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  • Claim the Grand Prize Granshan 2016 by the end of August

    Celebrating typefaces, typography, and communication design that enable communities to develop culture and enterprise with a balance between local, regional, and global environment, GRANSHAN which is regarded as a hub for global visual identity decided to change the structure of its competition in order “to recognize the growing significance of communication within a script / language combination, as well as across multiple scripts”.

    Three new main categories of entries will make the ninth GRANSHAN Competition 2016 more interesting and exciting than ever.

    Calling all entries for Non Latin (created exclusively for Non-Latin scripts with no Latin complements), Non-Latin-Latin (focused on typefaces designed with a specific combination of Non-Latin and a corresponding Latin version) and Multiscript Non-Latin (established for typefaces with at least two Non-Latin complements intended to work combined, without reference to any accompanying Latin) fonts, all type designers from all parts of the world are invited to take part in the competition. Deadline for entries is August 31st 2016. You can find more information (application form, submission rules, etc) at

  • Drop caps are having their moment thanks to Esquire Russia magazine

    The practice of using a large letter to mark the start of a text has been around for almost two thousand years with illustrated caps increasing the usability by marking important passages and guiding readers through the text. Specially designed for the September issue of Esquire Russia magazine, Moscow-based designers Yana Kutyina & Andrey Belonogov drew these initials for the story about the travel by train from Moscow to Nice. You can read this story in Russian here.

  • Bedow’s linear visual identity for Sweden’s leading private bank

    For Perniclas Bedow all started in 2002 when he lost his day job at an advertising agency. Trying to impress Stockholm’s design agencies with a lousy portfolio wasn’t the easiest task and the industry’s neglection was the motive he needed to start his own studio. Since then, Bedow creates communication concepts for a variety of clients. This June Bedow came forward with a new visual identity for Sweden’s leading private bank, Erik Penser Bank. “The assignment includes units such as: logotype, color palette, custom typeface, illustrations, photography, pictograms, stationery & cetera. An ambigram is a phrase, word or symbol that can be interpreted from different perspectives. EPB’s monogram is a symmetric ambigram where EPB reads the same upside down” says the studio. “Erik Text is a custom typeface designed exclusively for Erik Penser Bank. It is a low contrast Antiqua designed for print and screen. The typeface was designed in close collaboration with type designer Íñigo López Vázquez and is complemented by a set of bold, high contrast numbers to be used as a visual element throughout the identity; a set of pictograms are used to illustrate the bank’s products and services. The looped monoline used in the pictograms derives from the monogram”.

    Check Bedow’s impressive line of work here.

  • Achtung typophiles! Berlin is ready for its typographic close-up

    “Show Us Your Type is a project about two things we adore, type and cities” explains the website of this initiative which would like to explore every metropolis through typographic creativity. For this year, Berlin is the city of choice. Through posters of self expressive typography global artists share their own interpretation of the city. The project which started to provide a creative platform for designers to share their talents and explore cities from a different perspective reigns on.

    We present you with Mario De Meyer's, a talented freelance graphic designer based in Ghent/Belgium with a strong focus on typography, but make sure to explore the typographic universe here.

  • A World War 2 tribute with exceptional editorial design

    Ákos Polgárdi is a freelance graphic designer & art director living and working in Budapest, Hungary. “I specialise in editorial design, typography and branding, and have a keen interest in both traditional and digital media” he says on his site and his latest project proves that he does it with boldness.

    “I was commissioned to design vol.1 of Carved Names, a two-volume work about a WW2 monument at ELTE university in Budapest” he writes of the bi-lingual volumes that are produced in two versions: edge-painted and edge-chiselled. His version is the white one and “presents the entries submitted to ELTE’s architectural competition for designing the monument, complete with project documentation and plans/illustrations, essays by ELTE students reflecting on the entries, interviews with the designers, a photo documentation of the realized monument, a type specimen of Trefort Grotesk, the monument’s bespoke typeface, as well as the names and basic biographical data of the victims. The names were letterpress-printed on black / white stock, set in 6 pt Trefort Grotesk” he adds.

    Check more of his extensive portfolio here.