The second part of “Local Heroes” is a more classical project-by-project exposé, albeit informed by the narrative that precedes it.

With a narrative component as well as a more technically architectural one, typographic nuances come well into play.

The CMYK grid lines – a main element of the Younes housetyle – are used to organize the menu sections and code it along the way.

The country section traces coffee bean origins and introduces a color-coding system based on the different continents and sub-continents.

The CMYK grid lines – a main element of the Younes housetyle – are used to organize the menu sections and code it along the way.

Every once in a while, the kids make an appearance in one way or another.

The double-sided book extensions follow two children through a timeline of their individual and group works, culminating in an elaborate game tested in the context of the camp.

The open chapter breaks, timelined contents pages, gridded thumbnail spreads, and darkened performance sections, are just a few of the eclectic layout treatments in the book.

The stars of “Creative Refuge” are clearly the children of the camp. In this chart at the beginning of the book, they are arranged across the three workshops represented by the three lines, giving a reading of the one, two and three-timers, as well as the total number of children per workshop.

Certain pages of “Creative Refuge” use the text-image relationship to play with depth, viewpoint and perspective.

All pages in the book are faithfully reproduced in both languages down to the smallest detail.

The breakfast, lunch/dinner, and wine menus all maintain the same typographic layout but are each designed with a different art piece for the cover.

The beginning of each chapter is defined by a page in full color and a brief synopsis concerning the chapters’ content.

Stills from T.V. commercials and printed ads with brief background stories contextualize the content and put it on a coherent timeline.

Most of the competition brief content necessitated inventive ways to clearly elucidate information about the urban context.

Professional photographs were commissioned to give justice to the notable designs of the featured project.

A simple contents page introduces the extended color scheme to code the different sections of the publication.

The color gamut is put to further use in the publication, assisting in distinguishing text elements and introducing emphasis.

Following the cartographic visual language, the background of the catalogue’s inside pages was composed of cyan, magenta and yellow lines, mimicking the offset printing process to achieve the desired beige hue.

The text hierarchy makes the artist name the most prominent in the catalogue.

Close-ups of materials from the outdoor media industry, one per chapter.

The two languages shift in position and style.

In addition to color and photographic representation, the menu uses a consistently shaped graphic element that changes treatment to indicate the different sections.

The Museum program guide’s two covers – a side for English and the other for Arabic – have an overlay revealing only part of the cover art work which extends across both.

“The Olive Oil Soap” book is a celebration of the craft and the valuable archives of the town of Saida and the Audi family.

In sponsorship of the Al-Bustan Festival for classical music, the lyrics of the recitals were presented to the audience in a delicately crafted fashion.

The drop of shiny silver on the cover is the first clue to how seriously the establishment takes its saké; prepare to be schooled.

Our photographic intervention on Yabani’s previous menus started a wave of copycatting as the sushi restaurant industry realized the benefits of familiarizing the customer with the product, especially at the time when the offering was new to the Lebanese scene. With the move from the original location – a building designed by architect Bernard Khoury – and the decision to rebrand, just as we were the first to include the food photography, we were also the first to take it away.

The grid/text/image relationship is crucial to bringing forth the main idea behind every article.

The catalog is read from right to left in Arabic, and the other way around in English, each with its own page numbering direction.