Veus de Conte is an inclusive editorial project designed and illustrated for Cugat in collaboration with the ONCE Foundation and Joan Maragall School. The project creates an educational experience through nine stories read and interpreted by children aged 5 to 10 for visually impaired children of the same generation.

The publication combines braille, tactile illustrations, and NaviLens QR technology within a playful and accessible design system, creating a multisensory reading experience that encourages literacy, imagination, and inclusion for both sighted and visually impaired readers.

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.

I use Monitor for writing text on my computer, and GT Pressura Mono for coding.
Since I was making a page for my new browser extension, I wanted to toot their horn.

Glareless is a browser extension that protects your eyes by ensuring that the background color for text areas is not overly bright.

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.

Neuma Records is a new music label founded on a profound vision: to represent the vital breath that animates the void – an active force that shapes both the individual and the cosmos.

The project includes the development of a complete visual identity, featuring a distinctive logo and a cohesive graphic system that reflects the label’s artistic and philosophical essence. The design of the first vinyl release aligns with this identity, blending modern visual elements with a timeless aesthetic. The result conveys a visual narrative that resonates with Neuma’s values and conceptual approach.

Executed over five weeks of close collaboration, the project positions the label as a unique presence in the music industry, where design adds depth and character from the very first release.

Label for CT Kidobó’s Into The Zone EP, the first release on Neuma Records

Mi Matrona set out to do something the private healthcare sector rarely attempts: make women feel genuinely held through pregnancy, birth, and beyond. The expertise was already there. What needed shaping was how that expertise showed up.

We built an identity that carries the same quality as the care itself—grounded, continuous, and calm enough to be trusted in the moments that matter most.

Born inside Barcelona's hospital system, Mi Matrona occupies a rare position. Medical rigour on one side, deep human presence on the other. The brand needed to hold both without leaning too hard on either. Too clinical and it loses the warmth that sets them apart. Too soft and it risks the credibility their clients are counting on.

The visual and verbal language we developed sits in that balance deliberately. Fluid where it needs to move, structured where it needs to reassure. A system that feels like a single trusted voice, rather than a service list with a logo on top.

The result is a brand that reflects exactly what Mi Matrona offers: one team, one thread of care, from the first appointment to the weeks after birth. That continuity is the point, the identity just makes it visible.

The sexual wellness industry has a problem. It either talks down to women or talks around them. Clinical on one side, provocative on the other, with very little in the space between that feels worth trusting.

Lua was built to change that. We were brought in at the very beginning, before a single visual decision had been made, to shape an identity for a platform that combines community, education, and products designed with genuine care. The challenge wasn't just aesthetic. It was cultural.

Sexual wellness still carries stigma in the spaces where women need it most. Lua needed to feel elegant without being cold, confident without being loud, and trustworthy without being patronising. The identity reflects all three. A visual language rooted in sophistication and restraint, a tone that is direct and warm without ever apologising for the subject matter.

What Lua looks like now is what this category should have had all along.

Spanish branding studio Wozere created the new identity of Monasterio de San Francisco, a hotel located in Palma del Río near Córdoba and Sevilla.

They chose to gather a palette of textures, soft tones, and memories that guided the creation of a visual universe where the brand’s identity can truly come to life.

The curvy calligraphic logotype in Miss Fajardose is combined with a discreet use of PoW Limerick for the initials, as well as some of its vignettes. The condensed serif is Editorial New.

Poster for the concert at Paral·lel 62 by the Catalan band of Anna Andreu, using Instrument Serif Italic over a picture taken by Sílvia Poch.

Let’s Unravel This Knot! by Anna Sperotto reveals the intricate relationship between nature, society, and technology, helping readers to reimagine a balanced future. Each page of this book was crafted to bring clarity to complex topics, using storytelling and visual design to communicate scientific insights in an accessible way. In collaboration with leading researchers, we’ve created a journey through sustainability, resilience, and adaptation. The publication is more than a book; it’s a tool for reflection and change. The book is available in four different languages: English, Italian, Spanish, and Basque.

