HOUGAN TYPE

HOUGAN is my graduation project from Fukuoka Design College.
The project was based on the assumption that I would run my own type foundry using the typefaces that I had created as experiments during my studies.
We created the overall branding, typeface samples, website, and installation.
I wanted to create a branding of typefaces that would be exciting to look at, without taking typefaces too seriously.

Typexperiments. Poster designs for Type Thursday Bucharest & PosterJam

Poster series created for TypeThursday Bucharest a monthly event dedicated to atracting local letterform lovers hailing from all disciplines. Tthe team is very welcoming of all types of experimentation in regards to the visual interpretation of each event’s poster and visuals.

My passion for typography and lettering found a new creative outlet. Creating some of the posters for our monthly events between 2019-2021. I approach every poster design as an opportunity for experimentation, whether it be focused on lettering, on exercising and improving my composition and hierarchy in terms of overall design communication or as very creative way to delve into different aspects of typography.

zünc in the wild

We made these 3D renderings of our logo at the launch of our studio last year. We briefed typographer Robin Pitchon to create something with an alien-glyph aesthetic, while celebrating Zünc’s umlaut, which informs the smaller droplets hugging the curves of each letter.
The contrast of the liquid metal form on the dry, compacted earth creates a nice balance.
The logo and this 3D rendering of it is a strong reflection of our studio’s identity: fluid and adaptable to a range of projects, a little bit strange and alien yet still presented in an elegant and beautiful way.

The Flatplan

Thinking about launching your own magazine? Now’s your chance! The fourth edition of The Flatplan, magCulture’s magazine-making masterclass, is happening online on March 5th and 6th, 2022.

The world of indie publishing is flourishing and with that, more and more people are intrigued by the idea of creating their own magazine. However, knowing exactly where to start can be daunting—that’s why The Flatplan was created.

magCulture have brought together some of the best indie magazine-makers right now who’ll cover everything there is to know about creating a successful publication. You’ll leave with the knowledge needed to nurture an abstract idea into a real-life magazine others will want to buy, read, and enjoy!

What’s the format?
The Flatplan takes place online across two half days—a Saturday and Sunday. Each day runs from 12–3 p.m. (GMT). Before it all kicks off, you’ll receive a single Zoom invitation to cover both days (single day tickets are not available, the masterclass runs across the two days).

Eight guest speakers—some of the best indie mag makers working today—will share their knowledge in a series of presentations and small breakout groups over the two days, using Zoom. Each speaker will be briefed to address particular areas, but you’ll also have the opportunity to ask your own questions.

Who’ll be speaking?
Alison Branch, Managing director, Park Communications (printers)
Nina Carter, Co-creative Director, It’s Freezing in LA!
Holly Catford, Art director, Pit magazine and art editor, Eye magazine
James Laffar, Managing director, Ra & Olly (distributors)
Harriet Fitch Little, Editor-in-chief, Kindling
Jeremy Leslie, Host, founder of magCulture
Rob Orchard, Co-founder, Delayed Gratification
Ella Paradis, Editor, The Black Explorer
More names to be announced soon!

How many places are there?
The masterclass is limited to 50 spaces to allow everyone enough time to take part in discussions and share ideas at the end of each day. Thirteen of these places are complimentary—open to application from PoC creatives and students/under 23’s. Please visit the magCulture website if you’d like to apply for a free space!

Places cost £ 120.– per person, which covers both the live sessions and access to an archived video recording of the entire event. All tax (VAT) and booking fees are included—no added extras! Attendees will also receive a one-off 15% discount for the magCulture shop.

Who is The Flatplan for?
The Flatplan really is for everyone, whether you’ve got no experience at all, some, or you’ve already had a great idea for a magazine and just need a little help to get it off the ground. You’ll learn from some of the biggest names in the indie industry, providing heaps of practical advice, creative inspiration, and insider knowledge to help you take your idea from seed to fruition!

Plus! Once you’ve made your booking, you’ll be invited to tell more about your idea so they can tailor the day accordingly.

Previous attendees have gone on to produce a wide range of magazines, including Icarus Complex, Black Explorer, Yana, Screentime, Ephemeral, Louche, and 502 Bad Gateway.

Flatplan 2020 was a unique opportunity to pick the brains of seasoned magazine makers, printers, and distributors, providing the practical advice and creative inspiration needed to set our fledgling magazine idea in motion,” Ruby Rees-Sheridan, Screentime.

