La Part terrestre discusses how the crossing of planetary boundaries is destabilizing the conditions for life on Earth and forcing cities and urban spaces to confront profound ecological challenges. While urbanization has contributed to these crises, the author explores emerging ecological approaches to urban planning that seek new ways of imagining and shaping living environments. Avoiding both alarmism and excessive optimism, the book examines how ecological and political questions challenge traditional ideas of habitability, justice, and urban development. By treating the “terrestrial” as a working hypothesis rather than a fixed concept, the author invites readers to rethink the scales, balances, and practices of urban production through a slower, more reflective perspective rooted in the humanities and ecological responsibility.

Headings, the table of contents, and footnotes are set in Muoto Normal and Ultra Condensed, designed by Matthieu Cortat. The body text is set in Alcalá Xtra, designed by Damien Gautier. These two typefaces are distributed by 205TF.

Bergen Internasjonale Teater, or BIT for short, co-produces and presents Norwegian and international performing arts, and places particular emphasis on projects that stimulate international collaboration and work across artistic genres. BIT takes responsibility for highlighting the latest in dance, theatre and performance, including the facilitation of a relevant discourse program.

In 2025, Norwegian studio PART was commissioned to create the new identity, coinciding with the move to a permanent home at Sentralbadet after 14 years of nomadic operation. As stated on their website, they drew “inspiration from the energy and cohesion surrounding modern dance and theater. From the potential for friction and the fluidity of dance. From the unpredictability and suspense that come from not knowing exactly what will happen.”

This inspiration is clearly reflected in the use of the typeface Bertin, designed by Roman Seban and distributed by 205TF. Acording to PART, Bertin “piques curiosity and brings the unknown to the fore through expressive filtering.” As secondary typeface, for certain practical details, they used Neue Haas Grotesk (Christian Schwartz, Commercial Type).

Faire école… de la résilience is a collaborative project led by Cité Anthropocène and Éditions 205 that brings together scientific and civic knowledge to develop concrete solutions for environmental challenges. Built during the winter of 2024–2025 by participants from academic, cultural, non-profit, economic, and public sectors, the initiative aims to foster new forms of cooperation, creativity, and collective engagement.

The titles are set in Pinokio Grand, while the interview questions are set in Pinokio Sans (Tanguy Vanlaeys, 205TF). The body text, interview answers, and quotations are set in Alcalá Xtra (Damien Gautier, 205TF). The page numbers and running headers, meanwhile, are set in CX80 (Damien Gautier, 205TF).

Public Art in Toronto’s Don River Valley was published by Art Metropole and Evergreen:

This book documents the non-profit Evergreen’s public art program in Toronto’s Lower Don River Valley from 2017 through 2024. Twenty-five art and research projects commissioned and presented by Evergreen are reproduced here alongside new essays, interviews, roundtable discussions, and process images. Together the publication coheres current discussions on temporary, sustainable, collaborative, and site-responsive public art, and explores the role of artists in deepening our engagement with complex landscapes like the Don River.

To design this book, Meat Studio used Immortel Infra G1 (Clément Le Tulle-Neyret, 205TF) and National Park (Andrea Herstowski, Ben Hoepner, and Jeremy Shellhorn), an open source typeface.

This book by Nolwenn Maudet explores the emergence of digital design as a distinct field since the second half of the 20th century. While rooted in various design disciplines, digital design is defined by its interactive and programmed nature. At a time when creating digital interfaces can seem reduced to assembling standardized components, the author offers an “archaeology” of the theories that have shaped the interfaces we use today. Each chapter revolves around a key question, highlighting both past and ongoing theoretical debates within the field.

By connecting historical ideas with contemporary issues, the book encourages designers and students to critically reflect on the habits and constraints that guide their work. It emphasizes that interfaces and the language used to describe them are not neutral: they embed political visions and technological imaginaries that deeply influence how we relate to digital environments and, ultimately, how we experience the world.

Éditions deux-cent-cinq used Cosimo and Yorick, both designed by Mathieu Cortat and distributed by 205TF.

