Transylvania is a territory that has changed its borders at specific historical times, having its character shaped by various migration waves of distinct ethnic groups. Because of this, it challenges concepts like identity, borderland, memories of the past and present realities.
So the book before you is John Calvin’s Institutes of the Christian Religion typeset in Univers. The first thing you likely notice are the concrete covers, they relate to the bare stone and moulded concrete formwork of the protestant churches, especially the more modern ones.
Frutiger visited India to renew Indian typography in a manner analogous to the development of European typefaces. Here a question arises: why is it that Indian typefaces should be developed in a similar way to European typefaces?
The Univers typeface family stood out to me not only in terms of craftsmanship, but also in the sheer scale in which it had been expanded. My concept concentrated specifically on the numbering system which Frutiger used to name the variants of Univers…
I answered the ‘And the winner is…’ brief that aimed to celebrate the Nobel Prize. My idea was to give a very full account of the Nobel Prize. From cataloguing every person who won it, giving background on the prize, case studies on each subject, and odd facts about the Laureates.
During my research, I came across the book Adrian Frutiger Typefaces: The Complete Works, within which, I found a list of seven typefaces designed by Frutiger that never taken to production. Among these, was the typeface Element Grotesk.
From the beginning I wanted to do something related to my hometown since ISTD is an international society and I wanted to take advantage of bringing some Portuguese culture and design into my project. I decided to work with a well-known poem from Luis de Camoes that glorifies the Portuguese people on their maritime way to discover India.