Fields: Type Design, Consulting
Сlient: Museo de Arte Latinoamericano de Buenos Aires
Museo de Arte Latinoamericano de Buenos Aires (MALBA) is a private non-profit institution funded by Eduardo F. Costantini Foundation exhibiting the main modern and contemporary artists of Latin America. The museum mixes its permanent collection with temporary exhibits, cinema and literature programs.
MALBA sans is a corporate font of the museum, whose capital letters were drawn in-house (Aldus De Losa) and served the titling purposes. We were asked by the museum’s graphic design team to analyse and update the capital letters, draw the lowercase letters, based upon the improved model and extend the character sets to cover more languages. The new version, named MALBA Sans is characterised by a stronger vertical accent and more consistency due the reshape of all the letter forms. A new tighter spacing contributed to the better titling function. MALBA Sans was fully kerned and is going to be implemented in the museum’s upcoming identity in 2018. The font was exclusively drawn for the internal use and is not available for licensing.
Fields: Research, Editorial Design, Photography
Format: book, 252 x 206 mm, 328 p.
The book „Rotary. Studio für elektronische Musik WDR Köln 1951–1981“ tells the story of the first electronic music studio of its kind in the world in the era of Cold War Modernism. It consists of a reader and an edited photographic material from the studios ex-technician Werner Scholz and Stockhausen Archive.
The layout is divided into two parts: they run horizontally atop of each other in the reader and vertically in the archive part. This separation comes from the idea of having a cross-reading situation: the history of the studio (A, see close-ups in the gallery slideshow) is set into broader political, technological and cultural context (B). The closing part features color photographs, made in the historical studio. They depict the preserved world of music machines, remaining still intact.
Photography: Tobias Faisst, Yevgeniy Anfalov
Fields: Logotype, Lettering
Logotype for the new archive label Shukai (Eng. Hunt, Look for), founded by Dmytro Nikolaienko (Muscut), Sasha Tsapenko and Dmytro Prutkin. They will release previously unpublished soundtracks for television and animated films and other curiosities, mostly from the ex-USSR countries.
Fields: Type Design
Credits: Solomon Telingater
LL Heymland expands on an archive discovery attributed to Solomon Telingater (1903–69), a legendary Soviet graphic artist who, together with Aleksandr Rodchenko and El Lissitzky, co-founded the constructivist October Group. The untitled and unsigned calligaphic study, derided by Maxim Zhukov as the work of a dilettante, refers to Rudolf Koch’s exceptional Antiqua (ca. 1922), and caught my attention in 2018. Fascinated by the study’s curious charm, I decided to digitally reconstruct its minimal character set and continued to turn it into a fully functional typeface for both Latin and Cyrillic script. The font has just been given its first public use as headline typeface in Tate Etc., the British art magazine, and will be available from Lineto.com within weeks.
Fields: Type Design
Credits: François Rappo
Alt Mediaeval is a digital revival of the serif font used in the first issue of Bauhaus magazine from 1926, printed by Dünnhapt in Dessau. The original was designed in 1914 by Max Hertwig for H. Berthold AG. Its stylistic caracteristics come from the arts and crafts movement in Europe and such typefaces as Hollandsche Mediaeval (1912), Belwe Antiqua (1913) and Daphnis (1914).
The revival of the lowercase letters has undergone functional adjustments and the uppercase letters are interpreted more freely. Moderate contrast, letterforms of 'g' and 't' as well as slanted serifs create unique rhythm and make the face distinctive. Alt Mediaeval works across various sizes, showing good legibility in the text and carries recognition value in the titling use.