For the 61st Chicago International Film Festival, the visual identity was meticulously anchored in the enduring precision of the Swiss International Style. Embracing the powerful simplicity of Neue Helvetica, a stark black and white palette, and structural efficiency, the core design provided a refined, minimalist stage.

Our ambition, however, was to celebrate the vast, vibrant world of film genres. This was achieved through a compelling typographic dialogue: carefully selected display typefaces, each echoing distinct film tropes and design tendencies, were introduced as dynamic accents.

These genre-specific types acted as exuberant bursts, dramatically contrasting the austere Neue Helvetica. They symbolize the immersive narratives of cinema ‘breaking through’ the festival’s foundational elegance, creating a design that is both disciplined and thrillingly expressive—a true homage and love letter to the design language of film.

This piece is a reimagining of Hemingway’s The Old Man and the Sea. It’s Japanese bound and has just over 100 pages measuring 420×210 mm, with a 1680 mm foldout typographic marlin at the start and end. The design is guided by the following concept:

In the 21st century, reading has shifted to screens, reducing print to a secondary role. Yet the book remains resilient, offering a tactile, immersive experience digital media cannot replicate. This special edition of The Old Man and the Sea, developed as a hypothetical commission for Éditions B42, uses design to critique digital reading and reposition the book as an active, critical artefact rather than a neutral container for text.

The novel’s narrative of endurance mirrors the struggle of print in the digital age, translated into material form through format, typography and book craft. A wide landscape format echoes holding a fish; an embroidered cover embodies tension and labour. Typographic commentary is embedded within the body text, deliberately interrupting reading to challenge, contextualise and reframe Hemingway's voice, shifting the book from passive vessel into something to be navigated, interpreted and physically engaged with.

The resulting disruptions are intentional, asking readers to move through friction that mirrors both Santiago's struggle and contemporary reading conditions, where texts compete with annotation, critique and noise. The book argues for print as a site of resistance, critical thinking and ongoing design experimentation.

In 2023, Henie Onstad presented the second edition of  New Visions, the Henie Onstad Triennial for Photography and New Media. The triennial takes the pulse of experimental practices within contemporary photography and new media. The second edition of the triennial presented works that push the boundaries of photography and automated image-making, to examine acutely relevant issues such as resource extraction, energy distribution and data harvesting. ANTI have designed the exhibition and the accompanying catalog.

The title of the triennial refers to Hungarian artist and photographer László Moholy-Nagy’s text “A New Instrument of Vision” (1932), which greatly influenced the development of experimental photography in the 20th century. In the early decades of the last century, photography enabled new perceptions of an increasingly mechanized and industrialized world. Similarly, today’s artists use photography to explore the entanglements with machines and processes of automation and extraction. The identity signals dynamism, fluidity and changeability. The holographic cover reflects the nature of photography, by capturing the light and its surroundings.

The New Visions catalog was edited by Susanne Østby Sæther. It includes a foreword by Caroline Ugelstad, a curatorial statement by Inga Lāce, Reem Shadid, and Susanne Østby Sæther, and an essay by scholar Eglė Rindzevičiūtė, in addition to artist presentations. Publishing by Henie Onstad Kunstsenter and Mousse Publishing.

The text typefaces used in the catalog include Helvetica (or similar) and Freight Text, with some words in PicNic.

A three-page magazine ad for Namco Museum Vol. 1, a collection of 1980s arcade games released in 1996 (1995 in Japan) for the Sony PlayStation. The ad pokes fun at the then-contemporary 1990s gaming culture, including the typography of video game ads.

The bulk of the text is in Resbaloso, with several other fonts mixed in: Crackhouse (“WEIRD TYPE”), Escalido Streak (“screaming guys”), Burnout (“ViRtUaL ReALitY”), Trajan (“CLICHÉS”), Nuptial Script (“self-righteous”), Matrix Tall (“MULTI-MILLION-DOLLAR”), Motion Bold (“Toilet”), and one unidentified font (“3D”).

The small legal text at the bottom of the last page is in Industria.

Identity and book design for MICA’s Multi Media Event 2025. Melodrama is an anthology of narratives, romantic and tragic, capturing the anxieties, expectations, and desires of eight designers at the Maryland Institute College of Art. Melodrama details stories of metamorphosis.

