Graphic design studio Clubbed Form used Ladna Faux to create the visual identity for the 2026 exhibition program at Listasafn Árnesinga, an art museum in Hveragerði, Iceland.

The visuals come from found elements, sticks, stones, leaves, textures, which were used to create ink compositions. These marks behave more like imprints: traces of contact, pressure, and movement. They begin to resemble maps, or fields shaped by forces rather than designed compositions. Each exhibition approaches questions of power, memory, conflict, identity, and spatial relations, so the aim was not to illustrate the works, but to construct a surface where these ideas could exist.

Büro Bungalow redesigned the visual identity and website of Germany’s first unisex online magazine BEIGE in 2022. From organic shapes and warm colors with contrasting accents to characteristic typography using Frukt, Swear, and ABC Marfa, the mix of retro looks and contemporary elements creates a corporate design with high recognition value.

A Shade Colder is a platform for discussions about and around art in Estonia and beyond, published by the Estonian Centre for Contemporary Art (CCA), designed by Jojo&me Studio (Johanna Ruukholm & Martina Gofman), featuring Aktsidents (WIP), Adieu, and Quadrant Slab Duo for texts; and Slack in the logo. For the most part, A Shade Colder is published online, accompanied by one print issue per year. Thematic issues are published following the seasonal logic of the Estonian and international art calendar.

Turist (WIP) used for Leida Reader: Fifteen Selected Articles, a compilation book duo (in Estonian and English) of articles from the online journal Leida, established by the Faculty of Design at the Estonian Academy of Arts and published between 2022 and 2024. Graphic design by Oliver Long and Alexandra Margetic.

From the Estonian Academy of Arts (EKA):

Leida brings together different approaches by designers, artists and design researchers, ranging from craft, material and technology studies, and co-designing with local communities, to various practices of mending and care. The articles explore the devastating consequences caused by design, as well as the new perspectives opened up by design that have an immediate impact on people and their interior and exterior environments.

Edited by Taavi Hallimäe and Neeme Lopp
Editorial Board: Triin Jerlei, Ott Kagovere, Ruth-Helene Melioranski, Sandra Nuut

Translators: Maris Karjatse, Keiu Krikmann, Peeter Talvistu, Mari Volens
Language Editor: Michael Haagensen […]

316 pages, in Estonian and English
EKA Faculty of Design, 2025

Vitamiin in use for Hüvasti, noorus! / Bye-bye, Youth! – an exhibition and a publication by the Estonian Health Museum, curated by Ülle Kask and Anna Rinaldo. Graphic design by Viktor Gurov with Martin Merirand, exhibition architecture by Valge Kuup Studio.

From the museum’s website:

No one remains indifferent to aging. Each person has a deeply personal and unique relationship with it. For some, it signals a gradual retreat from active life, while for others, it brings newfound freedom and the joy of new challenges.

Candid reflections by Laura Kalle, Marju Karin, Haide Männamäe, Toomas Tross, Valner Valme, Tõnu Õnnepalu, Helgi Põllo, and Margus Mikomägi offer a chance to connect with different aspects of aging and to seek balance and meaning at every stage of life.

Bruno Tomberg. Disaini leiutamine / Invention of Design was an extensive retrospective exhibition and monograph of Bruno Tomberg’s work at the Estonian Museum of Applied Art and Design in Tallinn, curated by Kai Lobjakas. The exhibition offered an overview of Tomberg’s nearly six-decade-long career, exploring for the first time in greater depth his roles as both designer and educator. It also brought a wealth of previously unknown and unexhibited materials to the public.

Bruno Tomberg (1926–2021) was an interior architect, designer, artist and educator, recognised as a leading voice in Estonian design during its intense development from the early 1960s onward. Through his diverse creative, pedagogical and administrative activities, he embodies the story of Estonian applied art and design.

For this occasion, the display typeface Bruno 100 was created by Tüpokompanii. The font is based on Tomberg’s poster designs from the 1970s, strongly reflecting his style as a product and interior designer where diagonal lines and rhombic shapes were frequent motifs throughout his career. A fuzzy texture was added to the type in the graphic design (by Indrek Sirkel), and exhibition wall texts were roll-painted over stencils to achieve a fabric-like surface to echo the materiality of Tomberg’s textile work and rug designs. The accompanying typeface is Ladna.

While Bruno 100 was custom-made for this project, it can be licensed to the public, so feel free to reach out to Tüpokompanii if you’d like to use it.

Juunior and Panama Italic used in the book Into the Droame by Pascal Bronner, designed by Brit Pavelson and published by the Eesti Arhitektuurimuuseum (Estonian Museum of Architecture) on the occasion of the eponymous exhibition, curated by Grete Tiigiste. The title on the cover is set in the artist’s own stamping system.

