“Volte/Face de la Peinture” (“About-face of Painting”) is the second issue of Peinture magazine. It explores various aspects of painting, in partnership with different art schools for each issue.

This issue was made in collaboration with EESAB Rennes and explores the theme of portraiture through a rich collection of portfolios and articles.

The layout has therefore evolved to incorporate text in various forms, highlighting the narratives that accompany these numerous works.

The magazine is designed by Mathilde Mary and Louise Bourlon-Tréguier, French graphic designers. We used Mercure for body type, ABC Social Mono for the legend, and Jester (the Moon style) for the title.

Eugenio Perazza, founder of Magis, has written a book, designed by studio òbelo and published by Rizzoli in Italian and English editions. An intimate and passionate account of design through the episodes that have shaped the author’s personal and professional journey.

With carefully chosen words, Perazza brings us aboard a journey that traces the birth of Magis, the encounters with great designers of the past, the successful projects and those that didn’t work out.

Visual identity for the second season of La Trinité, the result of a collaboration between Le Concert de l’Hostel Dieu and Superspectives, brought together within the Lyon Trinité Musique association. Together, they inaugurate a new stage dedicated to baroque and irregular music, set within the historic setting of the Chapelle de la Trinité in the heart of Lyon.

This season, nature emerges as a guiding thread. A sensitive presence—by turns flamboyant, silent, untamed, or amorous—a living material that resonates throughout the chapel over the course of the year.

The palette, reduced and saturated, deliberately breaks away from the traditional codes of baroque music, asserting the bold momentum of this first season under a new artistic direction.

The arch, the central motif of the new visual identity, unfolds through its various applications. It embodies La Trinité’s ambition to create a dialogue between early repertoire and contemporary creation.

The team comprised Alain Papazian (art direction & graphic design), Anthony Couret (web), and William Sundfor (photography). The fonts used are EK Roumald with EK Roumald Mono (Erkin Karamemet), AC Modern Gothic (AllCaps), Mercure (Abyme), and Ready Active (Plain Form). Imprimerie Chirat provided the printing.

This is the sixth issue of La petite collection, designed by Bureau Roman Seban. As with every issue, the number is printed on the cover and the colophon on the back cover, typeset in Bertin (variable font), a typeface available from 205TF. The body text is set in Axo by the author, Charles Mazé, available from Abyme.

La petite collection is a series of texts dedicated to writing, typography, and book design, produced entirely by hand (from design to offset printing) within the Association Presse Offset in Paris. Each issue publishes one illustrated text in French. It is available for purchase on Association Presse Offset.

1982 is a limited edition artist book by Rhea Karam, published in 2025 by Small Editions. It features a custom-cast concrete brick slipcast, typeset in English Egyptian by Abyme.

1982 is the year that artist Rhea Karam was born. In the same year, her family fled Beirut and moved to the United States to escape the war in Lebanon. All that remains of her family’s visual records of that year is a single photo album with 67 photographs, depicting birthday celebrations; meals with family and neighbours; fabric, furniture, and toys adorning a childhood bedroom.

1982 is an artists’ book that contains photographs from that album, juxtaposed beside images of walls from Beirut and New York City, where Karam now lives and works. Family photographs portray details of a house that no longer exists as such; photographs of walls portray textures and colours of two vibrant, complicated cities. Using the double-page spread, or the dual recto-verso relationship, Karam creates a charge between past and present, between life before and after displacement, and invites readers to imagine a third, unseen space between the two. All books in the edition are different, as each contains a unique sequence and selection of images. The album – in its full, original form – can only be reconstructed by combining all 67 books side by side.

1982 is a continuation of Karam’s broader artistic interest in walls, which she has been photographing and studying for the past 20 years. For 1982, she wanted to create a wall of her own: each of the 67 books are housed within a concrete brick slipcase, sturdy enough to be stacked on top of each other but ultimately intended to be dismantled and scattered.

Brick fabrication by Baylor Ward
Variable Edition of 67 + 2AP

Cover of the 29th issue

Issue N°29 of A Magazine Curated By has been curated by Cecilie Bahnsen.

