Redesigning the Visual Identity of Berlin's Bauhaus Archives

Curator: Leta Sobierajski
date: July 8, 2014
Categories: Brand & Identity Design, Typography
Tags: Bauhaus, bauhaus archives, berlin, Typography
The Bauhaus Archives has housed the work of Bauhaus greats like Joost Schmidt, Wassily Kandinsky, Johannes Itten, and Alfred Arndt since it opened in Berlin in 1979. Now, 35 years later, designer Sascha Lobe from L2M3 has created a new visual identity for the institution by repurposing existing typography into playful geometric shapes--all by following the age-old rule of “form follows function," of course.
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The Grand Budapest Hotel poster: Annie Atkins

Curator: Sam’s Myth
date: March 28, 2014
Categories: Entertainment Design, Typography
Tags: annie atkins, Movie posters, the grand budapest hotel, Typography, Wes Anderson

Irish designer Annie Atkins lived up (and then some) to the monumental dream assignment of handling the graphic design elements for Wes Anderson’s latest feature film, The Grand Budapest Hotel, including this theatrical poster and its custom title treatment. 

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Commercial Type: Paul Barnes and Christian Schwartz

Curator: Garth Walker
date: August 14, 2013
Categories: Book & Magazine Design, Typography
Tags: Typography
Commercial Type is a newish foundry creating classic fonts (with a twist) based on oldish styles... It’s anything but commercial. 
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Go Do Good Installation: Kay Rosen

Curator: Jeshurun Webb
date: May 30, 2013
Categories: Environmental Design, Typography
Tags: Kay Rosen, public art, Typography

Rosen’s yellow-and-black color palette shouts boldly at the Chicago loop intersection of State and Washington. This six-story high mural encodes meaning and is a call to action for the community. She takes the viewer through reading, listening, seeing, understanding and back again. Her work doesn’t belong to just one discipline. 

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Collaged Walls: Martin Venezky's Appetite Engineers

Curator: Tim Belonax
date: January 7, 2013
Categories: Environmental Design, Typography
Tags: image making, Process, studio space, Typography
Walking into Martin Venezky’s studio was akin to entering Willy Wonka’s Chocolate Factory. Every detail was overwhelmingly lush and full of life. I wanted to rifle through all of the printed ephemera and ogle his arrangement of figurines and objects, but good taste and manners obstructed my childlike glee. Those familiar with Martin’s work won’t be surprised to learn that his office is as visually alive and beautiful as his designs. Many studios I’ve visited tend to prefer work spaces with a clean, modernist aesthetic—portraying seriousness, efficiency and whatever leftover baggage one might nostalgically assign to that era.
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