Romain Goetz :


graphein (« écrire ») - poiein (créer, fabriquer)

Stedelijk Museum identity (2012) //18-01-2018

Stedelijk Museum identity (2012) Stedelijk Museum identity (2012) Stedelijk Museum identity (2012) Stedelijk Museum identity (2012) Stedelijk Museum identity (2012)

The 2012 visual rebranding of Amsterdam’s Stedelijk Museum was designed by Mevis & Van Deursen, and includes a website, publications, newsletter, stationery, and posters. The S-shaped logo is based on Union, a typeface designed in 2009 by Czech-born Radim Peško:

Union derives from the two most commonly used typefaces on PC and Mac platforms: Arial and Helvetica. Essentially, Union is a synthesis of these typefaces; its contours have been adjusted to retain the flexibility characteristic of both fonts. Union is intended for situations where Helvetica seems too sophisticated and Arial too vulgar, or vice versa.

The museum’s unique relationship with graphic design dates back to Wim Crouwel 1964 ‘SM’ logo and Experimental Jetset’s 2004 ‘SMCS’ temporary logotype and sign system. Expectations for this redesign were high after a previous identity proposal (the outcome of an international competition) by French designer Pierre di Sciullo had been ditched by the newly arrived Stedelijk director, Ann Goldstein.

Andreas Kofler – 27/06/2016

site internet


Manor Grunewald //12-01-2018

Manor Grunewald Manor Grunewald Manor Grunewald Manor Grunewald Manor Grunewald

Manor Grunewald considers himself first and foremost as a painter, although he is also active in the fields of sculpture, installation and prints. His work is characterised by the constant analysis of the development of the pictorial in our daily environment. He finds and collects the sources of his images everywhere in daily life: in newspapers, advertising, books, etc. In his recent works, his painting is concerned with the optics, visual conformity, imperfection and arbitrariness of the phenomenon of the black-and-white copy.



Surveillance Index //10-01-2018

Surveillance Index

Surveillance Index Edition One is a collection of one hundred books related to surveillance photography.
Books are indexed by Year, Title, Photographer, Description, Size, and Code.


ertdfgcvb //10-01-2018


Studio for design and code based in Lugano, Switzerland.

Specialized in procedural graphic design for screen and print; conceptualization, prototyping and implementation of interactive installations for stages, events and exhibitions.


COLLECTION S.E.I.T.A //10-01-2018


Ce site a pour vocation de présenter une collection privée de boîtes d'allumettes S.E.I.T.A. Il est conçu afin de faciliter la recherche pour toute personne intéressée par la boîte ou son image. Ainsi, il présente des entrées de classification adaptées à la recherche graphique ou philuménique.
À l'inverse des sites présentants
des masses de visuels d'étiquettes, ici, la navigation s'effectue par dé-zoom et vient alors mettre en lumière les spécificités propres à chaque boîtes.

Axel Benassis.


BAD Studio //07-01-2018

BAD Studio BAD Studio BAD Studio BAD Studio

Bráulio Amado is a Graphic Designer and Illustrator from Portugal, currently living in New York City. He worked as a Designer at Pentagram NYC. Then joined Bloomberg Businessweek as an Art Director. Moved to Wieden+Kennedy. Now this.


Scriptures, specimen — Adele Type //05-01-2018

Scriptures, specimen — Adele Type Scriptures, specimen — Adele Type


Paul Colin - Affiches //05-01-2018

Paul Colin - Affiches Paul Colin - Affiches Paul Colin - Affiches Paul Colin - Affiches Paul Colin - Affiches

Élève d'Eugène Vallin et de Victor Prouvé, Paul Colin s'affirme après la Première Guerre mondiale comme le chef de l'école moderne de l'affiche lithographiée (ou passant par de nouvelles techniques de reproduction faisant appel à l'héliogravure et la sérigraphie). Il est l'auteur de plus de 1 400 affiches, de décors de théâtre et de costumes.

Révélé en 1925 par son affiche pour la Revue nègre, qui contribue à lancer la carrière de Joséphine Baker, il travaille pendant près de quarante ans pour les arts de la scène et le monde du spectacle.

