New designs from Double Standards, MoMa, MuirMcNeil, Mucho & more

Our latest pick of new designs includes a signage and wayfinding system for Berlin’s Museum of Decorative Arts, a striking set of posters from MuirMcNeil, colourful branding for Barcelona juice company Mother – and some fun festive projects from Pentagram and Love…

Our latest pick of new designs includes a signage and wayfinding system for Berlin’s Museum of Decorative Arts, a striking set of posters from MuirMcNeil, colourful branding for Barcelona juice company Mother – and some inventive festive projects from Pentagram and Love…

Double Standards Kunstgewerbemuseum, Berlin

Designed in 1996 by Rolf Gutbrod, Berlins Kunstgewerbemuseum (Museum of Decorative Arts) is the oldest of its kind in Germany, housing industrial design and textiles as well as furniture, fashion and arts and crafts. The building was recently refurbished by architectural studio Kuehn Malvezzi and reopened in November with a simplified white foyer.

Design agency Double Standards has also created a new signage and wayfinding system, using red overhead signs to guide visitors through the space. Large scale lettering is used on the central stairwell and at the entrance to gallery spaces, while a path of red stripes at ground level lead to the main entrance and exit:

Double Standards also worked on new exhibition rooms for the museum’s fashion and design collections, including a display in the building’s basement of Bauhaus and contemporary product designs, and Berlin’s first permanent fashion exhibition. The new graphics add a welcome dose of colour and work well within the refurbished foyer, designed to accentuate the central staircase.


On Display: 50 Posters Designed for the Hayward Gallery

Since it opened in 1968, the Hayward Gallery at London’s Southbank Centre has hosted exhibitions by some of the world’s leading contemporary artists, from Martin Creed to Dada and Dieter Rot. New book On Display presents 50 posters made to promote exhibitions at the Hayward, and features some brilliant work by Richard Hollis, Neville Brody, Theo Crosby, Roger Huggett and more.

Introduced with an essay by Catherine Flood, curator of posters and prints at the V&A museum, the book features posters for a diverse set of shows exploring Art in Revolution and Soviet art post World War One as well as Vorticism, Surrealism and Yugoslav Sculpture. Posters are printed on A3 tear out sheets and appear alongside text by writer Hettie Judah, explaining both the poster and show.

The book is priced at £30 and you can order copies from the South Bank Centres website.

Spread showing Wim Crouwel and Arlette Brouwers/Total Designs poster for Ellsworth Kelly: Painting and Sculpture 1966‐79, 1980

Doubletake: Collective Memory & Current Art, 1992. Artwork: Robert Gober, Two Spread Legs, 1991 (detail)
©Robert Gober, courtesy of Matthew Marks Gallery

Dieter Rot: Graphics + Books, 1973

Art in Revolution: Soviet Art and Design after 1917 (1971). Poster design: Edward Wright/Shenval
Artwork: Liubov Popova, Production Clothing for Actor no. 7 in Fernand Crommelynck’s The Magnanimous Cuckold

Dada and Surrealism Reviewed, 1978, designed by Edward Wright


New type from MuirMcNeil

Inspired by the idea of the dot as the basis for all contemporary visual communications, type design studio MuirMcNeil has produced a striking series of geometric typefaces and silkscreen posters.

The set includes four new designs: TwoPoint, a monospaced geometric system based on early dot matrix and LED display lettering; ThreePoint, a set of three-dimensional display faces designed in four viewpoints, described as a dot-based development of MuirMcNeil’s 2013 Panopticon system; FourPoint and TenPoint.

Two Point poster and detail

Describing the project, MuirMcNeil says: “Almost all contemporary media are assembled from tiny static points in increasing volume and at increasingly microscopic sizes… Dots cluster tightly together in massive formations, hiding in plain sight to create spectacular illusions of images, words, objects, motion and sound.

“[The] new typographic projects are attempts to harness the dot by amplifying it at the same time as diminishing it to the lowest possible pitch; to the tipping point where it can no longer act as a carrier for any message except to communicate its own isolation. Referencing the earliest, crudest implementations of these binary forms in pixels, dot matrix letters and LED displays, the project acknowledges the historic parallel interface of technology and communication design since the early twentieth century; in particular, seminal work undertaken in the 1970s and 80s.”

