Mattia Zingale also know as Mazzzzinga, is an Italian graphic designer based in Sicily. He is specialized in brand design, packaging and editorial projects.

 

 

Monday 28 is a fashion concept store Sicily based. It consist of men’s and woman fashion apparel and a section dedicated to housewares and electronics with a cozy industrial-white interior design that researches and selects the best possible goods that would suit the customer’s needs, making their live an innovative and engaging shopping experience and cooperating with a vast number of worldwide brands.

 

 

 

 

Vivian (she/her) is a designer from Germany and currently working independently. Driven by typography and photography, she specialized in editorial design and visual identities. She is also working with type design as well as portrait and documentary photography.
She previously worked with Studio Pandan in Berlin and Mirko Ilić in New York. She was the art director, a designer and editor at BRASILIA magazine. Vivian studied in Lahti, Finland and Hanover, Germany, where she graduated with a B.A. in visual communication in 2021. Her work often revolves around social and (pop)cultural topics and has been recognized and awarded by organizations like the DDC (German Designer Club), the German Design Council and Stack Awards London.

 

NEBEL is a magazine created by Vivian Dehning for her bachelor thesis at the University of Applied Sciences and Arts, Hanover. It is a publication on contemporary cultures that explores feminisms and gender identities.
As we are seeing cultural and social shifts, notably among younger generations, her ambition lies in raising awareness for feminist equity and break down barriers. The attempt was to design a magazine to reach people who are open to critical discourses on social issues, but have maybe not dived into deeper topics on gender or feminisms. Hence, content-related, the concept ties in at a point where feminist core communities are starting to expand. NEBEL creates space for the interconnection of different perspectives and seeks to make diverse experiences visible. It wants, by its title*, to remind us to embrace our blurry vision and to accept ambiguity.
Because the subject area of feminism is rather extensive, each issue is to be addressed to one key word — Issue 01 is the »power issue«. It has a volume of 192 pages, is printed on two papers, written in German and contains of 17 articles which are all edited, submitted and/or produced for this issue. With texts, essays as well as artistic and photographic contributions and reportages it amplifies quieter and louder voices. Existing conflicts are taken up, assumptions are called into doubt and old questions are rethought.

 

 

 

Being interested in the variety of creative arts, Aldo Heubel studies crossmedia design at the AKI ArtEZ in Enschede / The Netherlands, where he develops his own style in photography, graphic design, cinematography and conceptual projects. Grown up in Hamburg, Germany in a family full of architects, he is inspired by past design decades which he combines with his passion for nature and movement. His work blends visual quotes with a contemporary twist while focusing on authentic representation of people and places. Aldo believes in the strength of cooperative and multidisciplinary approaches to design. He uses his diverse skillset to transform his own projects into critical and aesthetic artwork crossing boundaries with interdisciplinary communication.

 

 

The personal branding of Aldo Heubel finally comes to life. The research began already 2 years back in time, when he realised his growing interest for typography in graphic design. With having all sorts of projects in his portfolio, it was important to let the work breathe as well as letting it speak for itself. On the other side, the interests and growing passion for web design had to get its podium as well. After working, making and experimenting in his studies, he found a tone and feeling he wanted to create with his visual identity. A strong typeface combined with clean colours (light grey and almost black) to let the colourful and divers work pop out even more. The red represents his passion for all the work he does, keeping it not too present ( on the website for example) to keep it clean and simple.

 

 

 

 

 

 

Rafael Bernardo is a German-Brazilian designer, consultant, creative activist, author and founder of the eponymous studio based in Munich. His focus? Branding communication in general. Why? Because you can not, not brand communication.

 

His aesthetic understanding roots in typography, his interdisciplinary approach is inspired by the bauhaus-philosophy, he believes in the value of developing your craftsmanship (he has designed fonts, infographics, posters, magazines, books, websites, apps, corporate designs, murals, campaigns, videos, animations and installations) and he loves it, when a team is more than just the sum of its members. Which is why he is regularly involved in projects for a good cause.

