Poster and merchandise realised by Studio Cutané for Eternal Mana, a Paris-based music event organisation. The event was held on April 15, 2026, at La Station – Gare des Mines.

Studio Cutané used Aldine, a work-in-progress typeface by Lucas Maréchal, as well as Large by Alexandre Créquer and Arial by Patricia Saunders and Robin Nicholas. For both typefaces, the studio played with stretching them.

STADT:ENSEMBLE Ludwigsburg is a project that translates urban space, performance, and cultural narratives into a highly structured visual system. The branding reflects the collective’s character through a scalable and flexible communication system designed to adapt to various media and formats.

The visual identity is rooted in a deliberate typographic tension: by separating “STADT” (City) and “ENSEMBLE” (Collective), the logotype emphasizes the relationship between the urban environment and the people who activate it.

An underlying grid, derived directly from the typography’s stroke weight, establishes a consistent structural logic. This grid activates a system of nine thematic icons. Each icon represents core values of the ensemble and is designed to scale and expand into “image containers.”

These containers allow photographic content to become an inherent part of the identity, merging imagery with the geometric structure of the system.

The result is a clear, adaptable visual identity that combines typographic precision with conceptual flexibility. The system ensures strong recognition while allowing enough space for the dynamic, ever-changing nature of the cultural collective.

Le Gers durant la seconde Guerre Mondiale (“Gers during World War II”) is a book produced for the Gers Departmental Archives. This book recreates the atmosphere of a tragic era, as well as the hardships and hopes of ordinary men and women in one of France’s most isolated regions. The texts were written by Karine Aparico.

Every year, the canton of Geneva in Switzerland organises a public event called La semaine de la démocratie to celebrate, promote and explain the democratic process. To promote this event, they select an agency to work on the branding of the year event with a theme that is chosen by the organisers, the Chancellery of Geneva.

In 2024, Parson Research was selected as the agency with the theme of ‘cultivating democracy’. The selected design therefore aims to reflect this theme by seeking inspiration in a blend between the Art Nouveau style and a modernist angle. I chose the Huggy typeface as the headline font to reflect a soft and welcoming tone. With it heavy form and curved stroked, it lent itself well to the effects and deformations that the titles required. As a secondary, complimentary typeface, I decided to use Matryo that offered a better legibility for continuous reading and setting out the smaller texts, especially for the event programs. With its wide weight range and narrow proportions, it suited the tight confines that the layout imposed.

OTSU opened in Barcelona the way the best places do, without a big announcement and already belonging in the neighbourhood. This café is a reflection of its founder's instincts: food built on contrast, a space that doesn't rush you, and the kind of care that only reads as effortless when it isn't.

The identity takes its cues from the places that inspired the space, particularly Asia and the kind of beauty that lives in restraint and precision. It's built from the physical language of the café itself. Verticals that recall curtains, tall ceilings, and the upward pull of living things, paired with the shape of a perfect circle that holds it all in.

The logo doesn't repeat itself unnecessarily and appears only where it counts. Red leads the palette with conviction—warm, rich, and loaded with cultural weight. In Asian cultures it's the colour of luck, celebration, and something worth paying attention to.

The result is a brand that feels the way this café does. Nothing is accidental and nothing is excessive, leaving a quiet mark exactly where it matters.

The Philadelphia Museum of Art, in collaboration with design studio Gretel, rebuilt its identity with the goal of putting the institution in direct conversation with the city that surrounds it. Typography is the primary device for achieving this. The type palette mainly works on two levels: outside-and-inside, or community-and-institution.

Inspired by Philadelphia’s rich visual texture of storefronts, street vendors, and murals, the vernacular type palette brings the voice of Philly into the museum and injects the identity system with contrast and spontaneity. The current library is curated (exemplified by the likes of Shatter, Cooper Black, and Balloon), but it is designed to continue growing over time. Each of these display typefaces can be used on various seasonal activations, or specifically assigned to exhibitions or departmental roles. ITC Pioneer was used for the recent exhibition The Time is Always Now, a survey of contemporary Black and African diasporic figurative art. Purple Haze is the designated typeface for PMA Members, and Megazoid is used for PMA Kids.

