Garçon(s) is the eighth and deeply personal album by Tom Poisson, honestly exploring themes like masculinity, aging, relationships, Alzheimer’s disease, and desire. For the cover artwork, the concept centered on memory, using childhood Polaroids of the artist and his brother—two boys raised together but shaped by different sensibilities.

Designed in collaboration with the graphic design studio Filifox founded by Philippe Savoir—notable for managing the visual communication of Angers Nantes Opéra for 15 seasons and the Festival de Cannes identity for 11 editions—the graphic challenge was to preserve the nostalgic essence of these snapshots while bringing them into 2026, letting the images speak for themselves without letting the layout overpower them.

To anchor these memories in the present, the design relies on resolutely contemporary typography, reflecting the studio's creative and meticulous approach to visual identity. The album title uses Signal Compressed (Production Type), a clean, condensed font with a subtle vintage feel that structures the composition beautifully. This geometric approach offers a sharp contrast to the texture and raw emotion of the vintage photographs.

In response, Apoc (Blaze Type) was chosen for the text. Lively, rhythmic, and almost dancing through its drawing and ligatures, it brings a dynamic and timeless quality to the layout. Since Apoc already carries the weight of a modern classic, the dialogue between these two distinct styles achieves a perfect balance, subtly enhanced by the chosen color palette to deliver an elegant, culturally grounded design.

Montaigne en mouvement (“Montaigne on the move”) is an annual festival organized by the association of the same name, which aims to promote the cultural and literary heritage of the French philosopher Michel de Montaigne.

For the second year, the event is focusing on philosophy in the garden, which inspired the theme of the illustration.

See also the design for the festival’s first edition.

From Jeu de Paume’s website:

Marking over thirty years of collecting, Fragile Beauty celebrates Sir Elton John and David Furnish’s passion for photography, reflecting their personal taste and unique eye as collectors. Across five thematic sections, the exhibition explores themes such as desire, celebrity, fashion, reportage, and affirmation of identity.

The communication materials are produced in Area and Diaphragm.

Ne rien jeter (33 ans après) (“Don’t throw anything (33 years later)”) is the title of an exhibition by photographer François Halard at Fondation Gallifet in Aix-en-Provence. The catalog uses the typeface Aman from Blaze Type.

Graphic designer Benjamin Puddu, based in Marseille, designed the poster for the film Le Train de Mana, a 20-minute documentary short written and directed by Ophélie Carpentier. Produced by Laterit Productions, the film immerses the viewer in the sensory atmosphere of the town of Mana, French Guiana, during the transition to the New Year. This specific moment of waiting for December 31st marks not only a calendar shift but also the imminent arrival of the rainy season, creating a climatic and human tension that the film seeks to make the audience feel.

To visually translate this “nebulous experience” and the electric energy of the territory, Benjamin Puddu selected the Inferi typeface, created by Matthieu Salvaggio for the Blaze Type foundry. The use of Inferi anchors the title in a structure that is both robust and soulful, capable of dialoguing with the split image of the poster that illustrates the passage from daylight to the vibrant darkness of the Guianese night. The character design complements the strength of the title, evoking this invisible “train”—that of the storm, the celebration, and the passage of time—which draws the entire community into a moment of collective communion.

The graphic project reflects the multidisciplinary approach of the director, a graduate of the Versailles National School of Landscape Architecture, who views territory as a set of fluxes. Supported by institutions such as the GREC, the Collectivité Territoriale de Guyane, and the Lussas Documentary School, the film benefits from a visual identity where Blaze Type’s typography plays a central role. It balances the documentary dimension of the landscape with the mystical dimension of the rain which, according to local belief, comes to “wash the earth of evil spirits”.

Oliver Grace has updated the identity of the Australian brand Redheads, drawing inspiration from its archives of the 1960s and 70s. The project simplifies the historic Ms Redheads icon, whose hair is now treated as a graphic flame flickering across the bottom of the packaging. The goal is to modernize this national institution while preserving its original spirit, ensuring it remains recognizable both in-store and on e-commerce platforms.

The new logo features Fusion from the Blaze Type foundry. This typeface was chosen for the specific details in the lowercase l, t, and a, which add a touch of personality to an otherwise understated structure. This typographic choice bridges the gap between the Swiss design rigor historically present in Redheads’ identity and a more contemporary, effective aesthetic.

To ensure consistency across the range, a flexible grid system was implemented. This allows visual elements to adapt to vastly different formats, from small matchboxes to four-kilogram charcoal bags, while clearly integrating mandatory regulatory information. This modular organization provides a technical balance between respecting a well-known visual heritage and meeting today’s logistical needs.

Villa Miami is a residential experience by Major Food Group.

