Cooking Memes, published by Krisis Publishing, is a book that treats food memes as historical documents of the present. Curated by Alessandro Mininno, it brings Marc Bloch’s 1935 insight about the “jam problem” into the digital age. In a world where pizza, carbonara, matcha, and vegan sushi circulate as images, slogans, and remixes, culinary memes become lenses into sociopolitical friction, identity, and power. This open archive collects fragments without deference, suggesting that even the most ramshackle food meme can function as a historical document of our time.

The book was designed by Francesco D’Abbraccio who picked Minion for body text and Ramboia for everything else.

For the September 2022 issue of Fast Company, Creative Director Mike Schnaidt and Design Director Alice Alves assembled a refined editorial palette to present the magazine’s annual “Most Creative People in Business” list, honoring innovators across technology, healthcare, entertainment, and design.

The cover prominently features Cosi Azure Bold and Black by Nikolas Type, whose sculptural elegance and crisp modulation bring a sense of clarity and authority to the key headlines. Article sublines are in Cosi Times. The magazine’s text typeface is a customized Meret from TypeMates, and the logo is based on R-Typography’s Grifo, see this post.

The typographic system of the special issue is complemented by PP Monument Extended Black (Pangram Pangram), A2 Beckett Light and Regular (A2-TYPE), and Centra No. 2 Bold (Sharp Type / Monotype), creating a balanced dialogue between expressive display forms and precise editorial text.

The italic is from Colophon’s Grenette.

Beastly (OH no Type Co.) is used for the initial. The text typeface is unidentified.

The initial Y is from Salvaje Display (Typozon).

Justin Carder designed the cover for Joanna Howard’s novel Porthole, centered on a film director who may be responsible for an on-set death. Publisher McSweeney’s describes the book as “a portrait of an auteur at the peak of her powers and in the midst of an extravagant, albeit well-dressed, meltdown.”

Justin explained by email that he and co-art director Sunra Thompson paid oblique homage to film noir poster design, underscored by Sam Hadley’s atmospheric illustration. To simulate the angular hand lettering of the time period, Cortado’s curves are reduced to skittery straight lines, and Azo Sans takes on a rough finish.

Bottle and label design for the very limited água-pé Pomo de Ouro, made by Juicy.ttf.

Traditionally, água-pé is a very light wine made by adding water to the leftover grape skins, seeds, and stems (bagaço) after regular wine has been pressed, then letting it ferment again. With Pomo de Ouro, that process was made with cider apples.

Art Direction by Francisco Torres and Miguel Mesquita, with design by Mesquita and illustration by José Luis Dias. The chosen typeface is Ramboia by Rui Abreu. Pedro Lopes took the photos.

For more detailed info, check out this Instagram post and feel free to get in touch with the producers.

MAISON Ë is a contemporary magazine celebrating design, culture, and craftsmanship through carefully curated content. Positioned at the crossroads of design, architecture, fashion, and culture, MAISON Ë explores spaces, objects, and ideas that shape a thoughtful way of life.

With a timeless aesthetic, its visual identity is defined by the prominent use of the Rizoma typeface, from R-Typography, on the logotype and for the headlines. Text typefaces include Chamberí (Extratype) and Suisse Int’l (Swiss Typefaces), with some sprinkles of Dinamo’s ABC Honeymoon.

The design of this third volume for Galpão da Lapa was developed in close connection with the exhibition design for Apaixonados (“Passionate”). The show brought together works by contemporary Brazilian artists in a display that emphasized interaction, both among the artworks and with the space, sometimes by affinity and sometimes by contrast. This dynamic was spatially translated into a layout of curved concrete-block walls, shaping the exhibition space into zones of pause and interaction, where voids, textures, and shadows also played an active role in the narrative.

The book seeks to reflect this same spatial and poetic logic in its graphic and material structure. The dust jacket, featuring a die-cut pattern derived from the architectural design, acts much like the perforated walls of the exhibition: at times revealing, at others concealing images and information, creating layers of reading and points of contact between content and materiality. The choice of papers was fundamental to support this concept.