On the Studio Matthews website, we can read:

The 76,000 sq ft IEB features new, modern spaces for collaborative learning, acting as an informal academic hub for undergraduate engineering majors. The building was designed for students with significant input from students. “They told us what they needed and we listened,” said Dan Ratner, the college’s associate dean for academic affairs. “The IEB was created to support the education and development of every student in the College of Engineering and to give them a sense of belonging.” We worked closely with the school’s Office of Inclusive Excellence to curate a dynamic welcome message just inside the entry, as well as inspiring quotes that can be discovered throughout the building’s study spaces.

To design this project, Studio Matthews used the typeface Maax Mono designed by Damien Gautier and distributed by 205TF.

Das Luka-Evangelium was made by Orphea Joanna Heutling as her Bachelor thesis project at HFBK Hamburg. From the author and designer (translated):

Das Luka-Evangelium is an experimental translation of the Bible in which, based on research into the representation of gender diversity in heroic narratives, some of the male characters in the Gospel of Luke have been transformed into women and non-binary people. The original text is 85% male, as the Bible is a book written by men for men.

Das Luka-Evangelium was written for a diverse contemporary audience, just as the four Gospels are each their own version of the story for their respective times and audiences, and often deviate from historical facts. In the spirit of plurality in faith, this translation is intended to complement, not supersede, other translations.

To design this book, Heutling used Muoto (Matthieu Cortat, 205TF) and ABC Marist (Seb McLauchlan, Dinamo).

This catalog was published by GrandPalaisRMN on the occasion of the exhibition D’un seul souffle. Claire Tabouret at the Grand Palais from December 10, 2025, to March 15, 2026.

The catalog showcases the contemporary artist selected to create, in collaboration with the workshops of a master glassmaker, the stained glass windows of the Pentecost in Notre-Dame Cathedral in Paris, as part of its restoration. The history of this project is recounted from a humanistic and universalist perspective.

The graphic design of this book was entrusted to French graphic designer Lisa Sturacci. She used Goudy Oldstyle (ATF) for the titles and Immortel Infra​​​​ (Clément Le Tulle-Neyret, 205TF) for the body text.

For the past twenty years, Atelier du Rouget, founded by Simon Teyssou, has developed a patient, cross-scalar approach to marginal and rural areas, addressing architectural, urban, landscape, and social issues as interconnected rather than separate, with the aim of preserving vital links essential to living environments. Using the village of Le Rouget as a testing ground and in situ research laboratory, Atelier du Rouget demonstrates the complexity and potential of rural territories beyond simplistic representations, and this book presents a selection of projects drawn from Simon Teyssou’s sketchbooks, highlighting drawing as a key exploratory and inventive tool in the design process.

To design this book, Bureau 205 chose to compose all of the text in Milling, designed by Tanguy Vanlaeys and distributed by 205TF. This bilingual book (French, English) is available on the Éditions 205 website.

Richly illustrated and printed in two colors (purple and pink), Tous les dictionnaires sont des monstres (“All dictionaries are monsters”) is a text by Sébastien Dégeilh. It details Paulo de Cantos’ approach through a dictionary that is surprising both in the texts it contains and in the graphic and visual forms used, demonstrating great inventiveness and audacity for the time. Paulo de Cantos’ work remains little known to lovers of graphic design and book arts, despite his iconoclastic, avant-garde, and prolific output.

This is the fifth issue of La petite collection, designed by Roman Seban. As with every issue, the number is printed on the cover, typeset in his own Bertin typeface. The body text is typeset in Kelvin by Thomas Bouville, while the drop caps and quotations are from Tifo by Romain Tronchin. All of these fonts are available from 205TF.

La petite collection is co-published by the Association Presse Offset and the École européenne supérieure d’art de Bretagne (EESAB), site de Lorient, in partnership with type foundry 205TF.

This work traces the history of photography from its invention in 1827 to its contemporary uses, through the collections of the Nicéphore Niépce Museum, which comprise four million photographs, 8,000 cameras, and 30,000 magazines and technical or illustrated books. Off the beaten path, it presents an “alternative history” of photography, focusing on the richness of the medium in the diversity of its techniques, artistic movements, and modes of dissemination. It documents the social, documentary, and commercial dimensions of photography from its origins. Deliberately heterogeneous and quasi-encyclopedic, it bears witness to the many paths taken by photography.

