[1] Nizar Kazan, Lausanne Typeface
[2] Sarah de Bondt, Wiels Contemporary Art Centre
[3] M. Giesser, Next Wave Arts Festival
[4] Niklaus Troxler, Jazz Posters
[5] Google Creative Lab, Keyboard
[6] Klim, The Future Mono
[7] Experimental Jetset, Gutenberg Orchestra
[8] Armin Hofmann, Various Posters
Nizar Kazan's typeface, Lausanne, is the first one he ever designed and states that this typeface is the one through which he learned and practiced type design. I love geometric sans serifs and this one is no exception. I especially love that it is designed to be legible at both small text sizes and really large ones too.

Sara de Bondt's identity for the Wiels Contemporary Art Centre in Belgium makes use of a custom typeface that was designed to ressemble the typography seen on roadsigns throughout the country.

M. Giesser's branding for the Next Wave Arts Festival is screen-based and relies on dynamic motion and interactivity. The identity's bold colors revitalized the old, somewhat stale identity for the Melbourne arts festival. I'm drawn to the flexibility of the identity.

I enjoy the way Niklaus Troxler uses typography as image in many of his poster designs. Two of my favorites are pictured here, both of which use super bold color for contrast and have custom typography.

This interactive keyboard was made by Google Creative Labs. It can be played using your mouse or keyboard but also by using your body. Using your computer's camera, the website can track your movement from one point on your body, like your nose for example, to play the keyboard. I think this project is super interesting, especially how the technology can be expanded to enable individuals who struggle with communication, such as those with Cerebral Palsy, to communicate more easily.

I found The Future Mono typeface by Klim on Future Fonts recently. I just think the typeface is super unique and really different than anything I've seen before.

Experimental Jetset designed this set of print materials for the Gutenberg Orchestra back in 2015. The design is simple, yet so expressive, like much of the studio's other work and is so fitting for an orchestra.

I was looking back at Armin Hofmann's work, which I've admired for some time, and remembered how much I enjoy the way he incorporates imagery into his work. I especially love the way he adds a bit of texture to the images in the two posters pictured. Incorporating imagery with bold typography is something I've struggled with for a while, so I'm sticking these photos here as a reference.