At its heart, this publication is a celebration of women: their voices, perspectives, and relationships. Throughout the issue, what emerges is a language of shared experience through moments between parents, children, sisters, lovers and friends. A Magazine Curated By N°29 unfolds as a meditation on the beauty of the everyday, the unseen threads between generations and the formative experiences of youth and childhood that continue to shape creativity today.

“It’s filled with the voices of sisters, mothers, collaborators and creatives—a tribute to the strong, inspiring women I’m lucky to have around me.”

OO Theran designed by Laura Csocsán (released on Outline Online) features as one of the main typefaces in use throughout the magazine, selected by the editorial team. It is used equally for bigger titles, credits, as well as longer texts and interviews. On some pages and for a few interviews, it's also combined with the two other typefaces the magazine utilises in this particular issue.

For consistent page numbering, smaller credits and titles, as well as most longer texts and interviews, Mercure roman and italic by Charles Mazé are applied throughout the pages. Released on Abyme, Mercure fits smoothly together with the contemporary grotesque typeface, Monument, designed by Kasper-Florio and released on Dinamo. Monument Grotesk is used in combination with Mercure most of the time, within running text for interviews, for example, or used on its own for a few titles of editorial pages. It can be spotted in very small details throughout as well, for example, in image copyrights or in combination with Mercure for smaller image credits. In some occasions all three typefaces are used in combination with each other within interviews, but in most cases, it's two of them selected and applied together within a spread.

Mercure and Theran in the table of contents

Theran Halo used for the title of the editorial series

Mercure and Theran used throughout an interview

Theran indicating the source of images

All three typefaces used within a page, Mercure noting Cecilie in the conversation, questions set in Monument, and notes on the bottom set in Theran Halo.

Page showing Mercure and its Italic together

Page showing Mecure and Monument used together in this interview

Full page letter set in Theran Halo

Theran Halo applied with OpenType isolated positional (circled) forms for the opening page of the spread

Monument and Mercure Italic used together for titling of images

Theran Halo used for the tile of the editorial series

Monument in used for the tile of the editorial series

Theran Halo used for the tile of the editorial series

All three typefaces used within a page, Mercure in the running text of the conversation and small titles, names set in Theran Halo, and the tile plus image copyright set in Monument.

Page showing running text and titles set in Mercure and its Italic

Theran Halo used to show time stamps within the spread, while page numbering is set in Mercure

Time stamp set in Theran

Time stamp set in Theran, titles set in Mercure

Editorial detail of Theran Halo up close from a page where it's used in running text, in an ASCII image of an apple, as well as in titles with OpenType automatic positional (circled) forms applied.

Shanghai-based designer Nagisa Chen of notadesign was the first to use Lava CJK in an editorial project published by Ventura / Guangxi Normal University Press, designing a series of nonfiction translations by Friedrich Nietzsche, Sigmund Freud, and André Gide. With his careful type choices and refined layouts, Nagisa set out to evoke timelessness and elegance—deliberately contrasting with the historical weight of the texts themselves. Lava is used for Chinese, combined with Mercure, designed by Charles Mazé, a digital revivals of Louis Perrin’s type, for the Latin texts and numerals.

Smash Kitchen is a new line of all-organic condiments launched nationwide at Walmart, co-founded by actor Glen Powell. The visual identity, messaging, and packaging were developed by Creech. The logo is set in Marlfield (OTT), paired with Druk (Commercial Type) and Mercure (Abyme), forming a modern yet distinctly American system that emphasizes product quality without feeling niche or elitist.

CIA GD is the Graphic Design BFA program at Cleveland Institute of Art. Its dedicated website was designed by CIA GD associate professor Adam Swift Lucas. Information about the course is colorfully set over a single page in Charles Mazé’s Axo (Abyme, 2024).

People Love War Data & Travels is the first monograph on the internationally acclaimed French Algerian artist Neïl Beloufa. Love, hatred, war, technology, social unrest, bodies and words in crisis: this is the material of which Beloufa’s work is made. His films, sculptures and multimedia installations audaciously explore how art can address today’s issues, challenging contemporary representations of social relationships, power games, and political and economic structures. An artist favouring collaborations over authorship, and responsive strategies over predetermined intentions, Beloufa has invented his own work methods, and a particular approach to the studio.

