The Bienal de Arte Flamenco de Málaga is a cultural gathering that celebrates flamenco as an artistic expression and living heritage. A space for exchange and visibility around cante singing, dance, and guitar playing, it highlights flamenco tradition and its connection to the city, bringing together artists, audiences, and diverse contexts around a deeply rooted culture. It took place in Málaga from May 27 to August 2, 2025.

To develop its visual identity, we began with a process of research and visual archaeology, diving into flamenco posters from the 1970s and 80s. We were interested in reviving their way of communicating: the typography, the abundance of text, the colors, and that distinctive style characteristic of popular graphic culture. With respect, we reinterpreted this tradition through a contemporary lens, preserving the authenticity, energy, and passion of flamenco.

For the main masthead, we opted for a combination of 20th-century typefaces, bringing together Umbra and Copperplate Gothic. The dialogue between Umbra’s expressiveness and play of shadows and Copperplate Gothic’s solid, classical character creates a headline with presence, personality, and a certain timeless quality. This pairing strengthens the identity’s character while connecting it to the graphic tradition that inspired the project.

For secondary information, we used Annonce and, for residual information, Futura. A project with a highly typographic character. A revision of flamenco aesthetics brought into the present day.

ODDA is an international fashion and culture magazine that explores the industry from a creative, thoughtful, and human perspective. Beyond trends, ODDA focuses on people, ideas, and the cultural context that shapes contemporary fashion.

Issue 29, titled “The Way We Are”, highlights culture as a living identity: how we live, the values we uphold, and how the past influences our present. Through figures from film, music, art, and fashion, the magazine reflects on empathy, creativity, and generational change, understanding fashion as a direct mirror of our society.

We updated the design with a bold and rhythmic editorial system that places typography at the forefront, clearly differentiating the sections through distinctive graphic codes that organize, structure, and energize the reading experience.

An editorial language where typographic style, color, and hierarchy build a distinctive voice that articulates multiple contents with clarity and rhythm.

For this, we used typefaces with strong personality for the section openers, such as Aether Mono and Tombstone Blues. We also combined Sita Sans and Sita Serif for body text and for the headers of certain sections. These combinations give the magazine a clear identity and make it instantly recognizable.

The performance "Los Idiomas" by Alessandra García explores how language shapes our perception of the world and our relationships. Alessandra reflects on oral, physical, and emotional languages and how these forms of expression can either connect or separate us.

What makes this piece unique is that Alessandra doesn’t speak any language. This absence emphasizes the universality of the body and emotions as tools for communication. Through her intonation, movements, and non-verbal communication, the actress becomes the language itself, speaking them all without knowing a single word, turning limitation into strength.

The staging takes place in an intimate space where Alessandra uses words without understanding any language, accompanied by bodily movements that invite the audience to question how language defines our identity.

For the visual identity, we translated the sonority of languages into typography. Using Formula Condensed for the headline “Los Idiomas,” we displaced the sheet during the scanning process, creating a wordmark that reflects vibration and movement, in harmony with the essence of the performance. For the residual information, we used Neue Montreal and Noto Sans (for the Japanese and Arabic parts).

Tiquismiquis.club was responsible for the design of the ADG Laus 2024 annual, showcasing the award-winning projects from the latest edition of the ADG Laus Awards in one book, as well as the 2024 honorary awards in another, landscape format publication. The Laus Honor Award was presented to Enric Satué and the Laus Companies and Entities Award was given to Vila Viniteca. Beyond serving as a compilation of projects, the books provide insights into the main trends and the current state of graphic design and visual communication.

The concept originates from two everyday questions: What is your name? and Where are you from? These questions were used to establish a more personal connection and reflect on how an individual’s origin and experiences enrich design. From this perspective, design is seen as something that does not occur in a vacuum; it is deeply influenced by the stories of people and the places they inhabit. This idea guided the entire creative process and runs through the editorial piece as a whole.

The focus on territoriality aims to emphasize diversity, identity, and human connections. While certain locations have played a key role in the development of the design industry, the book also seeks to draw attention to other territories that contribute to enriching the field. This publication approaches design from a human perspective, highlighting how places and people intertwine. To convey this, graphic resources were used, such as textures from various geographical points, meridians (understood as lines that connect rather than divide), non-political maps, and directories. These elements are designed to showcase how design draws inspiration from its surroundings and the stories that shape it.

The typefaces used are Neue Haas Grotesk (the corporate typeface of ADG-FAD) combined with Stanley. We wanted to retain the association's corporate typeface and combine it with another to create contrast between the two, while also giving personality to the publication.

Victus et amictus is an exhibition at the cultural centre La Térmica in Malaga that presents a comprehensive journey through the creative career of the Mallorcan artist Ela Fidalgo, from her early attempts as a fashion designer to her latest works as a visual artist.

The exhibition catalog showcases a portion of Ela’s artistic creations, along with the pieces featured in the exhibition. In it, we aimed to capture the blend of materials present in the artist’s work; that’s why we used fabric scraps from one of her pieces as a sash for the cover. Additionally, various types of paper have been combined inside the publication to create a dynamic interplay of materials.

The typefaces used in the book are Cucina (with corsiva) by Bretagne Foundry, designed by Lucas Le Bihan, and Mat Desjardins’s Neue Montreal (plus Mono designed together with Amélie Bonet) by Pangram Pangram.

Photos by Ana Beatriz Acosta and Sergio Paqué.

AL BIES magazine arises from the concern and effort to give visibility to the work of the students of EASD de Moda, the Higher Education in Fashion Design, at San Telmo School of Art in Málaga, Spain. It aims to serve as a platform for sharing what moves and concerns us and what we can contribute from our humble position in the world.