 

Credo? »Be water my friend«. Why? Because he found out, that water behaves like creativity works. The reason for developing a methodology to look at personal or collaborative workflows. A tool that sees mindset and intuition as teamplayers and guides you on (or at first towards) your way to »be water my friend«.

 

 

 

 

Inspired by an interview with Bruce Lee, where he refers to an aspect of Taoist philosophy, that water can teach us “the way,” the graphic designer, creative activist, lecturer, author, and founder of the eponymous studio for branding communication rafael bernardo started to wonder whether he “was water” in his creative workflow. Now, five years later, he wrote and designed a book with 224 pages, which is divided 50/50 into the parts Roots and Wings.

 

Wings presents the graphic journey. Eleven of Bernardo’s favorite personal projects and collaborative works he did for example with Viva con Agua, the Forward Festival, or the porcelain factory Rosenthal. And then, there is a selection of eighty »Be Water my Friend« posters, created to practice and explore his visual voice. Clear compositions in black and white within a spectrum of typography, illustration, and infographics.

 

Part two, Roots, outlines the theoretic foundation of Rafael Bernardo’s experience. The introduction of the »Be Water my Friend« methodology. An analytic system that he developed after he found out, that water behaves like creativity works.

 

 

Support “Be Water my Friend” on Kickstarter and preorder a copy or grab one of the rewards such as a tote bag, silkprint, or workshop with Rafael Bernardo.

 

www.kickstarter.com/projects/rafael-bernardo/the-be-water-my-friend-book-by-rafael-bernardo

 

 

 

Concept & Design: Rafael Bernardo
Publisher: Slanted Publishers
Format: 16 × 24 cm
Volume: 224 pages
Language: English
Colors: Black (water based) and spot color Pantone 032U
Cover: Triptychon soft-cover
Binding: Swiss brochure with an open spine, stitched with red thread
Printing: Stober
Paper: 3 kinds of 100% recycled paper by @igepa.group (cover: Kingdom XT-S Recy White; Roots: Circle Volume White; Wings: Circle Offset Premium White)
Typefaces: by @newglyph

Céline Jouandet is a young French graphic designer, specialized in typography, and recently living in Amsterdam. She recently graduated from a Master in design and typography at ECV Paris.

With a background rich in various experiences, which allowed her to explore different creative fields: motion design, fine arts, scenography, web design, code, publishing and typography.

 

 

 

 

Lady Spider Publishing, 2021
Publishing and Type Design
203 x 277 mm,
160 pages

Measuring an average of 5 cm, the spider is an everyday companion. Its informality scares us: with its multiple eyes, its hairy body and its eight legs. Wrongly considered as a threat, it is not at all lethal for human beings. The objective of this project is to create editorial and typographic supports to demystify the spider. To get out of an anthropocentric conception of the world, to know so as not to fear.

 

 

 

People-pleasing is boring, passive and inauthentic. Carla creates influential and provocative brand experiences by challenging people to make bold and unconventional statements that acknowledge current social tension, cultivating meaningful connections between progressive brands and socially conscious audiences with high expectations. Working as an independent freelance designer and art director, Carla works predominantly with beauty, fashion, food and lifestyle brands from all around the globe. With an extensive creative network, Carla forms specialist teams that cater to the individual needs of her clients, resulting in strong collaborations and more impactful results. From conception to outcome, Carla uses finely-tuned processes in conceptual design and strategic thinking to execute on aesthetically striking visual identity systems, boutique packaging and thought-provoking advertising.

We all have too many tabs open in our browsers and in our brains. In an increasingly overstimulated world overwhelmed with mental noise and constant online bombardment, Mort & Max is a CBD sparkling water beverage created by two brothers targeted at busy creative professionals who are over-stimulated and over-caffeinated. Mort & Max’s mission is to help creatives make space for journalling and pave their way forwards in an increasingly backwards world.

