Vi Ser Mønstre Overalt. Tekstiltryk som håndværk, tradition og kunstart / We See Patterns Everywhere. Textile Print as Craft, Tradition and Art Form explores the rich tradition and contemporary relevance of hand-printed textiles – both as a living craft and as an artistic practice in constant evolution. The bilingual publication accompanies the exhibition Trykkraft / Printing Power at the Designmuseum Denmark and serves as both a scholarly exploration and an aesthetic experience, and contributes to highlighting the continuing significance of textile printing in Denmark. Featured are eight living Danish female textile artists: Anne Fabricius Møller, Bitten Hegelund, Else Kallesøe, Janne Wendt, Josefina Enevold, Lisbet Friis, Trine Tronhjem and Liv Marie Rømer.

The book was designed by Spine Studio using the typefaces Monopol by Nguyen Gobber for titles and Maligne by Maxitype for running text.

Village Green has designed five typographic posters pairing fonts donated from ten different font foundries to raise funds for War Child UK. The posters are available as limited edition screen prints.

The participating foundries are Dinamo, Narrow Type, Newglyph, Maxitype, Tup Wanders, PFA-Typefaces, D0UBLE ZER0, Comicraft, Blambot, and Rellence (prev. Ultra Kuhl).

From The Brand Identity:

The Font Family project pairs two foundries on each B2 poster, creating bold compositions that loosely suggest human figures. It’s a playful concept that works on multiple levels – these typographic ‘people’ become a family of sorts, just as the foundries, printers and designers collaborating on the project form their own creative community. All profits from the screen-printed editions go to War Child UK.

The technical side shaped the creative decisions from the start. Working with Ricky at Mesh & Blade in east London, the team designed specifically for screen printing’s strengths and limitations. The bold, colourful characteristics were perfect for the process, but it meant thinking differently about colour separation and registration. “We were also keen to get away from our desks and have conversations about finishes, stocks and inks,” Fearn explains. “From a technical perspective, we kept things relatively bold and minimal with high contrast and simplified colour layers, which ensured the designs translated cleanly and consistently at scale.” That hands-on approach reflects something larger about the project’s philosophy. In a world where remote work and digital-first thinking dominate, there’s something refreshing about a project that brings people together around physical processes and shared goals.

Telka and Metaballs

Screen printing at Mesh & Blade

Azurio and Alpenkreuzer / Baikal and Zzzap / ABC Gravity and Damn Noisy Kids / 00 Hypertext Mono and Meilen

Born in Melbourne, MAAP builds performance cycling gear with a sharp eye for style, function and detail. Since 2014, the brand has fused fashion, graphic design and technical expertise to push the culture of riding forward—on and off the road.

The visual identity reflects this hybrid DNA. TWK Everett and TWK Everett Mono, designed by Nolan Paparelli and published by WELTKERN®, form the foundation of MAAP’s typographic system. These two utilitarian grotesks offer clarity, rhythm and modern restraint, whether used for bold headlines or technical specs. They are paired with Rhymes, a confident serif by Jakub Samek (Maxitype), which adds tonal contrast and editorial flair.

In his first evening-filling artist's book Notizen (“Notes”), Sebastian Haslauer combines texts with drawings, most of which were created on the road, and which have one thing in common: they are unfinished, processual – and not to forget entertaining, meaning funny or thought-provoking.

The “Notes” are an artifact of artistic thought in book form; they illustrate the gathering of observations, the organizing of content material, and the extraction of ideas. In other words, all the formlessness in motion that conditions the form-finding process for art.

Designed by Tim+Tim, published by Edition Taube.

Source: www.bak.admin.ch Nadine Wüthrich. License: All Rights Reserved.

The animation shows a dynamically interlocking 2026 as a visual metaphor for culture in motion. It stands for connection, change, and cohesion – a New Year’s greeting for 2026 from the Bundesamt für Kultur (BAK), the Swiss Federal Office of Culture: culture builds bridges, creates resilience, enables peace, and shapes democracy.

Source: www.bak.admin.ch License: All Rights Reserved.

Romansh version

Source: www.bak.admin.ch License: All Rights Reserved.

Italian version

Source: www.bak.admin.ch License: All Rights Reserved.

French version

Source: bak.ch License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

Protean’s brand concept “Based on Conviction. Ready for Change” describes a very specific attitude in finance, disciplined decisions, and an explicit willingness to revise them when reality shifts. The identity was built to hold that tension without falling into the usual finance clichés, polished certainty on top of implied complexity underneath.