On the other hand, the institutional typographic voice serves an evergreen role: echoing the museum’s classical character while embodying Philadelphia’s industrial sensibility. The core typeface, Fairmount Serif—named for the Fairmount neighborhood—was custom-drawn by Ryan Bugden after a study of Philadelphia’s typographic history. Searching for a balance between the industrial structure of 1930s American sans-serifs and a classical features brought Hess Neobold forward as a key reference. Its designer Sol Hess attended PMSIA—the precursor to the museum—and later succeeded Frederic Goudy as Philadelphia-based Lanston Monotype’s type director. Fairmount Serif evolves the Hess Neobold model while incorporating more contemporaneous industrial cues. It remains relatively neutral alongside the museum’s broad palette of display faces while providing a distinct, authoritative voice of its own. Fairmount Serif was also used as a starting point in rendering the various institutional logos.

For the more workhorse level, Klarheit Grotesk serves as the museum’s body text typeface. It is set at small sizes across branding, materials, signage, and exhibition text.

See more images in Gretel’s case study.

Mockups of exhibition catalogs

Banners.

Seasonal program.

The creative industries magazine Rekorder is published quarterly and covers current topics from the Stuttgart creative region, showcasing companies and creative professionals. The magazine is published by the Wirtschaftsförderung Region Stuttgart (Stuttgart Region Economic Development Corporation).

Every issue is unique—each is designed by a different agency from the Stuttgart region. For the 02/2026 issue, the corporate communications agency campra was commissioned. The main theme, “Democracy & Creativity,” was incorporated into the design in a colorful and diverse way, just as democracy should be. Fincker Font Cuisine kindly provided its typeface library for this issue. As a result, several typefaces were used, such as Marblis for the body text, as well as Finador, Royalis and Garino for headlines. The illustrations and paintings by Juliane Herrmann completed the layout, resulting in a colorful and inspiring magazine.

August issue 02, “New York”, was designed by Brendan McAuliffe and Douglas Riccardi of Memo NY using Conductor by Frere-Jones Type, alongside Klim’s Domaine Text and Sweet Sans by MVB Fonts.

A travel magazine, each issue focuses on a singular location, immersing the reader in its art, architecture, and design scene, and sharing encounters with locals, their habits, and their unique culture.

This photographic volume explores the divergence between the myth of La Dolce Vita and its contemporary reality. Moving from expressive, saturated color experiences to surreal imaginations, the book arrives at a “factual coolness.” It documents a journey through Italy outside the tourist season—spanning from Cremona to Genova, through Tuscany to Rome, and finally Rimini.

For the typography, I chose GT America. The book focuses on composition and observation, questioning the “perfect imagination” of the south. To anchor the rich, atmospheric photography, GT America was chosen for its versatile and utilitarian character.

As a typeface that bridges the gap between 19th-century American Gothics and 20th-century European Neo-Grotesks, GT America provides a deliberate structural counterpoint. Its straightforward, unembellished aesthetic reflects the “factual coolness” of the investigation, acting as a neutral, documentarian observer. By using GT America sparingly, the design allows the saturated color palettes and the restless silence of the Italian landscapes to remain at the forefront, while the interviews are manifested through a typeface that feels both timeless and modern.

Made as Diploma project at the ABK Stuttgart.

The Chantier Le Cœur was a shipyard in Lesconil, in southern Finistère, active from 1905 to 1980. It bears witness to the traditional artisanal activity of a small Breton port in the 20th century and has held the designation of “Port of Heritage Interest” since 2018. This former shipyard was converted into an eco-museum in 2019 and is managed by the Bag Leskon association.

The museum showcases the original buildings, collections, and equipment, and takes its name from the shipyard’s principal owner, Alain Le Cœur (pictured in the first photo).

