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  • 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”.

  • Play. Restart. Repeat. Spanish creatives, atipo® are in for the win

    atipo®, this small multidisciplinary studio set up by Raúl García Del Pomar & Ismael González in the beginning of 2010 is in a playful mode. Their posters collection for Play Restart, “the design event that aims to create dialogue among design professionals and where the word takes precedence over the image” is full of mind bending typographic creations and bold lettering bringing the letterforms into the spotlight in full force.

    Check more here.

  • When holiday cards were a designer’s powerhouse portfolio

    Alexander Tochilovsky, the man who curates the renowned Cooper Union’s Herb Lubalin Center, keeping the legacy of the iconic designer alive shared the institute’s stunning holiday cards collection with WIRED.

    These beautiful artworks created between the 1950s and 1970s by the likes of Paul Rand, Milton Glaser and Louis Silverstein were sent to another designer, Arnold Roston. But it was more than just greetings. “There was no Behance or Dribbble,” Tochilovsky says, so designers often turned to greeting cards. “They’re really a glimpse into what designers think about when they make something personal,” he adds.

    Glaser “fashioned a Christmas tree from the type settings” straight of the catalog of typography company Advertising Composition Inc. and “Swiss designer Walter Marti celebrated the arrival of 1960 by affixing a single line onto colourful circles to denote the year”.

    Check more holiday spirit here.

  • Sawdust’s bespoke type for Conde Nast Traveller is A-Class

    The Houdinis of type are at it —again. Known globally for creating over-the-edge, awe infusing brand identities for numerous premium clients, (NYT, The Coca-Cola Company, Hearst, Conde Nast, ESPN, Nike, Audi, Honda, IBM to name a few), Sawdust aka Jonathan Quainton and Rob Gonzalez have presented their latest offering.
    The bespoke typographic headlines for Condé Nast Traveler magazine, under the creative direction of Caleb Bennett, is without question sleek, as is anything related to the magazine for the globetrotter in the know.

    For more check here.

  • Leeds 2023 bespoke, open source typeface, communicates openness

    Leeds has commissioned a new Leeds 2023 Typeface and Brand Identity to support its bid for the 2023 European Capital of Culture title. Renowned independent brand specialist Lee Goater created the new visual identity and typeface.

    “What appealed to me in the brief was that it was all about creating an identity that belongs to everyone and can work at a community level as well as at an international scale” commented Goater. “The values at the heart of this project made it necessary to at the city with a new outlook. We wanted to create a solution that reflected how we felt about Culture. It needed to be playful, intriguing and somehow even challenging. We wanted to make something that makes you turn your head, pause to figure it out and understand it.”

    With primary shapes and simple geometry, the bespoke logotype and typeface was initially developed to suggest connections between the diverse cultural organizations, communities and audiences involved. The design solution set out to promote intrigue and curiosity leading to understanding and reward.

    Goater collaborated with London-based typography studio Dalton Maag for the bespoke open source fonts. “The basis of the identity is built around a new Typeface for the city and we needed to make sure that it was legible whilst retaining the playful nature of the characters,” said Dalton Maag’s Tom Foley. “We were tasked with taking the conceptual letter forms created for the pitch and developing them into a European language typeface, including language variations and character sets. We’re really happy with the final Typeface which we’ve pushed to retain the intrigue and curiosity whilst making it legible for all groups.”

    The Leeds 2023 Typeface will become an open source font, presenting new opportunities for the bid to connect with a range of different audiences, whilst challenging the city’s design community to craft a new story around Leeds’ cultural offerings. Furthermore it will be used across marketing campaigns from January 2017 onwards to promote the exceptional and diverse cultural city that is, after all, Leeds!

    Countdown to launch here.