Faire école… de la résilience is a collaborative project led by Cité Anthropocène and Éditions 205 that brings together scientific and civic knowledge to develop concrete solutions for environmental challenges. Built during the winter of 2024–2025 by participants from academic, cultural, non-profit, economic, and public sectors, the initiative aims to foster new forms of cooperation, creativity, and collective engagement.

The titles are set in Pinokio Grand, while the interview questions are set in Pinokio Sans (Tanguy Vanlaeys, 205TF). The body text, interview answers, and quotations are set in Alcalá Xtra (Damien Gautier, 205TF). The page numbers and running headers, meanwhile, are set in CX80 (Damien Gautier, 205TF).

Handverksfestivalen is a free annual two-day festival at the National Library of Norway, celebrating craft heritage through workshops, lectures, and hands-on experiences. Smuss Studio was commissioned to design the campaign identity for this year's edition, themed ‘around the sea and its lores’.

The identity builds on the library’s base profile. It uses STK Bureau Sans for body text and navigation, and RG Gaueko as the expressive display face. Gaueko’s organic, curling forms and unconventional ligatures, rooted in Basque letterforms, give the festival its distinctive character across posters, pocket programmes, digital screens, and social media.

Collage-style illustrations and historical cut-outs drawn from the library's archives bring texture and a sense of maritime folklore to the system – balancing the mysterious with the playful.

The visual identity for Staatsballett Berlin, designed by Eps51, combines expressive typography with a restrained contemporary layout system. As one of Germany’s leading ballet companies, Staatsballett Berlin plays a central role in the development and preservation of ballet, both locally and internationally.

The identity translates the grace, energy, and emotional intensity of dance into a graphic language that balances movement and structure. The typographic palette pairs Similar with NT Zeu, whose proportions and rhythm complement the geometric character of Similar while introducing a contrasting voice across editorial materials, posters, and digital applications.

Developed in close collaboration with the team at Staatsballett Berlin, the system reflects both the tradition of classical ballet and the company’s contemporary cultural presence in Berlin.

As Hungary’s TISZA Party rises to national prominence ahead of the 2026 election on April 12, a considered typographic choice has become central to its visual identity. TISZA (short for Tisztelet és Szabadság, “Respect and Freedom”) positions itself as a clear alternative to long-dominant Fidesz rule, promoting anti-corruption, economic renewal, and strengthened ties with the EU and NATO – all themes that call for messaging that feels legible, modern, and trustworthy.

TISZA’s visual team selected Luma Sans as the core typeface for campaign communication, applying its geometric precision and humanized shapes across podium signage, social templates, posters, and long-form text. The choice reflects three core needs: Clarity and Readability, Modern Authority, and Multilingual Support.

In TISZA’s typographic system, medium weights anchor headlines and calls to action, lending confidence to key messages. Lighter weights support policy summaries and longer prose without losing rhythm or readability. The result is a disciplined yet flexible visual voice that performs equally well in high-pressure public environments and digital spaces.

By rooting its identity in a modern, human-centred sans-serif, TISZA reinforces its political narrative: an alternative grounded in clarity, openness, and pragmatism.

The Berkeley Tribe is possibly the most famous “New Left” newspaper. Centered in Berkeley, California, it (like other publications) focused on revolutionary subject matter (Black/Women's Liberation, Gay rights, Antiwar Movements, etc.). Their headquarters were at multiple times bombed or shot, with the FBI surveilling their operation.

The masthead, like with many famous magazines, such as TIME, is a custom lettering.

Crediting designers for each issue can be tricky, as intimidation from attacks and police prompted staff to remove their names from the masthead. However, East Bay Media is noted to have served the tribe's publishing and at least some graphic design from 1971, the time of this issue here (it is possible other Berkeley area shops filled a similar role during the paper's run, too).

Early covers and hand lettering are credited to designer Gary Grimshaw, who possibly did not work on this particular specimen.

Shown here are the cover and a selection of eleven of the twenty-four pages, featuring most of the display fonts used in the editorial design at least once. Text is set in Univers and Century Schoolbook.

Headlines in Dom Casual (“The Unknown Defendant”) and Clarendon (“Justice We Don’t Expect From You”)

Publicity Gothic (“No Future Rev No Family”) and Clarendon

“Weather Sister Ripped Off At Flicks” is in Roberta.

