Taboocha is a Hong Kong-based kombucha enterprise that introduces itself as follows:

The story of Taboocha began in 2014 when sisters Lisa and Patricia started experimenting with the wild world of kombucha as their go-to home remedy for health fix-ups.
[…] Within a few years, Taboocha has made its journey from kitchen to local markets, bottles to kegs, making friendly appearances at your neighbourly cafes, restaurants and shops, while spreading the love for local sustainable growth.

Gaya is used in all-lowercase letters for the name and in all caps for the flavor. The Chinese typeface is yet unidentified.

Ngon is a strategic and culinary agency based in Paris. Their website pairs Gaya (in roman and italic) with Bricolage Grotesque. From the About page:

At Ngon, we cook ideas like recipes—mixing strategy, creativity, and care to serve brands that leave a lasting taste.

In Vietnamese, “ngon” means delicious, but it is also about anything that feels good and sparks pleasure.

Say “It’s ngon!” or “C’est ngon!” and you’re not just talking taste. You mean it’s a feast for the eyes, a hug for the senses, and a moment you want to replay over and over.

At Ngon, we bring that same dynamism into our work while seasoning it with intention, flavor, and authentic sensory detail — because every project should satisfy like a perfect bite.

A mini book by designed by Julie Bassinot, introduced as follow:

A book no taller than an ear of wheat.
6 × 4 cm, 244 pages, bound with linen thread.

Text by Élise Demeulenaere and Christophe Bonneuil: ‘Sharing Seeds: The social and identity-building of a “peasant” collective centred on alternative seed-saving practices.’

Gaya by Raphaël Verona in use for the exhibition catalog of Impressions Nabies as shown by the Bibliothèque Nationale de France, Paris. Body text is set in Pollen from Eduardo Berliner. Graphic design by Ursula Held.

The exhibition is presented by the National Library as follows (translated):

While the Nabis artists are known for their paintings and decorative arts, their contribution to the field of printmaking is less well known. The Bibliothèque nationale de France is highlighting this aspect of their work in the exhibition Impressions nabies, on display at the Mansart-Pigott Gallery at the Richelieu site. This short-lived movement, which flourished for around ten years (1890–1900), brought together some of the major figures in late 19th-century art (Pierre Bonnard, Édouard Vuillard, Maurice Denis, Ker Xavier Roussel, Félix Vallotton, Henri-Gabriel Ibels, Paul Ranson and Aristide Maillol). Using colour lithography and wood engraving, the Nabis created a variety of works inspired by everyday life: artistic prints, posters, illustrations, show programmes and decorative objects. During the Gallica Impressions nabies meeting, we will continue our exploration of this movement using the resources available in Gallica: we will browse through the artists’ printed works, leaf through the books they illustrated and place them in context thanks to the many publications from the period available online.

Volver is a space in Barcelona where families can find balance and authenticity through music, yoga, and movement. According to their website (translated), Volver focuses on “body, play, movement […]  and unhurried shared time. A space where each family finds its own rhythm, observes more, and demands less.”

The identity was designed by local studio Instinto with a customized version of Gaya for the logotype.

Gaya in use for the visual identity and website of the artist agent Audrey Demarre.

The identity is based on a unique typeface, conceived as a link between different artistic worlds. Design by Maison Solide with Lisa Manus. Code by Élie Quintard.

In 2025, Museu de Arte de São Paulo Assis Chateaubriand (MASP) presented Frans Krajcberg. Reencontrar a árvore / Rediscovering the Tree. The exhibition brought together more than 50 large-scale works, including sculptures, reliefs, engravings, and paintings, that challenge convention. They reflect the artist’s appreciation for Brazilian nature and his commitment to denouncing environmental destruction.

Curated by MASP’s artistic director, Adriano Pedrosa, and assistant curator, Laura Cosendey, the exhibition provided a comprehensive overview of Frans Krajcberg’s work. Krajcberg was born in Kozienice, Poland in 1921 and died in Rio de Janeiro, Brazil in 2017. A pioneer in integrating art and ecology, Krajcberg is known for raising awareness of environmental issues in Brazil. Throughout his career, he conducted artistic research that branched out into themes such as ferns, blooms, reliefs, and shadows. These investigations culminated in works created from vines, roots, remnants of tree trunks, charred wood, and natural pigments. These materials comprise the bulk of his body of work. 

This illustrated book by Pascal Dethurens invites us to discover the discourses that the Western world has held on happiness, and what are the visual representations that it has inspired in more than twenty centuries.

Le Bonheur dans la littérature et la peinture was published by Éditions Hazan. It has 192 pages and measures 221 mm × 280 mm.

