Commissioned by the agglomeration of the Pays de Gex, the bermuda curatorial team has taken over two heritage sites: the Fort l’Écluse and Voltaire’s Château. Une Clameur (“A Scream”) brought together around twenty local and international artists whose works range across the breadth of the visual arts, from painting to performance, by way of sculpture, film, photography and audio installations.

Ma’an معًا / Couleurs communes is an event inviting reflection about environmental challenges and artistic creation in the Mediterranean, bringing together designers and visual artists. An exhibition organized at the Marseille-based art and design gallery Studio Fotokino presented the result of their research, aimed at encouraging the use of natural colors in the arts, printmaking and design. The identity was designed in-house at Studio Fotokino, using the typefaces Scenery (Lucas Le Bihan, Formagari) and Exposure (Federico Parra Barrios, 205TF). The Arabic font is yet unidentified.

Fabulous Fabulist are an indie rock band from Nashville, Tennessee. Null & Noise is their latest album, with artwork by Drip. The album cover uses Times New Roman, and the band logo is set in Nebula Echo. A social media post announcing their album uses Museo Sans for small type.

For its 39th edition, the Festival International de Musique de Belfort (FIMU) – which draws over 100,000 festival-goers and 1,000 international artists each year – honors Belgium with a quirky, advertising-inspired visual identity. Conceived by me, art director and graphic designer Benjamin Puddu, the concept revisits the traditional cone of French fries. Treated as an iconic object, this popular symbol captures the festival’s energy without falling into literal folklore. The colors of the Belgian flag structure the composition, while the inclusion of wristbands from past editions weaves a link to the event's history.

The poster is the result of a close collaboration between me and IGO Studio (Steven Mazzola and Coline Munier). Known for their sculptural and meticulous approach to still life, the duo focused on authentic materiality in the face of omnipresent AI. In contrast to algorithmic visuals, the image comes from a 100% real studio production using deliberate flash lighting. This technical choice heightens the visual impact of this free festival, while adopting a frontal aesthetic that underscores the absurdity of the staging. To bring this universe to life across all touchpoints, graphic designers Sarah Not and Barbee meticulously handled the entire graphic rollout and layout adaptations.

On the typography front, the choice of Julieta Ulanovsky’s Montserrat responds to a need for clarity and power. Inspired by the urban signage of Buenos Aires, this geometric sans-serif eliminates all artifice. Its rational structure resonates perfectly with the almost commercial treatment of the photograph. Universal and robust, its raw neutrality offers an ideal counterpoint to the image, anchoring FIMU within a sustainable and coherent art direction for all audiences.

The visual universe is also adapted into a children’s version with a more playful tone. The typographic block adjusts: Montserrat becomes rounded and the letters of the word FIMU shift to create a freer rhythm. Secondary information adopts a handwritten style evoking children's writing, while the color palette swaps vivid tones for four pastel shades, all while maintaining the aesthetic rigor of the main poster.

For 2026, TRNSMT festival uses Alias Ano mainly for on-site signage and social media. A variety of typefaces including Access are used across secondary type.

Capital Radio DJ Katy Johnston presenting from the festival on Sunday afternoon

DJ George Bowie showing his Artist wristband

Flyer for a post-punk gig with Uzu and Drim, at les Pavillons Sauvages in Toulouse, France.

Title card

From Wikipedia:

The Brood is a 1979 Canadian psychological body horror film written and directed by David Cronenberg, and starring Oliver Reed, Samantha Eggar, and Art Hindle. Its plot follows a man and his mentally ill ex-wife, who has been sequestered by a psychiatrist known for his controversial therapy techniques. A series of brutal unsolved murders serves as the backdrop for the central narrative.

The movie logo features modified caps from Revue (Letraset, 1969): Compared to Colin Brignall’s original design, H and R lost the descending bits. In B, R and D, the open top left corner was closed and rounded off. E got the same treatment and was further calmed down by arms of equal length with vertically cut terminals.

US One Sheet (27″×41″) poster. The tagline “They’re waiting… for you” uses all-caps Antique Olive Compact. David Cronenberg’s name appears to be set in a heavy weight of Fiedler Gothic.

British Quad (30″×40″) poster. The designers of this version apparently weren’t supplied with the original logo and had a go at Revue’s letterforms themselves. The original protruding bits in B, R and D were made longer. E follows suit and keeps its angled terminals.

This British Double Crown (20″×29.75″) poster puts the focus on Cindy Hinds in her role as Candice (here Candy). The movie logo is paired with two weights of ITC Avant Garde Gothic.

Garçon(s) is the eighth and deeply personal album by Tom Poisson, honestly exploring themes like masculinity, aging, relationships, Alzheimer’s disease, and desire. For the cover artwork, the concept centered on memory, using childhood Polaroids of the artist and his brother—two boys raised together but shaped by different sensibilities.