The typographic system is built around a deliberate tension between permanence and adaptability. TWK Burns anchors the identity with a sense of weight, discipline, and institutional memory, it feels carved rather than drawn, aligning with Protean’s emphasis on conviction and responsibility. Rhymes introduces a more expressive, high-contrast voice in headlines, allowing for nuance, emphasis, and moments of controlled instability. Ritual (with Ritual Mono) functions as the connective tissue, a contemporary sans that keeps the system operational, readable, and grounded in the present. Together, the typefaces mirror Protean’s philosophy: decisions rooted in strong belief, but always open to revision as conditions change.

STK Bureau Serif and STK Bureau Sans from Smuss Type Kiosk are the brand typefaces of Holly Ventures, with Selecta by Maxitype used for the company’s logo. Their identity was designed by J.D. Reeves:

Holly Ventures invests in and supports world-class cybersecurity founders, beginning at the earliest stage of company building. Founded by John Brennan, Holly Ventures focuses on Day Zero: the stage where founders need direct engagement with the decision-maker and flexibility in how they structure their cap tables. Backed by investors from Bessemer Venture Partners, Ballistic Ventures, CRV, Vanderbilt University, Okta Ventures and more, Holly Ventures delivers the network breadth of a far larger fund while preserving the flexibility and responsiveness of an angel investor.

The brand draws inspiration from the holly tree and its symbolism of heritage, resilience, and protection. We leaned into the visual motif of a holly berry, creating a visual expression that leverages the circle shape across brand patterns, interactive website elements, and photography treatments.

From Bureau Strada:

Poster for a heavy metal concert and performance event at Bad Bonn, in collaboration with Nathan Meyer. The aim was to design a poster that was coherent with the event, while subverting common heavy metal clichés. To provide a contrast to the handcrafted feel of the linocut, the Metaballs typeface by Maxitype introduces more geometric forms, subtly referencing the bone motif of the illustration.

The F4 poster was printed in a black only version, and another 50 × 70 cm version is printed in offset silver and black with a matte varnish by Cric Print in Fribourg. The concert was organised by Maxime Barras & Maxime Papaux, under the name Maxi-Maxi.

Graphics for the exhibition Anden Krop (English: Other Body) at Fuglsang Kunstmuseum in Toreby, Denmark, curated by Liza Kaaring and Tore Hallas. Spine Studio used Place together with Rhymes. Place is used with the blackletter capitals from its Extra styles. The exhibition architecture is by Louise Witthöft.

See also the exhibition catalog.

Fan fiction magazine Danke is a biannual literary journal edited by Marion Regenscheit and Lucien Haug. In Danke, authors find space for a new, constructive approach to (old) texts. This year’s edition is themed “The Heidi issue”.

Display fonts of different type foundries and type designers supplement every issue. Among them are KTF Roman, KTF Jermilov, KTF Rublena, and KTF Tiemann by Kyiv Type Foundry. The designer – Dual Room’s Emmanuel Crivelli – also uses Cornbread, OCR-X and Selecta from Maxitype, plus BC Monument and BC Unciala by Briefcase Type Foundry.

The magazine’s editorial team consists of Lucien Haug, Marion Regenscheit, Richard Stoiber, Dorothee Elmiger, Chris Möller, and Mazlum Nergiz, together with the authors Johny Pitts, Enis Maci, Simoné Goldschmidt-Lechner, Hendrik Otremba, Marina Skalova, Clemens J. Setz, Anna Gien, Leonie Ott, Lotti Spieler, Leo Lemke, Tania Röttger, Dominic Oppliger.

Catalog for the exhibition Anden Krop (English: Other Body) at Fuglsang Kunstmuseum in Toreby, Denmark, curated by Liza Kaaring and Tore Hallas. The publication was designed by Spine Studio, using Place and Feature, both by Commercial Type. Place is used with the blackletter capitals from its Extra styles. Body text is set in Rhymes by Maxitype. Printed by Narayana Press.

See also the exhibition design.

NOT A HOTEL is evolving, with NIGO®︎ and Pharrell Williams joining as creative advisors and investors. This partnership marks the beginning of an exciting new chapter, driving forward bold projects both in Japan and beyond, including the upcoming “NOT A HOTEL TOKYO— THE NIGO HOUSE,” which is now under construction. Our journey is just beginning.

The website and branding identity feature Selecta, a sharp, contemporary sans serif whose modular forms echo NOT A HOTEL’s modern and experimental spirit.

Esquire Italia’s creative direction was renewed and redesigned by Cabinet Milano and Dual Room under the direction of Giovanni Audiffredi, with fashion direction by Nik Piras. The updated direction, seen in issues Nº 31 to 37, balances contemporary elegance with the magazine’s bold editorial voice, unifying fashion, culture, and design through a sharper visual language and cohesive art direction.