The exhibition is described as follows by the Estonian Museum of Architecture:

Into the Droame is the first solo exhibition by British-German architect and artist Pascal Bronner which brings together Bronner’s internationally acclaimed architectural drawings, which explore parallel worlds where different characters created and the narratives surrounding them meet. Pascal Bronner has invented the English word droame, which refers to a state or space where dreaming, wandering, and feeling at home (dream, roam, and home) meet.

Traces of Ladna in use for I Got a Great Lick of It Before It All Melted – an exhibition at ARS Art Factory by students of graphic design and product design of the Estonian Academy of Arts, guided by Kristel Saan-Soom, with a poster designed by Mark Kokotov.

The exhibition is described as follows:

We all have a certain number of experiences in life, on which we build the next one. It is like an archive. You can’t ever experience anything without the latter.. And then we end up with those choices that we unconsciously and finally consciously make every day again and again. We are faced with something that is self-evident, like putting one foot in front of the other when walking or inhaling and exhaling.. we don’t notice these actions, but yet we do them constantly. Our choices shape our experiences and, when combined, our dance through life.

Artists: Riko Smirnov, Richard Vainola, Gabriella Tarja, Laura Sööt, Katriin Saulus, Anna Elisabeth Remmelg, Kenneth Pert, Hanna Milk, Anett Elis Männil, Brit Maripuu, Paula Maria Mengel, Stella Maris Liiva, Kelli Kütt, Helen Kärt Käbin, Martin Kislõi, Mark Kokotov, Teele Kiisk, Grittel Kastan, Greg Mikael Juhanson, Daria Titova, Johannes Adrik, Aries Puusepp, Rebecca Lopez.

Trafarett in use for the exhibition To mold, To hold. Currents in Estonian ceramics at ARS Art Factory in Tallinn, curated by Kati Saarits, Raili Keiv, Laura Põld. Graphic design by Jaan Evart.

About the exhibition:

A selection of works from the collections of the Estonian Artists Association and the Estonian Museum of Applied Arts and Design, as well as from contemporary artists, is accompanied by Kati Saarits’ diary-like snapshots of publications from the second half of the last century on ceramic art and binders compiled by Leo Rohlin, both from the ETDM archive.

The exhibition will also include a revised version of Raili Keiv’s table installation from the exhibition ‘ROOM’ at the Estonian Museum of Applied Arts and Design, which highlighted the ceramicists who made their mark in Estonian ceramic companies in the 1960s and 1980s, as well as some more recent outstanding finds.

The exhibition is part of the 100th anniversary of the ceramics department of EKA.

Participating artists: Anu Rank Soans, Ingrid Allik, Leo Rohlin, Velda Soidla, Anne Keek, Laine Sisa, Henriette Tugi Nuusberg, Annika Teder, Haidi Ratas, Tiina Lõhmus, Viive Väljaots, Helle Videvik, Juss Heinsalu, Kris Lemsalu, Mai Järmut, Helene Kuma, Urmas Puhkan, Lauri Kilusk, Laura Põld, Luule Kormašova, Naima Uustalu, Raili Keiv, Mariana Laan, Ene Raud and a selection of EKA student projects.

Curators: Kati Saarits, Raili Keiv, Laura Põld
Exhibition design: Kadri Villand
Graphic design: Jaan Evart
Poem: Katrin Väli

Ladna in use for RESTART. Transformation on Modern Housing Estates – a book and exhibition by the Estonian Museum of Architecture, Architectuul, and the Estonian Academy of Arts; graphic design by Indrek Sirkel.

What are the opportunities and challenges for the renewal of post-WWII housing estates? What has been the shift from collective to total private ownership? Young practitioners from across Europe will look at the innovative housing estates of the past from today's perspective, revealing their architectural background, current uses and the personal stories behind the facades. Speakers included Rajna Avramova, Hedwig van der Linden and Kevin Westerveld (Dérive), Ena Kukić and Dinko Jelečević (E+D) and the Spolka collective.

Students from the Faculty of Architecture of the Estonian Academy of Arts presented their renovation ideas using the example of typical khrushchevkas in Narva.

Hea Laps (“Good Kid”) is an Estonian monthly magazine for school-age children that began publication in 1994 under the leadership of Leelo Tungal. The magazine contains a lot of educational and exciting reading and activities: works by children and well-known writers, entertaining stories, scientific articles suitable for children, announcements about other children's activities and much more. The magazine was redesigned in 2025 by Mette Mari Kaljas and Nelli Viisimaa a.k.a. Pumpkin Space.

Ladna and Turist (WIP) in use for ULTRA-RED: A Journal of Militant Sound Inquiry Vol. 1, designed by Ott Kagovere. Publishing house Rab-Rab Press describes the project as follows:

For their thirtieth anniversary, Ultra-red, the international sound art and popular education collective is releasing the first volume of ULTRA-RED: A Journal of Militant Sound Inquiry, investigating movement-based listening practices that take the forms of militant inquiry and political education.