How do you capture the essence of Major Food Group—celebrated for its celebrity allure and unforgettable experiences—and translate it into a residential concept as extraordinary as a night at Carbone? For Villa Miami, we developed a brand identity that embodies the opulence and glamour synonymous with Major Food Group while seamlessly infusing the vibrant energy and culture of Miami. From the bold, dynamic naming to the art direction and immersive digital experience, every detail was designed to channel the high-energy allure of one of the world’s most sought-after dining destinations, ensuring each moment resonates with the same captivating appeal.

The typography uses Plaak 41 Bold Ultra Condensed and Inferi Light.

everyday utopia is a jacquard-woven blanket inspired by A Decolonial Feminism by François Vergès.

Yik Heng Lee (RISD textiles MFA) interpreted the digital design by graphic designers Jacob Marcus and Avrie Allen, indexing graphic pixels into woven structures and form.

Body glyphs are from Nat Pyper's typeface Michiyo Fukaya.

Based in Copenhagen, NN.07 has made a name for itself in menswear with a simple concept: creating timeless, borderless clothing. Under the creative direction of Stine Nygaard, the label blends Scandinavian minimalism with travel-inspired storytelling.

To stand out from the classic, neutral fonts typically found in fashion, NN.07 chose a typeface with real character: Fautive from Blaze Type. Unlike smoother scripts, this font is sharp and elegant, bringing a punchy edge to the lookbooks and breaking up the rigour of Nordic design. Fautive is supported by Klim Type Foundry’s Untitled Sans.

The brand’s identity thrives on contrast. By pairing this expressive typography with clean photography and textured fabrics, NN.07 captures attention without cluttering the frame. Here, the typography does more than just accompany the brand name—it becomes the heart of its visual identity, asserting a bold, modern vision of luxury for the collections to come.

Photographer Nanine Renninger’s book Mementos | Erinnerungsstücke brings together personal narratives and visual fragments in a restrained editorial framework. Renninger approaches her material with a measured, poetic stance.

Designed by Vivian Förster of RoomArt, the book gives typography a central role. Easy Grotesk, designed by Alexander Rütten and Olivia Wood of Ligature Type (distributed by the TypeMates), is combined with Relais by the same designers (distributed by Blaze Type), creating a contrast in character and supporting the bilingual layout.

As Renninger notes on her website, the project “collects traces of memory in both text and image,” and a theoretical section at the end reflects on the nature of memory.

FH Lecturis Rounded and Area are the fonts used by Designpunt:

Designpunt is the hub for contemporary design culture in Flanders. We are a landscape-enhancing player that focuses on the artistic and cultural value of design. Through our program, we drive the development of the contemporary design sector in terms of content. In addition, we are a knowledge center that actively maps and shares expertise. In this way, we stimulate a vibrant and diverse design culture.

Saffron Brand Consultants, co-founded by Wally Olins, designed the identity for the Setouchi destination on behalf of the West Japan Railway Company (JR West). The goal was to establish this region as Japan’s ‘third destination’, offering a calmer alternative to the Tokyo and Kyoto-Osaka hubs. Following a week-long immersion on the ground, the team built a strategy around the concept of ‘the extraordinary in plain sight’. This project transforms the train ride into a truly contemplative experience, inviting travelers to follow the peaceful rhythm of the Seto Inland Sea.

Visually, the work relies on a minimalist aesthetic that avoids the aggressive graphic codes of major metropolises. The layouts are highly airy, using white space to evoke the serenity of the island landscapes. The color palette, featuring deep blues and sandy tones, ensures consistency across all touchpoints, from stations to digital screens. Far from being a simple advertising campaign, the design offers a poetic narrative where every visual detail highlights a promise of authenticity and discovery.

At the heart of this identity lies a precise typographic choice: the Osmose typeface from the French foundry Blaze Type. This hybrid font blends a solid structure with fluid, almost liquid details, reminiscent of the water and surrounding nature. Saffron customized this base with specific ligatures, such as the overlapping o and u, to symbolize the connection between the islands. By utilizing Blaze Type’s modern design, the agency provides the Setouchi region with a soft, living visual signature that accompanies the traveler from the very first glance. The accompanying Japanese typeface appears to be Kozuka Gothic.

The Murgia Run Club project is built on years of adventure and exploration in the heart of Italy’s Alta Murgia National Park. In 2025, the collective reached a new milestone with a complete rebranding designed by Gabriele Colia. This new visual identity aims to promote the Puglia region while organizing the club around a more modern image, standing at the intersection of high-performance sport and lifestyle.

To embody this renewal, the typeface Quadro from Blaze Type was chosen. With its geometric structure and massive forms, the typography evokes the solidity of limestone and the ruggedness of mountain trails. Its modular appearance adds a technical touch that perfectly fits the world of trail running and the requirements of contemporary communication.

The use of Quadro effectively bridges digital communication and physical assets. By relying on such a distinctive typeface, the new design provides the club with a professional and international image. It is a striking example of how typography can redefine a sports collective into a powerful territorial brand.