Headlines in Antikva Margaret (“U.S. Bombs”) and Windsor Elongated (“Thoughts On Being Human”)

Grotesque No. 9 for “SIERRA” and “feedback”

Franklin Gothic for the “Pusherman” headline, De Vinne for “Human Culture Time-Line”

Cooper Black and Haas Inserat Grotesk for “War-Season’s Greetings from JAPAN” . The ad below features two weights of Blippo (equivalent to Burko and Harry) and City.

Profil for “OKINAWA”. The ad for Midnight Films uses Mistral.

More Inserat-Grotesk for “The Sacred Tree is Dead”. Times New Roman is used for the poem at the bottom right.

The “KILL ’EM” headline is set in Windsor. Smoke and Futura feature for the Free Store ad and Helvetica for the one by Sound City.

The “Masturbation” headline is in Jay Gothic. Fonts used in the ads include Flash (“Native Son”) and Commercial Script (“MANDRAKE’S).

In 2025, Julien Gosselin took charge of the prestigious Parisian Odéon Théâtre de l’Europe, previously known as Théâtre de l’Odéon. Atelier Choque Le Goff was commissioned to design a new visual identity for the theater. Playing with words, they used big type and expressive layouts, mixing letters and illustrations by Martin Groch on colorful backgrounds. The cast for the new identity is as follows: Insitu, Exposure, and Neue Haas Grotesk.

The Field Meridians’ Observer is a printed, quarterly neighborhood newspaper highlighting local news and seasonal perspectives. Published at the turn of each season and distributed for free to the Crown Heights community, local neighborhood stockists include the Brower Park Library (155 Brooklyn Ave) and Another World (629 Nostrand Ave) and The Word is Change (368 Tompkins Ave). The first issue is tied to the winter solstice, including a warming soup recipe, a piece on the joy of winter birding, and a calendar of the season’s best activities. A digital copy of the first issue is available here.

Jordi Ng designed the newspaper, which is typeset in International Edition and HAL Repost. Céline Hurka created a customised masthead, drawing bespoke initials of the Repost caps spelling “OBSERVER”. The pictograms are taken from Noto Sans Egyptian Hieroglyphs and Noto Sans Symbols. The issue also features illustrations by Lillian Ansell, Thomas Colligan, and María Medem.

An entry with Egyptian hiero

Snap* is more than a newspaper—Snap is a poster, a collector’s item, and a platform for experimentation. Snap does not talk about art, but rather from the perspective of those who encounter it: children, young people, visitors, people. We understand mediation as shared storytelling, as a space for resonance, polyphony, and the sharing of perceptions. Snap makes visible what happens in the spaces in between: a quick whisper behind a hand, an embarrassing slip-up, an unexpectedly good thought, a snap of the fingers.

Snap is designed by Thea Kleinhempel and appears at irregular intervals, but several times a year, and can be purchased for €2. A snap of the fingers.

The program is a collaboration between Kolumba Museum Cologne and the Kinder- und Jugendzentrum Meschenich. Snap No. 1, Dec. 2025, “The Gems” is an edition of 500 copies. The concept was developed by Susanne Heincke.

* To snap (English): The sound made when the thumb and finger (usually the middle or index finger) are rubbed together quickly and the finger snaps away jerkily. It is a gesture used to attract attention, signal an idea, or just for fun. In the film Tongs Untied (Marlon Riggs, 1985), it is a powerful, liberating sign of black gay identity—a short, concise sound with multiple meanings.

The L.A. Review of the Moving Image documents the shifting landscape of film culture in Los Angeles. Over the past decade, the city’s creative life has expanded beyond its traditional centers, moving away from Hollywood premieres and studio theaters into a constellation of smaller, experimental spaces. Today, moving images circulate through artist-run cinemas, living room screenings, rooftops, cemeteries, guerrilla file shares, Twitch streams, and group chats. This dispersed yet coherent network reflects a culture where watching, rewatching, editing, and remixing have become collective rituals.

The Review approaches the moving image not simply as content, but as encounter; asking where films are shown, how they are shared, and how they reshape communities and publics. It positions itself within this fragmented geography as both observer and participant, chronicling the ways moving images continue to organize memory, desire, and cultural identity in Los Angeles.

