Renate is a Munich-based bistro specializing in small plates, wine, and drinks. The identity by Herburg Weiland uses Gaya combined with Ready Active.

From Desisto:

“Tertúlias Gráficas” are informal meetups for enthusiasts in the field, held at our studio in Santa Apolónia, Lisbon. Before we head off for a summer break, we’ve invited [João Queirós] to come by and share a bit about his work and journey.

Desisto is a graphic design studio established in 2013, and based in Lisbon, Portugal. They also operate a Riso printing lab. They have been organizing the “Tertúlias Gráficas” at their studio since July 2019. Porto-based designer João Queirós was invited for the 19th edition, taking place on July 17, 2025.

The type-only banner-like poster was Riso-printed in two colors (brown and gray) and features Plain Form’s Ready Active, together with Helvetica.

Two alternates for a poster with a spring equinox theme, leaning into British pastoral occultism, made for an event at The Bird in Perth’s Northbridge suburb.

Missing sign is a collection of short stories “with pieces of letters inside”; stories that linger where language begins to falter and letters slip from certainty into doubt. Moving between future obsolescence, unexpected discoveries, and quiet rebellions, Missing sign watches what happens when the signs we rely on start to flicker.

The book is entirely set in Plain Form’s unreleased Ferro and its monospaced companion. It uses its “clean” version (numbered I), with a cameo from the most altered stage (numbered IV) on the title page. Each story is preceded by sort of typographic landscapes: Ferro is used in its four stages of digital decay, piled-up, merged together with an additional soft blur-like effect.

The book was written and designed by Lucas Descroix and published by Plain Form. It has 72 pages measuring 108×160 mm and was offset printed in November 2025.
ISBN: 978-2-9597254-2-5.

​​The visual identity for Demonstra: pela poética def, presented at the Fiesp Cultural Center, seeks to graphically translate a collective territory where artists with disabilities create from their own experiences, shifting the public’s gaze on body, normality, and aesthetics. The exhibition articulates multiple languages ​​around aesthetic accessibility and proposes a constellation of poetics that question hegemonic models of representation and belonging.

The main objective was to develop a visual system capable of expressing the corporeality, sensoriality, and symbolic power present in the exhibition, avoiding normative codes associated with disability. To this end, the identity was structured based on three creative principles – exceptionality, sensoriality, and organicity – that guided typographic, chromatic, and compositional decisions.

Through the use of the Ready Active typeface by Plain Form, the words are composed in distorted figures, creating graphic motifs of low legibility of which the understanding is not immediately grasped. This “universal inaccessibility” initially provokes by suggesting placing the non-disabled reader in the place where the person with a disability would be. The shapes of the letters forming the word “Demonstra” were also used as graphic elements on the vinyl decals over the glass doors. All exhibitions texts and artwork captions were composed in Neue Haas Grotesk.

The palette, which blends vibrant tones with dense colors, intensifies the sensory experience, transforming each piece into an expression that complements the poetics conveyed by the works.

Plain Text is a printed publication for exploratory type design, edited and designed by Lucas Descroix and Benjamin Dumond, and published by type foundry Plain Form.

From fiction to theory, from mystical analyses to visual works, Plain Text aims at exploring typographic imaginaries, moving beyond a strictly historical and technical framework, with a taste for the unknown and the dormant potential of writing.

The third issue launched in March 2026 and includes contributions by Alex Balgiu, Eugénie Bidaut, Mathis Borel, Gabriele Čepulytė, Lucas Descroix, Johanna Drucker, Benjamin Dumond, Mankun Guo, Hélène Marian, Luther R Marsh, Ariel Martín Pérez, Laurent Mbaah, and Mălin Neamțu.

The texts of this black-and-white, bilingual publication are all set in the unreleased duo Basically Serif for the English and Basically Sans for the French. Additional information is set in Baskemo, also Serif and Sans, an automatically monospaced-and-skelefont’ed companion to Basically.

A number of display typefaces designed by Lucas Descroix and/or Benjamin Dumond are used throughout, for the title of each contribution as well as various emphasis moments. These include: Michaux, Nostra, Paraiso Sans, Jester (in several styles), Ready Active, and an early version of the upcoming Ferro. Some unreleased display typefaces, either old or future, are also used but not shown here in the pictures.

Several typefaces are also showcased as part of contributions by their respective designers (shown here are Bye Bye Binary’s BBB ReadMe and Mălin Neamțu’s Segmentor).

• English and French
• 80 pages, 210×297mm
• offset print on Munken Print White
• 750 copies, March 2026
• ISBN 978-2-9597254-3-2

This third issue of Plain Text was kindly supported by Abyme, Blaze Type, Dinamo, DJR, Klim Type Foundry, Rosetta, The Designers Foundry, and XYZ Type.

