Arnhemse Nieuwe is an initiative of Ontwerp Platform Arnhem. Each year, a professional Arnhem-based jury has been selecting the best graduates from ArtEZ Academy of Art & Design since 2006. These graduates, the Arnhemse Nieuwen, present themselves to a large audience in September. In a 20×20 format, they discuss their working methods, design vision, and plans for the future.

Designer Jeen Berting used Maroni Regular as the main font for the posters and identity of the 2025 edition, paired with Moore for secondary information, combined with colorful shapes.

The Cultural Information Center (Kulturno informativni centar, KIC) in Zagreb is celebrating its 60th anniversary – six decades of creativity, encounters, and visionary programs – with a major celebratory exhibition and the launch of a new digital archive.

The centerpiece of the program is a vibrant exhibition at the Gallery Forum that traces the Center’s first two decades and its specific role in the local context during the era of socialist modernism, a time marked by intense social development and the unique political context of Yugoslavia. The installation—which includes multimedia content and, in its form, suggests the mosaic-like structure of an online archive—was designed by designer Petra Milički and architect Iva Maria Jurić, with the concept by Jelena Pašić. The dynamically presented archival material reveals the key concepts, practices, and individuals who shaped the institution’s early development, providing insight into the cultural pace and intellectual atmosphere of Zagreb during that period.

Milički used Install Semibold throughout all the exhibition materials, from poster to signage and digital formats.

Barpotot is a restaurant in Copenhagen, to enjoy small plates, wines, and cocktails in a cozy setting. It’s one of Copenhagen’s most atmospheric spots for food and drinks.

The visual identity by Nicolas Linde uses Install Bold paired with Maroni Regular.

L’appartement. Architectures du collectif is an exhibition presented from April 3 to June 6, 2026, at CAUE92 in Nanterre, France. From the gallery (translated from the French, with added links):

The exhibition highlights a remarkable collection of apartment buildings from the second half of the 20th century in the Hauts-de-Seine department. Underrated, even overlooked, these buildings form the more or less ordinary backdrop of the cities where so many of us have come to live. Yet to preserve and pass them on, we must first come to know them. Delving into the most intimate corners of these homes, the photographic project commissioned from Myr Muratet documents five inhabited buildings by architect Jacques Kalisz in Nanterre, and sensitively portrays an “extraordinary ordinary” that reveals the diversity of interiors and ways of living. In contrast, the refrigerators by Japanese artist Tokuko Ushioda radically condense domestic life in its most commonplace form. Finally, the exhibition launches a documentary, graphic, and digital project with the Atlas of Collective Housing in the Hauts-de-Seine (1945–2000), intended to establish a collection of residential architecture, a resource for all those interested in architecture.

Lyon-based studio Service Local used Install for the typography, supported by Neue Haas Grotesk.

Published by Phaidon in April 2026, The Caribbean Cookbook offers an exploration of Caribbean cuisine and culinary history, featuring more than 380 authentic home cooking recipes from across the region, compiled by chef Rawlston Williams. The book was designed by Studio Mut in bold tropical shades, using both widths of Maroni for headlines, while copy is set in GT America.

Blending imagery, personal accounts and sociology, Uber Life recounts the five years photographer Tassiana Aït-Tahar spent working as an Uber Eats delivery driver. Set against a backdrop inspired by internet culture, the book features a collection of photographs, collages and scans of various objects – a veritable logbook documenting her daily life and that of her fellow delivery drivers.

Far from wallowing in self-pity and speaking with frank candour, Tassiana shares a story punctuated by anecdotes, recounting both her moments of joy (resilience, humour, mutual support) and the many difficulties of the job (job insecurity, various forms of violence, the dominance of the algorithm, physical exhaustion, the Covid-19 period, etc.). The book is published by Fisheye Éditions.

Lisa Millot, designer for Fisheye Éditions, used Install Rounded Bold for the book cover and titles, with tight spacing, creating ligatures among the titles. The text typeface is Saans.

Marie Priour. License: All Rights Reserved.