The newspaper and the marketing materials use Ceraph, a flaring semi-serif designed by Emma Piercy available at Sharp Type. Ceraph’s distinctive blend of sharpness and warmth mirrors the project’s contemporary and experimental spirit. Its versatility makes it well-suited for both editorial contexts and promotional materials, giving the Review a consistent yet characterful typographic voice. [edit: Additional fonts include Sometimes Times and ABC Favorit Mono, see comments.]

The project was led by art director Ellie Sunlight Moon, with editorial direction by Anthony Tran. Contributions were made by Mariah Flores, and publishing guidance was provided by Rachel Rosenfelt.

Unbeknownst to most Berliners, Kantstraße’s status as Berlin's Little Chinatown dates back more than a hundred years. This self-published newspaper tells the story of the first Chinese students settling in the area, the famous celebrity hot-spot Asian restaurants of the 1960s, and the diverse restaurant culture it features today.

Designed in a collaboration from Johann Jacoby and Lea Flemming, with texts by journalist and sinologist Dagmar Yu-Dembski.

This project features Pangram Pangram’s Gosha Sans Bold and Migra Extralight Italic (with adjusted k and t) as the titling typefaces, along with Degular Medium by OH no Type Co. for text.

In the style of a newspaper from the Great War, L’Homme Tranché is the result of workshops led by Benjamin Marquet, a teacher for history and geography at Collège Paul Éluard in Montreuil, France. The articles were written by middle school pupils, while the layout and printing of the newspaper were designed by Bureau Roman Seban, with their assistance. The four-page newspaper measures 23×32 cm and was printed by Association Presse Offset, Paris

Contralto Xsmall Bold (8pt) and Xsmall Regular (7 pt)

Covers of the print edition

Orbi was a short-lived multimedia platform active between 2022 and 2023. Owned by Grupo Bandeirantes, it originally focused exclusively on the city of São Paulo (Brasil), sharing news about local events and personalities in digital and physical formats.

Its offerings included a free weekly newspaper distributed at major intersections, a news website with cultural programming, a YouTube channel featuring special reports, social media with interactive content, and live events.

For the headline and titling typeface, in-house art director Cleber Machado chose Naipe Foundry's Pacaembu, citing that the typeface's research and origins – São Paulo's most iconic stadium – aligned perfectly with their goal to represent São Paulo’s heritage and identity. The Orbi logo appears to be a custom design.

The running text is set in Carol Twombly’s Chaparral while captions and other small texts are set in Jeremy Tribby’s Barlow, published through Google Fonts.

In late 2022, Orbi started offering versions for the ABC Paulista (Greater São Paulo Area) and Belo Horizonte, capital city of the Minas Gerais State, all sharing the same visual identity.

A spread from the print edition

Covers of the print edition

A spread from the print edition

Covers of the print edition

A spread from the print edition

A cover of the print edition

The nameplate in squooshed Daphne on issue 1, 1995

Valstiečių laikraštis (English: “The Peasants’ Newspaper”) is a Lithuanian-language newspaper targeting farmers. First issued on August 27, 1940, by the newly established Lithuanian SSR, it has survived into the post-Soviet era, making it the nation’s oldest continuously published newspaper.

The newspaper initially used different nameplates with custom lettering, see the images at the end of this post. The current logo was introduced in the early 1990s, after Lithuania regained independence. Chances are it debuted in 1992, when the newspaper was privatized after being briefly published by the Ministry of Agriculture. It’s definitely in use since 1995.

The typeface is Daphne, designed by Georg Salden (b. 1930) and released for photo­type­setting with Berthold in 1970. You can read more about the typeface and how it led to the formation of the GST-Kreis in a previous post. I don’t think Daphne existed in digital form in the 1990s. It’s possible that the unknown logo designer used the phototype version, or worked from a printed sample found in a type catalog. Three decades later, the newspaper logo in green Daphne is still going strong and has been adapted to signs of various sizes, with varying amounts of stretching.

Since 2012, an official digital version of Daphne is available from TypeManufactur – with the correct proportions as intended by Salden.

The newspaper nameplate on an issue from 2010

Even more squooshed than usual: the logo in Daphne in extra-large use on top of a building close to Vilnius International Airport, spotted in 2015

Newspaper stand on Gedimino g. 27 in Kaunas

Office building in Vilnius, documented in 2022

The first issue of Valstiečių laikraštis had a nameplate composed of bold blocky sans-serif letters with a characteristic angular S (compare to Koloss). Shown here is a red version from no. 33, December 1940.