The book presents the artist’s projects over the past 12 years, including recent experiments with online platforms and NFTs, taking as its starting point Beloufa’s solo show, Digital Mourning, at Pirelli HangarBicocca in Milan, and offers a non-conformist take on the genre of the monograph, thanks to its playful and inventive book design (After 8 Books).

People Love War Data & Travels was published by After 8 Books (2021) and designed by Olivier Lebrun. It is set in Mercure (Abyme, 2021) and Vevey (Clemens Piontek, 2018).

Tu peux répéter ? Écrire, parler, expérimenter les langues avec Marianne Mispelaëre is a book published by Paraguay Press following several workshops with children around the question of language, led by the artist Marianne Mispelaëre in Marseille. For the design, Bureau Roman Seban and Claire Mouton used Rillus, Mercure and GT Pressura.

From the publisher’s website (translated):

We all agree that language is a rich resource. But what exactly are we talking about when certain languages are inaudible at school?

This book is an extension of the work carried out by artist Marianne Mispelaëre in a secondary school in Marseille between 2020 and 2022. It explores the different relationships that our languages – read, spoken, understood and surrounding us – have with the French language, with our histories and our identities, at school and in all social exchanges. Multilingual, allophones, born here or elsewhere, the students, in all their diversity, took part in workshops devised by the artist to explore the value of the languages that cross our lives – what a language does to, what a language says about our perception and understanding of the world.

Parents Must Unite + Fight (or Hackney Flashers: Agitprop, Work, and Socialist Feminism in England) accompanies Camille Richert’s ongoing research on the Hackney Flashers collective, a group of nine activist women who engaged in agitprop from 1974 to 1980 in the working class neighbourhood of Hackney, East London. A book as a tool, part placard, part board, in reference to the activist, artistic and educational practices of the Hackney Flashers. A book to hold and wave, a support for action and learning.

Published by Tombolo Presses, the book was designed by Coline Sunier and Charles Mazé and typeset in Mazé’s Axo (Abyme, 2024).

These posters were designed by French studio Image Format for the fourth edition of the music festival Les Trois Beaux Days that took place in July 2024 in Montmartre, Paris.

Design and development (in collaboration with Alain Papazian) of the visual identity for the first season of La Trinité, a new stage dedicated to baroque and irregular music, housed in the heritage setting of the Chapelle de la Trinité, in the heart of Lyon.

The arch, a recurring motif in the chapel’s architecture, becomes the central element of the visual identity. As a metaphor for transition, it illustrates La Trinité’s mission to bridge early and contemporary music, repertoire, and creation.

The website was developed by Studio Antho, the photography by Studio Picabel, the video recording by Sequence Sdp, and the printing by Imprimerie Chirat.

Daly & Lyon (Wayne Daly and Claire Lyon) were responsible for creating the overall graphic identity of the exhibition The Imaginary Institution of India, Art 1975–1998, on display at the Barbican from October 5, 2024, until January 5, 2025. This includes the exhibition graphics, a free paperback guidebook, and a hardcover catalogue of the show, published by Prestel (288 pages, 22×30 cm, ISBN 978-3-7913-7769-8).

All of the media was typeset in HAL Timezone by HAL Typefaces, while the sans serif numbers in the guidebook and in the exhibition design were typeset in Carte Antique by Sean Kuhnke, soon to be published by Abyme. The exhibition design and architecture were created by Apparata. This exhibition is organized by the Barbican in collaboration with the Kiran Nadar Museum of Art, New Delhi. The photos were taken by Thomas Adank.

Description of the exhibition by the Barbican:

A landmark group exhibition of art made in response to India’s changing cultural-political landscape during pivotal years.

Featuring artwork by over 30 Indian artists, this major exhibition is bookended by two transformative events in India’s history: Indira Gandhi’s declaration of a state of emergency in 1975 and the Pokhran nuclear tests in 1998. The fraught period between these years was marked by social upheaval, economic collapse, and rapid urbanisation.