The accompanying monospaced typeface is ABC Monument Grotesk Mono, see comments.

Premiere Classe is the leading international event dedicated to fashion accessory designers. Held twice a year during Paris Women’s Fashion Week, Premiere Classe has celebrated creative diversity and the uniqueness of accessories since 1989 through a distinctive, inspiring experience that is firmly focused on innovation. Solæ is used for the identity, leaflet and signage of the 2026 edition, accompanied by a yet unidentified sans serif.

Tula is a probiotic-powered skincare brand built around the idea that healthy skin starts from within. Founded in 2014, Tula has grown into one of the more visible direct-to-consumer beauty brands in the US, with a strong presence in retail and a devoted community online. Tula uses OH no Type Co.’s Swear as their headline typeface across their website, campaign imagery, packaging, and social media.

Swear’s range of styles lends the brand’s communications a confident flexibility: the upright roman weights bring clarity to product naming and section headers, while the italic styles introduce warmth and editorial flair. The Cilati – Swear’s distinctive reversed-contrast italic – makes appearances where the brand wants to add a more expressive, unexpected note, its unconventional stroke structure sitting in contrast to the clean, wellness-forward aesthetic of the rest of the identity.

Swear is paired throughout with Area by Blaze Type, a geometric grotesque that handles the brand’s body copy, navigation, and supporting text. The combination keeps the hierarchy legible and grounded while allowing Swear to do the expressive heavy lifting at display sizes.

Visual identity of Carretta, a nomadic gallery run by Pauline Carretta. Designed by Charlotte Froget using Solæ by Gwennina Moigne and Sprat by Ethan Nakache.

“Two motifs merge into one lenticular poster. The image changes depending on where you stand — there is no fixed final image, only perspectives. Cultural belonging exists in relation to context, position, and viewpoint. 400 × 600mm”

Hyperculture is the diploma project of Dabin Kim made at ABK Stuttgart. The project captures the blurring of cultural boundaries, allowing different cultures to coexist in a globalized world in a “both–and” rather than “either–or” way.

Cultural practices in East and West are explored through everyday creations, shared media, and consumption. This shows how trends move between cultures, overlap, and are interpreted differently. The practices are presented through quotes, articles, digital images, and original visuals.

Dabin Kim describes the project as follows:

The publication is read from both sides: one presents an Eastern perspective, the other a Western one. Each examines how the other culture’s practices are adopted, influenced, and often misunderstood in different contexts.

Chapter 1 focuses on Language, Chapter 2 on Food, and Chapter 3 on Industry—each from both perspectives. Chapter 4 concludes with interviews that bring both views together.

The conversations reveal that cultural identity is increasingly hybrid and fluid, shaped through consumption and digital media. While visual cultural boundaries blur, deeper social differences and experiences of belonging persist.

Looking across language, food, and industry, the West often translates cultural elements into simplified, marketable forms, while the East actively transforms and hybridizes global influences.

Hyperculture emerges as both a driver of cultural reduction and a source of creative reconfiguration – simultaneously part of the problem and part of the solution.

Designed with Solæ and OT Neue Montreal Squeezed. 232 pages, 210×297 mm

Title design with Solæ typeface for Alex Van Pelt’s album Cabin Fever. Logotype by Gwennina Moigne and album design by Alex Van Pelt, using Neue Helvetica and two yet unidentified typefaces, a serif and a condensed sans (Kazimir Text and Univers Condensed are similar, respectively).

Solæ in use for The Garden, an art exhibition in New York curated by Jeanette Spicer and inspired by “Le Jardin” (1978, translated as “The Garden”) by Monique Wittig, a major figure in feminist and lesbian theory. Drawing on her vision of radical spaces for lesbian existence, the project offers a contemporary interpretation of that utopian framework.

Bringing together darkroom prints, collage, scanned flowers, a card deck, portraits, and video, the exhibition at the Bureau of General Services—Queer Division (BGSQD) emerges at a time of renewed threats to LGBTQ+ lives. Featuring works by Rhiannon Adam, Deborah Bright, Sara Duell, Naima Green, Lindsey Perryman, Sunny Leerasanthanah, and Tray Tsui, The Garden centers lesbian vision, presence, creativity, and connection.

The italic is from Eugénie Bidaut’s Adelphe Germinal. Additional fonts used by designer Sara Duell are Kadabra by Dai Foldes and Victoria Rushton as well as BBB Baskervvol by Bye Bye Binary.

A limited-edition series of mini-portfolios bringing together fine art photographs, created by the La Comète bookshop and produced with the printing expertise of Picto laboratories. Each portfolio is developed in close collaboration with photographers whose work stands out for its singular vision. Featuring the work of Eloïse Labarbe-Lafon, Amy Querin, Antoine Henault, Chiron Duong, and Brice Portolano. Using Solæ typeface on the covers.