Brilliant identity for the Swiss Architecture Museum by Claudia Basel. I particularly like how the exhibition posters allow for an individual typographic treatment based on the architectural image while still working consistently as a identity. Plus, many of these posters are available for purchase on the SAM website. I may pick up a few!

Here’s a little taste of Copenhagen based design practice Studio Claus Due. The Hesselholdt & Mejlvang project is a wonderful display of minimal conceptual driven work combined with very refined typographic skill. I highly recommend digging through more of their projects. A lot of fantastic work.

Striking work by Paris based studio Spassky and Fischer for the Mucem – Musée des civilisations de l’Europe et de la Méditerranée. Sometimes all you need is perfectly set type and great colors.

The Bildrach Filmfest Basel project is just one of the many fine examples of Ludovic Balland’s ability to punch you in the face visually. The deliberately ugly treatment of the fused B and R creates such a gripping impression it becomes quite beautiful when treated in the entire identity. I admire work like this because it challenges our expectations of design thus leaving with a strong memory of the work (whether we love it or hate it).

Made Thought captures the essence of Tom Dixon’s aesthetic perfectly with their product packaging. A bold graphic use of color with a subtle typographically “British” accent. Overall, this is very iconic work and it’s even more stunning in person.

It’s rare to see a state run organization (especially the police) get an iconic brand and Studio Dumbar managed to pull that off for the Dutch Police. The angled blue and red patterns give the perfect sense of emergency and authority while remaining beautifully modern. In this case they managed to make cops actually cool!

Hubert & Fischer perfectly honors the artist Seline Baumgartner “Nothing Else” project with this book. The typography has the right amount of intentional “incorrectness” which references the motion and flow of the artists work. While this design is quite minimal the typographic gesture creates a striking impression throughout the book.

The Hour Magazine project by Bibliotheque is one of those rare projects where all the stars seem to align. It’s clear that every formal design decision was directly derived from the subtle hourglass concept that is implied in the negative space of the H glyph from Ludovic Balland’s Stanley typeface. From typeface selection to the brilliantly subtle mark this work is conceptually bulletproof for the content, aesthetically perfect for it’s audience and just so damn thoughtful!