As the main typeface, Maligne by Maxitype, a geometric sans inspired by 20th-century letter painters, serves both display and text roles, while OT Kairo by Omnitype provides a complementary serif counterpart.

100 beste Plakate 23 highlights the year’s most compelling poster designs from Germany, Austria and Switzerland. From bold typography to experimental imagery, these 100 posters capture today’s vibrant pulse of visual communication.

In 2023, it’s Studio Es from Vienna who designed the visual identity of the competition.

For the type, they chose Signs (by Swiss foundry Maxitype) – a chunky, spirited typeface that communicates with clarity whether static or in motion – and combined it with Pantasia by Wei Huang and Times New Roman in order to create contrast and rhythm in the visuals.

Cover photo by Rafael Prado / Viva o Balão

Fan fiction magazine Danke is a biannual literary journal edited by Marion Regenscheit and Lucien Haug. In Danke, authors find space for a new, constructive approach to (old) texts.

The magazine’s editorial team, consisting of Lucien Haug, Marion Regenscheit, Richard Stoiber, Dorothee Elmiger, Chris Möller, Svenja Viola Bungarten, and Mazlum Nergiz, together with the authors Svenja Reiner, Dietmar Dath and Scholastique Mukasonga, presents the first issue of Danke.

Display fonts of different type foundries and type designers supplement every issue. Among them are KTF Cirk, KTF Labyrinth, KTF Rublena, KTF Metro Sport and KTF Compact by Kyiv Type Foundry. Danke magazine also uses the fonts Rhymes, Selecta, Signs, Eurocat, OCR-X, Modelo and Cornbread by Maxitype, BC Prkno by Briefcase Type Foundry, and Kiddo by notyourtypefoundry. The origin of Cosmic Cult is unknown.

Metropolis M is an independent bimonthly magazine on contemporary art. Issue no. 4 from August/September 2024 was designed by Elisabeth Klement and Benjamin McMillan.

From the magazine’s website (translated from the Dutch):

How do you want to live? By competing with each other (Competing), or by helping and supporting each other (Composting)? Metropolis M Number 4 is about competition. How do artists deal with it? Do they go along with it or do they resist it, and if so: how

The typefaces in use are commonSans (notyourtypefoundry), JL Pirelli (JungLee Type Foundry), Equitan Sans (Indian Type Foundry), and Eurocat (Maxitype).

Vanderbrand is an independent strategy and creative office, operating in Toronto. Led by research, Vanderbrand uses combined experience to create concise and compelling work. Vanderbrand operates across all industries to deliver strategy, brand, creative direction, and design for clients of varying scales.

With a digital index of previously unpublished works dating back to 2009, vanderbrand.com features a refreshed visual identity while succinctly communicating the firm's expertise, body of work, and approach to strategy and brand.

A new identity for Maison Saint-Gervais, a theater in Geneva, Switzerland. Art direction and design Dual Room (Emmanuel Crivelli), starring KTF Concrete Bold (available on request) and Selecta by Maxitype.

Detail from the style guide, with the key-related elements derived from the Geneva flag

ESCMID, the European Society of Clinical Microbiology and Infectious Diseases, is one of the largest medical societies in the world. As it continues to grow and gain influence worldwide it is rapidly turning into a global science brand. Scholtysik consolidated the extensive brand portfolio and changed the congress name to “ESCMID Global” which highlights its position as the world’s largest and most relevant congress in its field. At the same time, Scholtysik renewed the complete visual identity and brand communication.

Selecta by Maxitype was chosen as the brand typeface across all touchpoints. Scholtysik looked for a typeface that would generate impact in large applications at international events and at the same time could provide precise, factual communication of scientific content and medical guidelines. The typographic look and feel must do justice to the never-ending curiosity and methodical rigour of scientific research and ultimately convey the clarity and strength to fight infectious diseases worldwide.

A custom version of the type family for ESCMID includes a set of Greek characters for proper representation of biological and medical terminology.

The Visual Poetry / Visuelle Poésie exhibition, held in 2023, showed contemporary Iranian posters at Museum für Gestaltung Zürich. The exhibition opened up a broad spectrum of visual languages. The campaign, designed by Skala, carves out the linking thread between them all, providing the show with a poetic face that depicts its essence. The key visual elegantly applies evocative symbolism to hint at the infinity of possible interpretations of visual forms. In doing so, it constitutes an example of just this richness itself, making the public curious for more. Typeset in Selecta by Maxitype. The font used for the text in Farsi (?) is yet unidentified.