Fashion Designers: (Top) Rhi Ragone, (Bottom) Lailah Eloise-Munford

Photography: (Top) Simon Cai, Elora Millien, (Bottom) Reginald Ransom, Raul Fernando

Fashion designers: Quinn Spence (top), Haley Darling James (bottom)

Photography: Izabela Cookson, Raul Fernando (top Jessie Hunter, Mykel Cox (bottom)

Jeanne Triboul designed a program brochure for the dance company Atmen, which wanted a publication to present itself and showcase its creations. The company, which creates a dialogue between contemporary dance and historical heritage in its performances, finds expression here through the combination of a traditional serif typeface – Freight Text – and two contemporary ones: Circule and a yet unidentified grotesk. The provided images, which varied in quality and nature, were color-corrected to create a harmonious look throughout the publication.

Mockup for the die-cut effect on The Black Reparations Project book jacket

Working on a project like The Black Reparations Project is always a difficult task of marrying concept with content. The editors were keen to use Theodor Kaufmann’s 1867 painting On To Liberty, which depicts a group of recently enslaved black Americans navigating an uncertain path to freedom. The publisher wanted something typographic. I opted for a combination of the two in the extreme, with a minimal jacket design that features only an ellipse (indicating the notion of “we’re still waiting [for reparations]”), but instead of the first period is a die cut that reveals one boy's face as he looks backwards rather than forwards—again, an illusion to what the book’s content is doing as well. The printed case underneath features On to Liberty in its entirety.

The jacket won an Association of University Presses Book, Jacket, and Journal Show award in 2024.

Printed case for The Black Reparations Project

Cover design for The Black Reparations Project

Jacket mechanical for The Black Reparations Project

3,466 meters above sea level: No other literary prize in the world is awarded at a higher altitude.

The name and logo alone allude to mission of the European literary prize 3466. A triangle indicates an altitude and the superscript 4 alludes to the location of the award ceremony: a peak in the Savoy Alps. But let’s start from the beginning…

Founded in Paris by Le Grand Continent, the first Prix 3466 was launched in 2021 and the annual prize honors a major work of European literature every year. Thanks to an exclusive partnership with the cable car operator, Skyway, the award, which comes with a prize fund of a very generous 100,000 Euros, has found a home in the heart of the Mont Blanc massif. The award ceremony takes place at an altitude of 3,466 meters on the Pointe Helbronner, which can be reached by a luxurious 360° glass gondola. The Pavillon du Mont Fréty stopover at 2,200 meters serves as a beautiful meeting place for the nine-member jury.

Creative agency Tundra, which was founded in Turin in 2009, is responsible for the visual identity of the renowned literary prize. Francesco Busso, Matteo Pont, Pia Panzanella and their team developed the memorable logo, website and printed and digital materials. They chose selected styles from Christoph Koeberlin’s Pangea family (Fontwerk) as the house font and combined them with Joshua Darden’s serif typeface Freight Text (The Freight Collection).

Double page spreads from the annual report of the Literary Prize 3466, set in Pangea Light and Medium by Christoph Koeberlin and the serif typeface Freight Text by Joshua Darden.

The current winner of the Prix Grand Continent 3466 is the German author Martina Hefter.

Future Viewfinder is a self-awareness tool for creative direction – designed to inspire you to “put your passions in places where you want to be.” This phrase, first written in my journal, has been my guiding mantra since early 2022. It reminds me – and now invites you – to seek out spaces that celebrate and elevate your unique passions.

The main card of the interactive print piece acts as a viewfinder – its die-cut, pixellated envelope design (linked to my monogram logo) invites you to press, push, and peek into your future.

I carefully selected typefaces that bring personality to the piece while dynamically filling the negative space of the die-cut. From a heavily condensed Grandmaster to the wide proportions of Afronaut. Their placement reinforces the project’s sense of movement and direction – shifting and changing as you engage with it.

Uplifting oranges, dreamy pinks and purples, and a hint of transformational teal – sourced from GF Smith Colorplan Papers – infuse the work with vibrant, forward-thinking energy.

The title of the book Wat duurt wachten lang translates to “What a long wait”. To accentuate the long time, the word wait is put at the bottom of the image.

