Le Concert de l’Hostel Dieu is an orchestra based in Lyon, France. Created by Franck-Emmanuel Comte in 1992, the ensemble has gained widespread recognition for its 70 to 90 annual performances, making it one of the leading players on the European baroque stage.

Their main actions defend the originality and specificity of baroque manuscripts kept in the Auvergne-Rhône-Alpes region's libraries, testifying their close link with baroque Italy. They aim to make classical music accessible for all through collaborations, intergenerational events and partnerships with local associations.

Sabir is a collection of texts. A space where invited authors come together to write around a shared theme. An interlude in which everything that is written – poetry, theatre, short stories, essays, artists’ writings, and experimental forms – interacts. A territory radically devoted to text, where the only images are spoken through words.

The collective was initially composed of Maud Marique, Anne Lebessi, Mathias Domahidy, Pauline Allié, Eva Anna Maréchal, and Lucie Guien.

The graphic design was created by Louise Boiron (vol. 1 & 2), Théodore Famery (vol. 3), Manon Michèle (vol. 4 to 7). The display typeface Diaphragm (Initial Foundry) was designed by Antonin Bertrand. The texts are set in Brut Grotesque (Bureau Brut) and LL Bradford​​​​​​​ (Lineto).

Table of contents, Sabir N°3

LL Bradford in Sabir N°7

Andy Garvey is a DJ and producer based in Australia, specialized in electronic music. Andy Garvey's sound is resonant and textural. This poster was designed by Studio MIMU for sharing on social media, emulating the sonic qualities through kinetic type and off-kilter details.

In 2005, Marion and Philippe Jacquier decided to create a gallery dedicated to anonymous photography, called “la lumière des roses” (“the light of roses”). Through thorough research in flea markets and antique shops, they discovered fabulous pictures that they kept. Twenty years later, their collection expanded to more than 10,000 pictures, covering a century of photography history. This exhibition presents the most representative pieces of vernacular photography and photography ensembles, gathered around topics such as history, intimacy, obsession, and sheds light on its great diversity.

Eloge de la photography anonyme / In Praise of Anonymous Photography is an homage to all these anonymous photographers that shared their vision of the world, with their imagination as the only limit.

This collection has been acquired by the Antoine de Galbert Foundation and was gifted to the Grenoble Museum.

The depicted poster was designed by Cécile Joly for the exhibition produced by the Rencontres d’Arles and shown at the Cloître Saint-Trophime.

Culture numerique (March 2019), Culture écologique (Feb. 2022), and Culture juridique (Jan. 2025) were published by Presses de Sciences Po in the Petites Humanités (Small Humanities) series.

Designed by Atelier AAAAA, the covers combine Bureau Brut’s Bourrasque and Traulha, paired with OH no Type Co.’s Obviously, Velvetyne’s VG5000, and The Pyte Foundry’s Alcove for “Culture écologique”.

Bourrasque showcases the idea of ever changing life and shapes, the ideas that continue going forward, taking the others with them. As for Traulha, it fits perfectly for the juridical aspect. Round, lapidary and elegant at the same time, it represents the balance of law with its uniqueness.

The book interiors are set in TypeTogether’s Marco, paired with Obviously and the volume’s respective title typeface.

Telka by Rellence and Office Times Sharp by BoulevardLAB were used for the rebrand of Market Art Fair, the Nordic region’s leading contemporary art marketplace. The logo features Droulers Clarendon by Bureau Brut.

From 25AH:

Market Art Fair is the leading marketplace for contemporary art in the Nordic region. Founded in 2006, it brings together top galleries, collectors, institutions, and enthusiasts from across the Nordics and beyond.

The identity centers around an elegant wordmark in a bespoke serif typeface. A tilted, centered “R” introduces a touch of artistic imperfection — symbolizing creativity at the heart of the fair. A monochrome palette of black and white is refreshed annually with curated accent colors, keeping the identity dynamic and contemporary.

A graphic pattern was developed from close-up sections of the logo, symbolizing the endless perspectives viewers can have when experiencing different works of art. The broad typographic palette combines accessibility with a sense of exclusivity, allowing the visual language to adapt across different platforms and expressions.

Round is the typeface used for vielfältig, Germany’s first outpatient care service focusing on sexuality and gender diversity.

From design studio Bas&Aer:

vielfältig. Bremen is rethinking outpatient care, focusing on sexuality and gender diversity. With this approach, they are pioneers in Germany and are closing a gap in the services available to queer people. Approachability, openness, and a good dose of humor and lightheartedness – these are the qualities that define the two founders, Hannah and Judith. These characteristics are also reflected in their corporate design and guide them in every new challenge.

For the corporate design of FlowerBoiz, an event floristry studio specializing in floral decoration for events, Mint Display and Boogy Brut Poster White were used as the primary typefaces, with Boogy applied in italic to the logo and headlines.