We selected a black 290 g/m² paper for the dust jacket for its solid color and natural texture, which allows for precise die-cutting without exposing white corners, while preserving structural integrity – reinforcing the idea of shadow and material presence, also central to the exhibition design – while alluding to the negative spaces formed by the curved walls. For the cover, a warm gray 120 g/m² paper was chosen for its texture and subtle tone, echoing the color of the exhibition walls and allowing for black offset printing of the title and artist names, partially hidden beneath the dust jacket, which carries only a white silkscreen print on the spine.

Inside, the book alternates between a coated paper – ensuring high-quality image reproduction – and an uncoated off-white paper for the first and last sections. These opening and closing pages feature more abstract, black-and-white details of the artworks, marking the beginning and end of the book with purely graphic interludes.

These choices align with the architectural concept of Galpão da Lapa, a former 19th-century industrial warehouse in São Paulo’s Lapa neighborhood, repurposed to host temporary exhibitions of Brazilian contemporary art. The publication is part of a bilingual series (Portuguese and English) documenting the exhibitions held in the space. Each volume was designed to establish a specific graphic relationship with the curatorial and spatial proposal of its show. In this edition, the book assumes a more tactile, sensorial character, functioning not only as a visual documentation, but as a physical object that carries, within its materiality and graphic structure, the concept of the exhibition and the identity of the space itself.

The book was one of the winners of the AIGA 50 Books | 50 Covers of 2024.

Photos: Nino Andrés and Allec Gomes

Graphic Collection: 50 Years of Design in Portugal (1974–2024) was on show earlier this year at the Portugal Pavilion, Expo 2025 Osaka, celebrating five decades of Portuguese graphic design.

Curated by Barbara says…— Design Studio in collaboration with designer José Albergaria, under the joint venture Consórcio Gráfico, the exhibition brings together iconic works donated by designers and studios from across the country.

The typefaces used on the exhibition’s visual identity and other materials are Flecha Brônzea for titles and Basilar for secondary information. Staff XX Condensed also made an appearance on one of the exhibitions kinen stamps. The font(s) used for Japanese text are yet unidentified.

Kinen stamp using Basilar.

Kinen stamp using Staff XX Condensed.

The exhibition Dear Future presents ten artistic positions by young graduates of Burg Giebichenstein University of Art and Design Halle. The joint presentation offers a critical perspective on the present and a vision of the future. Marlene Bonamy, Lynn Gerstmair, Leon Meschede, Jonas Mosbacher, Hanbyeol Mun, Todor Joe Musev, Keren Rothenberg, Anna Taradina, Ayaha Tokusa, and JiongJi Wang provide insight into their individual approaches to analyzing the present and future and translating them into artistic formats.

Dear Future was curated by Elisabeth Würzl.

For the 2022–2023 season of Le Lieu Unique, Brussels-based studio Ekta reimagined the visual identity by playfully disrupting the historical logo of the national center for contemporary arts and music venue in Nantes. The three iconic bars are exploded across layouts to create dynamic spaces for text and imagery, all set in the Staff type family. A photographic series by Charlotte Marchal explores “perfect imperfections,” echoing Erik Kessels’ quote: “Mistakes set us free. They allow us to see things differently

Translated from Ekta’s website:

We started from the existing historical logotype to shake it up and revisit it.
Superimposed onto the visual elements of the events, the three “bars” of the logo are used like captions. By exploding their format and layout on the page, we free up spaces dedicated to typography and practical information.

Using the basic elements of the logo and embracing its off-balance composition allows us to create a multitude of graphic signs related to the original logo. A large number of materials are “stamped” with these simple yet always different graphic elements.

Continuing the dynamic applied to the logo, we aimed to shift the viewer’s perspective, to avoid freezing anything in place.
In collaboration with Charlotte Marchal, we proposed a series of photos reflecting the theme of “perfect imperfections” (Erik Kessels). Happy accidents and poetic displacements joyfully disrupt the reading of these images.