Already in 1941, the nameplate was redesigned to feature a free-wheeling bold italic didone. Like the precursor, it’s a custom logo and not based on a typeface. The shown issue is from 1946.

Sometime between 1948 and 1957, the nameplate was redrawn to feature connected letterforms. This issue with a particularly clumsy rendition dates from August 1970. Variants of this logo were still in use in 1990.

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.

Byraa Bodø has designed the exhibition identity for Mot Nord / Fra Nord for art museum Bodøgaard.

Bodø used the book weight of Store Norske Maleri from Skriftkompani. It’s paired with LL Akkurat and, on the museum website, with Neue Helvetica.

The exhibition consists of two parts. Mot Nord (“Towards the North”) shows works by Peder Balke (1804–1887), the first Norwegian artist to depict the northern parts of the country. Fra Nord (“From the North”) provides a rare insight into the earliest known printed documentation from the High North, through Terje Øiesvold’s collection of books and prints on the pictorial history of the Cap of the North from 1550 to 1850.

Located at Skeiddalen 2 in Bodø, Norway, the show is open until September 22, 2024.

Exhibition poster

The exhibition catalog comes in newspaper format.

Animation for social media

In the exhibition

After its comeback in March 2024, Gonzaï finally publishes its second issue. On its green cover, the famous producer and artist Mirwais breaks his silence in a surprising interview. Also in this issue: the story of an engineer who became an internet star; the comeback of Suzi Ronson (David Bowie’s former hairdresser); the must-have book, album, show of the summer and much more to discover inside. All guaranteed free of adverts — except the fake ones.

The French tabloid periodical designed by Quentin Hourie is set in News No. 2 and Etrusco Now and printed in two colors.

The Gonzaï logo is based on Futura. Secondary typefaces used in issue Nº2 include FT88 and Brush Script.

Description of the project by Agnès Dahan Studio (translated from the French):

As part of the Parade exhibition at the Biennale de Chaumont 2023, we designed a newspaper commenting on 23 full-scale book covers produced by the studio. At Vanina Pinter's request, we tried to describe our creative drivers, our working methods, recount our encounters and the anecdotes that punctuate our projects and make each book a unique experience. We've also specified the techniques and materials we use to best reflect the materiality of each edition.

The newspaper is entirely set in Remix B. It measures 332×475 mm and has 48 pages. The Parade exhibition took place from May 27 to November 21, 2023 at Le Signe in Chaumont.

The New York Times Magazine’s “The Voyages” issue 2024, art directed by Gail Bichler and Claudia Isabel Rubín, uses Maria by Threedotstype and NYT Mag Serif as well as some NYT Mag Sans by A2-Type.

It explores the display features of the Maria Connected typeface for all its titles and the index. Carina del Valle Schorske and Molly Young (Perfume story) carefully wrote the stories. Powerful photography by Gueorgui Pinkhassov, Marta Luccisano, Matthew Pillsbury, and Christopher Gregory-Rivera. What a trip!

The Typography and Communication Design students at St.Gallen School of Design (GBS) were tasked to design a 16-page St.Gallen newspaper for visitors at the LUGA fair in Lucerne. In addition to a printed issue, the result was a giant walk-in newspaper that covered an area of 780 square meters. It featured interactive elements such as texts, infographics, and images that visitors could touch, admire, and read.

Franziska was chosen for all types of text and goes beyond the usual dimension: With a combination of Regular and Italic styles, and weights ranging from Black to Hairline, Franziska proudly displays the details that are usually shown in smaller sizes. The giant newspaper took type size to a whole new level, as the x-height is no longer measured in points, but in shoe sizes! Furthermore, Novel Sans was used for bylines.

The compressed sans used for the nameplate as well as for page numbers is yet unidentified.

Launched in January 2013, Gonzaï magazine is one of the first French media to jump on the direct-to-fans system. This underground independent title talks about music, cinema, literature, geek and pop culture.

After its suicide at the end of 2022, Gonzaï came back in March 2024 as a newspaper that’s free of adverts – except for false ones. Its purpose? To tell the story of today's underground culture by revisiting the fundamentals of yesterday’s freepress. This new tabloid periodical, designed by Quentin Hourie, is set in News No. 2 and Etrusco Now and printed in two colors.

The Gonzaï logo is based on Futura. Secondary typefaces used in issue Nº1 include FT88 and Tiny.