Constellation / Cosmica


Cindy Sherman Exhibition Apex New

'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.

La médecine ancienne, du corps aux étoiles Galaxie Copernicus

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

Carhartt Work In Progress Radio

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

Shake Shack identity Galaxie Cassiopeia

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.”’

Brooklyn & Brooklyn Stencil / Barclays Center Brooklyn Stencil

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

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.’

Glenn Ligon Apex Serif

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

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!

Joto Sake Galaxie Polaris

Galaxie Polaris in use by Parallax Design in Joto Sake’s packaging programme

Australia firm Parallax Design created the packaging programme for Joto Sake. They write: ‘Joto is a range of artisanal Japanese sakes developed for the North American market.’

Galaxie Polaris is paired with Parallax’s bold logotype for Joto + Baskerville

‘To Western consumers, traditional Japanese sake labelling is indecipherable and largely indistinguishable. Joto’s packaging opts for bold colour and infographics describing each sake’s brewing process and tasting notes.’

‘The logo developed for the company was inspired by the geometrical minimalism of Japanese design, but contains a visual delight for the sake aficionado. Sake is traditionally drunk from a snake’s eye cup—a white porcelain vessel with two blue rings printed on the inside that allows the drinker to judge the sake’s clarity and purity.’

The New York Times Magazine Oz

Special issue: The Youth Issue

Typer / Aero

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