Each issue starts with a few spreads showing a condensed, somewhat chaotic trip through the whole content of the publication (each contribution is represented by its title and an image, in order of appearance). It’s like wetting your neck before diving.

The title set in squeezed Michaux Bold.

The left page shows BBB ReadMe (Eugénie Bidaut, Ludi Loiseau & Clara Sambot) with its inclusive ligatures. The right page shows Eugénie Bidaut working on preparatory drawings.

This spread showcases the typeface Segmentor (Mălin Neamțu), together with hand-drawn sketches by the designer.

The title set in Paraiso Sans and Michaux Regular. Illustration by Anne Zeum.

The title set in heavily squeezed Ferro Mono. The image is taken from Émile Javal’s research.

Both titles are set in Jester, stretched and blurred on the left page, squeezed and outlined on the right page.

The title set in Ferro Black, with additional ‘organic’ letters based on Michaux.

The title on the right page is set both in Paraiso Sans (black) and Ready Active (white).

The left page shows the work of Mankun Guo. The title on the right page is set in Nostra Stream (with a bunch of blur and grain effects), with a little Grandmaster cameo for “and”. Subheads use Michaux Light.

The title set in various versions of Ferro Mono. The book cover is the one for Missing sign, another printed publication from Plain Form.

A zine designed for Magdalena Poost’s collection at the Greenway, using Ready Active by Plain Form, Romie by Margot Lévêque, and Source Serif by Adobe.

The pages bring together performance scripts, poetry, essays, and images from eight artists responding to the urgencies of climate change, extractive capitalism, and shifting ground beneath our feet. Inspired by Sharad Chari’s idea of earth-writing and Clara Wilch’s vision of spaciousness through the arts, it invites readers to imagine new forms of public art and shared space. More map than book, it gestures toward porous futures where creativity, infrastructure, and ecology meet.

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.

Andy Garvey is a DJ and producer based in Australia, specialized in electronic music. Andy Garvey's sound is resonant and textural. This poster was designed by Studio MIMU for sharing on social media, emulating the sonic qualities through kinetic type and off-kilter details.

On obtient la partie imaginaire en tournant le modèle d’un quart de tour is a research-based, transdisciplinary fiction developed by designer and professor Camille Chatelaine during a residency conducted in dialogue with the Laboratoire de Mathématiques de Besançon (LmB). The project explores parallels between artistic practice and mathematical thinking, approaching mathematics as a narrative and speculative tool rather than solely a system of calculation.

The research is materialized as a journal of residency, conceived as both a mediation object and a call for participation addressed to the LmB research community. The publication makes expressive use of Ready and Petit Frère, both distributed by Plain Form, to support the project’s fictional and conceptual framework. Ready is used on its own (tracked and not), as initials, and occasionally for its emoji.

The project is led by the École supérieure d’art de Franche-Comté (ISBA–SSAC) and supported by the DRAC Bourgogne–Franche-Comté.

The Alphabet of Influence is a book project developed by creative directors Young Emperors, exploring the notion of influence as a fluid and collective language shaped through social media. Conceived as both a photographic and editorial project, the book brings together twenty-six creators from around the world, each associated with a letter of the alphabet, forming a shared narrative rooted in online communities and creative exchange.

Originally developed on Instagram, the project translates a digital ecosystem into a physical object, questioning how influence is produced, perceived, and embodied today. The book was produced with the support of Instagram’s Drafts program and involved an international production process spanning photography, editing, writing, and printing.

Editorial direction was led by Blake Abbie. The publication was designed by Studio Marie Lautsch, with custom letterings by Lucas Descroix. Texts are set in Plain Form’s yet unreleased Ferro.

The book features French folds, introducing a layered reading experience, all texts remaining deliberately hidden until pages are cut open.

This second issue of Mushroom People magazine, published by Broccoli, features “astromycologists, academics, architects, pharmacists, foragers, fashion designers, home cooks, shopkeepers, composers, and poets all inspired by the many radical ways of being fungi embody.”

Exploring the topics of “creation, destruction, attraction, and revulsion”, each chapter is printed on a different paper and uses a different set of typefaces.

The nameplate is set in all-caps Bradley DJR, and most body copy is set in ABC Marist and Calibre.

“Habitats for humanity” is set in Charlottenburg.

“Destuct” is set in Respira Black, “Two” uses Michaux and the small type is Calibre.

“Spores” uses ABC Asfalt.

“What” and “Lurks” are both set in typefaces from Dinamo: ABC Laica and ABC Maxi Round.

The text on this page is set in three columns of pink Certeau, with the headline added in Cancellaresca Script, partly arranged on a curve. The drop cap appears to be custom.

Plain Text is a printed publication for exploratory type design, edited and designed by Lucas Descroix and Benjamin Dumond, and published by type foundry Plain Form. The second issue launched in July 2025.