Within this turbulence, ordinary life continued, and artists made work that distilled historically significant episodes as well as intimate moments and shared experiences. Across a range of media, the vivid, urgent works on show – about friendship, love, desire, family, religion, violence, caste, community, protest – are deeply personal documents from a period of tremendous change.

This is the first institutional exhibition to cover these definitive years, with many works never before seen in the UK.

Each year, the Centre National des Arts Plastiques ( Cnap) collaborates with a different French graphic design studio in order to create its activity report. Cnap hands the contents to the studio, which then has complete freedom to chose format, paper, printer, organization, and, above all, how to create the design and especially the data visualization part.

For the 2023 edition, Roman Seban used his own typeface Bertin (205TF) for all the data representations in this report — screens, bullets, patterns. For some information, he also worked with the typeface Axo designed by Charles Mazé (Abyme).

The report can be downloaded as a PDF from the Cnap website.

Season booklet

New identity, posters and booklet (pdf) for the 24–25 season of Le Préau, a theater in Vire-Normandie, France. Photographs by Éléonore Lubna.

Season booklet

Posters

Season booklet

Season booklet

Poster

Three Devils by the Bedside is an exhibition of ten canvases by artist Jeongsu Woo, shown in May–June 2024 at the Art Sonje Center in Seoul, South Korea.

Jeongsu Woo references visual images and narratives from different eras, including illustrations from medieval scriptures and philosophical texts, major works in art history, and characters from fiction and comics. This exhibition begins with Woo’s research on insomnia. Woo came across the story of a medieval knight who suffered from insomnia for years due to three devils at his bedside, only to be miraculously cured when he encountered a monk at Canterbury Cathedral (Art Sonje Center).

The exhibition identity and graphics are designed by Kontaakt, using Persona (Abyme, 2022) and Optima. Small text is set in Routine (English) and AG Choijeongho Minburi (Korean).

Exhibition catalogue for Le Paris de la modernité (1905–1925), held at the Petit Palais, Paris, from November 2023 to April 2024:

From the Belle Époque to the Roaring Twenties, Paris continued, more than ever before, to attract artists from all around the world. This cosmopolitan city was both a capital where innovation thrived and a place of tremendous cultural influence. Paris would maintain this status despite the reorganisation of the international scene following the First World War, a period during which women played a major role, which has too often been forgotten. This exhibition demonstrate the dynamism of the period by highlighting the ruptures and brilliant advances that occurred, both artistic and technological. Through fashion, cinema, photography, painting, sculpture, and drawing, as well as dance, design, architecture, and industry, this exhibition showcases the rich creativity of the period.

The catalogue, published by Paris Musées, is designed by Lisa Sturacci, and set in Persona (Abyme, 2022) and Cardone (205FT, 2021).

Iconic House has commissioned the Parisian creative practice eschenlauer sinic to design a book (and website) to present the legend surrounding the Chalet de l’Inconnu. This famous chalet, located in Megève at the heart of the Mont d'Arbois domain, was originally built by Jean Walter and Henry Jacques Le Même. It is now being offered with a renovation project signed by the interior design agency Claves. Inspired by Domenica Walter—the original owner of the chalet—and her art collection, our typefaces and layout evoke the elegance of mid-century art catalogues. We also drew on archival documents, including original plans and correspondence, to guide our choices. Our aim was to imbue the project with historical depth and sophistication while adding a contemporary twist.

The exuberant and luxurious Chalet de l’Inconnu: it resembles nothing that existed and nothing after it will resemble it.

— Centre d’archives d'architecture du XXe siècle en Savoie

Editorial and web design by eschenlauer sinic, featuring a custom digitization of ITC Busorama, alongside Persona (logo), Herbik (text), and Pantasia (captions etc.).
Interior design by Agence Claves (Laure Gravier & Soizic Fougeront)
Production by Iconic House
Computer-generated imagery by jeudi.wang
Photographs by Adel Slimane Fecih