fashion design and jewelry design.

The assignment was to make a newspaper to honor the importance of drawing in art schools. The typeface used in this publication is called Separat, by Or Type.

Poster announcing the exhibition of the Most Beautiful Swiss Books at Kunsthal Charlottenborg, Copenhagen in 2011.

Europarque is one of the main conference centres in Portugal, with more than 20 years experience in hosting and organizing mainly corporate events. It has unique facilities and features.

Bearing in mind its history and intrinsic characteristics it would be unlikely to represent Europarque by means of a single graphic element. Therefore, the brand is represented by the symbol unfolded into four icons: the first one is an array of dots expressing the dynamism and versality of the venue. The second icon, a circular shape, represents centrality and proximity. The horizontal bars as a symbol of of the timeline of its journey, its history and projection for the future. The fourth icon incorporates the metaphorical representation of the sun, symbolizing the surrounding environment, the countless gardens, a lake and a river.

New branding for Redchurch Brewery, an East-London brewery pushing the limits of brewing techniques and flavours.

The identity extends across a wide array of items, including packaging, merchandise and signage. It uses a customised cut of Separat.