Published to accompany the 2023 exhibition at MASP (São Paulo Museum of Art), this book is the first monograph on the Huni Kuin Artists’ Movement (MAHKU). Founded in 2013, the group began its work by translating traditional songs of the Huni Kuin people into figurative drawings, developed in Indigenous teaching degree courses at the Federal University of Acre (UFAC). The group’s paintings derive both from these translations and recordings of songs, myths, and ancestral stories, as well as from the visual experiences generated by the nixi pae rituals—which involve the ingestion of ayahuasca and are referred to as mirações (“visions”), the title of the project.

The bilingual book (Portuguese/English) also features transcriptions of Huni Kuin songs and myths, along with essays on the history and meaning of the collective’s practices and representations, complemented by reproductions of much of their visual production.

Graphic motifs inspired by the skin of the boa constrictor—a central theme in the group’s songs, paintings, and drawings—run throughout many of the works and were adapted into a geometric pattern framing every page of the book. The title on the cover is printed in glossy screen printing, using the geometric typeface Tokyto. This font’s design, also used for the artwork titles and section openings, is composed exclusively of diagonals and steps, without curves, referencing the graphic motifs presented throughout the catalog.

The poster screams in red. Not politely. Not tastefully. Red as in warning. Red as in neon that refuses to blink.

Whole Theater Pulse! (WTP) sits there like a sign you were not supposed to see but you cannot ignore. The letters stretch, melt, insist. Almost a logo. Almost a threat.

Brand identity and environmental graphics for Bottega, the mom-and-pop Italian café based in Crown Heights, Brooklyn. Pentagram partner Andrea Trabucco-Campos and team developed a new visual identity and signs with an inviting, dynamic, yet elegant attitude. Even in static form, the identity conveys an active space, constantly moving and changing, much like the diverse Crown Heights community that Bottega is now a part of.

The design uses Harber by Benoît Bodhuin, paired with Montiac by Fabiola Mejía.

Poster for il Canterino, an event at La Cantera in Cesena, Italy, featuring Gino Lanzafame. The typography pairs Gikit with GroteskRemix.

Description of the project by designer Chezarit Mattie:

I spent a year documenting the same spot from my balcony. One day I went out onto the balcony and took a picture of the garden across the street. There was something about that image that compelled me to repeat it. That image became a habit. The habit, a record. In those twelve months, I understood that looking is an almost poetic discipline; a sustained practice of attention and time, of understanding cycles, listening to intuition, and giving patience space to do its work.

Headlines set in BallPill by Benoît Bodhuin, paired with Helvetica or similar for text.

“On the Uses of Absence” is the title of Soapbox, issue 6.0:

Can we speak of a turn to absence? Across the contemporary academic conjuncture, theory is reapproaching the absent in its varying figurative and fleshly forms – revalorising the presence of absence as a critical matter. Whether in queer theory, trans studies, Black studies, Eastern European studies, or literary studies, enduring scholarly investments in re-presenting and re-presencing the absented body have become supplemented by an affirmative interest in staying with absence as such. This scholarship locates absence at the heart of myriad resistances against exploitation, appropriation, undoing, and normativity. For its seventh issue, Soapbox: Journal for Cultural Analysis has invited scholars and artists alike to submit work on the uses of absence in and outside of theory today. As an object of study, a critical figure, and rhetorical tool, absence is given a shape, meaning, form; it is put in writing, where it has a function, a flavour, and a politics. Absence, in other words, fails every time to be purely nothing. How, then, to think the contradiction and the provocation of a contemporary aesthetics of absence?

The graphic design was made by Alice Machado and Paolo Barbieri. They used Adriane Text by Marconi Lima, Harber by Benoît Bodhuin and Modulo – an uncredited and unreleased design by Nebiolo, used here in a version by Alessio D’Ellena and Alberto Malossi.

Old Habits, New Beginnings (Alte Gewohnheiten – neue Anfänge / Stare Nawyki, Nowe Początki) is a solo publication by Anna Raczyńska – a 200+ page, dual-sided Polish–German catalog with two covers and a central English section – reflecting the transdisciplinary nature of the artist’s practice from the past ten years.

Featuring 178 photographs from projects across Europe, with essays by Michalina Sablik and Sophia Scherer, and graphic design by Karolina Pietrzyk and Tobias Wenig, the publication functions as both documentation and a point of departure for future work. The typeface used throughout the book is Elastik designed by Benoît Bodhuin.

In 2024, as Portugal commemorates the 50th anniversary of its liberation from dictatorship, MAM (Maia Architecture Month) turns its gaze to the idea of freedom. Under the central question, “What is a freedom space?”, the exhibition brings together 50 architects, thinkers, and visual artists to explore the complex, often elusive nature of this concept.

The catalog was designed by Pedro Meireis with Nilza Lello, using Haber by Benoît Bodhuin and Neue Haas Grotesk by Christian Schwartz. The exhibition was curated by Ana Resende and Nuno Melo Sousa.

Mille Cent Jours (“One Thousand and One Hundred Days”) is an artistic residency program conducted over three years in schools across the Île-de-France region, aiming to make schools places for experimentation, creation, and encounters. Led by the DRAC Île-de-France (Regional Directorate of Cultural Affairs), it brings together artists, students, and teachers to transform schools into vibrant spaces for culture and civic engagement.

The leaflet (pdf) was designed by Antonin Faurel using GroteskRemix by Benoît Bodhuin as display typeface. Text is set in Courier and Neue Helvetica. It was offset printed by Média Graphic, Rennes, in black plus three colors.

Design, illustrations and much more for Trädgården, Stockholm, season 2025.