From Plain Form:

From fiction to theory, from mystical analyses to visual works, Plain Text aims at exploring typographic imaginaries, moving beyond a strictly historical and technical framework, with a taste for the unknown and the dormant potential of writing.

This second issue includes contributions by Hervé Aracil, Tim Brookes (Endangered Alphabets), Aliona Ciobanu, Lucas Descroix, Benjamin Dumond, Mardi Forestier, Inscript festival, Elenor Kopka, Marcus Leis Allion, Pierre Pané-Farré (with HAW Hamburg students), Simon Renaud and Alec Vivier-Reynaud.

The texts of this black-and-white, bilingual publication are all set in the unreleased duo Basically Serif for the English and Basically Sans for the French. Additional information is set in Baskemo, also Serif and Sans, an automatically monospaced-and-skelefont’ed companion to Basically.

A number of display typefaces designed by Lucas Descroix and/or Benjamin Dumond are used throughout, for the title of each contribution as well as various emphasis moments. These include: Michaux, Grandmaster, Disc, Jester (in several styles), Ready Active and Clouded and an early version of the upcoming Ferro. Some unreleased display typefaces, either old or future, are also used but not shown here in the pictures.

The fiction work by Mardi Forestier is set in Exposure by Federico Parra Barrios. Imagined together with the author, the layout is an attempt at using an experimental typeface to underline and augment narration, its variations manifesting the idea of breath.

• English and French
• 80 pages, 210×297mm
• offset print on Munken Print White
• 1000 copies, July 2025
• ISBN 978-2-9597254-1-8

This second issue of Plain Text was kindly supported by Commercial Type, CSTM Fonts, Dinamo, Future Fonts, XYZ Type, and 205TF.

Title is set in Disc Heavy, while subheads use Michaux Light.

Left page shows works from Aliona Ciobanu (image in the center is a collaboration with designer Stefaniia Bodnia). Right page shows the work of Alec Vivier-Reynaud (featuring mushroom-printed ABC Camera).

Title is set in a early version of Ferro Fraktur IV. Images show works from Bettina Comte, Rüdiger Schlömer and Jonathan Mak.

Title set in Jester Fool (squeezed, tracked and slightly blurred).

Title set in Ready Active Regular (condensed and thinned).

Title set in Grandmaster Thin. The right page shows both designs and inspirations from Simon Renaud.

Left page shows designs and inspirations from Simon Renaud. Right page’s title is set in generously stretched Exposure.

A piece of fiction by Mardi Forestier, making use of Federico Parra Barrios’s typeface Exposure to manifest breath.

Title on the right page is set in heavily warped Jester Judgment (in black) and Jester Sun (in white).

Left page features Ohno’s Swear. Right page features Bureau Brut’s Totentanz.

Title set in Michaux Bold, for a conversation with French professor Hervé Aracil.

Left page shows student projects from HAW Hamburg, done under the direction of Pierre Pané-Farré (here the collective typeface Octagon Variable and A Type of Image by Fabian Stenzel). Right page’s title is set in Ready Clouded Bold.

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.

The Chapelle Sauvage Festival, the second highlight of La Trinité’s 2024–25 season, offers three days of sonic exploration of nature, bridging early and contemporary music: concerts, performances, talks, and DJ sets for all ages – all taking place in one of the city’s most beautiful venues.

A visual that seeks to awaken all our senses: listening to great tits sing, watching Alpine swifts take flight in the distance, smelling the scent of lily of the valley, and blowing on a dandelion.

ACT!, the solo recording project of Toronto-based musician and producer David Psutka released the LP Face to Face, Day by Day on Halocline Trance in August 2024.

From Halocline Trance:

With improvisation and happy accidents at its core, Psutka put his faith in oblique occurrences, letting them lead, with no idea where he’d end up. Across calm sea rock, treacle-toned rich vox, liquid guitar, jazzy sax, vintage electronics and modern sonics, the pleasing results are unconventionally coherent.

The cover was designed by Olenka Szymonski and features original artworks from May Truong and Andreas Nicolas Fischer of Studio A N F. The title is set in Ready Clouded, echoing the generative stone-like artifacts of the images, paired with a yet unidentified sans-serif typeface [edit: it’s ABC Normal, see comments] in Regular and Bold for all other info.

Detail from back cover

Detail from back cover

Clear vinyl

To celebrate the centenary of the Cité internationale universitaire de Paris, French art center CNEAI (stylized cneai =) activated Le Musée sans bâtiment (“The Museum without a Building”), a proposal by Hungarian-born French architect, urban planner and designer Yona Friedman.

