The Sahaja Yoga website from Switzerland uses Reforma 2018 (PampaType) for titles, phrases and all main texts, plus Renner* a.k.a. Jost* (indestructible type*, 1997, based on Futura by Paul Renner, 1927) for secondary texts.

Sebastian Vigueras. License: All Rights Reserved.

De Melodías y Colores, 1 February 2026

This post presents a series of concert posters designed for the Orquesta Típica de la Ciudad de México (OTCM) in 2026.

The poster shown above officially inaugurates the 2026 Season 1, presenting a renewed visual structure. The composition centers on La Giganta, the monumental sculpture by José Luis Cuevas, which serves as a powerful iconic element. The design employs a high-contrast photographic style in which the background image engages in a dialogue with a typographic composition of two fonts.

The typographic system is a sophisticated fusion of four distinct voices. The main title, De Melodías y Colores (“Of Melodies and Colors”), creates a rhythmic dialogue between Chicago – a robust, dotted typeface – and Origins, a fluid, handwritten typeface that mimics the expressiveness of a calligrapher’s stroke. This combination reflects the dual nature of the concert: the technical precision of the music and the vitality of the visual arts. Questa – here in the form of Questa Grande – is introduced as the new institutional serif typeface, lending a modern and elegant voice to the orchestra’s name. Finally, Cabin remains the official typeface of the Mexico City government for secondary information, ensuring that details about the guest conductor and soloists remain legible against the monumental background. This design establishes the template for the first season in 2026, prioritizing striking iconography and expressive typographic combinations.

Sebastian Vigueras. License: All Rights Reserved.

Amor en clave de sol, 15 February 2026

The visual narrative for the third poster centers on a dramatic sunset over the facade of the Museo de la Ciudad de México, where the sky's warm gradients are mirrored by the lyrical and romantic theme of the concert, Amor en clave de sol.

The typographic composition introduces a new, sophisticated hierarchy. The main title is set in Mon Nicolette, an expressive typeface by Mexican designer Cristóbal Henestrosa. Its fluid, calligraphic strokes and elegant swashes – integrated here with musical clef and heart motifs – capture the emotional essence of the repertoire.

Sebastian Vigueras. License: All Rights Reserved.

El México de sus compositores, 22 February 2026. This poster was designed together with Vania Rabago.

The fourth poster for the concert at the Alcázar of Chapultepec Castle utilizes a dramatic architectural photograph that emphasizes the perspective of the venue’s iconic checkered floor and classical arches. The deep vanishing point serves as a natural visual anchor, guiding the viewer’s eye through the historic corridor and toward the musical information.

The typographic palette is led by Gelica for the concert title. This choice brings a warm, retro-contemporary charm to the design, with its soft serifs and organic terminals providing a lyrical counterpoint to the rigid geometry of the architecture. The friendly and expressive nature of Gelica perfectly captures the passionate spirit of the repertoire.

Sebastian Vigueras. License: All Rights Reserved.

Mujeres que suenan y transforman, 8 March 2026

The fifth poster for the concert at the Ángela Peralta Open-Air Theater utilizes a striking high-angle photograph that captures the venue’s unique integration with the surrounding greenery of Parque Lincoln. The radial symmetry of the theater’s seating serves as a natural visual anchor, drawing the eye toward the stage and the performers.

The typographic palette is led by Instrument Serif for the concert title. This choice brings a classic, scholarly elegance to the design, echoing the operatic and historical legacy of the theater’s namesake. The serif structure of Instrument Serif provides a high level of sophistication that balances the organic textures of the surrounding trees.

Sebastian Vigueras. License: All Rights Reserved.

Natalicio del Benemérito de las Américas, 15 March 2026

This poster for the sixth concert of the 2026 season highlights the presence of the Orquesta Típica de la Ciudad de México (OTCM) in contemporary social spaces. The visual centerpiece is a panoramic photograph of Utopía Tezontli, a modern community center in Iztapalapa. The architectural geometry, with its white structural ribs and circular patterns, creates a rhythmic backdrop that symbolizes the utopian and transformative nature of the place.

The typographic strategy introduces Caligra, a contemporary Gothic typeface used for the main title. This choice creates a tension between the orchestra's historical roots and the modern, urban environment of the venue, while also evoking the complex framework of the building’s roof.

Sebastian Vigueras. License: All Rights Reserved.

Armoniás de primavera, 22 March 2026

The visual composition of the seventh poster is centered on an expansive landscape photograph of Parque Tezozómoc, featuring its iconic artificial lake and the pre-Hispanic-inspired topography. The open, bright blue sky and the reflection of the clouds in the water serve as a natural visual anchor, providing a serene and airy backdrop that reflects the “spring harmonies” theme.

