Constellation / Brooklyn Stencil

Glenn Ligon Apex Serif

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Catalogue published by Yvon Lambert Gallery, designed by Eddie Opara

Glenn Ligon belongs to a generation of artists who came to prominence in the late 1980s on the strength of conceptually based paintings and phototext works, investigating the social, linguistic and political constructions of races, gender and sexuality. Informed by his experience as an African American and as a gay man living in the United States, his art is a sustained meditation on issues of quotation, the presence of the past in the present, and the representation of self in relation to culture and history. This catalogue, published on occasion of an exhibition with the same title, presents a series of 50 unique silk-screens featuring a self-portrait of the artist. Ligons head is repeatedly presented, one to a page against a backdrop of different colours, from the front or the back, both showing and hiding the identity of the artist.’

View of the artist's silk-screen prints and corresonding image captions

New York Times Magazine Brooklyn

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Brooklyn in use on the cover, and throughout the U.S. Open issue

Brooklyn looks powerful & playful on the cover of the U.S. Open issue of The New York Times Magazine. We’re thrilled to be part of Gail Bichler’s inaugural issue as Design Director of the magazine!

Cindy Sherman Exhibition Apex New

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'That’s me — That’s not me' premières œuvres 1975-1977, Centre de la photographie Genève, 2012

Exhibition design by B.ü.L.b grafix who wrote: “Mostly black and white with a touch of vintage pop pink lipstick trace, a largescale graphic action. This exhibition of Cindy Sherman’s early works, alongside and resonating with a selection of recent pieces from local collectors features large scale signage typography as well as micro-typography in the accompagning show booklet and flyers. A silk-screened poster calls for attention and visitors on the street with its vibrant colour.”

'That's Me — That's Not Me' exhibition wall text and ticket

This project features Maple, designed by Eric Olson and Arnhem, designed by Fred Smeijers, along with Apex New as secondary type.

Intercourses Aero

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Posters for Jesper Just's film- and site-specific installation

Project Projects designed a graphic campaign for the Danish Pavilion at the 55th Venice Biennale. As an extension of Intercourses, the Pavilion’s five-channel video installation by artist Jesper Just, the graphic campaign enacts parallel ideas of doubling, dislocation, and the illusion of communication.

During the Biennale the posters will be installed as context-specific displays

The graphic campaign centers around an invented symbol derived from the significant Chinese character, ‘Ei’ — the first letter in the Chinese word for ‘Eiffel Tower,’ and an ideogram often used in the phonetic transliteration of foreign (non-Chinese) names. Although it may appear Chinese to a Western viewer, the new symbol functions as a two-fold abstraction: a simulacrum and a fiction of the functioning of language.

During the Biennale, posters bearing multiple versions of this symbol will be installed as context-specific displays in Copenhagen, Hong Kong, New York, Paris, and Shanghai. Much as the exhibition in Venice exists within a liminal space between copy and original, these graphics engender locative disorientation and occupy an ambiguous area of mediation to suggest another experience, just outside of reach.

Carhartt Work In Progress Radio

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A Carhartt Work in Progress store in New York City

Radio is up in neon lights in Carhartt’s Work In Progress (Carhartt WIP) city center flagship stores. Carhartt WIP is the avant-garde way of living the Carhartt brand, reshaping the outstanding Carhartt legacy.

Magnus Rakeng first spotted Radio in use in the SoHo Carhartt WIP shop and the sighting was picked up and elaborated on by Steven Coles at Fonts in Use who wrote:

The gentle curves and mostly monolinear structure of Radio are well suited for neon, and these signs are a standard part of Carhartt’s in-store decor in locations throughout the globe.

Carhartt WIP stores in: New York, Moscow, Düsseldorf & Zürich

La médecine ancienne, du corps aux étoiles Galaxie Copernicus

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Galaxie Copernicus in use in this extraordinary multi-volume set by B.ü.L.b grafix

Galaxie Copernicus is used gorgeously in this extraordinary multi-volume exhibition catalogue, for the Fondation Martin Bodmer, design by B.ü.L.b grafix.

The book was designed by Mathieu Christe + Nicolas Robel at B.ü.L.b grafix

A catalogue of the history of medicine from the eponymous exhibition by the same name, forging links in heaven and earth, art and science. A true voyage to the fantastical iconographic realm.

Galaxie Copernicus is used in a beautifully rigorous system

Published under the direction of Gérald d’Andiran, with the assistance of Vincent Barras, Charles Méla, Sylviane Mwessaerli and Elisabeth Macheret-van Daele, Schwabe Editions, Basel, 2010, 2nd edition, 2011.

Galaxie Copernicus is as beautifully set and printed here as we’ve ever seen it
The old and newness of Copernicus fits the ancient content and complements it

Brooklyn & Brooklyn Stencil / Barclays Center Brooklyn Stencil

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Signage at The Barclays Center

Brooklyn and Brooklyn Stencil were originally developed for the identity system and signage programme at The Atlantic Yards arena.

Print magazine Galaxie Polaris Condensed

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The masthead is set in Galaxie Polaris, the secondary type is set in Galaxie Polaris Condensed

Project Projects rolled out the first issue of the Print magazine which, they write, ‘relaunched in January 2011 with an editorial concept focused on collaborating with different contemporary design practices for each issue.’

The New York Times Magazine Oz

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Special issue: The Youth Issue

Shake Shack identity Galaxie Cassiopeia

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Galaxie Cassiopeia is paired with Christian Schwartz’s Neutraface in the identity programme

Pentagram partner Paula Scher led the identity programme for the Shake Shack.

In a write-up about the project, Fast Company writes: ‘Though the branding was designed for the peculiarities of Shake Shack’s original site, it has managed to scale to franchises placed in more typical storefront locations, and even airports. “I think the modernness of it is somehow perfect in keeping with the quality of the food. It’s a contemporary fast-food chain with a high-level product—as opposed to McDonald’s, which is also modeled after 1950s burger chains but serves downscale food,” Scher says. “In retrospect, if you’d done a million years of focus testing and consumer studies, you wouldn’t do a better job. It shows you the charm of the happenstance.”’

Typer / Aero

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