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  • Hello is better than Goodbye! 27 farewell prints to EU before Brexit

    As Britain prepares to leave the EU, Manchester-based illustrator Stanley Chow and designer Dave Sedgwick have joined together to create a unique set of prints, each one designed and illustrated as a celebration of the remaining 27 European Union countries.

    The set of prints were featured originally in the exhibition which was originally launched with Hatch at Electrik Bar in Chorlton on 29th March, the day Britain was supposed to leave the EU.

    “However with the success of the exhibition and that Britain exiting has gone a bit awry, it felt a good idea to take the exhibition out of the suburbs and into the City Centre and keep on expressing the desire to remain in the EU” explain the organizers.

    The exhibition was relaunched on 11th June until September at Hatch's newest family member Electrik Box and they are available to buy here.

    Hello Greece

    Hello Czech Republic

    Hello Germany

    Hello France

    Hello Estonia

    Hello Hungary

    Hello Italy


    Hello Luxembourg

    Hello Poland

  • Typefaces of an era: the zeitgeist of type revealed on Twitter

    It's Monday so this is another #FontSunday fest on Twitter. To mark the Beazley Designs of the Year exhibition Design Museum invited the exhibition’s graphic designers Zak Group, the international design practice that gives shape to contemporary visual culture, to be the guest hosts of this typographic extravaganza.

    This Font Sunday's theme was “zeitgeist” and Zak Group asked from the Twitterverse to post those typefaces which “capture the spirit of our times.”

    From Futura, the typeface that Bauer proclaimed was the typeface of its time and tomorrow ever since 1928, through Neville Brody's The Face of the 80s to Susan Kare's 'Chicago' typeface designed for Apple Macintosh, back in 1983, or Frank Augugliaro's magazine spread for Wired and Pentagram's brand identity for OMNY Twitter exploded with a variety of typographic examples that defines an era.

    Check more “zeitgeist” entries here and do visit Zak Group's typographical display inside the Beazley Designs of the Year exhibition until 9 February 2020. 

    Brand identity and naming for the new contactless fare payment system for the MTA transit networks in NYC by Pentagram and Michael Bierut Via @Dazarbeygui

    The 'Chicago' typeface designed by Susan Kare for Apple Macintosh (in 1983) became an integral part of the Mac interface and Apple's identity for over a decade via

    The Face of the 80s - Neville Brody capturing the zeitgeist via @Birmingham_81

    WIRED magazine spread by @franktheguy via @ArmandoRoqueCcs

    Futura: the typeface that Bauer proclaimed was the typeface of its time and tomorrow. Its popularity proved the advertisements true. This ad from 1928 in NYC via

    Bonus the story of Futura explained by Vox. 

  • A' Design Awards & Competition 2019-2020: Call for Submissions

    “Born out of the desire to underline the best designs and well-designed products” the A' Design Awards & Competition is the world-renowned event which aims to provide graphic designers and all kind of innovators from all design fields with a platform to showcase their work and products to a global audience like no other. In other words the A' Design Awards & Competition is about you. 

    With over 100 design categories to submit your work, the A' Design Award stands out for its exceptional scale and diversity.

    Alongside a category for Printing or Graphic Design, the competition features a variety of categories which are beneficial to those working in the creative industry -including categories for Good Industrial Design Award, Good Architecture Design Award, Good Product Design Award, Good Communication Design Award, Good Service Design Award and Good Fashion Design Award- but please do check all of the categories here as a compass for your registration in this year's tour de force of creativity.

    Enjoying fame, prestige, recognition, credibility, publicity and international awareness the Laureates of the A’ Design Award & Competition are entitled to the Winners’ Pack, which includes displaying in an exhibition, being published in the event's yearbook, potential inclusion in the World Design Rankings and an invitation to the Gala Night.

    The A' Design Award & Competition winners receive an extensive PR campaign, feedback from the highly acclaimed international jury panel of academics, design professionals and press members, inclusion in other magazines and blogs, a winner certificate, and exclusive interview opportunities. Click here to see the full list of benefits.

    As the submission period for the A' Design Award & Competition closes on September 30th we urge you to learn more about this year's event here and be part of the selected few who managed to be part of the winning league.

    Submit your designs here and maybe you will be one of this year's trophy-holders. After the winners are announced on April 15th, 2020, a selection of typography-related winners will be featured in a post on Typeroom. 

    To inspire you these are some of Typeroom's favorite A’ Design Award and Competition winning entries of the past.

    Delhaas C19 Style Imaging by Ingmar Swalue Photography

    Fluxus Poster Design For MoMa Fluxus by Qingru Joy Wu

    Moon Two Tactile Font by Kegan Greenfield

    Nike Studio Beijing Retail Pop-up by Coordination Asia

    Daily Headlines Publication by Hui Chen Ou Yang

    Anti-Glitch Foundation Corporate Identity by Papanapa

    1000TON Typeface by Chenglong Tao

    Chinese Concept Font Chinese character image, Font aesthetics by Wu Xuandong

    Ink stone by ray zhu

    Alphabet Experimental Exploration, Design, Logo, Letterforms by Julien Perraudin

  • ATypI Tokyo 2019: two must-see presentations to watch online

    As ATypI Tokyo 2019 has started posting their recent talks on YouTube Typeroom recommends checking out the knowledge online with these two videosSebastien Morlighem's “The Sans Serif in France: The Early Years (1834–44)” and Jo De Baerdemaeker's “Ferdinand Theinhardt’s Legacy in Tibetan” presentations. 