View of the antique tools on display in the museum’s showcases.

View of the antique tools on display in the museum’s showcases.

View of the antique tools on display in the museum’s showcases.

Fañch Le Henaff, creator of the Brito typeface, posing in front of the museum entrance.

More uses of Brito!

Na Pancada Desvairada is an album featuring compositions and arrangements based on melodies recorded by the Brazilian modernist Mário de Andrade during his ethnographic travels through Northeast Brazil between 1928 and 1938. The physical media for the record is a disc accompanied by a 120-page bilingual publication presenting the group’s extensive research on this material.

The client expressed the desire to include a typewriter-style typeface in the visual identity, referencing the documentary archive of Mário de Andrade that inspired the album. For this purpose, Courier was selected.

The project’s visual identity emerges from a graphic-literary investigation, beginning with the diamond shape on the cover, repeated as a triptych across the back cover and inner flap. In addition to alluding to the symbol of the Brazilian flag – in the same orientation as it appears on the cover of Pau Brasil (1925) by Oswald de Andrade – it also references the harlequin’s diamond-patterned costume, a recurring image in Pauliceia Desvairada (1922), both in the poems and in the cover design of its first edition.

By articulating these symbols, the art direction sought to create a contemporary graphic expression grounded in the dialogue between Mário de Andrade’s modernist work and the Brazilian popular musical culture he studied.

Art direction and graphic design by Flora Milanez, with photography by Fernando Banzi.

Paper Trails: Publishing Methods as Connective Tissue was a featured exhibition and event from artist Loizos Olympios at Tapper during the Limassol Art Walks in October 2023. The exhibit explored publishing as a medium, part of the city-wide, multi-venue arts event featuring artist-run spaces and performances.

Visual identity for Fond Perdu, an artistic association based in Lille, France. It is created by students from ECV Lille, Tom Choquet, Benoit Cuzin, Élodie Ruffin, and Jeanne Deruwez. For their first event, Fond Perdu organized a design market on January 31th, 2026, promoting local artists and designers.

The visual identity and motion design is realised by Tom Choquet. He used Ring from Alexandre Créquer as the only typeface. The logotype is a custom piece of lettering by Benoit Cuzin, based on Peste from Morganne Borowczyk.

La Cuadrilla is a brotherhood and bullfighting association headquartered in Écija, Spain.

Designed by José María González, the brand identity is rooted in collective belonging, envisioned as a cultural bridge that reconnects Andalusian tradition with a new generation. The visual system is built on the mechanics of community: how people gather, interact, and generate shared meaning.

Rather than simply “modernizing” folklore, the project focuses on translating its duende (the raw interplay of memory, texture, rhythm, and emotion). The design is set in Romie Regular (designed by Margot Lévêque available on Claude Type), supported by Gill Sans. Typography serves as the primary vessel for this togetherness, acting as a dynamic “shared voice” rather than a rigid, fixed statement.

Every two years, the World Design Organization awards the title of World Design Capital to a city or region. In 2026, the Frankfurt Rhine-Main region will become an international stage for design. Together, we will bring to life groundbreaking projects and numerous events that showcase what design can achieve for society and democracy, for our shared lives, and for our daily routines.

In this booklet, published by the City of Offenbach in collaboration with the University of Art and Design Offenbach, all WDC events, sites, workshops and exhibitions are listed with short descriptions and dates. In addition, a detailed map shows all the locations. The booklet is designed by Masha Egorova and only uses typefaces that originated in the HfG type design class. The front and back cover are perforated stencils that can be torn off and used to scribble inside the booklet.

Business cards

Branding and website for SisInBiz, the FINTA network of the Swiss music industry.

Since 2017, SisInBiz has been connecting FINTA individuals in the Swiss music industry. With the founding of the association in 2026, the moment had come to step forward with a clear public presence – and an identity that does justice to the network. The community as a living structure: the way it forms, expands and mutually supports itself becomes tangible as an animated element on the website. The logo mark carries this idea forward as an organic form. The wordmark provides the counterpoint – present, direct, unambiguous. This contrast runs through the entire visual identity: between playful serifs and bold italics, between a reclaimed pink and a powerful bordeaux.