The expression al bies, which means “on bias” or “diagonal” comes from the French term biais, a type of seam cut that is made at 45 degres with respect to the thread. The publication’s name has a lot to do with our way of seeing and feeling fashion. A diagonal line loaded with visual strength and attraction, a line of tension that generates a break in the visual path, directing the eyes and attracting attention.

This publication full of editorial elements has a marked typographic character. The use of Zodiak and JetBrains Mono gives it personality, which together with the layout and composition make AL BIES an attractive publication for the public interested in studying at this school.

Festeme, the Spanish Musical Theater Festival, is presented as a unique initiative that celebrates and encourages the creation of original productions within the theatrical-musical genre.

It’s a national reference that had its first edition in Córdoba from October 13 to 16, 2022. A cultural and creative explosion that served as an intersection and platform for professional artists of theater, music, dance, literature, design, etc. More than a festival, it’s a collective, collaborative and multidisciplinary creation movement for artistic promotion and innovation.

We have worked on elements such as the pentagram and concepts such as the movement that we capture graphically through the use of asymmetric horizontal lines that interfere and add dynamism to the identity. In addition, the typographic presence is very important. The use of Galgo and Cabinet Grotesk provide the composition with closeness and personality to the event, making it very recognizable.

Photos by India Gitana.

Málaga Type was born as a meeting between lovers of letters that takes place in the city of Málaga with the aim of spreading typographic culture and creating a community. All this with beer as a cohesive element, with Cervezas Victoria, the Málaga beer par excellence, key to this event. And all in an intense but hilarious one-day journey!

Málaga Type is organized by Rayitas Azules, an editorial design and typography blog led by designers and teachers Ana Moliz and Salva Cerdá and the head of communication and designer Esther Sepúlveda. This second edition featured the participation of Diego Areso, journalist, editorial designer and art director of El País; Laura Meseguer, graphic and typographic designer of international prestige, and, as local speaker, Lucía Types, lettering artist. In addition to the workshop “How to design digital typography with Glyphs?” taught by Rainer Erich Scheichelbauer, a member of the Glyphs team.

Being an event focused on typography and editorial design, the most outstanding elements in the identity are these features. Labil Grotesk brings that rational and typographic touch to the whole. In addition, the yellow gradient (simulating the natural interior shade of a book), the black and white photos and the bleeding layouts make this piece a unique identity developed by Tiquismiquis.club.

Photos by Uve Martinez

Prado Eco-Studio is an ecological hairdresser, located in Malaga, which also sells products of natural origin for hair care. It is a space dedicated to nature and its plants and flowers, which absorb nutrients and minerals from the earth to take them to the field of hair, cosmetics and health.

From Tiquismiquis.club they took into account concepts such as nature, organic, raw material, botany for the graphic identity. This is reflected in simplicity, in a color palette drawn from nature, and in organic interventions that play with the messages launched by the brand. The photographs of Cristina Gómez to Marta Doblas, together with the texts of Laura García lead us to this own universe of Prado eco-studio.

The fonts in use are Cirka - always in its Light weight - for headlines providing contrast and dynamism mixed with the neutrality of Manrope for body text.

La Red Ibérica en Defensa del Patrimonio Gráfico (“The Iberian Network in Defense of Graphic Heritage”) is an association in charge of the collection of information, documentation, cataloging, dissemination, and where appropriate rescue and preservation of signage, signage, commercial and urban graphics of all kinds, considered as graphic heritage and visual of the entire community.

We have had the pleasure of designing the identity for the first La Red event to present the association, its activity, the members, etc.

For the graphic development we use different R’s of several signs of Spanish cities together with different very predominant colors in commercial signage. Some of these R’s are derived of lettering; others can be found in typefaces such as Jackson and Stripes. We propose an animation simulating the movement of a clock, which leads us to reflect how these signs over time, which La Red adds value, they are disappearing little by little.

FH Oscar, a sans serif typeface with gestural details in its characters, gives identity and proximity to all the project.

After more than 25 years producing his own music at home, and more than 10 being half of Hungry Butterfly, in 2017 Cabezazo began to shape his new solo career, with which he simply intended to release material that seemed doomed to die. on a hard drive. And although by its very nature it is unlikely that it will charm the general public, better to dispatch it than to reserve it for its descendants to rescue it as a virtual treasure hidden in an outdated storage technology.

The design of the CBZZ-01 album is carried out by Tiquismiquis Club, a graphic and editorial design studio based in Málaga. The general concept of the album is to hide the person behind their music, gender ambiguity, non-identity. A concept that is enhanced by the photographs of Cristina Gómez. Some black and white photos that try to show part of the body, but never the face.

The typography uses PolySans – always in its Neutral weight – making the composition a solid design with its own character.

The Pink Prince was born in London in 2016, and already has seen seven published issues, which are distributed in 12 countries. The magazine deals with a new generation of men’s fashion through a very fresh line, with a young spirit, and with a redesign that keeps pace with the latest editorial design trends.

For this issue, the team formed by Juan Martín (art direction) and designers Roberto Espartero and Sergio Paque, set out to give the redesign an integral character, an absolute change of look that encompasses the format, as well as the header, the cover, and the interior spreads.

For headings, Juan Martín selected PP Monument, a wide bold grotesque that adds a severe and contemporary appearance. The cover holds several lavish details such as the barcode integrated in a box (with all the information related to a price, web, etc.), in addition to the theme (in this issue: “Survivor”), which functions as a link between all content. This becomes visible in the use of coordinates, looks, aesthetics, locations, etc. Smaller text elements are in Bw Gradual.

Photos: Salva Cerdá / Rayitas Azules