The Flatplan—magCulture’s Magazine Making Masterclass

When?
March 5th and 6th, 2022
from 12–3 p.m. (GMT)

Where?
Online via Zoom

Book your tickets here

1. Alessandro Butti — Veltro, 2. daydream, 3. TDC Tokyo 2021, 4. Li Bin Yuan Solo Exhibition

1.On the occasion of the 25th anniversary of Tipoteca Italiana, designers were invited to design a single page of a type specimen book. The poster shows Jumping He’s design and adds some more content about the typeface and his designer Alessandro Butti.
“Veltro” means hound and catch dog and was chosen to represent the speed and elegance of the typeface.
2.„Daydream“ Jumping He’s solo exhibition opened its doors on March 2021, at the Sea World Culture and Arts Center in Shenzhen, China.
3.Poster for the Tokyo TDC Annual Awards 2021.
4.Poster for Cinema Paradiso – Solo exhibition of Li Bin Yuan at Pingshan Art Museum in Shengzhen, China.

Brik Font

The Brikfont project was inspired in part by the idea that creativity thrives on restriction — and I think the Lego system is that concept writ large. Almost everything imaginable has been created in Lego in some way, but the subtleties and nuance of type design often struggle with the ‘resolution’ – curves and diagonal strokes in particular – so this is kind of a quest to find the perfect Lego typeface and bring some type designer knowledge to the proceedings. 

36 Days of Type

36 Days of Type is a project that invites designers, illustrators and graphic artists to express their particular interpretation of the letters and numbers of the Latin alphabet.
Our idea for this project was to create vases in the shape of letters and numbers. We asked ourselves what types of vases, what shapes, what colors, what materials, and what textures we would like to have in our home.

We wanted to explore several visual styles during these 36 days while keeping a certain aesthetic coherence. The challenge was to keep in mind the idea of product design but use the freedom and playfulness of CGI.

Pra ver o sol

“Pra ver o sol” (portuguese for “To see the sun”) symbolizes a moment of great change for Carolina Serdeira, revealing to the public her true musical desires, and also bringing the relief of leaving home after a long time of pandemic isolation.

With plastic letters tied to a tulle, shadows were projected generating dynamic compositions for the album cover and two singles, “Orixá omi” and “Beco da memória”.

Art Direction and Graphic Design: Lucas Blat
Photography: Lígia Blat

Phyllis Johnson visual Identity

A visual identity was designed for the interdisciplinary studio and exhibition space “Phyllis Johnson” in Leipzig. The basis is a display font whose glyphs are composed of seven basic shapes arranged on a grid of 3×3 elements. In the following year, the angular shapes will be replaced by circles, reduced to six and the grid made smaller. Despite new aesthetics, the character of the appearance is preserved.

Be Water My Friend — B.W.M.F.

Be Water My Friend — B.W.M.F. presents the graphic journey and creative methodology by Rafael Bernardo, a designer and creative activist. The book outlines an analytic system that elaborates on how water behaves, how creativity works. A tool to connect the way we think with the way we feel by examining how we shape and navigate our processes, projects and routines.

Inspired by an interview with Bruce Lee, where he refers to an aspect of Taoist philosophy, that water can teach us “the way,” the graphic designer, creative activist, lecturer, author, and founder of the eponymous studio for branding communication Rafael Bernardo started to wonder whether he “was water” in his creative workflow. Now, five years later, he wrote and designed a book with 224 pages, which is divided 50/50 into the parts Roots and Wings. 

Wings presents the graphic journey. Eleven of Bernardo’s favorite personal projects and collaborative works he did for example with Viva con Agua, the Forward Festival, or the porcelain factory Rosenthal. And then, there is a selection of eighty Be Water My Friend posters, created to practice and explore his visual voice. Clear compositions in black and white within a spectrum of typography, illustration, and infographics.

Part two, Roots, outlines the theoretic foundation of Rafael Bernardo’s experience. The introduction of the Be Water My Friend methodology. An analytic system that he developed after he found out, that water behaves like creativity works.

It describes the progress of development as a clockwork, divided into three levels. Context in the outside, motivation in the center, and process as the connecting part in-between. It is a tool to connect the way we think with the way we feel by examining how we shape and navigate our processes, projects, and routines.

Bernardo believes that everybody experiences creativity in a different way but that its structures and functionalities work similar for all of us. The first question is always whether you know what you want, if you love doing it, and if you are good at it. The second question is whether you know how to find the little hidden mistakes, that hold you back from getting better. This book wants to inspire creative performers to see mindset and intuition as team-players and shows how to connect and tune them to each other by reflecting on time, dreams, and potentials.

Since water runs in cycles and “nomen est omen,” the book will be printed on three different kinds of 100% recycled paper, used water-based colors, and chose a printer that compensates for its carbon-footprint. The format is 16 × 24 cm, the spot color is Pantone 032U, all fonts in the layout except from one that Bernardo made himself are designed by newglyph.