 

From the brand language through to packaging and campaign design, we needed to create something unapologetic, audacious and forward-thinking to stand out from the increasing number of CBD products in the drink aisle. The brand needed an identity that would speak to people immediately and entice a unique and tailored brand experience through outspoken and unmissable typography and color.

 

Centering the logo mark as the hero of the brand, the brand identity uses forthright and loud typography combined with a mixture of san serif and serif typefaces for secondary typography, visually communicating motion and a positive shift forward for consumers within their working and personal lives. The brand typography is paired with a bright color palette that boasts confidence, clarity and empowerment to the masses of overwhelmed creatives with the masses of wrong products available to them.

 

 

Julia Miceli Pitta is an Argentine graphic designer based between Buenos Aires and London. Her practice is always under construction. It sits in between conceptual thinking and exploration, with an unorthodox flavour. She specializes in visual identity, editorial design and creative direction.

 

She studied at the University of Buenos Aires, where she also taught Design as a teaching professor. Her aim is to encourage students to think critically, develop their own voice and experiment fearlessly.

 

Her practice is not attached to any particular style. She thinks each project as an adventure that opens a question, without recurring to any well-worn paths to diminish risks. Indeed, she embraces the possibility to break down the boundaries of graphic design and build an original language, questioning things instead of being certain of them. Working primarily for clients in the world of culture, she understands her exercise as a design laboratory. For her, to learn and understand rules is essential, but daring to break them is equally important.

 

Her work has been recognized all over the world. She had the honor of being part of multiple exhibitions, publications and contests. Moreover, in 2019 Julia won first place in two different categories in The Biennale of Design in Argentina and in 2021 she was selected to participate in the “XIIIth Florence Biennale” in Florence with diverse projects.

 

 

 

Mariana Bendersky | Publication

Mariana Bendersky is a multifaceted architect based in Paris. Her work stands out thanks to the versatility with which she faces every single project in which she is involved. For her, the context is one of the most important characteristics, since it unfolds the identity of each building. Where, how and what are always her first questions in order to build without restrictions and being more experimental. Mariana encouraged me to develop an editorial piece showing her perspective on architecture.

 

 

 

 

DALE | Magazine

DALE Magazine prefers to be an explorer rather to someone who gives explanations. This is a restless magazine for restless people. But to read quietly and attentively, or not. We can design a magazine, but we cannot foresee how it will be read. Sometimes we strive for spectacular sequences that are perfectly ignored by readers who – like me – start a magazine at the end or in the middle. The project includes three 64-page magazines, a cultural agenda focused on site-specific art and a recipe (how to make a happening).

 

 

 

 

 

Hyperirrealism | Book

Editorial Design for Ale Girá – Ale Girá is an experimental architect who explores diverse ways to create and develop architecture. Work for Oscar Riera Ojeda Publishers.

 

 

 

 

 

Remy Architects | Visual Identity

Andrés Remy was part of Rafael Viñoly’s studio in New York. After working with him for five years, he decided to found a studio called Remy Architects. The studio is well known for developing innovative projects, with a unique architectural language. Andrés contacted me to develop his first book, where the principal goal was to show the soul of the studio: how its identity is a convergence of functionality and conceptual design. In addition, he also asked me to redo its entire brand identity, and this encouraged me to create a dynamic visual system, which not only included the book, but also logos, brochures, bags, website, among other things.

 

 

 

 

Juan Forn | Booklet Collection

Since 2008, every single Friday, Juan Forn writes the back cover of the newspaper Página/12. Faithful to what Borges always said-a writer is just a good reader-he ventures into unsuspected corners of literature, architecture, music, cinema and even the mathematics of the twentieth century, in search of the intimate keys that governed that century of avant-garde and catastrophe. I designed ten booklets where I tried to discover the personality of each text while maintaining some strong decisions to understand them as a booklet collection.