The View out of My Window by Goran Potkonjak captures the rhythm of major Asian metropolises.

Through more than 200 photographs taken from hotel windows and high-rise buildings, the author observes the cities from above and from the ground, weaving together urban density, architectural geometry, and moments of quiet. Potkonjak always photographs from the same vantage point—his own window—turning this constraint into a coherent visual language.

Published by Scheidegger & Spiess, Zürich, and designed by Bonbon, the book reflects on how we look at and inhabit contemporary space.

This monograph covers ten cities of East Asia (Seoul, Tokyo, Hong Kong, Guangzhou, Shenzhen, Taipei, Singapore, Kuala Lumpur, Busan, Bangkok) from 2017 to 2025. It measures 25×32.5 cm and was printed by Graphicom. Spanning 296 pages, it features an essay by art historian Matthias Fischer.

Renata Motyka has designed the visual identity for the exhibition Planetary Consciousness. Ecosystems of Care at the School of Digital Art, Manchester Metropolitan University. It was curated by Eliza Urwanowicz-Rojecka and Jakub Wróblewski.

It is another project designed to promote Polish and Ukrainian contemporary digital art, co-delivered by the Arsenal Gallery in Białystok and the 3D and Virtual Occurrences II Studio, Faculty of Media Art at the Academy of Fine Arts in Warsaw.

The project has been inspired by the concept of planetary consciousness, in reference to a theory by sociologist and globalisation theorist Roland Robertson, who introduced the notion of global consciousness (Robertson 1992, 2014). Thus termed by Robertson, the shift towards the world-universe relationship already assumed that the global perspective would transcend into the planetary.

The exhibition was presented from November 4th to December 2nd 2025 at the School of Digital Arts (SODA), Manchester Metropolitan University 14 Higher Chatham St, Manchester M15 6ED.

WS Craft’s upright and italic styles are mixed by graphic designer Bernardo Berga in Jazz Kissa, a book about the culture of jazz listening bars in Japan, published by creative agency and publishing house ERG Media:

Immerse yourself in the soul of Japanese listening culture with Jazz Kissa, an expansive photographic exploration of Japan’s iconic jazz cafés, known as Jazz Kissa. The book is the result of over fifteen years of dedicated work by photographer and cultural historian Katsumasa Kusunose, who has meticulously documented these intimate spaces and the people who keep their spirit alive.

Printed on specially sourced Japanese paper inspired by the texture of Altec A7 speakers and wrapped in a traditional OBI strip, Jazz Kissa is both a cultural document and a beautiful object in its own right.

The typefaces used on the obi strip are Eiko and Source Han Sans for the Japanese title, “ジャズ喫茶”.

These educational objects were imagined by the Public Outreach Department for young audiences on the occasion of the reopening of the MAMC+ in November 2024. MAMC+ is the Museum of Modern and Contemporary Art of Saint-Étienne Métropole in east-central France.

Système Sensible, a graphic duo composed of Charlotte Gauvin and Matthieu Meyer, designed the graphic identity and the layout of Plus, the museum’s magazine for young audiences.

The issues have 48 pages, measure 194×280 mm, and were Riso printed on Munken Print White 115 g/m² and Munken Pure Rough 150 g/m².

Gaya Upright and Italic in use by Silvia Minali for Resisting Oblivion. Passion and Activism in the Feminist and Queer Archives of Bologna. The exhibition was shown from May 29 to September 28, 2025, at the MAMbo – Museum of Modern Art of Bologna.

Sara De Giovanni, who has coordinated the project, presents it as follow:

The project, which lasted three months and concluded on September 28, was curated by historian Chelsea Szendi Schieder in collaboration with a group of queer and feminist archives based in the city of Bologna. All these archives are part of non-profit associations that joined forces to highlight through the exhibition the work carried out by archives and human rights associations in combating the processes that attempt to erase the memory of LGBTQIA+ individuals and subjectivities in a society increasingly marked by dangerous currents of homo-lesbo-bi-transphobic hatred.

On the occasion, the museum did not directly produce the exhibition—neither in terms of choices about installation nor about graphic design—but instead offered the associations and archives a space to realize the initiative, endorsing it politically within the broader context of Bologna, a city known for its strong commitment to fighting discrimination and prejudice. The promoting associations did not gain any profit from this project other than the increased visibility of the causes they represent.

The main title is handwritten, paired with Gaya Italic.

The rounded sans used for the location and date at the bottom (and for the information about the other exhibition) is the original version of LL Typ1451.