Ladna and Turist (WIP) in use for Biting the Hand: Traces of Resistance in the Art & Language diaspora, published by Rab-Rab Press. Graphic design and typesetting by Ott Kagovere and Mark Foss.

Edited, compiled and introduced by Paul Wood, Biting the Hand: Traces of Resistance in the Art & Language diaspora is about a dissident formation of artists active in the UK in the 1970s and 80s.

The book tells the story of artists engaging with a critique of then-contemporary modernist art education, who have embarked on a series of theoretical investigations which became increasingly politicised under the pressures of an evolving social crisis. Increased racism, unemployment and attacks on the organised working class all raised questions about how a critical art might respond.

Vitamiin in use by Jaan Evart for the exhibition Eesti Disainiauhinnad 2012–2022. Vahekokkuvõte / Estonian Design Awards 2012–2022: A Retrospective at the Estonian Museum of Applied Art and Design (ETDM).

The exhibition brings together award-winning design projects, designers, professional associations, clients and many others who have been featured and recognised over the history of the Estonian Design Awards. The competition, held every other year for a decade, is constantly changing, reflecting the activities and organisation of associations and parties such as the Estonian Design Centre, the Estonian Association of Designers, Estonian Art Directors Club (ADC*E), the Estonian Academy of Arts, and the Estonian Service Industry Association, as well as the trends and developments in Estonian design.

Visual identity, website, poster template, printed matter for the ETDM, the Eesti Tarbekunsti- ja Disainimuuseum, or Estonian Museum of Applied Art and Design. Designed by Stuudio Stuudio, with the website developed by Platvorm. The typeface is an early version of Ladna. ETDM also supported the Cyrillic development of Ladna.

Turist (WIP) and Ladna used for Uduvaip LP by the Estonian rapper/poet EiK, released in 2022 on TIKS records. Lettering on the cover is a higher contrast modification based on Turist.

[More info on Discogs]

Graphic designer Ott Kagovere used an early version of Turist for The Sugar and the Hunger by Robert Linhart, published in an edition of 800 copies by Rab-Rab Press:

The first English language translation of Robert Linhart’s The Sugar and the Hunger, originally published in 1980 is an indispensable factographic inquiry into modern hunger.

Widely acclaimed for his engaged social analyses of proletariat and peasant struggles around the world, Linhart’s inquiry into the sugar regions of North-Eastern Brazil, juxtaposes heterogeneous traits of the impoverished workers’ stories into a vivid cinematic montage.

Translated by John M Floyd and Emilio Sauri, the book includes rare photographs taken by François Manceaux in Northeastern Brazil in 1979.

Turist (WIP) is an interpretation of Venezia, released by Keystone in 1899.

Via Lugemik:

Exploring Kristina Õllek’s marine and coastal ecological interest, the publication Filter Feeders, Double Binds & Other Blooms invites us to think with her four year long working process, based on research and personal observations around anthropocentric influences on marine ecology. Focusing on the North Sea and its filter feeders: blue mussels, oysters and the expanding jellyfish population; as well as on the Baltic Sea and its cyanobacteria, blue green algal blooms and dead zones.

The publication includes a letter correspondence between Kristina Õllek and curator Angeliki Tzortzakaki, as well a collaborative visual essay by Kristina Õllek, Angeliki Tzortzakaki and Kert Viiart, and an essay by theorist Jeff Diamanti. The publication includes a wide range of exhibition views from her three recent solo exhibitions at Draakon Gallery (Tallinn), A Tale of A Tub (Rotterdam) and ISSP gallery (Riga).


The visual identity for the Contemporary Art Museum of Estonia (Eesti Kaasaegse Kunsti Muuseum, EKKM) was designed by Indrek Sirkel and Ott Kagovere in 2021. The main elements of the identity system are the logo (always centered) and typeface (Niina by Patrick Zavadskis).

The original logo was designed by Marco Laimre and Dénes Farkas in 2006, using Microsoft’s system font Haettenschweiler. The updated logo by Andree Paat is influenced by Haettenschweiler’s source: Schmalfette Grotesk by Walter Haettenschweiler (1954). Sharp inside corners of the new logo were flattened to aide the embossing or cutting out of physical materials.

EKKM is a self-initiated contemporary art institution, primarily functioning as a public non-profit exhibition space and an unabashedly idiosyncratic art museum. It is founded on an unconventional idea of a contemporary art museum with the aim of exhibiting, collecting, creating and enabling contemporary art, while trying to subvert the established working methods, unwritten rules and methods of exhibition-making, prevalent in the field of art and culture.

Ladna used in Paberist linn, the debut work of the young Estonian poet Mikk Tšaškin. It is a collection of poems with religious and mystical themes, which takes the reader into states, moments, views that are both gloomy and spacious, quiet and far-reaching. Published by Värske Rõhk, graphic design by Mette Mari Kaljas.