The book is about Abdullah, a young Palestinian who is following a work experience program in the thrift store where writer Rino Feys is the work manager. Shortly before his journey ends, war breaks out between Hamas and Israel. In What a Long Wait, Rino tells Abdullah’s story as Gaza slowly turns into hell.

Mulbi is a silk product company that focuses on high-quality skincare materials that aim to better people’s lives through rest and rejuvenation. Therefore, Mulbi’s branding revolves around elegant, dream-like textures and timeless graphic assets that coexist in perfect harmony.

To express this, the branding people created an editorial that plays with relaxed, neutral colors, grainy textures, and compositions that evoke a feeling as though one is slipping in silk. This is complemented with a bold, yet friendly, logo set in Dahlia that contrasts perfectly with the soft and neutral backgrounds. Dahlia is supported by Freight Big in roman and italic styles. Overall, the graphic system is created to transmit Mulbi’s idea of dreaming to wake up.

Wayfare is an award winning magazine (AIGA SLC 100 Show 2023; Graphis Design Awards 2025, Silver) that is creative directed by Cole Melanson with support from Doug Thomas. Zachary Davis is the Editor and Esther Hi'ilani Candari is the Art Editor. Wayfare magazine proudly stands as a publication of the Faith Matters Foundation, reaching its audience through biannual print issues and a weekly newsletter.

Wayfare magazine seeks to be a guide on the journey of faith. The publication showcases original content, encompassing essays, interviews, poetry, art and more, underpinned by the belief that divine truth awaits those who seek it earnestly.

Wayfare’s design is a reflection of the readers’ quest for spiritual enlightenment. Each cover features an alluring map, evoking curiosity. Alluding to the map maker, the masthead, titles, pull quotes, and other text elements are meticulously crafted using Hoefler & Co.’s Surveyor and Decimal, thoughtfully complemented by Joshua Darden’s Freight Text to create beautifully legible columns of type. Intuitive wayfinding details, including arrows in the footer, constellation section breaks and the Wayfare Star as the end mark, serve as guides for readers embarking on their faith journey.

Maiko Rodrig. License: All Rights Reserved.

Emblematic Elusions: Eros in African Cinema is a chapbook series by Africanist film theorist Afi Venessa depicting how filmmakers redefine the Black form in the visual field from the wounded signifier to an embodied vessel for liberation. Each edition presents a film essay analyzing a significant Black African movie; Edition I showcased La Noire de… (1966, Ousmane Sembène). Edition II, which this article focuses on, revolves around Les Saignantes (2005, Jean-Pierre Bekolo).

Such engagement on the question of Eros allows for an intuitive opening for larger discourses in history, (post)colonialism, migration and diaspora, socio-economic dynamics and (post)nationalism. ​​

African culture is more discreet, less externalized, more modest and restrained. Every disclosure of the matter is a violation of the matter. In this sense, cinema is transgression. (Folly, 1996)

Considering cinema’s inherent ability – and burden, to an extent – of making matter seen, such a dichotomy allows for complex yet invigorating discourse …  

Edition II’s front and back covers feature a unique blend of stylized hand-drawn elements. The title’s delicate lettering by graphic and type designer Juliette Duhé unwittingly alludes to a rare edition of Tales of a Grandfather (1828-1830) sitting in Anteism Books’ bindery studio BookArt where the chapbooks are made. The letters’ fluid shapes give the title an ethereal quality featuring a swirling and intertwining flow. Despite the content’s engagement with African and filmic theory and philosophy, Duhé’s whimsically drawn letters challenges any sense of a formal and structured title form.

Afi Venessa Appiah. License: All Rights Reserved.

Juliette Duhé. License: All Rights Reserved.

Hand-drawn title by Juliette Duhé

Harley Smart, Anteism Books’ founder. License: All Rights Reserved.