    In the first video, Sébastien Morlighem examines the situation of “type making” in parallel with other ways of designing letters and provides insight into the evolution of the French typefounding market. 

    Sans serif types began to spread in England in the early 1830s and later became popular on the European continent.

    Their introduction and development in France remain only minimally researched and documented to this day.

    Although the first French sans serif types such as the 'Lettres sans traits' (Marcellin-Legrand, Plassan et Comp. foundry) were influenced by British models, several original designs blossomed and swiftly stood out in this manifold genre soon to be named 'Antiques.'

    This presentation represents the initial fruits of a long-distance investigation. It aims to introduce the audience to the slow but undeniable breakthrough of the sans serif in a lively and transformative era, one characterized not only by technological innovations and an explosion of information, but also by the rise of Romantic literature and arts and the growth and diversification of the publishing trade.

    Sébastien Morlighem draws on a wide range of little-known documents found in public and private collections, showing typefaces in use in journals, books, posters, and jobbing printing, as well as surprising letterforms pervading engraving, lithography, and sign painting” notes ATypI. 

    In the second Jo De Baerdemaeker reminds us of the pivotal role Berlin-based punchcutter and typefounder Ferdinand Theinhardt (1820–1906) played in printing works in characters for Tibetan and other writing systems of the world

    “Theinhardt’s Tibetisch can be regarded as a faithful interpretation, and most successful representation, of the Tibetan U-chan script in metal type.

    From the moment it was created —around 1880—this specific font was met with great approval, was distributed to international printing houses and type foundries, and appeared in publications all over the world.

    It became the standard typeface for printing Tibetan texts, and (in)directly influenced other type foundries and printers, up to the advent of the personal computer.

    This talk offers a unique view on Ferdinand Theinhardt's creativity and entrepreneurship: how his Tibetan typeface emerged in the multiscript printing practices of nineteenth-century Europe, and how its typographic qualities remain relevant for contemporary Tibetan font design” notes ATypI

    Both presentations are available thanks to ATypI's video initiative with Google.

  • Brand Impact Awards 2019: Superunion wins big in this year's projects

    Brought to you by Computer Arts and Creative Bloq, the Brand Impact Awards is an international competition to reward the best branding design from around the world. 

    Branding is judged according to market sector, with categories ranging from culture and not-for-profit to technology, entertainment, and finance.

    The winners of this year's Brand Impact Awards 2019 are revealed and typography is winning big with many projects being filled with letterforms of beauty in innovative ways of use. 

    “As ever, the bar was set high by the discerning judging panel, who whittled down a record number of almost 200 entries – leaving 55 projects by 27 different agencies” notes Creative Bloq. 

    “The Brand Impact Awards are judged on the following criteria: a compelling, appropriate idea; beautiful, consistent execution; and work that stands head and shoulders above its market sector.”

    Here we present you some of our favorite projects where typography means business. 

    Best of Show: BBC Two by Superunion

    Best of Show is the highest accolade at the Brand Impact Awards, picked by the judging panel from a shortlist of three category winners.

    For a second year running, Superunion -the next-generation global brand agency of 750 people in 23 offices and 18 countries got in 12 Brand Impact Awards shortlists this year only- received the ultimate trophy at this year's BIA with BBC Two's massive rebranding.


    Brand Impact Awards 2019: Winners

    The following 11 projects all received at least one winning trophy at the Brand Impact Awards 2019

    01. Petit Pli by NB Studio

    02. Anna by NB Studio

    03. No Fuss Fundraising by Bond & Coyne

    04. Equal Justice Initiative by Turner Duckworth

    05. by Texture

    06. Alphaputt by Sennep

    07. Creative Discomforts by Taxi Studio

    08. ESL by Superunion 

    09. The Fife Arms by Here Design

    10. The Surrey Copper Distillery by Nude Brand Creation

    Brand Impact Awards 2019: Highly commended

    The following 23 projects received highly commended trophies on the night...

    01. McDonald's by Turner Duckworth

    02. Mandela and Me by B&W Studio

    03. London Symphony Orchestra 2019/20 by Superunion

    04. All 4 by DixonBaxi

    05. Kellogg's by Landor

    06. Jacob's by Pearlfisher

    07. Tillamook by Turner Duckworth

    08. Christie Proton Beam Therapy Centre by Music

    09. Parkinson's UK by Texture

    10. Manual by Onwards

    11. Medivet by Turner Duckworth

    12. Amsteldok by VBAT/Superunion

    13. The Great War Centenary by Hat-trick Design

    14. Simple by Here Design

    15. The Drum by NB Studio

    16. FOX Sports Netherlands by DixonBaxi

    17. Wolverhampton Wanderers by SomeOne

    Read more on this project here.

    18. Celebrity Fitness by The Clearing

    19. Brach Hotel by GBH London

    20. The Hangry Duck by Superunion 

    21. Carlsberg by Taxi Studio 

    The winners were revealed at the Ham Yard Hotel, Soho, London on the 11th of September, 2019.

    Read more here.