The design of this publication, published by Éditions Textuel, was entrusted to the French graphic designer Le Petit Didier. He chose the typeface Garaje (with Garaje Mono, by Thomas Huot-Marchand, 205TF) for headings and subheadings, and the typeface Portada Text (José Scaglione and Veronika Burian, TypeTogether) for body text and captions.

Published by Éditions de La Martinière, this book brings together a wide range of writings by women artists—letters, diaries, memoirs, interviews, manifestos, and theoretical essays. It features the voices of forty women active in a vibrant, cosmopolitan Paris from the Belle Époque to the eve of the Second World War, both famous and little-known, from Berthe Morisot and Camille Claudel to Sarah Bernhardt, Nina Hamnett, and Amrita Sher-Gil. Organized around the key stages of an artistic career—training, perseverance, self-organization, and self-assertion—the book sheds light on their individual paths, shaped by ambition, desire, struggle, hardship, and success.

The texts were compiled and introduced by Lucia Pesapane and Delphine Wanes. The publication was overseen by Camille Morineau, AWARE, and Mathilde de Croix.

The titles of this book, designed by the French graphic designer Lisa Sturacci, are set in Louize Display Cond (Matthieu Cortat, 205TF), while the body text is set in Martina Plantijn (Kris Sowersby, Klim Type Foundry).

Everybody knows Happy Families. Here is a game of Happy Design Families to discover design while having fun!

This game, created by Claire Gautier and accompanied by illustrations by Simon Bailly, is an opportunity to familiarise yourself with, learn about, and understand design, its various applications and the place it occupies in everyday life… Through a selection of objects (biomorphic, popular, useful, engaged, iconic, …), this game displays a panorama of design. It gives an overview of the successive movements in design—from its beginnings to the present day—and presents the conceptual approaches that define these objects.

For the typography, Bureau 205 used the typeface Maax Micro, designed by Damien Gautier and distributed by 205TF.

With a rich collection of modern and contemporary art in which abstraction plays a major role, the Nantes Museum of Art and the Buffalo AKG Art Museum presented a unique exhibition from April 4 to August 31, 2025, showcasing the historical, theoretical, and formal links between optical art and video and computer art from the 1960s to the present day.

The exhibition design was created by French graphic designer Antoine Groborne. He used the typeface Garaje (Thomas Huot-Marchand, 205TF) for the titles and Roboto for the text.

Ghosts are everywhere – in popular culture, from Hollywood blockbusters like Ghostbusters (1984) to indie films such as All of Us Strangers (2023). They haunt screens, stages, and pages, inhabiting literature, folklore, and myth as restless spirits that refuse to leave us alone. Throughout history, they have also haunted art. As beings of the in-between, ghosts bridge worlds – life and death, horror and humor, good and evil, the visible and the invisible – making every attempt to represent, record, or communicate with them both a cognitive challenge and an emotional experience.

From September 20, 2025, to March 8, 2026, the Kunstmuseum Basel dedicates a major temporary exhibition to these mysterious entities. Featuring over 160 works and objects created over the past 250 years, Ghosts: Tracing the Supernatural explores the rich visual culture that has grown around ghosts in the Western world since the 19th century, fueled by the convergence of science, spiritualism, and popular media.

The exhibition’s identity was designed by Basel-based Studio Moono, using the Leopardo (Alexandre Bassi, 205TF) and Ghost (Nolan Paparelli, Weltkern) typefaces.

The date is added in TWK Continental.

The magazine-like exhibition catalog was published by Christoph Merian Verlag.

The Gown and the Shipwreck (Dutch: De Jurk en het Scheepswrak) tells the story of a remarkable 17th-century dress discovered in the Palmhoutwrak, or Palmwood shipwreck, off the coast of Texel. The wreck lies in the Burgzand Noord area of the Wadden Sea, where strong currents and low visibility make diving challenging. Since its illegal retrieval in 2014 by amateur divers, the dress has attracted global attention, symbolizing both the allure and the controversy surrounding underwater archaeological treasures.