Rare edition of Tales of a Grandfather (1828–1830)

The back of the chapbook’s accordion form features the writer’s “Afi” logo designed by Jonna Mayer. The graphic and type designer renders an ornamental lettering that recognizes the writerly craft with its calligraphic essence. The hand-lettered logotype has a fluid and graceful quality. Its strokes have a palpable sense of the artist's gestural movement. Mayer achieves a classic feel as an ode to the literary world and its history. All while remaining playful, the personality-filled A’s arm stretches upwards while its leg nonchalantly curves into the F whose ball terminal forms the dot of the I. With a contemporary approach, the type logo’s design holds a roundedness and thickness that refers to organic handwritten-style lettering emerging in the mid-20th century.

Afi Venessa Appiah. License: All Rights Reserved.

Jonna Mayer. License: All Rights Reserved.

Jonna Mayer. License: All Rights Reserved.

Classic 20thC reference from NY restaurants that inspired Afi’s logo

Juliette Duhé designed the layout of the chap books interior bringing life to the text rooted in Afi Venessa’s thesis Within Double Restraint: the Dialectics & Aesthetics of Erotic [Re]presentation in African Cinema.

With typography playing a determining role, its setting is meticulously composed to highlight key narrative elements as well as filmic and theoretical concepts. The body features the deliberately chosen typefaces Freight Text and Halyard Display conceived by Joshua Darden, the first African-American credited as a type designer. Freight Text, Darden’s first published typeface at the remarkable age of 15, “demonstrates a respect for the past yet follows no particular historical model” (FontBooklet No.2). Halyard Display’s personality is at once familiar while pleasingly setting itself apart. While it was originally intended for larger sizes, it was selected here for its strong visual presence and tighter kerning, making the body text exude confidence and sophistication.

Maiko Rodrig. License: All Rights Reserved.

Afi Venessa Appiah. License: All Rights Reserved.

Afi Venessa Appiah. License: All Rights Reserved.

For quotes, the typographic palette is further enriched by Penumbra Serif, adding a touch of elegance to the highlighted passages. It is one of the few serif designs with mono-weight strokes. As Penumbra is a titling type, it has only uppercase letters, giving significance to citations in this academically rooted series. For subtitles, ITC Bolt introduces an assertive and futuristic presence, while ITC Busorama is used for keywords, offering a spirited contrast that captures the reader’s eye.

Maiko. License: All Rights Reserved.

Afi Venessa Appiah. License: All Rights Reserved.

Afi Venessa Appiah. License: All Rights Reserved.

Presented in June 2021 in the TDF Collect art space in Collingwood, Melbourne, Australia, Here, In My Mind is the debut exhibition of emerging artist Amalia Keefer and the first body of work she has created en masse.

Designer Sasha Aarons chose NaN Weiss for the title of the exhibition, showing its distinctive serifs on serifs on the capital letter I. On the flyer/postcard, Freight Micro makes an appearance with its distinctive warm and open rhythm and dynamic italics. The display cuts of Freight are used on the TDF Collect website, suggesting a consistent use across their identity. The sans serifs are GT Walsheim for the artist’s name and Sofia for the opening hours.

Cover image: Vitória Cribb – BUGs (2023) video still. Courtesy of the artist.

Contemporânea's issue #10 is a 256-pages-long art magazine, centred around the subject of "more-than-human — perspectives on technology and futurity".

With 26 visual and written essays, the use of diverse typographies was essential to create a different feel for each essay, without compromising its overall structure. The two main typefaces — Neue Haas Grotesk and Freight Text — are used to differentiate the two languages (Portuguese and English) and are the backbone which then sustains the use of a multitude of fonts. In addition to those shown and listed here, these include Liquido, Slack, and Messina Sans Mono.

Issue #10 of Contemporânea features works from the artists Alexandre Estrela; Alice dos Reis; Alison Nguyen; AnaMary Bilbao; Andreia Santana; Basel Abbas & Ruanne Abou-Rahme; Cao Fei; Cécile B. Evans; Diogo Evangelista; Gabriel Abrantes; Igor Jesus; Isaac Chong; Isadora Neves Marques; Lou Cantor; Maene Maisha; Miguel Soares; Odete; Pedro Barateiro; Salomé Lamas; Seba Calfuqueo; Trevor Paglen; Vitória Cribb; and Zach Blas.