Catalog to the exhibition Constructed Geographies: Paulo Mendes da Rocha, celebrating the Brazilian architect Paulo Mendes da Rocha (1928–2021) at Casa da Arquitectura, Matosinhos, Portugal. The publication brings together critical essays by distinguished scholars from Brazil, Europe, and North America, along with insightful texts on the twelve projects that formed the heart of the exhibition. Opening with a dialog between Eduardo Souto de Moura and the exhibition’s curators, the catalog stands as a lasting representation of the exhibition and the remarkable Paulo Mendes da Rocha collection, which was donated to Casa da Arquitectura in 2019.

Designed by design studio R2, the catalog extends the visual identity of the exhibition into print. The cover combines the original version of the Atica typeface from R-Typography with a custom version, Atica PMR. The book uses Atica in titles and small captions with Antwerp by A2-TYPE for the main text.

See also the post about the exhibition design.

From Eye magazine’s website:

Eye is the world’s most beautiful and collectable graphic design journal, published for professional designers, students and anyone interested in critical, informed writing about graphic design and visual culture.

In Eye 105, Brian Collins offers an energetic take on artificial intelligence, while Marian Bantjes provides a more critical perspective in “Artificial idiot”, investigating the process of working with Midjourney. Rick Poynor’s “The Creative Anarchist” examines Dennis Gould’s fusion of the personal and political in his letterpress practice, and Elizabeth Resnick profiles the quiet yet influential work of Tomoko Miho.

Art-directed by Simon Esterson, Eye 105 is completely typeset in Chassi L and S, from headlines to body text, with Usual used for paragraph titles and captions.

Booklet for the theatrical play Fantasmagoria IV, directed by acclaimed Brazilian director Felipe Hirsch. The play premiered in São Paulo in 2024 and reflects on many subjects surrounding linguistics and the meaning (or meaninglessness) of art itself.

Solfa is used for the titles, paired with Pollen for the texts.

In 2024, Boston’s landmark World Trade Center was transformed into Commonwealth Pier, a property owned by Pembroke in the heart of the city’s rapidly evolving Seaport District.

The location offers unprecedented access to the city’s waterfront, accessible from all areas of the city. It required a contemporary visual identity program that would celebrate the property, honor its legacy, and connect with audiences from across the region.

One Design created Seaport Sans, a family of modular display typefaces inspired by the architecture of the campus properties.

SSPier takes inspiration from turn-of-the-century architectural elements found throughout the pier structure that stretches out into Boston Harbor. The building has industrial origins, originally functioning as a railway shipping hub. The bespoke modular typeface draws inspiration from the ornate trusses and columns unearthed during its renovation.

SSHotel and SSTower are variants that embrace decorative architectural motifs from the newer hotel and office tower properties found on the mainland.

Staff Wide from R-Typography is used throughout the system as a functional anchor, embracing its no-nonsense, utilitarian aesthetic to link the property’s communal future with its functional roots in Boston’s industrial past.

The color palette exists in harmony with the tones of the Atlantic Ocean and the broader eastern seaboard.

Branding applications for the Seaport Hotel, a hospitality destination on the Commonwealth Pier campus

Commonwealth Pier social media

Construction barrier signage for Pembroke Properties, utilized during property renovations

Seaport Sans extensions for campus wayfinding and iconography

Historical research into the property’s industrial roots revealed structural patterns, that served as visual influence for Seaport Sans.

Seaport Sans, a modular display typeface inspired by the industrial trusses found throughout Commonwealth Pier during renovation

Seaport Sans: a modular display typeface for the Commonwealth Pier property and campus

Seaport Sans, in all of its modular expressive glory

Unique variants of Seaport Sans were developed for adjacent properties on the campus. Architectural elements of each building inspired the variants, such as the circular motif found on the exterior of the Seaport Hotel.

Seaport Sans Hotel (SSHotel), inspired by the architectural motifs found on the exterior of the Seaport Hotel.

