Andy Warhol Portraits — Over 300 pieces of Warhol's Portraiture work made from the early 1960s until his death in 1987.
Andy Warhol Portraits — Over 300 pieces of Warhol's Portraiture work made from the early 1960s until his death in 1987.
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Andy Warhol Portraits
Andy Warhol Portraits — Over 300 pieces of Warhol's Portraiture work made from the early 1960s until his death in 1987.
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dhub
DHUB Logotype — I was invited by Stephen Barrett and Ariadna Serrahima to participate in a project celebrating the opening of a new Design Museum in Barcelona called Disseny HUB Barcelona (Design Hub Barcelona). The 'HUB' represents a central point of a big and complex system. DHUB opened in early 2009 and as part of the opening celebration, the Fundació Comunicació Gráfica de Barcelona published a compendium containing international designers' suggestion for the museum's logo. The logos were exhibited prior to the opening of the museum and form part of the museum's collection.
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I.D. SDR Call for Entries
I.D. Student Design Review Poster — Call for entries folded poster for I.D. magazine's 2007 International Student Design Review.
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Gravur-Condensed Hebrew
Gravur-Condensed Hebrew — The Hebrew version of the Lineto font Gravur-Condensed, designed by Cornel Windlin and Gilles Gavillet.
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Lettera Poster
Lettera Poster — Announcement poster for the official release of Lettera By Lineto. The poster will be silkscreened in one color on both sides. One side shows an OpenType Extended Latin specimen of the font, and the other side a photoshoped Extended Olivetti Lexikon D.L. 83 typewriter.
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Ametria
Ametria—For the exhibition Ametria curator Roberto Cuoghi collected art pieces and artifacts from the Benaki Museum in Athens, and paired them together with pieces from the contemporary collection of Dakis Joannau of the DESTE Foundation, to create a radical exercise in the de-canonization of the curatorial method. The maze-like structure of the show enabled endless navigation paths, resulting in different experiences for each visitor. The installation was composed out of rigidly arranged rectangular black boxes, lit from their bottoms, and the objects were presented on or inside them, without titles or captions, creating an even more challenging and solitary experience. The catalogue follows the documentation of the exhibition and replicates the displays 1:1 two-dimensional on its black pages. The book block is covered completely in deep black, except a hint of light from the bottom page edges. Each copy was carefully hand sprayed in an auto body shop.
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Atlas of Furniture Design
Atlas of Furniture Design: Published by the Vitra Design Museum, the Atlas of Furniture Design is an in-depth history of modern furniture design from the late 18th century until today, featuring 1,740 objects, spanning over 1,028 pages, and covering four epochs in modern furniture design history, starting in 1780 until the present day. The museum's immense furniture collection is the foundation for this book, which took over 20 years to research. This project required an intuitive way-finding system. The solution was a cross referencing system of color-coded dots and object numbers to allow the reader to easily navigate through the atlas. The colors represent the different typologies of furniture in the book. The system appears in all sections of the books - in object texts, infographics, and a large range of endmatter materials and indexes. Much of the high volume information in the book is presented by numerous infographics spreads, providing multiple overviews on political and cultural events, styles and movements, as well as techniques and materials that changed and influenced furniture design throughout history.
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Diogenes Didot
Diogenes Didot — The timeless look of Diogenes Verlag's books is owed mainly to the stark white covers, the iconic thin frame, and—not least—the ownable 'Didot' font used on all literature titles. In the pre Macintosh era, the Swiss publishing house used to set its covers using a roll of Staromat tape with a special 'Didot' cut - the tape was owned by the Basel-based company 'Werbstatt', and the publisher would pay 3 cents pet letter to have a printer film made with the cover's typography: Roman for the author's name, and Italic for the book's title. Later on Diogenes bought the actual tape and was free to set any cover with no extra hassle.. In the nineties, the font got—rather poorly—digitized, and the tape was no longer in use. In 2016 I set out to redraw the font, based on the tape that still reside in the publisher's offices, with a small update to the classic Didot serifs - giving it a more of a 'Scotch' flavor.
