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  • DesignAthens on the forefront of the Greek design community

    DesignAthens, (the organization which took over Panorama Design), will hold its third event this January 2017.

    Featuring exhibitions, workshops and numerous professionals that are willing to share their knowledge with many, DesignAthens will present several creative projects of interest, as well as professionals from Greece and abroad showing what their vision is all about.

    “It is an eminently excellent opportunity for the Greek creative community to gather, discuss, be informed and inspired” says DesignAthens.

    More info here.

  • Frame Creative’s custom typeface for KRASS Journal is a rebel’s yell

    Talent obviously runs in the family for Frame Creative Agency. The Adelaide based design studio was founded in mid 2013 by three brothers, who love creating, working with great brands and have a thirst for “cutting-edge visual appeal, intuitive usability and strategic communication in the digital age”, bringing “their complementary skills together to form a new creative agency”. In almost four years time Frame has expanded, it is now a team of 16, with in-house capabilities in strategy development, design & creative communications, digital production, web & mobile app development, photography, interior architecture and print production and they are more than ready to continue their visual language with partnerships that speak volumes.

    The visually and culturally radical magazine from Australia, KRASS Journal is a biannual title that focuses on politics, philosophy, art and literature. Last year the second issue featured Noam Chomsky, Hans Ulrich Obrist and a lot of stunning typography for a rebellious journal. This year Sanja Grozdanić and co-founder Tess Martin, both journalists that want to spread the message with sturdy fonts, have their third journal which is divided into two parts; on hunger, and love - “the two driving forces of our lives”- adorned with a signature typeface by Frame Creative. Aptly named “SINNER” the custom typeface of this third issue is “brutal and neoclassic referencing historic Germanic, black letter forms, constructed from a strict grid base and system of shapes”. Geometric and bold, the type is the perfect match for an Issue that too is bold.

    With art direction by Simon Pearce (of Frame Creative), the Australia-based KRASS Journal was founded “as an alternative to a mainstream media that, we believe, too often underestimated the intelligence and sophistication of their reader. So many publications underestimate their reader. We hope to do the opposite. We’re writing for the critical, the open, the curious, the defiant.” Hailed as “a linguistic, conceptual and aesthetic triumph” KRASS Journal’s typography is a rebel’s yell. Featuring Abdul Abdullah, Ben McGee, Helen Razer, Ishmael Butler, James Hartley, Julian Klincewicz, Maryam Namazie, Moonasi, Phoebe Collings-James, Raquel Nave, Sanam Sindhi, Saul Williams, Senator Scott Ludlam, Siri Hustvedt and Stanislava Pinchuk (Miso) the Journal’s third issue is available now.

  • Welcome 2017 with 365typo’s second volume of typographic brilliance

    A follow-up to the book’s successful 2015 debut, this second volume of 365typo is an inspiring collection of projects that will intrigue your sensors of creativity. “Throughout the year the editors collected interesting stories that they have recast into a new, exquisite 320-page publication. Inside you’ll find 365 stories contributed by over 80 renowned authors about typography, visual communication, type and graphic design (plus one extra story for the 2016 leap year) from all over the world” say the editors of this amazing tome.

    To improve navigation, the 365 stories in 365typo vol.2 about everyday life with typography and graphic design are divided into 12 chapters, reflecting the main themes in the industry from May2015 – May2016 and guiding readers through the labyrinth of events, trends and ideas.

    Since the editors know how important personal experience is “they have decided to primarily give space to eyewitnesses and stories from those who experienced them first-hand”. Within the pages of this second volume you’ll find essays written by industry leaders, a jury selection of 50 noteworthy typefaces of 2015, the most relevant type and design conferences, competitions and projects, the most interesting new logos and rebranding efforts, new book reviews, as well as a look back on the important people we have recently lost.

    “Not all of the stories could make it into the book. You can find the rest online. A new story is added every day” they say on this ever-growing project which is published in collaboration with Association Typographique Internationale (ATypI). Edited by Linda Kudrnovská this is another way to feel inspired.

    Grab your own copy here.

  • Straight from New York (Times): Best Book Covers of 2016

    Matt Dorfman, the New York Times Book Review art director is entitled to pick 2016’s most impressive book jackets. So he did it for his annual round-up of publications that pushed the envelope with one single cover. Created by newcomers and established graphic designers alike, these are 12 reasons to keep our spirits high for what is to come in the graphic design scene in the publishing industry.

    “These covers are challenging without being impenetrable and playful without being precious — none of which is an easy task for a designer. If good design might lure us into an experience that makes us smarter, then we’ve hit the jackpot when the book allows us to spend time within the head space of a stranger” says Dorfman of this “Best Of 2016 library to own”.


    “The Mothers” by Brit Bennett Designed by Rachel Willey Publisher: Riverhead Books

    “Moonglow” by Michael Chabon Designed by Adalis Martinez Publisher: Harper/HarperCollins Publishers

    “The Bed Moved” by Rebecca Schiff Designed by Janet Hansen Publisher: Knopf

    “Beautiful Gravity” by Martin Hyatt Designed by John Gall Publisher: Antibookclub

    “The Hideous Hidden” by Sylvia Legris Designed by Erik Carter Publisher: New Directions

    “But What If We’re Wrong?” by Chuck Klosterman Designed by Paul Sahre Publisher: Blue Rider Press

    “Against Everything” by Mark Greif Designed by Kelly Blair Publisher: Pantheon

    “The Underground Railroad” by Colson Whitehead Designed by Oliver Munday Publisher: Doubleday

    “Private Novelist” by Nell Zink Designed by Sara Wood, Art by Evgenia Loli Publisher: Ecco

    “Cannibals in Love” by Mike Roberts Designed by Na Kim Publisher: Farrar, Straus and Giroux

    “On Trails” by Robert Moor Designed by Jim Tierney Publisher: Simon & Schuster

    “How to See” by David Salle Designed by Peter Mendelsund Publisher: W. W. Norton & Company

  • Studio Mut’s clean and balanced Museion Prize One catalogue is art

    The Museion Prize One catalogue and website present 4 young up-and-coming artists from Italy, Austria and Switzerland. In the first part of the catalogue, all selected artworks are printed on high-gloss paper stock, the second part comes as a reader, with text in 3 languages (English, Italian, German), and printed on bulk book paper. The website is a companion to the catalogue, further presenting the artists with video interviews and in-depth information about their artistic process.

    To present these up and coming creatives, Museion (the Museum of Contemporary Art in Bolzano Bozen, Italy) collaborated with Studio Mut. The graphic design studio founded by Thomas Kronbichler and Martin Kerschbaumer continues to present simple and powerful solutions, bold aesthetics and surprising outputs across all platforms with their design that will always “strive to keep the balance”.