In 2025, Julien Gosselin took charge of the prestigious Parisian Odéon Théâtre de l’Europe, previously known as Théâtre de l’Odéon. Atelier Choque Le Goff was commissioned to design a new visual identity for the theater. Playing with words, they used big type and expressive layouts, mixing letters and illustrations by Martin Groch on colorful backgrounds. The cast for the new identity is as follows: Insitu, Exposure, and Neue Haas Grotesk.

Beztrosko, meaning “delightfully free,” is a special place for everyone looking for a great selection of alcohol-free beverages. We wanted the identity to clearly express joy and freedom – what conveys that better than a wildly running horse? That’s what we thought! Combined with an energetic color palette, a funky yet sophisticated font (nodding to Formagari), and a catchy slogan, we made sure that the brand would stand out in its category. We also prepared a stylistic social media communication guide – something that has become a standard part of our brand creation offer.

The Maison des Métallos is a public cultural center in Paris located in the 11th district. The institution is dedicated to the performing arts, hosting performances, theater, dance and other events and gatherings.

The creative studio Feelings designed a new visual identity for this historical venue using Modale Antique as the main typeface. It is complemented by LL Mono in its bold version for the programs.

The exhibition Petits mondes (“Small Worlds”) at the Hôtel des Arts TPM presents works from the collections of the Centre Pompidou, the Centre National des Arts Plastiques, the Musée des Arts Décoratifs in Paris, and the Mobilier National. It explores the world of childhood, where furniture, toys, decorative objects, and illustrated books stimulate imagination and creativity, promoting children's personal development.

For the visual identity and the catalogue, Marc Armand used Rillus (as the main typeface) and Malamocco (for body text).

Maison Solide developed a lively and colourful graphic language for La Locale, a social and solidarity grocery store situated in the 17th district of Paris. The identity is embodied by veggie-shaped characters drawn by the studio, cheerful colours, and the bold use of Malamocco and GT Alpina Typewriter.

Rialto is a platform and commerce tool for dealers and galleries in art, design, antiques and furniture. The studio Alexis Mark designed Rialto’s visual identity (creative direction is by Kristen de La Vallière) using Insitu for the logo and the titles, and GT America Mono for text and captions.

Happening each year in Saint-Briac-sur-Mer (France, Brittany) the Rendez-vous à Saint-Briac is a fair showcasing contemporary works of art and artists' publications, mainly from Brittany-based galleries and institutions. For this edition, Paul Dagorne and Lucas Le Bihan worked on a reset of the fair’s identity. We used the symbol of the city (the bridge between Saint-Briac and Lancieux) as the main visual along with three illustrations of clichéd Saint-Briac’s landscapes and a single typeface – Scenery – throughout the whole communication.

Published on the occasion of Dana Schutz’s 2023 exhibition at David Zwirner, New York, Dana Schutz: Jupiter’s Lottery features images of the artists’s work as well as a long-form essay by Jarrett Earnest, who chronicles Schutz’s artistic process as she creates her most ambitious sculpture to date, Sea Group.

The catalog was designed by Javas Lehn Studio using Kernevel and Styrene B.

Brand identity from graphic design studio Polytechnic for Anywhere Book Club which brings together an illustrated emblem and array of spot illustrations from Marcus Oakley with Formagari’s Malamocco used in two weights, along with Sebenta from Feliciano Type.

The Anywhere Book Club exists to reimagine how adults can support children’s reading and writing. You can read more about the initiative on their website.

Malamocco was chosen to pair with Marcus’ heavy and graphic linework as its forms have a similarly unkempt and powerful presence on the page. Crucially (for a project that is supporting reading and writing in young people) the lettering remaining highly recognisable, readable and clean yet manages to be highly animated and joyful in nature.

The investigation into how certain typography can pair with an illustrator’s work better than others has been an enduring passion of the studio.

Read more about the project on It’s Nice That.

Graphic identity for L’Escale, a space for relaxation, revitalization, and civic engagement hosted by Mutuelles de France at Fête de l’Humanité.

Over three days, L’Escale presents a dynamic program of debates, health prevention workshops, and activist gatherings focused on public health, solidarity, and social rights.

Odd Forms Studio crafted a vibrant and inclusive visual universe, from logo design to signage, editorial content, and social media templates.

The typographic pairing of Noland and Modale Antique plays a central role in this identity. Noland, with its contemporary geometry and humanist undertones, conveys accessibility and clarity—echoing L’Escale’s role as a welcoming and pedagogical space. Modale Antique, with its grounded presence and subtly retro character, evokes collective memory and civic heritage—resonating with the event’s activist and social ambitions.

This carefully balanced typographic approach supports a visual language rooted in openness, popular education, and conviviality—values that lie at the heart of L’Escale.

Chemins de traverse is a book by Luca Eminenti Chanteau presenting seven interviews he conducted with young French architects who chose to establish their practices in a rural environment. The book, in paperback format, transcribes their discussions.

Emmanuel Besse did the design and used his own typeface Cedrat Text in Light and Bold (plus italics).

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.

Pratiche di posizionamento – Positioning practices is a research project on Italian colonialism conducted by the students of ISIA Urbino that resulted in an exhibition and a book. The identity of this project is designed with Insitu and Martina Plantijn.

It was curated by Silvana Amato, Luca Capuano, Alessandro Carrer, Matteo Guidi, Armin Linke, Jonathan Pierini.
Projects by Sofia Cambiaggio, Michela Del Longo, Alida Lardini, Sofia Noce, Arianna Mattietti Orani, Gennaro Mungiguerra, Alessia Pagotto, Chiara Rebolino, Khrystyna Shostak, Lorenzo Urgesi, and Marta Vultaggio.
Paola Binante is the coordinator for the MA Photography.
The graphic design is by students of ISIA Urbino, supervised by Silvana Amato with Roberta Antinolfi, Lukas Osele. and Agnese Pozzobon.
Giulia Peraro handled the exhibition production and the production coordination.