The custom logo combines the initials FB into an abstract flower shape, supported by a fresh color palette inspired by spring blooms. For the launch, a minimal one-page website was implemented as a simple HTML page, serving as Flowerboiz’s initial digital presence and presenting the studio’s services in a clear, concise format.

This alphabet primer was initially published in 1986 and titled Quand le mot devient image (“When the word becomes an image”). It contains drawings by Jean Alessandrini. For the second edition in 2024, coordinated by Sylvain Lamy at Editions Des Grandes Personnes, the artist created new illustrations for the missing letters. This book compiles coloring, games and alphabet learning for children.

The Round typeface was chosen for its playful aspect, perfectly suiting the designer’s needs for a children’s book.

Plain Text is a printed publication for exploratory type design, edited and designed by Lucas Descroix and Benjamin Dumond, and published by type foundry Plain Form. The second issue launched in July 2025.

From Plain Form:

From fiction to theory, from mystical analyses to visual works, Plain Text aims at exploring typographic imaginaries, moving beyond a strictly historical and technical framework, with a taste for the unknown and the dormant potential of writing.

This second issue includes contributions by Hervé Aracil, Tim Brookes (Endangered Alphabets), Aliona Ciobanu, Lucas Descroix, Benjamin Dumond, Mardi Forestier, Inscript festival, Elenor Kopka, Marcus Leis Allion, Pierre Pané-Farré (with HAW Hamburg students), Simon Renaud and Alec Vivier-Reynaud.

The texts of this black-and-white, bilingual publication are all set in the unreleased duo Basically Serif for the English and Basically Sans for the French. Additional information is set in Baskemo, also Serif and Sans, an automatically monospaced-and-skelefont’ed companion to Basically.

A number of display typefaces designed by Lucas Descroix and/or Benjamin Dumond are used throughout, for the title of each contribution as well as various emphasis moments. These include: Michaux, Grandmaster, Disc, Jester (in several styles), Ready Active and Clouded and an early version of the upcoming Ferro. Some unreleased display typefaces, either old or future, are also used but not shown here in the pictures.

The fiction work by Mardi Forestier is set in Exposure by Federico Parra Barrios. Imagined together with the author, the layout is an attempt at using an experimental typeface to underline and augment narration, its variations manifesting the idea of breath.

• English and French
• 80 pages, 210×297mm
• offset print on Munken Print White
• 1000 copies, July 2025
• ISBN 978-2-9597254-1-8

This second issue of Plain Text was kindly supported by Commercial Type, CSTM Fonts, Dinamo, Future Fonts, XYZ Type, and 205TF.

Title is set in Disc Heavy, while subheads use Michaux Light.

Left page shows works from Aliona Ciobanu (image in the center is a collaboration with designer Stefaniia Bodnia). Right page shows the work of Alec Vivier-Reynaud (featuring mushroom-printed ABC Camera).

Title is set in a early version of Ferro Fraktur IV. Images show works from Bettina Comte, Rüdiger Schlömer and Jonathan Mak.

Title set in Jester Fool (squeezed, tracked and slightly blurred).

Title set in Ready Active Regular (condensed and thinned).

Title set in Grandmaster Thin. The right page shows both designs and inspirations from Simon Renaud.

Left page shows designs and inspirations from Simon Renaud. Right page’s title is set in generously stretched Exposure.

A piece of fiction by Mardi Forestier, making use of Federico Parra Barrios’s typeface Exposure to manifest breath.

Title on the right page is set in heavily warped Jester Judgment (in black) and Jester Sun (in white).

Left page features Ohno’s Swear. Right page features Bureau Brut’s Totentanz.

Title set in Michaux Bold, for a conversation with French professor Hervé Aracil.

Left page shows student projects from HAW Hamburg, done under the direction of Pierre Pané-Farré (here the collective typeface Octagon Variable and A Type of Image by Fabian Stenzel). Right page’s title is set in Ready Clouded Bold.

The Entrelacs cross-residency is being coordinated by the small troglodytic village of Villaine-les-Rochers in Touraine, France. This annual residency aims to draw a reflection on the new uses and know-hows of basketry. It hosts artists and craft practitioners who collaborate on contemporary creations. The main goal is to protect the local basketry production and to raise awareness about the art of basketry in France.

The poster, journal and brochure produced for each residency were created with modesty, efficiency and lightness. The intention was to put the work of the residents at the center of each piece of communication. The identity is carried through the sturdy and organic Droulers typeface and the kraft ribbon, acting like a wicker twig to intertwine the many communication devices.

This first edition sheds light on Clemence Althabegoity and Catherine Romand (from Romand’art Basketry), winners of the 2024 Liliane Bettencourt prize for l’Intelligence de la Main (“Intelligence of the Hand”) with their wicker shade structure Tresser l’Ombre (“Weaving the Shade”).