La Renverse is a café-bookstore in Saint-Suliac (Bretagne), located on the ground floor of the community space Le Grand Banc.

The space consists of three rooms: one for displaying books for sale, another serving as a café where visitors can eat or have a coffee, and a third for children.

For the brand identity, designer Marie Priour paired Maroni Regular for the logo and headings with Compagnon (with its cursive Bold) for smaller text and informational content.

Riso-printed illustrations and hand-painted signs bring to life the various printed materials that make up the brand identity.

Source: www.instagram.com Marie Priour / Magma éditions. License: All Rights Reserved.

Marie Priour / Arthur Calame. License: All Rights Reserved.

Marie Priour / Arthur Calame. License: All Rights Reserved.

Source: www.instagram.com Marie Priour / La Renverse. License: All Rights Reserved.

Source: www.instagram.com Marie Priour / La Renverse. License: All Rights Reserved.

Source: www.instagram.com Marie Priour / La Renverse. License: All Rights Reserved.

Marie Priour / Arthur Calame. License: All Rights Reserved.

Source: www.instagram.com Marie Priour / Magma éditions. License: All Rights Reserved.

Blac is a seafood restaurant with a warm and lively atmosphere, where wine plays a central role in the dining experience, along with fresh, flavourful cuisine focuses on grilled dishes.

For the logo, the designer used a custom twisted version of Maroni Condensed, playing with the letters and the sea level. The accompanying typeface is Baskervville Italic.

Book about the work from Colombian artist Luis Roldán with black-and-white pen drawings. Designer Nicolas Consuegra of Postscript used Maroni Regular for titles next to Romain BP Headline (see SangBleu OG Serif) for running text. Big Maroni Initials are used throughout the text, paired with the serif typeface.

From Madrid to Brest, Domino is a team of creatives and activists committed to social and environmental justice since 2018.

The agency uses Maroni Condensed by Calame.Bureau for the logo and headlines, supported by Atipo’s Brockmann.

Until May 2026, the Centro Cultural TCU in Brasília is displaying an exhibition exhibition featuring works by Brazilian artist Tarsila do Amaral (1886–1973). The unprecedented show features more than 60 works, thematic curatorial centres and free educational activities.

Graphic designer Luisa Malheiros chose Maroni’s Regular weight and used it for the interior and exterior signage, as title typeface on the poster, as well as for other communication. The accompanying serif on the poster is Suisse Works Bold, and the sans used for exhibition texts appears to be Suisse Int’l.

From Faber Books:

A 21st-century masterpiece: winner of the Orwell and Booker Prize, this politically resonant modern classic is now available in a new look.

For the new cover design of Milkman, Henry Petrides – designer at Faber Books – used Maroni Regular with tight spacing, combined with an abstract liquid illustration.

The animated presentation features Founders Grotesk.

Indie & Website Exclusive special edition

La Société Bleue feels like an afternoon on the Riviera. The name sets the tone: French, clear, elegant. Blue as a mood, a color, and a symbol. In the branding of the Stuttgart-based brand of cashmere pullovers, this translates into a finely tuned color system based on different shades of blue complemented by gold accents. The colors elegantly convey depth and character.

The logo itself combines maritime lightness with a touch of vintage using Maroni in its Regular weight. It’s complemented by the teckel symbol – abstracted, stylized, as a figure. It appears on labels, clothing, and accessories; as a mascot, key signet, and well-thought-out element in the visual system. The accompanying typefaces are Carta Nueva and Sign Maker JNL.

Born in 2008 from the side hustle of friends Sarah Thornton and Brooke Johnston, The Finders Keepers has grown into Australia's most-loved design market, each year hosting festival-style markets in Sydney and Melbourne.

The Finders Keepers is where communities come together to shop, explore and discover the very best from designers, makers and entrepreneurs in our country.

The branding by Melbourne-based agency Young Folks uses Maroni’s Regular weight for the logo. “To balance playfulness with clarity”, they “combined Parkinsans for confident headlines with Inclusive Sans for welcoming body copy.”