Son style, au début très marqué à la fois par l'Art déco et la Nouvelle Objectivité, devient rapidement très personnel et difficile à faire entrer dans une simple catégorie : la justesse synthétique de ses portraits, la force d'évocation de ses affiches pour les grandes causes en font un maître de la communication visuelle dont l'œuvre reste aujourd'hui exemplaire et très actuelle.



Poetic Computation //18-11-2017

Poetic Computation

Poetic Computation: Reader is an online-book by Taeyoon Choi that discusses code as a form of poetry and aesthetic while raising ethical questions associated with it. The book is based on Choi’s lectures at the School for Poetic Computation, an independent school he co-founded in New York City. The first two chapters will be published in September 2017, with the following chapters to be published over the year.

Designed by HAWRAF, Poetic Computation: Reader presents new possibilities for enhanced accessibility and legibility in web browsers. Readers can change the design elements and format parameters to create their ideal reading experience. Poetic Computation: Reader is edited by Hannah Son and includes interviews with a select group of scholars and practitioners.

Poetic Computation: Reader is a free educational product with its code published open source in the project repository. The project was initially supported by Taeyoon Choi's Artist in Residence at NEW INC. For updates on the monthly chapter releases, please sign up to Taeyoon Choi's mailing list. For press release and visual assets, please check out this link.

Taeyoon Choi and collaborators do not hold the copyright to images contained in this book except for the original images created by Choi. If there's a concern about the use of any image or citation, please contact



MARC NAGTZAAM //30-10-2017


While Marc Nagtzaam’s drawings are far from devoid of any sense of discovery, they are extremely programatic, composed of tight, deliberate gestures. Filling in all the negative fields in his drawings with graphite himself, if his mode of drawing conforms in any way to what one normally expects of the practice of drawing, it is largely in terms of time. For all their seductive systematic severity, they abundantly testify to a human presence, paradoxically conveying that despite the artist’s methodically engineered absence, he was nevertheless there.

For this exhibition Nagtzaam will show various series of work: several wall drawings depicting previously made, or yet to be realized, designs for works on paper. Next to a large selection of sketches and prints, containing the fragments he uses to construct the grid like patterns of his drawings.

Marc Nagtzaam (b. 1968) is an artist who works mainly with drawing, text, artist books and occasionally sculpture. His work has been the subject of major group and solo exhibitions such as Artist Documents, National Museum of Modern and Contemporary Art, Seoul (2016), The Bottom Line, S.M.A.K., Ghent (2015), Minimal Myth at Museum Boijmans van Beuningen, Rotterdam (2012), Autumn of Modernism at De Vleeshal, Middelburg (2012), and The Unknown Group at Frac Bourgogne, Dijon (2010). Recent solo exhibitions include: A Drawing Placed Between Two Objects (with a contribution by Mark Manders), ProjecteSD, Barcelona (2016), Eight Pieces for Eight Corners, Objectif Exhibitions , Antwerp (2015), Not Available, De Kabinetten van de Vleeshal, Middelburg (2014). Other institutions that have shown his work include MACBA, Barcelona (ES), Stedelijk Museum, Amsterdam (NL), and MuZee, Ostend (B). In 1998 together with Roger Willems Nagtzaam published the very first book from Roma Publications, entitled SOME. Nagtzaam has been producing publications with Roma on a regular basis ever since.



Montvalent Festival //17-09-2017

Montvalent Festival Montvalent Festival Montvalent Festival

Identité du festival d'art contemporain de Montvalent - Par Atelier Choque le Goffsource


How to Work with Skills You Don’t Have (Yet) //17-09-2017

How to Work with Skills You Don’t Have (Yet)

Get yourself a network, baby! Nope, this is not about throwing your letterpress business cards into everybody’s faces. Even though they come with edge coloring and 460-gram cotton paper.
Instead, I write about my experience of outsourcing work in my production process, and why that takes your freelance work to another level.
1. Designers think and learn in networks — why shouldn’t they work in one?
2. Networks help you to increase the quality of the product you’re delivering.
3. Networks help you to become a more versatile designer.
4. Clients will value your network’s services.
5. As a networker, you learn to share and negotiate.
6. Great! Why haven’t I started already?