The typographic hierarchy is led by a sophisticated pairing for the title: Amster, with its contemporary and sharp personality, and ATF Garamond, which provides a timeless, academic elegance. This combination creates a refined, editorial feel that contrasts with the organic, open-air nature of the park. The layout effectively utilizes the landscape’s “white space” to allow the intricate typographic layers to breathe, maintaining a balance between historical tradition and the modern urban environment.

Recuperando historias 2 is a collection of short stories written by children for children. It has been independently published by the Don Orione Special Institute, an educational center that is part of the renowned Cottolengo Don Orione network of residential centers for people with disabilities.

The illustrations were also created by the children themselves. The book design was handled by Ivana Myszkoroski, who used Perec (PampaType) for the main text, Perec Scripte for the chapter titles and the beginning of paragraphs, and Perec Lunatique (not yet published) for the cover title.

This book written by Maurice Darmon and published by the Bordeaux-based publisher 202 éditions is about the films made by Anne-Marie Miéville between 1976 et 2002. It is the first monograph devoted solely to her own work. As Jean-Luc Godard’s partner since the 1970s, her collaborative work with the filmmaker has been more widely distributed and recognized. Designer Paule Palacios-Dalens used Borges (by Loche, PampaType) for all main texts and titles, and Akzidenz-Grotesk (Berthold, 1898) for pagination and some subtitles. The cover titling is set in Punto (by Arne Freytag, Fontador).

This is a fine art catalog on the works of Marina Apollonio, one of the most representative artists of international optical and kinetic art. It was published by Marsilio Arte on the occasion of the retrospective of the same name: Marina Apollonio. Beyond the Circle, shown at the Peggy Guggenheim Collection in Venice, curated by art historian Marianna Gelussi.

All titles and opening pages of the book were set in Octothorpe (Iván Moreno, PampaType), the ideal visual complement for the occasion given its sense of optical exploration and generative art possibilities. The text typeface is LL Circular (Laurenz Brunner, Lineto).

Poster and flyer series for the successful dance theater production Ascochinga. La vida todavía (“Ascochinga: life still goes on”) staged by the municipal theater company Teatro Comedia in Córdoba, Argentina. Illustrated and designed by Santiago Guerrero, using Reforma 1918 (PampaType), part of the tailored type family originally made for the National University of Córdoba.

Written by journalist Félix Monreal and published in 2021, this is a 300-page volume on the centenary of the Club Atlético Osasuna in Pamplona, Spain. The book reviews the history of the so called “club rojillo” (red-and-white club) through stories of players, coaches, and fans, combining narrative with infographics and statistics.

It was designed by the studio Errea Communication combining a series of fonts among which Octothorpe (Iván Moreno, PampaType) was used as a display asset in chapter openings and other pieces. Additional typefaces include Le Monde Courrier (Jean François Porchez, Typofonderie), Platform (Berton Hasebe, Commercial Type), and Ohno Fatface (James Edmondson, OH no Type Co.).

From the editors:

An anniversary book is a wonderful opportunity to share memories of experiences, recognize so many people, and strengthen bonds. It is a unique opportunity. It is also an opportunity to recount life with innovative passion, looking toward the future.

See more images on Selekted.

Le Jouet Enragé, 2nd edition, 2011, translated by Isabelle and Antoine Berman

Rouge Gorge is a series of books by Parisian publisher Cent Pages, designed by SpMillot. It includes several books written by Roberto Arlt (1900–1942). Shown in this posts are:

• Le Jouet Enragé, a short novel first published in 1926 as El juguete rabioso (Mad Toy)
• Le Petit Bossu, a short novel first published in 1933 as El jorobadito (The Little Hunchback)
• L’éleveur de gorilles, a novel first published in 1941 as El criador de gorilas (The Gorilla Handler)

Cover titles are set in a modified version of Matthew Carter’s Skia. In the latest editions, the interior pages were redesigned to be set in Arlt (by Loche, PampaType), a type family that is inspired in Roberto Arlt's literary works.

See also the previous post about Greguerías by Ramón Gómez de la Serna, published in the Rouge Gorge series in 2005.

Le Petit Bossu, 3rd edition, 2012, translated by Jean-François Carcelen and Georges Tyras

L’éleveur de gorilles, 3rd edition, 2013, translated by Jean-François Carcelen and Georges Tyras

During a ten-month backpacking trip from Cuba to Argentina, Catamarca-based writer and traveler Juan Francisco Uriarte wrote chronicles collected in the book Lo cierto es que uno respira (“The Truth Is That One Breathes”).