When two enthusiasts combine their expertise, STAMM is born: a vibrant place nestled in the heart of Paris’s 11th arrondissement, where fermentation, sharing, and craftsmanship come together in perfect harmony.

Between heritage and modernity, STAMM celebrates beer and pays tribute to its most noble qualities: expertise, history, and culture. It is a place where you can enjoy brewed creations and fermented cuisine from noon until night.

For the identity, Install Bold plays a main role, used at different scales, on the menu and as big sign on the restaurant window.

To reimagine the visual communication of Sydney New Year’s Eve – one of the world’s most watched celebrations – Sydney-based Frost*collective created a bold and flexible design system to capture the event’s energy, diversity, and global reach.

Maroni plays a key role in this refreshed identity, bringing structure, clarity, and singularity to a system designed to scale across formats and evolve over three years. The accompanying sans serif is Inclusive Sans. Paired with strong graphic forms, a vibrant colour palette, and accessible iconography, Maroni helps express a contemporary, joyful and unmistakably Sydney brand.

Baked stands for ‘less but better’. This attitude is reflected in the design. At the Isemarkt in Hamburg-Eppendorf, Baked sells handmade cookies which are produced with a focus on a few but high-quality ingredients.

Designer used Maroni Condensed in a bold way and big size for the logo, combined with Helvetica Now for other text. Her goal was to develop a confident look that conveys effortless elegance. Kraft paper meets stainless steel elements – natural warmth meets high-quality precision.

Claim is a free and ad-free magazine that aims to say a few things, but to say them clearly. Six issues will be published per year, each with a clear claim analyzed by a variety of voices.

Issue no. 1, “Di futuro si muore, di futuro si vive” (“We die of the future, we live of the future”) was launched in December 2025.

For the visual identity, Lola Giffard-Bouvier uses Maroni in a bold and impactful way: big capital letters to write the titles, and using texts as a form of manifesto, both on paper and on screen.

For the magazine’s logo she uses a custom drawn squared C, depicting a stylized megaphone. The text typeface is Romek.

Editor-in-chief: Gabriele Bartoloni
Deputy editor-in-chief: Mosè Vernetti
Project concept and general supervision: Edoardo Bucci and Cecilia Pellizzari
Managing editors: Chiara Sgreccia, Giada Arena
Graphic design and layout: Lola Giffard-Bouvier, with support from Frita

Francesca Varalda’s branding for Bar Versini is a delicate use of GR10, a typeface originally drawn by Arthur Calame for an exhibition identity for FRAC Méca Nouvelle Aquitaine.

The project uses different kind of papers: colored and tracing papers to print the menus. The richness and diversity of the papers creates a subtle and warm identity that echoes the place created by Bar Versini in the Locanda La Concia.

Bar Versini is a travelling culinary experimentation project, born from the passion of Stefano, Alessandra, and Rachele Versini. Their approach combines tradition and experimentation, with dishes created using seasonal and local products.

The visual identity of the Paço do Frevo museum was revamped in February 2025.

Created by visual artist Joana Lira, together with the studios Alles Blau and Ligatura, the colors, shapes and representations that will accompany us from today on are “an alphabet of free bodies articulated in motion, mixed by graphs representing the sound frequencies of the frevo”.

The project includes print, merchandising, interior and exterior signage, using Maroni as the main display typeface.

On social media graphics, Maroni is supported by Silvana Text. The typeface by Brazilian designer Daniel Sabino is used in roman and italic styles.

Located in Recife, Brazil, Paço do Frevo is a Reference Center for the Safeguarding of Frevo, dedicated to the dissemination, research, leisure, and training in the areas of frevo dance and music. Its objective is to protect, promote, and propagate the practice for future generations and to be a space for the promotion and celebration of carnival culture and frevo throughout the year. Since 2014, Paço has developed exhibitions, activities, research, and events for the dissemination and protection of this Intangible Cultural Heritage of Humanity, which should be revered every day.

The Frevo Vivo (“Living Frevo”) exhibition on the 3rd floor of the museum can now be explored in a 360° virtual tour.