Posters measure 70×100 cm and are printed in black and white, and both prints and typefaces are available to buy from the studio’s website.

MoMa’s Matisse Graphics

Image: Martin Seck, via

Following a blockbuster show at the Tate Modern in London this summer – the most popular in the gallery’s history – Matisse’s cut-outs are now on display at New York’s Museum of Modern Art. Graphics for the London exhibition featured large-scale type applied to the side of the gallery and visible from across the Thames, while MoMa’s IK blue and white scheme, created in-house by its graphic design and advertising department, uses bold sans type and a flexible system inspired by the constantly changing nature of Matisse’s work.

Exhibition title wall. Image: Martin Seck, via

MoMA Design and Bookstore windows. Image: Martin Seck via

In an article on the identity published on MoMa’s blog, art Sabine Dowek says the was to devise a system that would reflect underlying themes or narratives in Matisse’s art, rather than attempting to replicate it.

“When designing an identity for an exhibition there is a fine line we are always aware not to cross: we don’t want our design to become a copy of the artwork. We often look at underlining concepts and narratives that are the driving forces behind an exhibition. In the case of the cut-outs, this was Matisse’s art-making process and studio environment,” she explains.

Image: Martin Seck, via

The identity aims to express the idea of shifting compositions and artwork in a state of flux without making any direct reference to cutting out, adds Dowek, and has been applied to both the exhibition space and a range of merchandise, now the most successful exhibition products to be sold at MoMa. You can read the article in full and see more images here.


Mother by Mucho

Mother is a new cold pressed juice shop in Barcelona selling milks and butters, smoothies and detox juices as well as snacks, cereal and ice cream. Mucho was asked to design a visual identity for the brand, and opted for a script logo and series of colourful graphic patterns.

“We wanted to express the love and care behind these fresh fruit and vegetable juices (they only last for 72 hours), while representing the technological and industrial processes (cold press is a rather new technique that requires expensive machinery),” says Mucho. “The design system uses two overprinted layers: one contains the brand, the other has the name of the product with a strong and identifiable shape used to differentiate the products.”

The system has been applied to packaging, stationery and signage as well as Mother’s website and has a fresh, contemporary feel.


Thompson Brand Partners

Leeds agency Thompson Brand Partners has rebranded local car park operator Town Centre Car Parks as CitiPark, creating a new identity, website and signage systems for the group.

CitiPark operates ten car parks in Leeds, Manchester and London, and with plans to open more in north and central London, MD Ben Ziff said it had outgrown its original name.

TBP was asked to develop an identity that customers around the country would instantly recognise, and devised a blue, white and grey system and new logo with bold sans type and a single chevron. The agency also designed a bespoke icon set for use in car parks, alongside a slimmer stencil typeface. It’s fairly conservative but nicely executed, and a much stronger look and name for the company.

Christmas post

We’ve been receiving lots of Christmas cards at CR towers lately – one of our favourites so far is Gamechanger, an illustrated seven verse poem from Pentagram that pokes some gentle fun at corporate jargon. A joint project from Marina Willer and Naresh Ramchandani, it’s designed to encourage creatives use less buzzwords and more plain English in 2015, and features some witty rhymes throughout.

We also liked Love’s interactive Christmas game, which invites users to create a Christmas tale to share with their followers using just four words – try it out at

More from CR

Fiera: issue 1

Following a successful Kickstarter campaign, blogger Katie Treggiden and Jeremy Leslie have launched the first issue of Fiera; a biannual publication showcasing new talent at international design fairs.

Dream Weaver

Creative director and festival visionary Josie da Bank tells Antonia Wilson what it takes to create Bestival, from stage illustration to a record-breaking giant disco ball

The soundscape of New York

What does New York sound like? And what does the sound of New York look like? London-based art director and designer John Davies’ latest project attempts to capture the music of the city’s Manhattan neighbourhoods in physical form

What does ‘being African’ look like?

For 20 year’s Garth Walker’s i-Jusi magazine has explored the visual culture of modern South Africa, inviting designers and artists to respond to key questions about the society they live in. In this Design Indaba film, Walker talks about the magazine and its aims

Graphic Designer

Fushi Wellbeing

Creative Designer

Monddi Design Agency