The Théâtre Olympia, Centre dramatique national de Tours is a national public theatre in Tours, France. When Bérangère Vantusso was appointed director, she commissioned Cylindre Studio to design a new visual identity. Cylindre used Rillus and Self Modern throughout the visual communication system.

Hovedstaden bag facaden (“The capital behind the facade”) by Ulf Svane and Mathias Kobberrød Rasmussen of Copenhagen Archive is a 400-page photo book, published by Lindhardt & Ringhof, documenting the small, local, historical, and unfortunately disappearing businesses of the city of Copenhagen.

Spine Studio did the layout using Malamocco and Century Schoolbook.

Paris-based production company Frenzy commissioned Kim Lê Boutin to give the company a fresh start. To elevate Frenzy as a unified group, a platform featuring updates from each entity was launched: frenzyparis.global. With the help of the creative duo Aletheia, Kim Lê Boutin developed a fresh visual identity to reflect this ecosystem. Alongside the four new websites, they rolled out a new tone of voice, typographic identity, motion identity, communication and social strategy with a bold art direction exclusively using Modale Antique Medium.

Creative direction, brand strategy & talent sourcing: Kim Lê Boutin
Creative production: Aurélie Chatenet
Development: Julian Garnier
Motion and visual identity: Aletheia
Digital design: Agathe Bourrée, Minh Ginkgökoko, Ji Park

Every summer since 2020, the Villa Noailles and the Hôtel des Arts TPM have played host to the national design collections during the Design Parade Festival in Toulon. For the third edition of Les Aliénés du Mobilier national, some thirty artists, designers and interior architects have given free rein to their creativity, reinterpreting and transforming pieces that have been removed from the Mobilier national’s inventory to breathe new life into them, in a scenography designed by Paul Bonlarron.

Marc Armand is in charge of the visual identity of the Villa Noailles and chose Malamocco (again) for the vibrant and colourful visuals of Remix’s posters and catalogue.

Famous Last Words have designed the identity for an Indian restaurant in Stockholm named India’s, using Insitu from Formagari and Store Norske Leif from Skriftkompani. For the logo, Leif’s capital A was decorated with a swashy middle bar (and a pointy apostrophe) and in the Menu headlines, the capital K was given with an elegant leg. In their case study, the design studio writes:

India’s is a restaurant created by chef Jonas Svensson, named after the daughter of the late entrepreneur Bicky Chakraborty, who was a close friend of Jonas. The restaurant serves traditional Indian cuisine with modern, innovative influences, bringing warmth, vibrant colors, and rich aromas of incense and spices into every dish. We developed the visual identity, including signage, menus, website and a hand-painted mural.

Photographs by Maria Cruseman

The Bellegarde Cultural Center is an institution dedicated to contemporary and digital arts located in Toulouse, France. For its new identity, Vif Design used Kernevel for the logotype and titles, with Moderat for informational text. For now, it looks like only the signage system was redesigned.

Cover with slanted Croissant for the title

From the Ventoline website (translated from the French):

Ventoline is a fanzine born of both a daily enthusiasm for everything to do with music, and a genuine weariness at the near-absence of women's words on this vast subject. Commenting, criticizing, prescribing, sharing stories, tastes, dislikes – in short, musical culture… […]

Ventoline is an entirely self-produced and self-distributed editorial project that receives no public or private financial support, and has been running for three years thanks to the sale of its issues and a few hectoliters of elbow grease. Everyone contributes on a voluntary basis, according to their desires, means and time. The frequency of each issue is therefore erratic, but this absence of imperatives also proves to be a relief: Ventoline comes out when you can, when you want.

In issue no. 6, the contributors talk “about record collecting. Algerians, unloved instruments, Mexican narco-culture, euphoria and mourning of concerts, a heterotopic club of dykes, Moldavian tradition, and even motherhood – who knows!”

The text typeface in this feature is GR10. The blackletter used for the headline is Neue Theuerdank Fraktur.

Contents (“sommaire”) ft. Spider Panic and Optima with faux small caps and faux italics. The numbers are from GST Aero; the text at the top is set in OCR-X.

Insitu in two columns for text, with Tekton for the headline and emphasis

Body copy is set in Glasgow. The quote uses Modern Blackletter and the bold extended grot is OPS Facitype.

More text in GR10, paired with drop caps from Neue Theuerdank Fraktur and some Ober-Türkheim.

Verona on an angled baseline, with body text in Figure Monospace. The sans used for the lines on a steep angle appears to be ES Allianz.

The poster (50×34 cm) included in Ventoline no. 6 is a transcript of a TV interview with Edith Massey, a.k.a. the Egg Lady, actress and friend of John Waters, and performer of two punk rock hits including “Punks, Get Off the Grass”. The display typeface is Lyric Stencil NF, slanted, paired with more Figure Monospace.

On the left: Produkt and Glasgow Italic with headlines in obliqued Optima. On the right: WS Naive with triple contour and replies in Routed Gothic.

More of the interview in Produkt and Routed Gothic

Frankfurter Medium (left) and ITC Souvenir Italic (right), with big type in IM Fell DW Pica Italic and Lyric Stencil NF

The box on the bottom left of the right page is set in EB Garamond. The colophon in OCR-X additionally mentions Eccles and Hershey Times, but these fonts don’t seem to be shown in the images included here. Jakob, Aston Script and Flash represent a mirrored reproduction of an exhibition poster, and Harrington (“Club Ventoline”) appears to belong to a previous design, too – these aren’t listed under the fonts used for the design of this zine.