Commissioned by the BC3 Basque Centre for Climate Change. Concept, design and creative direction by MMXX Studio, creative direction by Pianeta.Studio, art direction and layout by Marianna Rossi, and graphic design by Francesca Fossati with illustrations by Daniele Simonelli. The complementary website was developed by Andrea Macone. Nearly all text is set in Brandon Grotesque. The Typewriter style of Dico Mono is used for the author’s name on the cover and Proxima Soft is used for smaller texts.

Niceshit is a Barcelona-based animation studio. For their tenth anniversary, they asked Ufficio to redesign their visual identity. Their design pairs Onlysans by Daria Cohen (distributed by Contemporary Type) and Niceshit Non-Regular, a custom typeface designed by Fer Cozzi.

From Ufficio’s portfolio website:

From the start, we understood their work needed no extra visual layer. What we wanted to amplify was their voice. Our goal was to capture two things that were central to their work method: the collaborative team and the off-screen ideas where every project is born.

So we proposed building a custom typeface from the handwritten alphabets of all three founders: a flexible system with multiple variables per character, designed to work across different contexts and scales without losing identity.

The direction made us completely rethink the process. It was our first time designing a typeface, and we were doing it in the most unorthodox way possible. With no visual references, we let the conceptual bet guide every decision. Doing what's easy to say and hard to actually do: designing from the idea.

The Niceshit Non-Regular was then paired with a more stable sans serif of equal weight and spirit, one representing process, the other delivery. The logotype and phonogram ‘nsh’ came later as a synthesis and timeless symbols of the brand.

Graphic design and web design by Ufficio (Crista Bernasconi, Sofía Noceti, Luis Cruz) under management of Luna Nuñez. The website was developed by Juan Pinkus.

Desplazamiento is Ivy Barkakati’s second album in a decade. It sits at the cosmic intersection of minimalist composition, analog synthesizer music, drone, and rhythmic noise.

Recorded at home over two sleepless weeks in June 2021 with a Dave Smith Mono Evolver Keyboard, a borrowed MFB-522 drum computer, and Ableton Live, Desplazamiento’s six instrumental pieces represent an unmediated expression of the raw, internal feelings that lurked below the surface of Ivy’s subconscious mind during the early years of the global pandemic.

Merch scarf designed by Ignasi Àvila Padró for Catalan artist gavina.mp3, using Eurostile Bold Extended and featuring excerpts from the lyrics of his song “Ho sento molt” (“I’m very sorry”). Distributed by Recreo Store, the scarf is currently sold out.

Xuba means corn in Zapoteco, a pre-Hispanic language, and that is the starting point for the visual identity of this contemporary taqueria in Barcelona led by Michelin star chef Antonio Saez, where all tacos are made with this unique ingredient with its blue variant. The system designed by ESIETE expands with a series of copywriting and emoji-type icons that are displayed in packaging, content and communication.

Nestled in Nassau, Bahamas Botanicals is more than a distillery – it’s a tribute to the islands’ lush natural bounty. Since 2008, founders Andy and Juan have turned local plants, herbs and fruits into handcrafted spirits that capture the essence of the Bahamas.

Rooted in generations of Bahamian tradition, the project celebrates native plants long valued for medicine, nourishment, and beauty. By working closely with local farmers and researchers, Bahamas Botanicals transforms this heritage into a source of national pride – much like other countries’ signature spirits. The distillery’s mission extends beyond fine craftsmanship. It’s about empowering local growers, preserving agricultural heritage and building a sustainable future for Bahamian communities and the economy.

Each bottle embodies the islands’ vibrant spirit: sun, soil and sea distilled into a singular Bahamian experience: Bahamian Farming in a Bottle.

Design by Typesense Graphic Design with illustration by Studio Gudulab and Channarong Pherngjanda. Printing by Graficas Vidal & Armadans.

In December 2025, Barcelona-based activist streetwear brand Top Manta collaborated with designer Tania Marcial on a limited upcycling capsule collection. Comprising twelve one-of-a-kind garments, the project brings together reclaimed materials and hand-crafted processes to explore alternative models of fashion production and use.

The collection emerges from a shared approach to design. Marcial’s practice—centered on deconstruction, material memory, and experimental garment construction—intersects with Top Manta’s day-to-day reality, where fashion functions as craft, survival, and a tool for dignity. Each piece is developed without repetition, embracing irregularity and singularity as defining qualities, while rejecting the logic of fast fashion in favor of slower, more deliberate production.