 

 

Alessio Longa is a graphic designer from Milan, he’s currently completing the training course at the New Academy of Fine Arts – NABA, in Milan, where he attends the Graphic Design & Art Direction course.
His biggest source of inspiration is the international typographic style of the 1950s, also called the Swiss school: it always strikes him in its rigor and in being balanced and clear.

Editorial graphics are also a big source of inspiration for him, as they projects him into a dimension in which the white space is no longer ‘empty’ but it becomes ‘cluttered’.
The style that he prefers, and that he tries to apply as much as possible, plays on using fairly rigid grids, minimalism, leveraging the use of typography as a design and communication element.

 

Design Issey Miyake is a tribute project to the Japanese designer Issey Miyake, who revolutionized the world of design, with particular devotion to innovation and experimentation, ranging from fashion design to product design, inspiring minds in all areas of design.

 

 

Filippos Fragkogiannis is an Athens based freelance graphic designer and art director with a focus on typography, print design and visual identity. His projects center around visual identities, posters, and print collateral, and he regularly enhances type foundries with bold imagery.

With an MA in Visual Communication, and a BA in Graphic Design from Vakalo Art & Design College and the University of Derby, his research-based approach is rooted in semiotics, symbolism and the mechanics of visual language.

 

How did you become a designer?

Going back, I think a number of experiences shaped me, and lead me towards graphic design, like my decade-long involvement in graffiti since the age of 14. Tags, names, and letters were the main elements we were spraying in the streets at the time. This premediated injection of verbal forms in the public space has much in common with the way posters make walls speak. No wonder why my early steps as a graphic designer was making posters for school parties, graffiti stores, and rap artists’ concerts. At the same time, I was, and still am, drawn to language, and its capacity to determine, disseminate, and establish any given information. The way the written word can be archived, shared, printed, and reproduced always interested me. Studying graphic design was a conscious choice, and all of the above not only played a key role in me following this path, but also in adopting a type-focused approach from early on.

How would you define your vision of design, your style?

My interest lies in the way language is used in visual communication and guides our interpretation of society. Whether it’s for advertising, propaganda, political discourse, or the expression of feelings, language is a powerful tool. So, I explore the capacities of this tool to produce designs based on simple forms and condensed meanings, that can make as big an impact as possible. In terms of approach, my design could be described as sharp, transparent, and plain-spoken. It calls for the viewers’ attention and tries to earn their trust, all the while allowing for multiple interpretations. I want the outcome to be direct and honest, to serve its purpose, and get the message across in a straightforward manner. I’m all for a simple, truthful, and type-centered design. I try to avoid adopting one style or another. Instead, I develop a creative methodology that moves from accumulation to condensation and abstraction.

 

 

First, I do a comprehensive research on the given subject, gather all the necessary information, then I process these materials, find a sensible hierarchy between them and, finally, take out everything that seems unnecessary or redundant. I experiment a lot, and reject many attempts before arriving at a final result that would be fulfilling to both me and the client. Avoiding verbiage is my main concern, since we live in saturated times in terms of visual and verbal stimuli. I also try to avoid risky certainties and prejudice. My intention is to communicate, through design, messages that speak a universal language and are addressed to a wider, international audience. I aim for designs that are simple, easily recognizable, and aesthetically appealing to the viewer.

A designer or studio you admire?

Artists working conceptually with typography and text in public space such as Barbara Kruger, Jenny Holzer, Lawrence Weiner, John Fekner and Josephine Kaeppelin always interested me. At the same time, my designs reflect my affection for fonts, and I’m always eager to collaborate with exciting type designers. Typefaces, to me, are a true inspiration. I think of them as vessels for concepts, moods, and gestures. To spark my creativity, type foundries are my go-tos.

Could you tell us about any of your projects?

A project reflecting my type-oriented approach is my work for NOMAS Magazine, a travel edition for visually wandering the world. Among other things, I got to imagine the code system of the featured countries for which I picked National Codes Pi with the aim of highlighting the font’s application both on paper and online. On the masthead of the magazine, I colored three codes in red, green and blue to hint at both the RGB system and the online continuation of the project.