Published by Biblioteca Los libros de la Borges in Catamarca, the book, designed by Aylén Avilés, is entirely set in Amster, with generous leading which gives air and breathing room to the brief entries in this work. Amster was designed by Francisco Gálvez Pizarro and is available from PampaType.

Cover art by Mauge Suárez. Printed by Sudamérica Impresos, Rosario, Argentina.

Villa Libertad, Une communauté italienne en Argentine is the title of my Master’s degree project made at ÉSAD Pau. It is the result of a graphic and historical investigation initiated from genealogical research conducted in the northeast of Argentina. In the parish archives, I encountered a forgotten priest called Pedro Cisamolo who was living in a town named Villa Libertad and populated almost exclusively by Europeans. Between 1895 and 1901, this individual drew more than a thousand illustrations in those registers: animals, plants, landscapes, people, religious iconographies, buildings, smiling suns, etc.

This discovery was the point of entry into the history of the migratory and colonizing policies of 19th century Argentina. The law of 1876, in particular, is considered a turning point because it allowed, at the expense of the Argentinian Government, the coming of thousand Europeans who upon arrival were offered land to cultivate. Thus, in many provinces, colonies – as an artificial urban centers – were established. Villa Libertad is one of them, the first national colony of the Entre Ríos province.

This editorial project is made up of two complementary books. The first relates a historical study rooted in 19th century archives and more recent works conducted by Alejandro Fernández, an Argentinian historian. This book, through the faithful translation of these documents, contextualizes the founding and development of the Villa Libertad colony from 1872 to 1901. The second book compiles the huge amount of illustrated signatures made by Pedro Cisamolo in the parish archives. From scribble to calligraphy and finally to a whimsical bestiary, the evolution of his signatures eventually builds a singular repertoire of scriptural and figurative forms.

To emphasize the historical link between Italy and Argentina, typefaces from both countries were used. Titles and section markers are set in Borges Gris from the Argentinian foundry PampaType, and the body text in Etrusco Now, from the Italian foundry Zetafonts.

This artist’s book explores memory, migration, and belonging through drawing, writing, textile art, and archival research. Tracing the artist’s grandfather’s journey from a mountain village in southern Poland across post-war Europe, it layers personal reflection with political history, landscape studies, and family artefacts.

The typographic design combines the contemporary serif ABC Gaisyr (with Mono) by Fabian Harb (Dinamo) with the ornate Amster Versal Iluminada by Francisco Gálvez Pizarro (PampaType). This pairing creates a dialogue between modern clarity and historical ornament, underscoring the book’s negotiation of past and present. Chapter headings are hand-drawn, inspired by frescoes on the arcaded ceilings of Via Indipendenza in Bologna, which add a gestural, site-specific element.

The book juxtaposes text with archival photographs, reproductions of artworks, and full-bleed visual material. Layouts range from dense text spreads to spacious pages with floating captions, creating rhythm and breathing room. Images are annotated with precise figure labels, recalling both the language of academic research and the intimacy of a family album.

Printed digitally on Munken Pure 100g/m² and Pashmina Light Grey 120g/m², each copy is hand-bound with silk and wool. The materiality emphasizes tactility and fragility, echoing the themes of displacement and endurance.

Made in an edition of 5 at the Faculty of Fine Art, Music and Design, University of Bergen, 2025.

GODARD AVERTY. Petit et grand écran is a pretty book authored and designed by Paule Palacios-Dalens for the small French publisher Les éditions de l’œil. In this new essay the author reveals unexpected relationships of influence between these two creators who never formally met though they walked the same époque and scenaes.

From the publisher’s website:

As inventors constantly on the alert, the two men followed each other at a distance. Children of the letter and the book in the century of the image, they have in common the qualities of the printed word in their relationship to history and memory, and the permeability of media that is the norm today.

The book makes use of Borges (by Loche, PampaType) for the main texts, Borges Título Blanca for the headings, and Berthold’s Akzidenz-Grotesk (1896) for the pagination, footnotes, headings, and the like.

Cuánto te pesa tu peso. Libérate de prohibiciones y etiquetas y sana la historia con tu cuerpo (“How much your weight weighs. Free yourself from prohibitions and labels, and heal your history with your body”) is a book on health and nutrition by Virginia Busnelli, published in Buenos Aires by El Ateneo, and designed by MilPalabras Estudio.