Be Water My Friend — B.W.M.F.

Publisher: Slanted Publishers
Concept & Design: Rafael Bernardo 
Format: 16 × 24 cm
Volume: 224 pages
Language: English
Colors: Black (water based) and spot color Pantone 032U
Printing: Stober
Paper: Cover: Kingdom XT-S Recy White; Roots: Circle Volume White; Wings: Circle Offset Premium White, IGEPA
Typefaces: Antarctica Bold, Atacama Condensed, and Africa Rainfall by newglyph
Workmanship: Triptychon soft-cover, swiss brochure with an open spine, stitched with red thread
ISBN: 978-3-948440-33-6
Price: € 34.–
BUY

Form folgt Vorgefundenem

Experimental type poster for a design lecture. The task was to develop an experimental type with uncommon things or items nearby. By accident i dropped washing powder on the floor and it showed some interesting forms. Following that i created a typeface with a measuring cup out of washing powder and arranged it on paper. To highlight the structure i set up two lights and converted the colors of the image in just black & white (threshold). In my opinion the unique type made an interesting poster.

TYPEXCEL – Variable font

Half-day workshop designed for high school students, on the occasion of an open day at the academy of design and visual communication Abadir.
The goal of this workshop was to create a first contact with the graphic design but most of all with typography, using an Excel spreadsheet, therefore a modular grid composed of editable and variable cells, instead of professional software which require specific knowledge.
The cell pattern allow to create letters, icons and glyphs. A stimulating exercise that helped the students to discover and train
their own design and creative skills.

JOIA 61

After more than fourteen years of traveling through various paths of editorial design, Chilean online and print magazine JOIA 61 opens up to new forms of graphic and conceptual exploration in its latest issue.

Starting with the cover and following with each of its pages, it becomes clear that the goal with this edition was to bring together all kinds of resources and formats making them coexist without any editorial restriction, while keeping in mind that the quality of the work had to be at the level of each artistic project featured. Portraits, illustrations, photographs, posters, and 3D objects are combined in a visual and colorful experiment that breaks with the rectilinear layout that was more common in past issues of the magazine.

The typefaces created by the Canadian studio Pangram Pangram Foundry are an important part of this process or renovation, accompanying the images throughout the magazine, not only to tell the written story of each featured project and interview, but also as a valuable design resource in itself.

However, this creative process does not forget those who are truly important in the magazine: the artists that it seeks to empower. Christian Rex Van Minnen starts the journey with his harmonious and discordant paintings, followed by Sam Gregg’s images of Naples, the innovative designs of Obby & Jappari, the photographs with a social background by Felipe Romero, the historical exploration of Juan Brenner, the lethargic compositions of Stefy Loret de Mola, the juxtaposition of eras and objects by Julien Boudet, the pictorial works based on memes by Robert Roest, and Mike Brodie’s four years of train hopping.

To complete the JOIA 61, the JOIAESTUDIO team designed two zippered hoodies, a crewneck, three t-shirts, and a totebag, with some of the images and typographic play that are also found in the magazine. These items are already on sale only for Chile at JOIA MARKET.

JOIA 61

Designers: JOIAESTUDIO
Art Director: Andrés Tapia
Creative Director: Álvaro Fierro
Authors: Adriana Conde, Cristóbal Gaete, Camilo Rojas, Raúl Goycoolea
Editors: Adriana Conde
Publishing house: Self-published
Release date: October, 2021
Volume: 143 pages
Language: Spanish
Price: € 5.60 (Chile)
Buy (just Chile)
Buy abroad: Send a mail to [email protected] or [email protected] and ask for a copy

 

Plenaire Sloppy

A marvel of optical effects, the Plenaire typeface family imagines what the Impressionist painters of the late-nineteenth century might produce as type designers in the twenty-first. Up close its ‘daubs’ appear chaotic and illegible, but at a distance its shapes resolve into elegant and readable italic letters, like the wondrous brushstrokes of Claude Monet or Georges Seurat.
Plenaire Sloppy shows this variable font at its most scattered extreme, taking legibility to the brink. This experiment provides a testing ground for all of the factors that influence tolerance of signal-becoming-noise, prominently including the setting size and viewer distance.

Brailla

»Brailla« builds a design bridge between the blind typesystem Braille & the Latin alphabet. The connections of the two writing systems facilitates the learning ability & thus creates the possibility to develop common standards. Alternative glyphs are as much part of the concept as the free & open form, which explicitly welcomes further ideas & possible solutions …