Website

Greeting card

Footer

Right Grotesk and Right Serif are paired in a program for a play celebrating the 150th anniversary of Teatr Polski w Poznaniu, in a design by Anna Morawiak and Bartosz Włodarczyk:

This major milestone for the people of Poznań became an opportunity to create a unique publication, inspired by the theatre’s red and gold interior and its distinctive form. In its earliest days, the theatre was commonly called “Pieścidełko” – we embraced that spirit in the book’s design and typography. Huge thanks to all amazing people who contributed to this project.

Right Grotesk and Right Serif were designed by Alex Slobzheninov and are distributed by Pangram Pangram. The stage photography in the book is by Maciej Zakrzewski and Adam Brzozowski. The images showing the book itself were shot by Michał Jaszkowski.

Source: www.flickr.com Uploaded to Flickr by mikeyashworth and tagged with “mikado”. License: All Rights Reserved.

Vol. 2, Ostdeutschland (“Eastern Germany”)

One of a series of six charming small format booklets issued by the Königliche Eisenbahndirektion (“Royal Railway Directorate”) in Altona, Hamburg, and describing the Allgemeine Verkehrs-Mitteilungen und Sehenswürdigkeiten – general railway travel information and sights in the relevant areas of Germany. The organisation of railways in Germany prior to 1918 was somewhat complex but many railway companies were, effectively, nationalised as part of the Preußische Staatseisenbahnen (“Prussian State Railways”) and these booklets all show, in various forms, the Adler or Royal Eagle symbol of the railways as well as the “winged wheel” symbol that was much favoured by various continental railway adminstrations.

The booklets all contain the information that large numbers of visitors were now visiting Germany, many brought by the various steamship lines including Hamburg–Amerika (HAPAG) and the Norddeutscher Lloyd, and given the booklets were issued by the Altona-Hamburg office of the railways one suspects that copies were probably available on board the vessels to be given as publicity to passengers. The booklets were also available by post from the Altona offices. They are not dated but volume one has a manuscript date of ca.1905–07 and given the style this feels correct.

Although each booklet follows the same format each design is subtly different; all are in a loose “Arts & Crafts” style that would morph in Germany into the Werkbund movement and in France to an Art Nouveau style. This includes elements of the cover design, framing and lettering as well as aspects of the editorial text. The booklets contain detachable postcards for mailing and are each printed by a printer in the relevant area of Germany covered by the particular guide.

Volume 2 is for Berlin and Eastern Germany covering areas of Prussia and Saxony. The front cover shows Schloss Marienburg (Lower Saxony), the now lost Wissower Klinken cliff formations on Rügen, and the Brandenburger Tor in Berlin. There are outline maps of the railways in the area covered by the guide as well as of the suburban lines in Berlin. Mention is made of the newly opened first stages of the Berlin Hochbahn (now U-Bahn) and the back cover has a very Imperial series of symbols for the State Railways.

While most booklets (below) have custom lettering for the title, the cover for Volume 2 (above) is typographic: the featured typeface is the wide style of Mikado as cast by the Flinsch foundry in Frankfurt. “Heft 2” is in a German version of Antique No. 8. See the image captions further below for the period typefaces used inside.

At least Vol. 6 was printed by Hans Bleher at Verlags- und Handelsdruckerei Stuttgrart.

Source: www.flickr.com Uploaded to Flickr by mikeyashworth. License: All Rights Reserved.

Vol. 1, Norddeutschland (“Northern Germany”), with lettering similar to Kolumbus. The front cover shows the Lombardsbrücke in Hamburg, the Marktplatz in Bremen, and the steamship Deutschland passing the Alte Liebe lighthouse at Cuxhaven.