The project is multi-faceted, including a three-part documentary, a podcast series, and an interactive website where visitors can explore a virtual reconstruction of the wreck. The design of the project draws inspiration from the natural transformations objects undergo underwater, such as erosion and corrosion, which lend them authenticity and a sense of history. Even the variable font used for the project reflects this process of change over time.

To design this project, Superaarde used the typefaces Exposure (Federico Parra Barrios, 205TF) and Sharp Grotesk (Sharp Type).

The Spanish Pavilion at FILBo 2025 is conceived as a series of landscapes connected by the movement of mobile libraries. Common in rural areas, these institutions constitute essential infrastructure for universal access to knowledge. Modest in scale and materially austere, they operate outside the logic of economic profit, linking readers in peripheral communities through their circulation. Historically, mobile libraries have played a vital role in both Colombia and Spain, providing access to books for broad segments of the population and often serving as a first point of contact with reading.

The Pavilion understands the mobile library as a form of architecture that links two kinds of knowledge: the written word, inscribed on the pages of books, and orally transmitted craft knowledge, embodied in materials such as handmade felt, macrame, netting, or fique. This dual condition resonates with universal semantic connections between words like text, textile, and tale—coincidences that appear in Latin (textum) as well as in Amerindian languages spoken in Colombia, like Wayúu (süchi).

The visit to the Pavilion unfolds as a sequence of welcome, gathering, and farewell, articulated through different program elements. A large entry plaza introduces visitors to the curatorial proposal. From there, they access a series of spaces: an exhibition of Spanish photobooks; another on historical memory and graphic novels; a 240-seat auditorium; an 80-seat forum; and a large bookstore-reading area. Visitors exit through a second plaza that opens onto a terrace-canteen.

To design this project, Murray Branding & Design studio used Garaje (Thomas Huot-Marchand) and Renotype (Radim Peško) , two typefaces distributed by 205TF.

Photos by Javier Agustín Rojas (Pavilion) and Alexander Gümbel (artisans’ process)

Bringing together more than 200 archival documents, works of art, videos, photographs, and testimonials, the exhibition Banlieues chéries / Dearest Banlieues explores suburbs as spaces of memory and transmission. This exhibition and its accompanying program reflect the Palais de la Porte Dorée’s commitment to combating preconceived notions by promoting a better understanding of history and contemporary social and political issues.

The exhibition was on view from April 11 to August 17, 2025, at the Palais de la Porte Dorée in Paris. The exhibition design was carried out by Roll Office, in collaboration with the graphic design studio Studio Plastac. The typeface used was Plaak, designed by Damien Gautier and distributed by 205TF.

TwelveLabs is redefining how AI understands video. Instead of relying on tags or transcripts, its models interpret video as a multidimensional system—connecting dialogue, gestures, objects, emotions, and events over time. Based in Seoul and San Francisco, the company has built a new brand identity around the concept of “video as volume,” turning complex AI infrastructure into something visible, intuitive, and meaningful.

The new identity was crafted by Pentagram, bringing clarity and expression to TwelveLabs’ vision. They used the typeface Milling, designed by Tanguy Vanlaeys and distributed by 205TF.

The Splendour in Venice exhibition at Gulbenkian 2024 immerses visitors in 18th-century Venice, showcasing works by artists like Canaletto and Guardi. Inspired by the Grand Tour tradition, it highlights the city’s grandeur and everyday life through its art. The visual identity draws on Venetian architectural perspectives and muted tones, blending seamlessly into the exhibition spaces. Developed collaboratively with curators, editors, and designers, the catalogue and overall design encourage reflection on both the city’s vast compositions and its people.

To design this visual identity, Lisbon-based graphic design studio Panorama used Injurial (Sandrine Nugue, 205TF), GT America (Noël Leu, Grilli Type) and Parnaso (Mário Feliciano, Feliciano Type).

More photos and information on Panorama's website.