These posters, T-shirts, and bags are all part of the identity designed by André Cruz for Turno da Noite (“Night Shift”), a conference on night culture and its economy held at Porto’s Maus Habitos in July 2025. The text is set in Tokyto by Benoît Bodhuin, paired with what appears to be Neue Haas Grotesk.

Posters designed by Hani Wibowo for the design talks with Golnar Kat Rahmani and Sarah Fricke & Lea Sievertsen of Distaff Studio at UdK Berlin’s Klasse Kampagnen.

Printed at the art school’s in-house screen printing workshop. The fonts in use are Ready Bygone by Plain Form and Elastik by Benoît Bodhuin.

Source: studiolekko.com Studio Lekko. License: All Rights Reserved.

Visual language, identity, color scheme, font pairing and a website for Foundations for Ukraine – a global network of philanthropic organizations united in their commitment to supporting Ukraine. Through strategic collaboration, knowledge sharing, and advocacy, members strengthen their collective impact in addressing Ukraine’s immediate needs and contributing to its long-term recovery.

Source: studiolekko.com Studio Lekko. License: All Rights Reserved.

Source: studiolekko.com Studio Lekko. License: All Rights Reserved.

Source: studiolekko.com Studio Lekko. License: All Rights Reserved.

Source: studiolekko.com Studio Lekko. License: All Rights Reserved.

Source: studiolekko.com Studio Lekko. License: All Rights Reserved.

Kolemhlíny is an interdisciplinary creative platform focused on the use of clay materials in architecture with an emphasis on sustainability and regenerative design.

Designing the identity for kolemhlíny required capturing the tactile essence of clay while ensuring clarity across digital and print applications. Our challenge was to translate the granular, layered quality of rammed earth into a coherent visual system. It needed to feel raw yet intentional—expressing materiality, craft, and the interdisciplinary, experimental nature of the platform without appearing chaotic or overly decorative.

The final logotype is set to evoke the density and texture of clay particles. Its modular, grain-like rhythm mirrors the layered process of rammed earth construction, creating a strong link to the project’s material focus. A bold orange palette and dynamic composition amplify this connection, while a supporting typographic system ensures versatility, giving kolemhlíny a distinctive identity rooted in craft and contemporary design.

dailydeep is a self-reflection project disguised as a journal. It compiles 365 questions to deepen your relationship with yourself – on 365 individually designed pages. The journal creates a frame for self-discovery – leaving space to grow into. Every blank becomes a personal trace, turning each copy into a unique reflection of its user.

Ugly Society is a fictional media art exhibition conceived as student project at ArtCenter College of Design.

It explores the darker sides of contemporary society through immersive installations. Featuring six internationally renowned artists—Harun Farocki, Wong Ping, Hito Steyerl, Cao Fei, Sungsil Ryu, and Julian Rosefeldt—the exhibition presents critical perspectives on surveillance, capitalism, digital alienation, and cultural fragmentation.

I developed the visual identity of the exhibition, including the exhibition poster and printed catalog. The design reflects the tension between digital aesthetics and raw social commentary, aiming to create a cohesive yet unsettling atmosphere that mirrors the themes of the artworks. Each design element—from typography to layout—was crafted to invite viewers into a provocative, immersive experience.

Poster for INSIDE, an event at Indie Club in Cervia, Italy, featuring Nicola Ceccarelli, Victor Leonardi, and Alessandro Haenni. The typography pairs Mineral Solid with Kiblind and Marianne.

This children’s publication was created as part of the Primo! project by the Krupa Art Foundation. It’s an activity book inspired by works from the KAF collection, encouraging children to explore what collecting means and how diverse it can be. Printed using the Riso technique at the Effemera print studio in Wrocław – each copy is unique!

Published by Krupa Art Foundation in a limited edition of 400 numbered copies, this 14.8×20.8 cm book was conceptualised and written by Magdalena Kreis and designed by Paweł Mildner.

Bazaar Hall is a hybrid mixed-use venue located in Saint-Brieuc hosting multiple activities: food hall, brewery, bar, wine cellar, pop-ups, garden, and a cultural and artistic program. Since 1989, this industrial-style building housed a bowling alley with eight wooden lanes, dozen of pool tables, arcade games, pinball machines, foosball, and darts. Bazaar Hall has come to life within this vast space, entirely reimagined.

The visual identity of Bazaar Hall asserts its uniqueness by drawing from its past as a bowling alley. Rooted in the unique history of this place, the project is based on a strong, impactful typography (using typefaces by Benoît Bodhuin), vivid colors, combined with shapes and patterns directly inspired by the worlds of bowling and pinball.

“Bazaar” refers to bustling markets and department stores where cultures intersect, and unique flavors, ideas, and creations are discovered – evoking a sense of charming disorder. “Hall” suggests a large, open, welcoming space where people come together to share, work, taste, and create. With this name, Bazaar Hall embodies a festive and friendly spirit – a vibrant place full of exchanges, sharing, and discovery.

Standard is used throughout in various sizes. The word “Hall” in the logo and a few other bits of small type use BallPill. Both typefaces are available from bb-bureau. The script typeface used for “Paris” is Sweet Fancy Script.

Konstlek på Raby is a collaboration between Konstfrämjandet Västmanland and Västerås Konstmuseum, hosting creative activities for children and youths.

The project was designed by Lina Forsgren, with a logo that’s inspired by their wonderful neon sign created by Josefin Eklund – based on letters that took shape in a workshop together with children (see image 2).

For the logo, the designer used a mix of custom-drawn letters and such that were taken for typefaces: Knopp, ABC Maxi Round, Selfie Neue Rounded, Decoy, and Pickle-Standard.

As part of the identity, a library of flower emojis was created, to be used both as decoration and to cover kids’ faces in photos.