The Tinkuy Patterns system is divided into six files containing a total of more than 2650 modules that can be combined together creating an infinite range of possibilities. The digitization of the typeface family has been carried out by Ale Paul, through the Sudtipos foundry. An infinite number of possible combinations can be accessed by using the letters on the keyboard. Although a certain shape predominates in each set, they can be combined with each other.​​​​​​​

Druk is a study in extremes, featuring the narrowest, widest, and heaviest typefaces in the Commercial Type library to date. Starting from Medium and going up to Super, Druk is uncompromisingly bold. Druk was intentionally designed without a normal width, nor lighter than medium weights. Berton Hasebe, the designer, wanted to avoid shifting the focus of the typeface away from its most emphatic styles to accommodate more general-purpose usage. Druk is conceived to offer new possibilities to graphic designers that other typefaces can’t. Its initial use as a companion to Neue Haas Grotesk demonstrates that it works equally well with any number of other sans serifs, including Atlas, Graphik and Marr Sans. Its three widths can be mixed together for bold and expressive typographic treatments.

Design and Art Direction for this amazing project produced by LTO. Imagine a mix of Mad-lib+Cadaver Esquisito with a bunch of different artists, where you can pick the artworks and organize them as your own publication/book. The cover was made by 3 different printed pieces with different pieces of information (the identity, the artist list, and information about LTO) picking up on the concept of making your own publication during the event.

Shabazz Projects is a progressive publishing platform creating books and objects with an emphasis on contemporary art and photography. We utilize the book as a medium to communicate the artist’s intent with each release. Through close artist collaboration and interpretation, we aim to create dialogues, recognize patterns, provoke and surprise.

Ines Cox’s latest project, a book titled SAVE, is the culmination of a two-year research period at the Royal Academy of Fine Arts Antwerp. During this time she explored our relationships with technology, focusing particularly on the designer’s perspective and the reciprocal nature of the interaction with their computer. To do this, she consciously observed, documented and imitated the aesthetics that appeared on her own screen, generated by the computer and its software.

Kawak is a grotesk inspired by Pre-Hispanic Mayan glyphs from the tzolk'in ritual cycle. Mayan script is not a 1:1 parallel with a Latin alphabet. Instead, the Mayan aesthetic, which relies heavily on the super-ellipse and mono-width characters, is a formal point of inspiration. The objective of this project was to marry Swiss typographic tradition with Pre-Hispanic aesthetics and thus partake in the grand old process of mestizaje.

The Dutch designers Maureen Mooren and Daniël van der Velden designed a new identity for the Holland Festival. The campaign – which comprised a series of posters, printed materials and advertisements – was evident throughout the Netherlands until the end of June. The designers met as students at the Willem de Kooning Academy in Rotterdam during the mid-1990s and have worked together in a studio in Amsterdam since 1998. They used the project to critique contemporary Dutch society – images of stained glass windows are threaded through with images of crushed beer cans and soda bottles. They also used it to re-think the possibilities and potential of a ‘sign’ which they see as ‘capable of attracting a multiplicity of meanings and interpretations’, as distinct from a ‘logo’, which, as they put it, is ‘a product of corporate culture’ and ‘like a marriage based on a dating profile’.

Transitory Workplace 56 transforms A—Z into Na Kim’s studio for fifty-six days. It presents her temporary working activities at a provisional workplace and the encounters of others with diverse purposes. While Na Kim usually spends around half the year traveling due to the breadth of her work and the places it takes her, she is now confronted with the situation of the lockdown due to the coronavirus pandemic. This entrusts the body to a time of uncertainty. The anxiety felt by being enclosed in a physical environment naturally probes solitude in daily life and summons the space of memories. By allowing her to set her own rules for this private workplace for fifty-six days in a public gallery space, this project makes abstract uncertainty concrete with physical space and daily action, demonstrating an attitude of observation and appreciation for the value of everyday life.

The title 1,056 Hours indicates the show’s total duration, 44 days. As it implies, the graphic designers Sulki and Min address time in this exhibition. More specifically, the works on display demonstrate how time is materialized—or becomes a material—in relation to language and media. None of the works, however, directly delves into any of the issues. Instead, they play with them like touch and go, almost as if evading the questions that they have asked themselves. There is bit of a joke-like humor about the entire exhibition. Even the work descriptions: “1 second” or “single-channel video on 55-inch Samsung TV The Serif KQ55LST01AFXKR” sound like they imply something other than the duration or medium.The works gently tweak the notions of change, rhythm, and repetition, all integral to our understanding of time, challenging certain expectations with time-based media.

Have you ever moved to a new city with little to no knowledge of this new land? Without knowing where the best restaurants are, the best bars, the best events, the best music venue? That's what Carpe D.C. is for. Carpe D.C. is a DC weekly newsletter meant to help the nine-to-fivers, the natives, and the dc rookies get the most out of life in the District of Columbia. The WWT team thoughtfully curate some of the best experiences happening each week in DC and deliver it to your inbox every Monday morning. The Carpe DC identity is inspired by its Latin origins—— Carpe Diem. This Latin phrase, usually translated as “seize the day,” was taken from a book of the Roman poet, Horace. To maintain this Latin theme, I began researching the era of Horace, and developed a mosaic theme/aesthetic from my findings.

For Asian designers “modern design” is not something to transcend or overcome ideologically, but rather a foundation to be flexibly used every day. Moreover, from a historical perspective deliberately juxtaposing “Asian design” and Western design has no absolute value. It is against this backdrop that the possibilities inherent in a refreshingly new and youthful approach first became apparent in the early years of the New Millennium, most notably with the appearance of a young man from Taiwan called Wang Zhi-Hong. Wang made his presence felt in the world of book cover design in 2001, crafting a brand new design style that blended classicism and modernism with a distinctive focus on typography.

Working closely with Spoljaric for over a year, WSDIA designed the indoor basketball court bleachers (with Corey Yurkovich), all wayfinding and signage—featuring a custom typeface made exclusively for the space—and numerous distinct branding moments. Notable pieces include a 30-foot tall bark wall that nods to Nike’s Oregon roots; custom handmade rugs in various spaces, one of which—in the VIP Jeter Lounge—features all Yankees’ championship years; floor patterns derived from court lines and NYC’s bridges spill into the VIP Showrooms; custom running and basketball-inspired CNC milled wall tiles; conference room ceiling tiles resembling shoe soles; a Michael Jordan mosaic tile wall; custom perforated locker patterns; and the art direction and curation of all illustration and photography for meeting booths.