It also includes texts by Alberta Romano; Alejandra Rosenberg Navarro; Ana Salazar Herrera; Anne Faucheret; Audrius Pocius; Cristina Sanchez-Kozyreva; David Revés; Eduarda Neves; Gabriela Vaz-Pinheiro; Isabel Nogueira; João Sousa Cardoso; Luísa Santos; Manuel Bogalheiro; Maria Kruglyak; Marta Espiridião; Paula Ferreira; Rômulo Moraes; Sara Castelo Branco; Sara Magno; Sérgio Fazenda Rodrigues; Sílvia Escórcio; Sofia Nunes; and Tobi Maier.

Fonts in use: Neue Haas Grotesk, Freight Text, CirrusCumulus

Fonts in use: Neue Haas Grotesk, Freight Text, Molle

Fonts in use: Neue Haas Grotesk, Freight Text, GT Planar

Fonts in use: Neue Haas Grotesk, Freight Text, Ballare

MadeByShape collaborated with Stoneletters, a leading creative letter-cutting studio, to revitalise its branding and develop a bespoke website. Stoneletters creates bespoke headstones and architectural pieces through a personal and caring service, so the brand and website needed to reflect this.

The project aimed to reflect the studio's craftsmanship and personal service through a sophisticated and human-centric design. Utilising Craft CMS, the new site emphasises visual and written content that showcases Stoneletters' high-quality work and the people behind it. The typography and design elements were carefully selected to convey professionalism and trust, ensuring the brand feels exclusive yet approachable.

Mindfully made. MACHETE is an accessories brand born from the belief that the everyday items we wear and love should be beautiful and long lasting. Designed in Atlanta by founder JJ Matchett, MACHETE jewelry and accessories are handcrafted with longevity and sustainability in mind. Elevating the brand identity and system through various touchpoints communicate the quality of the products, and serve as a thoughtful yet minimal backdrop to showcase the striking original designs and materials.

The MACHETE typographic system has been carefully considered to ensure balance, visual variety, and tonal flexibility. Freight Display Compressed Light is used for headlines and large callouts while GT America Mono Light and Regular are used in display subheads and body copy to add typographic texture. Where as Suisse Int’l is used for functional, straightforward subheads and body copy where legibility is key. Lastly, Joyce is used to add a personal touch to the brand's inspired content such as newsletters highlighting a color story or calling out details within a product's image for added warmth and texture. The logo is custom.

View the entire project on coricorinne.com.

Kraft Market is a new urban terrace in the heart of Bucharest, Romania. With environmental and graphic design by Daniel & Andrew Design Studio, the market makes extensive use of my typeface Megazoid… I couldn’t be happier with how they have put it to use!

A note from Daniel & Andrew Design Studio:

Kraft Market combines the experience of an urban garden with the commitment to tell the story of the craftsmanship community. Megazoid typeface perfectly checks all the boxes of this identity and wordmark. It has a beautiful structure made of raw elements, that creates a memorable tension between readability and abstraction. This expresses in a visual manner both the unique profile of the space and what it means to build something handmade.

Kraft Market’s logo and headlines take advantage of Megazoid’s alternate single-story a and rounded e, which softens its appearance slightly. Freight Text serves as a companion face, used for supporting text and some headlines. The type is accompanied by bright colors, bold geometric patterns, and simple but effective illustrations. The environmental graphics include large illuminated signs and neon.

The lovely illustrations were done by Alina Georgescu, and Kaustik served as the production studio on the project.

The market’s visual language has grown to include a Christmas pop-up (Târg de Krafciun), which features some beautiful three-dimensional uses of Megazoid, as well as Forma DJR for informational text.

Poster (photo mockup from Mockup Maison)

Poster (photo mockup from Bendito Mockup)

Poster (photo mockup from Mockup Maison)

Poster (photo mockup from Mockup Maison)

+Kote is a bi-annual student publication dealing with architecture and urban planning. Allemannsgreie is the title of the 14th edition, exploring the topic of objects in public spaces.

Pilowlava, Digestive and Romana were used for headlines, Freight Text for body text.

+Kote is a bi-annual student publication dealing with architecture and urban planning.

“Inkludering / Ekskludering” (“Inclusion / Exclusion”) is the title of the 12th edition, exploring the topic of inclusion and exclusion in urban settings.

Romana was used for headlines, Freight Text for body text and Freight Sans for captions and page numbers.