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  • Red Dot Award: Beetroot X Thessaloniki International Film Festival win big

    “What a great day for Beetroot!” notes the creative studio of its recent Red Dot Award victories.

    Based in Greece and London, Beetroot has created everything, from type tools for InDesign through election campaign posters and brand identities. Now their collaboration with Thessaloniki International Film Festival has been awarded two Red Dots -and that's not all.

    Beetroot received seven Red Dots, with the TIFF's projects rated as the Best of the Best in their respective categories this year.

    “The Thessaloniki International Film Festival has earned a spot among top film festivals of Europe” notes Beetroot of its 59th Thessaloniki International Film Festival visual identity awarded project that is based on a simple thought.

    “The celebration of the small wonder that is the celluloid. Our main focus was to glorify the camera film, to emphasize its use, to show how this humble and unadorned item holds the essence of filmmaking and storytelling” writes the creative studio.

    “ A roll film holds into its frames countless emotions, stories, real and imaginative worlds which through motion come to life. The posters were flooded with dancing film rolls, unveiling hidden images, celebrating cinema-like festive ribbons.”

    Explore more TIFF posters magic here and here

  • Motion graphics occupy Amsterdam with DEMO Festival till midnight

    Design in motion is taking over Amsterdam. DEMO Festival is finally taking over Amsterdam Central Station for 24 hours with a legion of Motion Graphics coming to life.

    The festival “celebrates the finest motion from the finest studio’s, designers, upcoming talents and art academies from all around the world” note the organizers. 

    Showcasing work for 24 hours on all 80 digital screens located in Amsterdam Central train station from 00:00 to 23:59 today the festival is about to get insightful with four lectures by Jurriaan Hos, Xavier Monney, Vera van de Seyp and Guy & Oskar scheduled later this evening. 

    Founded by Studio Dumbar with Exterion Media NL, DEMO brings back the action in type. 

    Follow the action in motion here.


  • FACEBOOK: with all caps, bespoke type & empathy the new FB is born

    “The next step in our effort to be clearer about the products and services from Facebook. The new company branding is designed to help us better represent the diversity of products we build, establish distinction from the Facebook app and communicate our purpose in the world“ note Zach Stubenvoll, Sam Halle, Andrew Stirk and Luke Woods in a blog post on the viral rebranding of the week. 

    FACEBOOK, the company, is different to Facebook, the app in all-caps mode with rounder corners and more empathy distilled in the company's latest visual identity. Per the design team, the rebranding is inspired by how FACEBOOK, the company, builds products.

    With Clarity, Creating Space and Empathy as the brand system's three foundational design behaviors the new brand system uses “custom typography, rounded corners, open tracking and capitalization to create visual distinction between the company and the app.”

    “Choosing an all-caps treatment as a way to create distinction from the app made it more important to craft unique letterforms. We designed the new company wordmark with clarity and openness in mind. It’s built on a stable structure through the use of consistent stroke width, harmonized capital letters and a horizontal emphasis. The generous spacing and open letterforms allow clarity at small sizes, and the subtle softening of corners and diagonals adds a sense of optimism.”

    “The wordmark condenses into a 'FB' monogram in small spaces. This monogram builds on existing equity: FB is already associated with Facebook, is the company’s stock ticker symbol and is used in domains and employee email addresses. To perform in smaller spaces across product and company touch points, the FB monogram has a heavier weight and extended letterforms” writes the design team.

    The responsive to its context and environment branding system “allows the wordmark to take on the color of our individual brands, creating a clearer relationship between the company and the products we build.”

    The new, fully animated, visual identity of the company caused a lot of buzz as FACEBOOK aka the parent company that owns Facebook, Instagram, WhatsApp, and more is coming of age, 15 years on from its founding, and the authorities are pushing for transparency in actions.  

    “We’re updating our company branding to be clearer about the products that come from Facebook,” Antonio Lucio, the tech titan’s Chief Marketing Officer stated on Monday. Facebook plans to start using the new brand within its products and marketing materials, including a new company website over the coming week.

    “Part of Facebook’s rationale for rebranding might be preparation for looming regulations and antitrust measures. Some analysts believe such actions may pose a real threat to Facebook and other U.S. tech giants. The Department of Justice, FTC and numerous state attorneys-general have recently launched investigations into Facebook and its rivals” notes Media Post.

  • Kern in hell! Hellvetica is the creepiest typeface to love this Halloween

    Forget Helvetica and kern it all with the Devil's all-time favorite typeface aka “Hellvetica”.

    Ideal for any Halloween-inspired project the font is literally the uber-popular Helvetica with extremely bad kerning. So bad it will even the calmest designer of all, furious for what this font brings to typography. 

    “I love Hellvetica! Any new way to look at Helvetica is great to me” told Charles Nix, type director at Monotype which owns the licensing rights to the original Helvetica, to WIRED.

    Designed by Zack Roif and Matthew Woodward aka the associate creative directors at R/GA New York the font from hell is available to download for free here.

  • New York Times: Jonathan Hoefler on the ABCs of designing a dial

    The typography expert Jonathan Hoefler revealed in a recent episode of the Netflix series “Abstract: The Art of Design” how he created one of his latest type designs, Decimal.

    Speaking to New York Times, Hoefler also spoke of the typography of luxury watches.

    “In the 1980s, we start to see fonts being used. These are things that work in a rigid tradition and are designed to work in systems. Typographic forms are different from those that can come from sign painting or calligraphy or engraving. You start to see forms designed for typesetting advertisements scaled down for watches and the flavor starts to change” he says.

    “A lot of the typefaces chosen for modern watches are chosen badly or on the basis of some kind of emotional quality as opposed to a practical one. So you see men’s watches using typefaces used on sports drinks or women’s watches that have the kind of wretched script seen on wedding invitations. There’s very little thought given to mechanical constraint, to what kinds of letters reproduce well small or what kinds of watches can be decorated with different kinds of lettering.”

    Read more here.