From CNEAI:

The Musée sans bâtiment is a museum without doors, walls or roofs, open to exhibitions by all, to collections by local residents, to public debates, to social customs, economies and ecologies.
The Museum without a Building consists of some twenty cubes, designed using large steel hoops placed freely on the site. “They serve as a support for artworks made from packaging or other objects: graphic works, collages, photographs or graffiti partly created by the public.” (Yona Friedman) The Museum without a Building is open to all.

For the occasion, designer Odilon Coutarel created a triptych of bright-colored posters, exclusively using Benjamin Dumond’s Michaux in its Regular weight. Symbols and illustrations emulate the typeface’s somewhat chaotic energy.

Plain Text is a printed publication for exploratory type design, edited and designed by Lucas Descroix and Benjamin Dumond, and published by type foundry Plain Form in January 2025.

From fiction to theory, from mystical analyses to visual works, Plain Text aims at exploring typographic imaginaries, moving beyond a strictly historical and technical framework, with a taste for the unknown and the dormant potential of writing. The first issue of Plain Text features voices from various backgrounds and generations, many offering a personal, even intimate or spiritual, approach to letters.

With contributions by Anne-Dauphine Borione, Lucas Descroix, Benjamin Dumond, Kirsten D. Dzwiza, Stefan Ellmer, Ayasha Khan, Zuzana Licko, Arman Mohtadji, William Skeen, Verso Wurm and Eager Zhang.

The texts of this black-and-white, bilingual publication are all set in the unreleased duo Basically Serif for the English and Basically Sans for the French. Additional information is set in Baskemo, also Serif and Sans, an automatically monospaced-and-skelefont’ed companion to Basically.

A number of display typefaces designed by Lucas Descroix and/or Benjamin Dumond are used throughout, for the title of each contribution as well as various emphasis moments. These include: Jester (in several styles), Michaux, Nostra Sett and Stream, Ready Active, Bygone and Clouded. Some unreleased display typefaces, either old or future, are also used but not shown here in the pictures.

The page numbers are set in Jester Hermit.

The publication opens with a number of dense pages showing hints of all upcoming contributions in their order of appearance.

Title set in largely squeezed Jester Hermit. The illustration on the right page shows Bonjour Monde’s Syne.

Title set in several layers of Ready Clouded Light. The article showcases the work of Anne-Dauphine Borione a.k.a. Daytona Mess, including her typefaces Sichem and Baleze Display, visible on the left page.

Title set in Michaux Bold. Left page shows a piece of lettering by Eager Zhang, part of her series “Family Portraits”.

Quote from Eager Zhang’s essay set in Michaux Bold for the English and Michaux Light for the French.

Title set in a generously squeezed Jester World. On the left we can spot bits of Ellmer Stefan’s asemic writing research.

Quotes from a conversation on asemic writing with type designer Stefan Ellmer ( The Pyte Foundry)

Title set in all-caps Nostra Sett

Title set in warped Ready Bygone Light, with a few floating outlined glyphs from Michaux Bold

Title set in all-caps Nostra Stream, together with works from Zuzana Licko

Title set in Ready Active Bold, with illustration by Arman Mohtadji. Left page shows bits of Tangly by Zuzana Licko / Emigre.

“Express Exegesis”, set on a circle in Jester Sun with a whole lot of negative tracking. The right page features the work of Julien Priez, a.k.a. Boogy Paper, with the unreleased Montreuil, his diploma project from Estienne ESAIG back in 2011.

Brazilian publishing house Act. released a monograph dedicated to contemporary art in Latin America, titled Sonhos ao Sol: Miragens da Arte na América Latina (“Dreams in the Sun: Mirages of Art in Latin America”). It comprises art pieces created between 1900 and 2024 by more than 140 artists around the themes of the dream, the irrational or the fantasy.

The in-house designers chose Plain Form’s Ready Active for the title on the back of the book page numbers, initials, and the occasional typographically built ornament. The front cover features an abstract pattern created from the letters of the title used in an abstract overlapping central symetry.

The typeface used for all other typographical elements, from headlines, running texts and captions is Jean-Baptiste Morizot’s NaN Tragedy. Both subfamilies of Tragedy were used, the narrower and more contrasted Display for headlines and captions and the wider and sturdier Text for the long-running texts.

SEED was Brooklyn-based sculptor Brian Oakes’ first solo exhibition with gallery Blade Study, taking place between September and October 2024.

From Blade Study:

Everything starts with organic processes, even industrialization and its decline. To seed is to put creation into motion and refers to any input used to initialize a generative process. The artist’s mechanized artworks explore a commodities journey from conception, production, and logistics, finally landing at display.

The communication uses Plain Form’s organic all-caps script Ready Active Light, which very much echoes the grown crystals, electric circuits and other similar elements present in Brian Oakes’ work. It is accompanied by Phlegm and Inter, while the gallery's logo uses PVC Banner.

Brian Oakes, Display Case 3 (A Mind), 2024