Information is presented in Gaya (headline) with what appears to be DIN 2014 and DIN 1451 Engschrift.

Gaya and Only Extended in use by Studio T&D for the exhibition Assemblée narrative – fragments de récits de roches et d’eaux at the Musarth, the Guadeloupean Departmental Museum of Art and History, presented as follows:

narrative assembly proposes to open up stories around a part of Caribbean and Guadeloupean heritage, which are the engraved rocks. Based on a will not to appropriate the signs, faces, and forms of the petroglyphs, these proposals were developed through dialogues with researchers who are currently working to understand and rewrite the tool, that is Guadeloupean archaeology.

Anchored in lands often bordered by water, engraved rocks often resist the museum space, so why talk about an exhibition?

The choice of the term “narrative assembly” seems more appropriate to what the engraved rocks convey to us and what they allow us to tell, say, and shape, in reciprocity.

An assembly to tell (ourselves) other poetic fabrications of reality and the significance of its stories, that have come down to us.

Lola Giffard-Bouvier, independent graphic designer and founder of the art publishing house Beauroma Books, has used Adapt for the title of Il corredo. The book is introduced as follows (translated from the Italian):

The collection translates the exhibition project of the same name created in Oriolo Romano (VT) by artist Gabriele Ermini and curated by Irene Angenica for Una Boccata d'Arte 2025.

The publication maintains a key element of the Oriolo project at its core: direct interaction with the public. Just as the exhibition actively involved the inhabitants of Oriolo in the creation of a collective collection, the volume invites readers to a sensory and participatory experience, featuring discoveries, discreet signs, and visual references.

Julie Bassinot is a graphic designer specialising in editorial practices and working as a teacher. In 2024, she led creative workshops with children from the Claude Nougaro school in the commune of Damiatte in France as part of the Création en Cours programme run by the Atelier Médicis. Here is how she describes what they did together (translated from French):

For four months, a cooperative of child researchers was organised. It met to observe the natural elements that transport seeds, grow wheat, power mills and print images. We practised and experimented with our hands, gathering stories in the fields and bakeries, as we met people and let our imaginations run wild. We worked with what already exists, close to us, in cooperation with natural forces and local people. We met Claire, a farmer-baker, and Pascal, a farmer. We tried to preserve the best of what we have, to connect agriculture and writing: the cultivation of the land and that of the mind.

Wheat, bread, mill: three figures as a way of introducing children to abstract concepts such as cultures, diversity, resources, commons, etc.

Musim is a fresh juice and beverage business based in Jakarta, with a graphic identity carried by the typeface Gaya. The beverages are introduced as follows:

Inspired by the natural rhythms of Indonesia's seasons, Musim was created to offer a unique drinking experience that reflects the diverse array of natural produce and vibrant cultures across the archipelago.

Nagle, ostatniego lata is the Polish title of Suddenly Last Summer, a play by Tennessee Williams. Under the direction of Michał Borczuch, it was performed at the Nowy Teatr in Warsaw. The first performance was on June 6, 2025.

The photograph of the poster is by Zuza Krajewska.

Goldi is an Australian olive oil company. They sell several kind of oils in the trendy squeeze bottle format as well as in larger tin cans. After a few changes all packaging designs are now typeset in Cucina along with what appears to be custom hand-drawn lettering and illustrations made by Morten Kantsø. The Goldi logotype is set in Gaya Italic.

The irregular sans used for “Smooth” and “Punchy” probably is custom. Maryhoid is similar.

Mokana is a skincare brand celebrating Latin American beauty. Gaya is used for Mokana’s logo. The text typefaces are Kalice and an unidentified sans.

To find out more about the project, here is a description by its designer, Chantal Jemmott:

Mokana is a skincare brand inspired by the rich, natural rituals of Latin America — a culture where beauty has always been rooted in self-care, connection to the earth, and ancestral wisdom. Too often, these traditions are overlooked or forgotten in the global beauty conversation. The concept and brand were envisioned by Eliana Cardeno and brought to life in collaboration with us. The objective of this project was to create a brand that repositions Latin American rituals not as something niche or nostalgic, but as a powerful global reference for modern skincare and wellness.

The brand strategy and visual identity were built to reflect this purpose, bold, confident, and grounded in culture. Four custom illustrations were created to represent natural elements like waves, leaves, and flowers, forming a flexible system for patterns, backgrounds, and animated visuals. A vivid color palette brings the brand to life, drawing from fruits and botanicals native to the region, such as guayaba, lulo, papaya, and aloe. The result is a brand that feels alive, rooted, and unapologetically vibrant — a celebration of Latin American self-care, reimagined for today.