 

Another great experience was enhancing Fonts.gr online presence with new features, pushing the envelope further. Along with Georgia Harizani, we created the company’s Instagram and Facebook shops, a Google My Business listing with a comprehensive font directory, and added the finishing SEO touches to their website. Needless to say, designing the foundry’s first AR filter on Instagram was so much fun. You should try it!

What do you like the most in your job?

To me, graphic design is a practice filled with excitement. From concept to design, printing, and delivery, it’s applied nature allows one to have a tangible outcome eager to start a conversation with its end receiver. It’s a practice that’s fueled by interaction and human contact. Therefore, as a graphic designer, I always felt a sense of responsibility about how my work questions and contributes to the values of our society and culture. In addition, graphic design is enlightening on a personal level. Working on visual communication made me more observant, more alert to details, more aware of the appearance and structure of things. It helped me improve both my communication skills and my critical thinking. Last but not least, as I go deeper into signs, symbols, and the metalingual function of language, it gives me a thrill to navigate and try to decode today’s information-saturated world.

For the future, what are your professional projects?

Right now, I’m working on expanding my outreach online and offline, introducing my work to a wider audience, and developing new collaborations with creatives and clients that are open to bold, radical, and unexpected design. Collaboration, to me, is as important as self-awareness, and a deeper understanding of one’s own interests, skills, and needs. I’m trying to find the right balance between research, commercial and personal projects, and collaborate with brands that value design as an asset, and understand its potential to deliver results and lead to renewal. I plan to continue to celebrate contemporary design through blogging, and I am heading towards the future with the desire to push my creativity further, and keep trying to bring something new to the table.

Alex Valentina is a graphic designer from Italy graduated at ISIA Urbino (Italy) and at KHIB Bergen (Norway). He believes in the importance of combining multiple disciplines in visual communication. Besides the obsession for typefaces, Alex is also a musician, music producer and video director.

 

 

 

Alex says 

“I’ve studied graphic design at KHIB in Norway and at ISIA in Italy. During my school years I was always very busy with my musical project and spent most of my time in studio producing. During those years I was freelancing as graphic designer for music labels or other music projects.

 

I still continue to alternate these two worlds, because each gives me a different type of energy and allows me to oxygenate the mind when I spend too much time on the same projects. Nice thing when I do graphics is the possibility to actually listen to other people’s music something I can’t do when I spend entire days just mixing frequencies and abstract sounds.

 

 

Lately I’ve been dedicating a little more time to personal graphic projects, searching for my own dimension and trying to understand if I actually have something to say and if I can say it in an innovative way. In any case, throughout my life typography has always been a constant obsession, to which, however, I had never actually committed. but collecting and cataloging special fonts on my computer has always been one of my main late late night pastimes 🤓

 

 

 

When the graphics becomes too formal, rigid, and “geometric” is when i generally tend to get bored. I’ve spent years loving that style but at this moment I feel this approach belongs to another historical period, or at least that is not stimulating enough compared to what is required of graphics at this moment in time.

 

 

 

 

I feel that in addition to all the rules, we should be able to add more soul to the things, to be able to infuse more meaning. Authenticity is the hardest thing to achieve these days. for me, visual communication does not only mean regularising but just as much creating quality products that can generate true communication, allowing life, ideas and a vision to shine through as much as possible. opening a dialogue is the first step to being 100% honest with ourselves, with our creative process and with the end user, whether it’s a customer or anyone else that has contacts with what we do.

 

 

 

 

 

An authentic design has to be sincere, human and alive. Being honest with yourself and with your own process shows results in the outcome, people feel it and this helps to establish a direct form of communication with fewer filters. 

 

Graphic design is less about selling and more about saying: “this is me, this is what I stand for, what are your thoughts on this? what’s your reaction?