Constellation / Cosmica


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

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.’

Intercourses Aero

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.

The New York Times Magazine Oz

Special issue: The Youth Issue

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!

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.

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

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.”’

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

From Cliché to Archetype Arbor

Marshall McLuhan’s classic text, reissued in 2011 by Gingko Press & redesigned by Anne Burdick

The Gingko Press reissued Marshal McLuhan’s classic text, From Cliche to Archetype in 2011, the 100-year anniversary of McLuhan’s birth. The book was edited by W. Terrence Gordon, and designed by Anne Burdick. Arbor is paired with Type Supply’s forward-looking angular typeface, Torque.

The Gingko Press writes: ‘Six years after the publication of his seminal work, Understanding Media, the Extensions of Man, Marshall McLuhan linked his insights into media to his love of literature and produced From Cliché to Archetype. “In the age of electronic retrieval, the entire phenomenal universe is at once junkyard and museum” — cliché and archetype. “Every culture now rides on the back of every other culture.”’

Typer / Aero

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