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Diogenes Gramond
Diogenes Garamond — This Garamond was drawn for the Swiss publishing house Diogenes, as a substitute to the workhorse 'Stempel Garamond' that has been in use in all its literature titles as body text for decades. The 16 cuts font is able to tackle any typographic task, although its main player is the 'Regular' weight that was carefully drawn to match the grayness of the previous font's appearance on page to make the transition easy for Diogenes' long time readers.
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Lettera Mono
Lettera Mono — Initially drawn for the book Area 2, and is used throughout the book exclusively. The font is based on a single weight basic specimen of a mid 70‘s typewriter font designed by Joseph Müller-Brockmann for Olivetti. Lettera is available as an Extended Latin OpenType format, including eastern European, Turkish, Baltic scripts, and alternate glyph. The specimen used for redrawing the first weight was a lo-resolution scan. When blown up large, it showed what appeared to be “reversed” ink-traps in critical joints of some glyphs. These elements that guided the design and later turned out to be a mistake caused by the poor quality of the document, remained. Lettera was later developed into a proportional version, Lettera-Txt, also available at Lineto.
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AREA 2
Area 2 (designed with Julia Hasting) — The materials in the book are a range of several different formats and mediums: poster files, photographed books, photographed packages, type specimen renderings, line art illustrations, etc. The concept of the layout was displaying the artwork in the same way we received it from the participating designers: an eclectic collection of images piled on one’s desk. The typeface Lettera was drawn especially for this book, and it was later developed into a four weight family and is sold exclusively through Lineto.
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On and By Frank Lloyd Wright
On and By Frank Lloyd Wright — A book containing 14 essays about Frank Lloyd Wright and 3 essays by him. A special version of the typeface Demos, designed by Gerard Unger 1974 was customized for this book to optimize the body text legibility.
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Peugeot Headlines
Peugeot Headlines — A display font, first drawn for a headline on the cover of I.D. Magazine’s November 2006 issue. The font is based on the six different letters of an old Peugeot logo, and has been expanded and reshaped in a rather less geometric style. The Character of the Peugeot font begins with the letter ‘O’. The extremely shifted balance is the defining element of this font. The weight system isn't based on the typical progressive expansion but rather reflects more of a contrast system where the thick strokes remain consistent throughout the family, and the thin strokes suggest the cut's weight.
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Dieter Rams: As Little Design as Possible
Dieter Rams: As Little Design as Possible
Phaidon Press
2011
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A monograph on the influential product designer Dieter Rams. The fascinating life story of Dieter Rams is laid out in a classic reading book format, with a margin references to corresponding images.
Alongside the historic sketches, prototypes, and product shots of Rams's work, are three sets of photographic portfolios taken at Rams's house in Kronberg, and at the Braun Archive.
The cover is printed in a unique screen printing technique with raised transparent ink that gives a tactile feel to the design detail. The font Lettera-Txt was designed for this book, and is available at Lineto.
A monograph on the influential product designer Dieter Rams. The fascinating life story of Dieter Rams is laid out in a classic reading book format, with a margin references to corresponding images.
Alongside the historic sketches, prototypes, and product shots of Rams's work, are three sets of photographic portfolios taken at Rams's house in Kronberg, and at the Braun Archive.
The cover is printed in a unique screen printing technique with raised transparent ink that gives a tactile feel to the design detail. The font Lettera-Txt was designed for this book, and is available at Lineto.
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Where Chefs Eat
Where Chefs Eat
Phaidon Press
2013
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This worldwide restaurant guide collecting recommendations from acclaimed international chefs. The mountainous volume of information in this lightweight bulky tome details about 2,300 restaurants around the world.
The brief for the book came in a the form of a long list of sales blurbs, and the typographic solution was inspired by 1960's British phone books featuring ads on any possible real estate of the book - the front cover, spine, back cover, and paper edges.