Various applications featuring SSHotel

Seaport Hotel applications

Porteron and Flecha S are used for the brand identity of Merantix Capital. The Berlin-based venture capital firm is a unit of Merantix, a group of companies and initiatives driving AI forward in Europe. Brand consultancy CRU writes about the project:

It feels like AI is everywhere you look nowadays, but the people at Merantix Capital have had their eyes on the space since 2016. We worked with them to create a visual identity that stands out and cuts through the noise—just like their investment strategies. Swipe through to see more.

Maison Ladore is a refined collection of contemporary table wines, offering a modern selection of wines sourced from around the world. Ladore was developed in partnership between Arterra Canada and culinary entrepreneur Cassandra Loignon.

Memory Studio was responsible for the brand development including the name, concept, visual identity, and product line, with product visualization handled by Bolide Studio. A key design element is the use of Flecha Brônzea, featured on the woodwork. Flecha S is used for smaller type on the bottle labels.

Since fall 2022, our type family TT Hoves Pro is used for the design of Fontspring, one of the major online platforms for selling and buying fonts. The pre-existing logo, based on Rui Abreu’s Gesta with a modified G, was kept for the new look but its color changed from green to black.

Just Lovely album, 2019

Lvly is the moniker of Swedish singer-songwriter and producer Myra Granberg. Lvly releases through Epidemic Sound, a subscription service for royalty free music.

Virtually all covers for her releases follow the same recipe: a block of text is placed centered on top of an image. A frame around it is partly covered by elements of the image. The frames – and sometimes also the letterforms – have a gradient fill. The artist’s name is separated from the title by a horizontal rule. All text is set in caps from Rui Abreu’s Azo Sans Black, stacked and justified, with rather loose letterspacing. Shown here are a number of examples.

Messed It Up album, 2018

“Head Under Water” single feat. Coby Effect, 2018

“Brand New (Helium)” single, 2018

“Mad Woman” single, 2018

“Around You” single, 2019

Things I Love album, 2019

End Destination EP, 2020

“Can’t Forgive Myself” single, 2020

“Love of Mine” single, 2020

SIZA held by the Calouste Gulbenkian Museum is a “temporary exhibition dedicated to the work of one of the greatest living figures in global architecture and urbanism, Álvaro Siza Vieira, bringing together original material from his archives as well as a series of reference works for his practice".

The exhibition, curated by Spanish architect Carlos Quintáns Adas, covers all facets of Siza’s creative career. The graphic design, done by José Albergaria in collaboration with Júlia Garcia, features the typefaces Basilar for titles and captions, Rizoma for text, A2 Beckett for the exhibition’s name.

The exhibition catalog is entirely set in Rizoma for the body text and Basilar for headings and captions. The cover and spine of the book also feature the name “SIZA,” set in A2 Beckett.

SIZA held by the Calouste Gulbenkian Museum is a “temporary exhibition dedicated to the work of one of the greatest living figures in global architecture and urbanism, Álvaro Siza Vieira, bringing together original material from his archives as well as a series of reference works for his practice".

The exhibition, curated by Spanish architect Carlos Quintáns Adas, covers all facets of Siza's creative career. The graphic design, done by José Albergaria in collaboration with Júlia Garcia, features the typefaces Basilar for titles and captions, Rizoma for text, A2 Beckett for the exhibition’s name.

The exhibition handout, printed in a distinctive newspaper format on traditional newsprint, is entirely set in Rizoma for the body text and Basilar for headings and captions. The first page of the newspaper also features the name “SIZA,” set in A2 Beckett.

Village Underground Lisboa is a creative cultural hub that provides the perfect conditions for artists to create and showcase their work, for companies to discover new perspectives, and for visitors to enjoy a complete and alternative leisure experience.

The visual identity created by studio Poets&Painters uses Basilar and Basilar Mono along with a modular custom geometric lettering that unfolds and reconstructs across the branding system to identify different aspects of the hub’s activities.