During the exhibition Être Méditerranée / Being Mediterranean at the MO.CO., visitors were invited to discover the Mediterranean coasts to reflect upon art, history, archeology and heritage. Around 40 artworks were displayed.

The show opened conversations about politics and identity, while showcasing the rich Mediterranean culture. The catalog includes pictures from the Montpellier-based museum and texts written by Rahmouna Boutayeb and Numa Hambursin. It was published by SilvanaEditoriale.

About 40 artworks were gathered in MO.CO Montpellier Contemporain.

Plaster is an independent art magazine covering visual culture and offbeat stories from the contemporary art world. Founded in 2020 as a poster zine and relaunched in 2023 as a print and digital publication, the magazine positions itself as “the art magazine that won’t hurt your head.”

The logotype is based on the sharp, zeitgeisty serif Cirka – informal and connected, yet structurally tight. It sets the tone for a brand that resists academic rigidity while staying firmly rooted in graphic design culture.

Three typefaces define the magazine’s typographic system. Brubeck, a condensed display typeface with loud, expressive forms, is used for headlines, section openers, and large typographic moments that demand attention. Its compressed rhythm and distinctive counters give the magazine an edge in web and social media applications.

For body copy and general content, Brut Grotesque provides contrast and readability. Its pragmatic, slightly awkward geometry lends the layouts a human, non-neutral tone – consistent with the magazine’s editorial voice. Boogy Brut, used for subheads and pull quotes, adds an informal punch with its compact proportions and gestural details. Rather than creating a strict hierarchy, the three fonts interact dynamically, creating shifting layers of tone and emphasis.

Elfie Semotan showcases her fashion photographs, in addition to her still lifes, portraits and staged free works in this catalog, using Droulers and Brut Grotesque.

Ça ne gâche rien is a transcript of the French TV show La Cuisine des Mousquetaires (“The Musketeers' Kitchen”) where Maïté and Micheline elaborate on meals like ostrich steak. Putting it in writing it gives it an interesting depth, using our Matorral font to illustrate the singular vocabulary and equivocal comparisons. The book was conceived by Franco-Belgian artist Gala Colette and published by Les Éditions de l’Épure.

Topographies is a photographic journal created by Pierre Escot and published in August 2025. It contains a decade’s worth of pictures, mostly taken at night and forming a poetic ensemble. Its black cover unveils a self-descriptive title, using Roman Grotesque.

Poem written by Pierre Escot using our font. The colophon is set in NN Alena.

Cover of the German-language edition

Description of the project by Sammlung Wemhöner:

The catalogue Follow Me Behind the Mirror. Positions of the Wemhöner Collection highlights the impressive breadth of the Wemhöner collection through Philipp Bollmann’s curatorial eye, replacing conventional order with associative juxtapositions. Showcasing a selection of around 400 works from the much larger collection, Bollmann’s dialogical approach opens up new perspectives and underscores its complexity.

This book contains works of numerous artists, including Marina Abramović, Nevin Aladag, Kader Attia, Georg Baselitz, Hans Op de Beeck, and many more. It was published by Distanz.

Cover of the English-language edition

Erha is “the world's first functional beverage infusing super herbs and powerful nutraceuticals, proven to optimize wellness for a healthy, vibrant life.”

Graphic design and creative direction by Morgan Light, who comments:

I imagined a future where wellness is explored like space: curious, bold, beautifully designed. That’s why we chose aluminum—recyclable, futuristic, and striking on shelf. We pictured the can not just on Earth, but in orbit—floating between ancient ritual and tomorrow’s discovery. Wordmark created using DaVinci using custom characters. 3D by Marcio Flausino, Saxon Campbell and yours truly. Sound by Giovanni Dubini. Website development by Kevin Cabano. Photographs by Ryan Duffin with props by Julia Rose..

Inspinniert is a combination of workspace visits and art fair, held in Rapperswil, Switzerland. The artwork for the 2025 edition was designed by design studio Stellwerk Ost and set in Bourrasque ​​​and Brut Grotesque.

Round Condensed and Plus Jakarta Sans are used for 9-9bis.

From Studio Paul Andali (translated and adjusted):

Visual identity for 9-9bis, an Établissement Public de Coopération Culturelle (“Public cultural cooperation establishment”) located on a former mining site in Pas-de-Calais, recognized as a UNESCO World Heritage site. Dedicated to artistic creation, cultural programming, and heritage preservation, 9-9bis is a vibrant cultural hub.

The identity plays on the duality of the two nines—9-9—to evoke a space of convergence, where disciplines, audiences, and creative energies intersect. This concept is expressed through a modular and evolving graphic system: a stable, grounded wordmark interacts with a range of dynamic visual elements, reflecting the diversity and vitality of the site's programming.

Emeric Desgranges provided the motion design. See the full case study on the website of Studio Paul Andali.