The entire book was printed with a single ink - Process Black, and all pages are composed entirely out of typography and cartography. Over 50 different typefaces were used in this book, including a handful of custom made fonts.
This worldwide restaurant guide collecting recommendations from acclaimed international chefs. The mountainous volume of information in this lightweight bulky tome details about 2,300 restaurants around the world.
The brief for the book came in a the form of a long list of sales blurbs, and the typographic solution was inspired by 1960's British phone books featuring ads on any possible real estate of the book - the front cover, spine, back cover, and paper edges.
The entire book was printed with a single ink - Process Black, and all pages are composed entirely out of typography and cartography. Over 50 different typefaces were used in this book, including a handful of custom made fonts.
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René Redzepi: A Work in Progress
René Redzepi: A Work in Progress
Phaidon Press
2013
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A documentation of a year at the acclaimed Copenhagen-based restaurant, Noma.
The materials for this book were a personal journal recounting the day-to-day life of chef René Redzepi and Noma, accompanied by hundreds of photos gathered from the restaurant's staff smartphones during the same period, and a collection of recipes that were developed that year.
The design concept, following the narrative of 'collecting', suggested splitting the publication into three different printed matter:
The Journal — a soft bound notebook, containing only Redzepi's text, and flat-photographed plants, printed like 'pressed' flowers between the journal's pages
The recipes book — a classic, linen-covered hardback containing ingredient shots and food shots taken by photographer Ditte Isager
The snapshots book — a small format, roughly the size of a smartphone, containing 188 photos, laid out in a way that forces the viewer to rotate the little book from vertical to horizontal format, reflecting the browse through a smartphone photo library.
A documentation of a year at the acclaimed Copenhagen-based restaurant, Noma.
The materials for this book were a personal journal recounting the day-to-day life of chef René Redzepi and Noma, accompanied by hundreds of photos gathered from the restaurant's staff smartphones during the same period, and a collection of recipes that were developed that year.
The design concept, following the narrative of 'collecting', suggested splitting the publication into three different printed matter:
The Journal — a soft bound notebook, containing only Redzepi's text, and flat-photographed plants, printed like 'pressed' flowers between the journal's pages
The recipes book — a classic, linen-covered hardback containing ingredient shots and food shots taken by photographer Ditte Isager
The snapshots book — a small format, roughly the size of a smartphone, containing 188 photos, laid out in a way that forces the viewer to rotate the little book from vertical to horizontal format, reflecting the browse through a smartphone photo library.
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Stephen Shore: From Galilee to the Negev
Stephen Shore: From Galilee to the Negev
Phaidon Press
2014
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Stephen Shore's document of Israel is a rare observation by an "outsider". It is a search, but it is also a wayfinding. Shore's discoveries are remarkably accurate - they display the surge in which the daily life moves in this tiny yet versatile place, the cluster and the loneliness, with its beautiful ugliness, and its ethnic diversity that loads the country.
When leaving the Ben Gurion airport, the first noticeable artifacts are the road signs in Hebrew, English and Arabic. These signs are intriguing when are observed for the first time, but they are, in a way, an illusion of something greater that could exist there. Shore spots that illusion in his photography and exhibits this far-from-harmonic ethnic diversity that is politically charged and is the heart of the ongoing struggle of everyone who is part of it. He puts reality on display.
The cover of this book is blocked on a 3M reflecting material used for road signs, and all the navigational elements in this book (title, contents page, chapter openers) are set in a trilingual cut of the font Gravur Condensed in English, Hebrew, and Arabic.
Stephen Shore's document of Israel is a rare observation by an "outsider". It is a search, but it is also a wayfinding. Shore's discoveries are remarkably accurate - they display the surge in which the daily life moves in this tiny yet versatile place, the cluster and the loneliness, with its beautiful ugliness, and its ethnic diversity that loads the country.