Its graphic language extends Top Manta’s existing identity system. The fonts in use are Manter Black, a bespoke display typeface, HEX Franklin XCondensed XBold by HEX Projects, and Neue Haas Grotesk by Christian Schwartz. They are occasionally complemented by custom script and tag-inspired lettering, introducing a more gestural and informal layer.

ESIETE crafted Bun Bo Barcelona’s vibrant identity, fusing Vietnamese street energy with Barcelona’s spirit. A custom typeface features noodle-inspired strokes, paired with lively watercolor illustrations in herb greens, chili reds, and citrus yellows. Menus and social media invite diners to cómete Vietnam (“Eat Vietnam”), while their exclusive Lemon-IPA—“Bun Beer”—shines in electric indigo and golden-yellow packaging. Every touchpoint, from typography to labels, balances tradition with playful modernity.

Strategy, visual identity, storytelling, art direction and website for Hannun, a leading voice in conscious furniture.

In an industry shaped by disposable consumption, Hannun’s answer focuses on value and respect – for materials, and for local craftsmanship. Its renewed positioning balances product and mission across the entire journey: design, production and delivery.

The brand narrative connects each piece to its origin, tracing stories of collaboration and dialogue shaped by design. The tone of voice, like its products, is grounded in care, honesty, sensibility and respect. The visual identity finds an editorial balance between form and function, connecting with nature beyond the obvious.

Good design is an exercise in coherence. And a place only becomes a home when it reflects the way you see the world.

Source: jellobiafrasays.tumblr.com License: All Rights Reserved.

Barcelona Step By Step by Bert and Frances Strauss

Barcelona pam a pam is a city guide written by Alexandre Cirici Pellicer (1914–1983) and first published in 1971 by Editorial Teide, with photographs by Oriol Maspons (1928–2013) and drawings by the author. Bert and Frances Strauss translated the book to the English, as Barcelona Step By Step (1974). A version in Castilian Spanish, Barcelona paso a paso, followed by 1975.

Source: en.todocoleccion.net Maria28MM (edited). License: All Rights Reserved.

Barcelona pam a pam (original Catalan version), with Cirici’s name in Akzidenz-Grotesk

Source: srabsenta.blogspot.com Cosas de Absenta (edited). License: All Rights Reserved.

Barcelona paso a paso (Castilian version), with Cirici’s name in Helvetica

All three editions feature the same cover design by Victor Rahola – with the title set on a curve, in A.M. Cassandre’s Bifur – albeit it with different colors for the hat of the man peering in from above. The interior pages are set in Folio and two typefaces by Simoncini: Karlgeorg Hoefer’s Permanent and Francesco Simoncini’s Aster.

Source: archive.org License: All Rights Reserved.

Title page with Folio halbfett and Permanent

Source: archive.org License: All Rights Reserved.

Table of contents in Permanent. The colophon on the left is set in Monotype Grotesque.

Source: archive.org License: All Rights Reserved.

Folio mager for the chapter title “How To Use This Book”, Aster for the text

Source: archive.org License: All Rights Reserved.

Detail with text set in two weights of Aster

Source: archive.org License: All Rights Reserved.

Chapter opening with the number from Folio’s extrafett and the title in the mager.

Source: archive.org License: All Rights Reserved.

Text is interspersed with bits of history that are presented in a smaller size, also from Permanent.

Source: archive.org License: All Rights Reserved.

Spread from chapter 11 on Antoni Gaudí, with one of the photographs by Maspons. The caption is in Aster Italic.

Source: archive.org License: All Rights Reserved.

Detail with text set in two weights of Permanent

Source: archive.org License: All Rights Reserved.

Glossary of special terms

Atelier Resistance is a vintage clothing store in Barcelona, Spain. Designing an upcycling brand, a sustainable fashion trend that reuses used or stock garments to give them a second life, was led by ESIETE. The objective throughout the process has been to communicate the concept by transmitting elegance, craftsmanship, and revolution.

The naming, the creation of an ad hoc display typography and the design of an icon and self narrative, serving a good cause.