Designed in collaboration with the graphic design studio Filifox founded by Philippe Savoir—notable for managing the visual communication of Angers Nantes Opéra for 15 seasons and the Festival de Cannes identity for 11 editions—the graphic challenge was to preserve the nostalgic essence of these snapshots while bringing them into 2026, letting the images speak for themselves without letting the layout overpower them.

To anchor these memories in the present, the design relies on resolutely contemporary typography, reflecting the studio's creative and meticulous approach to visual identity. The album title uses Signal Compressed (Production Type), a clean, condensed font with a subtle vintage feel that structures the composition beautifully. This geometric approach offers a sharp contrast to the texture and raw emotion of the vintage photographs.

In response, Apoc (Blaze Type) was chosen for the text. Lively, rhythmic, and almost dancing through its drawing and ligatures, it brings a dynamic and timeless quality to the layout. Since Apoc already carries the weight of a modern classic, the dialogue between these two distinct styles achieves a perfect balance, subtly enhanced by the chosen color palette to deliver an elegant, culturally grounded design.

Ode an das Handwerk / Ode to Craftsmanship was shown at Japanisches Palais, part of the Staatliche Kunstsammlungen Dresden:

The special exhibition Ode to Craftsmanship, featuring films made by Donata Wenders between 2019 and 2023, provides a portrait of skilled crafts in Saxony. Commissioned by the Staatliche Kunstsammlungen Dresden, ten installations have been created, focusing on crafts that are characteristic of the region, some of which are at risk of disappearing.

The identity by Office Kay Bachmann extends across posters, booklet, leaflet, postcards, a signage system, flags and ads.

The display titling is set in Ninna (designed by Margot Lévêque), an ornamental typeface whose swashed capitals are each conceived as an illustration rooted in the decorative arts. Secondary headlines and the date are in ABC Synt by Dinamo. The text typeface is Baton from Fatype.

The Huntington is an iconic cultural institution in Southern California, founded in 1919. Spanning a vast estate, it brings together gardens, a research library, and a museum, creating a place where history, art, nature, and knowledge intersect. Far more than just a museum or a garden, The Huntington fosters research, learning, and public curiosity through interdisciplinary exhibitions.

Base Design developed the institution’s new brand identity and supported the rebranding process through brand strategy, naming, and signage.

The typeface in use for the identity is Moulin Medium, released by Commercial Type. It’s supported by Luzi Type’s Messina Sans.

Théâtre Théo Argence in Saint-Priest is celebrating its 90th anniversary with a new visual identity designed by Léa Audouze and Jérémy Barrault. Posters, brochures, and window stickers featuring colorful streamers, using the Maroni Condensed font by Calame.Bureau.
The typeface used for the season booklet is Capraia by CAST; the website, coded by Studio Travers Média, additionally uses Inter by Rasmus Andersson.

NN Swinton is used for a current exhibition at the Musée des Arts Décoratifs in Paris:

The Musée des Arts Décoratifs invites visitors to step inside the intimate world of an eighteenth-century aristocratic residence and its inhabitants – masters, servants, and household animals.

Featuring more than 550 original objects, drawn from the museum’s collections and for most of them, rarely exhibited, ‘A Day in the Eighteenth Century: Chronicle of a Parisian Townhouse’ gather all fields of expression of the decorative arts – wood panelling and wallpapers, furniture, ceramics, silverware, clothing and fashion accessories, toys, and jewellery – to recreate the life of a Parisian hôtel particulier in the 1780s.

In a cinematic, sound-filled and scented atmosphere, the visitors wander from room to room as if they were close acquaintances, friends, or privileged guests of the family.

The exhibition is curated by Ariane James-Sarazin, Chief Heritage Curator responsible for the seventeenth- and eighteenth-century collections and the Nissim de Camondo collection, together with Sophie Motsch, Assistant Curator. The exhibition is designed by FREAKS Architecture.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

New York City Mayor Zohran Mamdani, NYC Tourism + Conventions and Team Wonder launched new initiatives to help New Yorkers and visitors explore the five boroughs during the 2026 FIFA World Cup, including a “NYC Neighborhood Passport”. The NYC World Cup campaign was designed by Arsh Raziuddin, working closely on the brand guidelines with Aneesh Bhoopathy who designed Zohran Mamdani’s campaign branding and is now a senior designer in the Mayor’s Office. It is inspired by sports memorabilia, city signage, a sticker collection, and the five boroughs. “There’s an energy that we wanted to capture and I think it’s matching New York as of right now in a way that feels really nice,” Raziuddin said, “One or two typefaces max was important for me.”

The campaign typography headlines use Dunbar Tall Ultra from CJ Type, along with Dunbar Tall Medium, Bold and Extra Bold used for supporting information. The script used for each of the five boroughs is a modified and redrawn version of Excelsior Script.