XYZ Type - interview //31-07-2017

XYZ Type - interview

Starting Your Own Type Foundry

We talk to Jesse Ragan and Ben Kiel about starting their new type foundry XYZ Type.

Ben and Jesse both have distinguished careers working in house with the likes House Industries, Hoefler & Frere-Jones. Having found complementary skills in each other, they have now decided to take the leap and strike out on their own. We discuss their new venture, their considerations before taking the plunge and the skills it takes to start a new foundry.



To Make a Book, Walk on a Book //31-07-2017

To Make a Book, Walk on a Book

On the making “Koya Bound”: A book of photographs from the Kumano Kodo pilgrimage walk in Japan.

When making a book, I find it’s useful to walk on the book. To peek over it and look for patterns, shuffle pages, grouping and ungrouping the loose sheets. Walls work too — a book can be made on a wall. But floors are easier. And there’s something joyful about the tip-toe dance you do across a room when it is filled by a book.



Let’s talk about margins //31-07-2017

Let’s talk about margins

We’re making a book.
The margins are important.
Do you know how important?

The page is a piece of paper. It is also a visible and tangible proportion, silently sounding the thoroughbass of the book. On it lies the textblock, which must answer to the page. The two together — page and textblock — produce an antiphonal geometry. That geometry alone can bond the reader to the book.



Forward Festival //07-06-2017

Forward Festival

Forward Festival for creativity, design and communication brings together the best international and local creative heads, who provide insights into their success stories in an exciting atmosphere.
The conference, the centerpiece of the festival is in English and accompanied by various side events, such as workshops, networking events and after parties. The festival takes place from 17 – 18 June 2017 at FREITAG F-actory in Zurich.



Savate - Spécimen //10-05-2017

Savate - Spécimen Savate - Spécimen Savate - Spécimen

Savate is a typeface freely inspired by a hand-lettering found in the streets of Ivry-sur-Seine in the suburbs of Paris. Its name refers to the savate, a typically french fighting sport. Its character set is quite complete, with an italic and a wide language support.

Visuals 1• : Daniél Niederkofler
Daniél Niederkofler Graphic Design | Illustration

Visual 2• :


Slanted - Helsinky - Interview //09-05-2017

Slanted - Helsinky - Interview

Helsinki: Video interviews

In the summer of 2016 the Slanted editors embarked on their trip to Helsinki to take a close-up look at the contemporary design scene there. What they found was a rich creative community with a deeply rooted culture – people who do much more than just love design, they live it. The list of designers Slanted met with boasts everyone from legends such as Erik Bruun to young, wild creatives who are creating exciting voices in their own right. Well known figures from Helsinki’s contemporary design scene such as Jesse Auersalo, Bond Agency, Double Happiness, GRMMXI, Helsinki Type Studio, Kokoro & Moi, Kuudes, Linda Linko, Martin Martonen, N2, Tino Nyman, Prakt Design Agency, Schick Toikka, Tsto, and Werklig allowed a glimpse into their world. Not only can you find their brilliant works in the new issue, Slanted also provides a deeper look at their opinions and views through video interviews that can be watched online on our video platform for free!


Cooper Hewit //09-05-2017

Cooper Hewit

The Cooper Hewitt typeface is a contemporary sans serif, with characters composed of modified-geometric curves and arches. Initially commissioned by Pentagram to evolve his Polaris Condensed typeface, Chester Jenkins created a new digital form to support the newly transformed museum. 
“Developing this typeface specifically for Cooper Hewitt has been enormously gratifying,” said Jenkins. “Instead of building on the Polaris structures, I drew everything from scratch, using the existing forms as a rough guide for letter widths and master-stroke thicknesses.”

The font can be downloaded free of charge for unrestricted public use under the SIL Open Font License.


Rudy Guedj //08-05-2017

Rudy Guedj

Graphic designer and illustrator based in Amsterdam. Often uses drawing as a tool to generate typographical, architectural or abstracted signs, and explore various narrative structures. Works on commissioned and autonomous projects in the range of book design, exhibition design, animation, installations.