The Edit: five new projects including TYPE PLAY #6 by Two Times Elliott

Each and every day, we're lucky to discover dozens of interesting and inspiring projects from around the world. From global identities and campaigns to side projects and independently published books, The Edit is home to five of them; every two weeks. Continuing the studio’s endeavour to toy with the distinctions between physical and digital, London-based design consultancy Two Times Elliott have taken on the brief set by Copenhagen-based foundry Playtype as #6 in their TYPE PLAY billboard series. Finding themselves in the same semi-digital lifestyle that lockdown has granted the public, Two Times Elliott sought to challenge this with their billboard – proudly proclaiming ‘offline.’ Whilst existing in an analogue form, however, the artwork has a digital side – where it can be digitally interacted with through the Artivive augmented reality app. When viewed through your device the artwork somewhat liquifies, conceptually akin to one’s fluid daily routines between physical and digital spaces. The billboard is on display at Playtype’s Copenhagen office between the 9th February and the 22nd March 2021, with the corresponding app freely downloadable. Created for Oscar Oliva’s high-end candle brand Casa Forastero, Mexico-City-based designer and typographer Andres Higueros has developed AH FORASTERO – a bespoke display serif typeface that combines modernity with a bucolic charm inspired by Egyptian Spur typefaces made at the turn of the 20th century. “This style takes us to a rustic era,” Higueros explains, “these typefaces were used in paintings and sculptures that, due to their finishes and details in letters, gave an elegant touch to each piece.” Maintaining this element of nostalgia, it elegantly contrasts with Oliva’s contemporary design for the packaging of the candles. Looking at the biggest challenges he faced in AH FORASTERO’s construction, Higueros recalls the issue of kerning. “It is a work that needs a lot of time, good eye and patience,” he concludes, “setting the kerning took me like three months while doing printing tests and checking the space in different platforms.”