As the campaign rolls out to templated items such as transit instructions, bus lane notices, watch party posters, and queuing instructions the editable text used appears to be in Neue Helvetica.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Source: www.instagram.com vxdollface. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

Source: images.squarespace-cdn.com Team Wonder, Already Home, World Cup 26. License: All Rights Reserved.

Photo: CJ Dunn. CJ Dunn. License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Team Wonder, Already Home, World Cup 26. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Source: i.insider.com Sydney Bradley/BI. License: All Rights Reserved.

Source: images.ctfassets.net Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Graphic design for the Hyundai Department Store Pangyo 10th Anniversary by studio Major Minority based in Seoul, South Korea.

The Hyundai Pangyo opened in August 2015 as the largest department store in the Gyeonggi region, blending high-end retail with the tech-focused lifestyle of Korea’s “Silicon Valley.” By 2025, it made history as the fastest department store in South Korea to surpass two trillion KRW in annual sales, cementing its status as a premier luxury destination. It is famous for hosting the “Big Three” luxury houses—Hermès, Louis Vuitton, and Chanel—alongside prestigious brands like Dior, Celine, and Gucci. Beyond shopping, the store functions as a major cultural hub through its Hyundai Museum of Kids’ Books & Art (MOKA) and the 7th-floor Garden Terrace, which frequently hosts art exhibitions.

In 2025, the store celebrated its 10th anniversary with a showcase by visual artist Steven Harrington, featuring giant sculptures and immersive installations that transformed the shopping space into a public gallery.

Major Minority (Eunji Lee and Ted Hyunhak Yoon) did the identity and graphic design using AC Affix by AllCaps. To accompany Affix, they used Workhorse Script by Workhorse Type Foundry from Pennsylvania, United States. The project was art directed by the Hyundai Department Store Design Team Hyunsong Lee, Day Kim and photographed by Bora Jang.

Montaigne en mouvement (“Montaigne on the move”) is an annual festival organized by the association of the same name, which aims to promote the cultural and literary heritage of the French philosopher Michel de Montaigne.

For the second year, the event is focusing on philosophy in the garden, which inspired the theme of the illustration.

See also the design for the festival’s first edition.

Diploma Days bring together graduating students from KTH School of Architecture and its associated programmes, to showcase thesis projects spanning architecture, lighting design, urbanism, and related fields.

During the summer sessions, the School opens to both the public and the wider KTH community, offering access to the full range of thesis work. Invited jury members, students, and staff come together for presentations and discussions addressing contemporary topics in architecture.

Historically, important documents like diplomas were written with care, time and a bit of ceremony. This thought became a way to treat the letters as heavy, shaped, layered and a a bit too much perhaps. Almost like contemporary calligraphy, but built out of digital shapes, masks and architectural blobs. The forms also borrow something from the school itself, its rounded building and the many different projects, questions and voices that fill it during Diploma Days.

The posters were designed by Frostner Studio (Martin Frostner and William Vellinga). Thanks to Janek Ozmin and KTH School of Architecture.

Duscha Kistler is an independent mentor and coach specialised in process support for cultural institutions, art projects, funding applications and personal/project-related issues. Her website, designed by Megi Zumstein, uses Easy Grotesk (designed by Alexander Rütten and Olivia Wood of Ligature Type, available with TypeMates) as a standalone font. Easy Grotesk’s sturdy yet playful appearance is part of a colourful and constructive design that seems to mirror Duscha Kistler’s own approach to coaching.

Business cards

Postcards

Thomas Gilbert’s fan poster for 2001: A Space Odyssey is a highly stylized, refreshing take on one of the most revered science fiction movies of all time. The choice of Mostra Nuova, based on Italian Art Deco lettering of the 1930s, is an unexpectedly natural fit. The use of the movie's space station as a visual pun to represent the double-zero is genius. I can’t believe I've never seen it done before.

Gilbert makes the most of Mostra Nuova’s stylistic range, utilizing several alternate characters. Some characters have been modified—P, E, D, and particularly the S, with the inside curves made into sharp corners that give it an almost tech vibe.

Gilbert is an automotive designer working at Aston Martin and has been creating his Art Deco style fan movie posters for at least five years, often using Mostra Nuova and other Art Deco inspired typefaces. He doesn't seem to have a website, but his work can be seen on his Instagram account.

Priscilla (2023) is a biographical film about the life and marriage of Priscilla Presley, based on her memoir Elvis and Me (1985). Starring Cailee Spaeny and Jacob Elordi, the film was written, directed and produced by Sofia Coppola.

The promotional poster appears to feature a customized version of OPTI Excelsior Script, a typeface based on Palace Script.

Poster for Les garçons de la piscine (“The boys from the swimming pool”), an intergenerational queer performance by Pierre Beaudoin and Gabriel Cholette presented at Centre SKOL.

In a nod to 1970s French erotic cinema, the title is set in West Cooper Nouveau Swash while the detailing copy shows off ITC Avant Garde Gothic’s iconic ligatures.