Alegreya and Alegreya Sans (Huerta Tipográfica) were used for the main text and as a secondary display type, while Margarita (PampaType) was used for the title on the cover as well as for all chapter headings in the interior.

This book written by Vincent Amiel and published by the Paris-based publisher 202 éditions is about the film Andrei Rublev, made in 1966 by the then still young film legend Andrei Tarkovsky. Designer Paule Palacios-Dalens used Borges (by Loche, PampaType) for all main texts and titles, and Akzidenz-Grotesk (Berthold, 1898) for pagination and some subtitles. The cover titling is set in Bite Hard Wire (by Gleb Guralnyk).

From the publisher’s website (translated from Spanish):

Third edition of Influjo Lunar, manual to the lunar cycles. It consists of the vision of eight women in relation to the phases of the moon and their influence on our rhythms and our bodies from different perspectives. The themes are: The Lunar Phases, Our Lunar Cycles, The Moon and Astrology, The Moon in Nutrition, The Moon and Plants, Astrobotany and Rituals, Pleasures to Inhabit and Menstrual Cycle.

Edited and designed by Camila Jouannet from the independent publishing workshop Ediciones Granizo. The typesetting features an unconventional combination, used in several editions of the publishing house, mixing two serif fonts: Adobe Garamond and Berenjena.

Table of Contents detail

Calendario Lunar para el Hemisferio Sur 2023–2024 is a lunar calendar and illustrated poster. This large format print (50×70cm) has nine annual editions and each one shows, on one side, the annual lunar cycles in the Southern Hemisphere and, on the other side, an original illustration made by four hands. Typesetting features an unconventional combination, mixing two serif fonts: Adobe Garamond and Berenjena.

The calendar was designed by Camila Jouannet and co-drawn by Pablo Delcielo and Eduardo Desagrados, Offset printed in 3/5 colors on 140g/m² spun paper, and published and distributed by the independent Chilean publishing house Ediciones Granizo.

Santiago Guerrero designed and illustrated a collection of research books published by Editorial Económicas, the Faculty of Economic Sciences of the Universidad Nacional de Córdoba (Argentina). He used Reforma 2018 (PampaType), part of the custom-made family commissioned by the university to commemorate the centenary of the university reform of 1918. The fonts are freely available from the foundry.

Les arts moghols is a big book devoted to the Mughal arts. Edited under the direction of Corinne Lefèvre, with Jean-Baptiste Clais, it was published by Citadelles & Mazenod for Hachette as part of a book series titled “L’Art et les grandes civilisations”. It uses Carolinéale as titling typeface for cover, summary and chapter headings. The other fonts used in the book design are Mixta Pro and URW DIN SemiCondensed.

From the publisher (translated from the French):

This book invites you to discover the fascinating Mughal Empire (1526–1857), whose history and cultural, social and political wealth are still largely unknown in France. Descendants of the Mongol Genghis Khan (around 1165–1227) and the Turk Tamerlane (1336–1405), the Mughal sovereigns were originally from Central Asia but were driven out by the Uzbeks at the beginning of the 16th century. It was from Kabul that Babur, the founder of this Muslim dynasty, victoriously launched his conquest of Northern India in 1526.

This book recounts an interview that Jean-Luc Godard gave to film historian Michael Witt back in 2005. Its title translates to “Our music is everyone’s music”. Godard talks in depth about his then new film, Notre musique, which “explores the prospects for building bridges —both material and metaphorical, in Bosnia-Herzegovina, then recently ravaged by war. Referring to the violent history of Europe, the Amerindian genocide, and the Israel-Palestine conflict, the film offers a brilliant demonstration of the ‘principle of cinema’ outlined by the filmmaker in his fictional conference in Sarajevo: “go to the light, and direct it on our night. Our music.”

The book was edited in Paris by 202 éditions, and was designed by Paule Palacios-Dalens using Akzidenz-Grotesk (Berthold) in cover titles and interior subtitles, Borges for the main text and Borges Título Blanca for the interior headings (both by Loche, PampaType).

Identity design made by Estudio Vicencio for various events developed by the Subdirección Nacional de Pueblos Originarios (Chilean Office for Native Peoples) related to revitalizing indigenous languages. Among them are the contemporary indigenous art fair meeting of Indigenous Cultures; the announcement of the Sello Artesanía Indígena (SAI), a seal of indigenous crafts, for 2019 and 2022; and a corresponding website. All design pieces make extensive use of the Chercán typeface (PampaType) designed by Chilean type designer Francisco Gálvez Pizarro.