Source: www.flickr.com Uploaded to Flickr by mikeyashworth. License: All Rights Reserved.

Vol. 3, Mitteldeutschland (“Middle Germany”) with cover lettering on top of the Imperial Eagle. The vignettes are of the now vanished Kronentempel pavilion at Bodetal in the Harz, the Wilhelmshöhe in Kassel, and the famous Wartburg overlooking Eisenach.

Source: www.flickr.com Uploaded to Flickr by mikeyashworth. License: All Rights Reserved.

Vol. 4, Nordwestdeutschland (“North West Germany”). The cover, along with a steam locomotive and train, is in a rather high ‘Art Nouveau’ style including the lettering, and depicts the famous Kölner Dom.

Source: www.flickr.com Uploaded to Flickr by mikeyashworth. License: All Rights Reserved.

Vol. 5, Südwestdeutschland (“south west Germany”). The cover is almost Guimard in design and shows Heidelberg along with a cartouche of a speeding steam locomotive and train.

Source: www.flickr.com Uploaded to Flickr by mikeyashworth and tagged with “secession”. License: All Rights Reserved.

The title page to Vol. 1 features a winged wheel and text set in Berthold’s Secession (1901). The initial D is from Herkulanum, Schelter & Giesecke’s name for Mayflower (Conner, 1891).

Source: www.flickr.com Uploaded to Flickr by mikeyashworth and tagged with “werk-grotesk”. License: All Rights Reserved.

The introduction to Vol. 5 features a very similar typeface: it’s Werk-Grotesk by Ludwig & Mayer, likewise issued in 1901, with a drop cap from the licht (open) style.

Source: www.flickr.com Uploaded to Flickr by mikeyashworth and tagged with “eckmann”. License: All Rights Reserved.

The title page to Vol. 6 is set in the most popular of the so-called Neudeutsch typefaces: it’s Klingspor’s Eckmann (1900).

Source: www.flickr.com Uploaded to Flickr by mikeyashworth and tagged with “eckmann”. License: All Rights Reserved.

Table of contents for all six booklets as included in the final volume. Note the two forms of H (“Hamburg” vs. “Harz”) and s/ſ, as well as the use of letterspacing for emphasis.

The exhibition Campo e Cidade na América Latina is shown at the Centro MariAntonia in São Paulo from November 25th 2025 to May 31st 2026. It presents a selection of architectural and urban planning experiences developed between Brazil and other Latin American countries throughout the 20th century. By articulating technical knowledge and community practices, these agents sought to bring rural and urban ways of life closer together, illuminating housing not only as a construction, but as the basis of social life. By revisiting these reflections and practices, the exhibition proposes to denaturalize the dichotomy between countryside and city and reopen the debate on the persistent inequalities, dependencies, and geopolitical disputes in Latin America, reaffirming the urgency of rethinking the relationships between culture, territory, and housing on the continent.

The design team for the exhibition had the challenge of translating the theoretical density of the material into an accessible spatial narrative. A large number of plaques were designed to compose the large timelines, presenting dates, texts, photographs and drawings. One of the main guiding principles of the project was to bring the materiality of the theme into the exhibition space; cardboard panels with exposed sides and truck tarpaulins were used as supports for the text. The selected typeface was Baste, by Lift Type. Its blocky, rectangular shape with round corners alludes to the aesthetics of construction blocks and the interlocking of machinery. The round corners were also replicated in the outlines of the exhibition panels. It was coupled with TWK Lausanne by Weltkern for the texts.

Hello, Tokyo! compiles and translates articles from Tokyo City Guide issues published by Popeye between 2018 and 2025. It was issued by Magazine House under the art direction of Taro Kambe. Designed by Nari Kang and Nina Kitayama using Ohno Casual and ABC Marfa as the main typefaces on the cover, plus Gilroy, used for the info underneath the logo. The interior holds a generous selection of more Japanese and Latin fonts.

The tables of contents of this Kindle edition of the publication use Funkis.