When leaving the Ben Gurion airport, the first noticeable artifacts are the road signs in Hebrew, English and Arabic. These signs are intriguing when are observed for the first time, but they are, in a way, an illusion of something greater that could exist there. Shore spots that illusion in his photography and exhibits this far-from-harmonic ethnic diversity that is politically charged and is the heart of the ongoing struggle of everyone who is part of it. He puts reality on display.
The cover of this book is blocked on a 3M reflecting material used for road signs, and all the navigational elements in this book (title, contents page, chapter openers) are set in a trilingual cut of the font Gravur Condensed in English, Hebrew, and Arabic.
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Frank Stella: A Retrospective
Frank Stella: A Retrospective
Whitney Museum / Fort Worth
2015
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This catalogue, for Frank Stella's retrospective at the Whitney Museum of American Art and the Modern Art Museum of Fort Worth, is the most comprehensive presentation of Stella’s career to date, showcasing his prolific output from the mid-1950s to the present through approximately 100 works, including paintings, reliefs, maquettes, sculptures, and drawings. The book's cover is die cut to the contour of Stella's shaped-canvas piece Conway I.
This catalogue, for Frank Stella's retrospective at the Whitney Museum of American Art and the Modern Art Museum of Fort Worth, is the most comprehensive presentation of Stella’s career to date, showcasing his prolific output from the mid-1950s to the present through approximately 100 works, including paintings, reliefs, maquettes, sculptures, and drawings. The book's cover is die cut to the contour of Stella's shaped-canvas piece Conway I.
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Breuer
Breuer
Phaidon Press
2016
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The most comprehensive book on architect and designer Marcel Breuer (1902-1981), looking in detail at all the houses, furniture, and public buildings he designed In Europe and the United States–from his beginning at the Bauhaus through his collaboration with Walter Gropius, and the establishment of his own practice in the USA.
The case of this hardcover volume is made out of a through-dyed, thermo-reactive paper that gives the impression of concrete, with the type and cover elements screen-printed in white.
The most comprehensive book on architect and designer Marcel Breuer (1902-1981), looking in detail at all the houses, furniture, and public buildings he designed In Europe and the United States–from his beginning at the Bauhaus through his collaboration with Walter Gropius, and the establishment of his own practice in the USA.
The case of this hardcover volume is made out of a through-dyed, thermo-reactive paper that gives the impression of concrete, with the type and cover elements screen-printed in white.
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Ametria
Ametria
DESTE Foundation
2018
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For the exhibition Ametria curator Roberto Cuoghi collected art pieces and artifacts from the Benaki Museum in Athens, and paired them together with pieces from the contemporary collection of Dakis Joannau of the DESTE Foundation, to create a radical exercise in the de-canonization of the curatorial method. The maze-like structure of the show enabled endless navigation paths, resulting in different experiences for each visitor. The installation was composed out of rigidly arranged rectangular black boxes, lit from their bottoms, and the objects were presented on or inside them, without titles or captions, creating an even more challenging and solitary experience. The catalogue follows the documentation of the exhibition and replicates the displays 1:1 two-dimensionally on its black pages. The book block is covered completely in deep black, except a hint of light from the bottom page edges. Each copy was carefully hand sprayed in an auto body shop.
For the exhibition Ametria curator Roberto Cuoghi collected art pieces and artifacts from the Benaki Museum in Athens, and paired them together with pieces from the contemporary collection of Dakis Joannau of the DESTE Foundation, to create a radical exercise in the de-canonization of the curatorial method. The maze-like structure of the show enabled endless navigation paths, resulting in different experiences for each visitor. The installation was composed out of rigidly arranged rectangular black boxes, lit from their bottoms, and the objects were presented on or inside them, without titles or captions, creating an even more challenging and solitary experience. The catalogue follows the documentation of the exhibition and replicates the displays 1:1 two-dimensionally on its black pages. The book block is covered completely in deep black, except a hint of light from the bottom page edges. Each copy was carefully hand sprayed in an auto body shop.
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