FAT International returned to endurance racing in 2024, revived by Ferdi Porsche celebrating the 30th anniversary of its 1994 Le Mans victory. In partnership with Proton Competition, the team campaigned the Porsche 963 in an all-white livery with neon green accents referencing 962 prototypes and FATurbo Express liveries.

For the 2025 season, the FAT International identity was updated with a redesigned logo featuring FAT Camera–a modified version of ABC Camera Plain–alongside a custom bitmap version of FAT Gravity Express used for the FATurbo Express wordmark. NM Beyond appeared across livery details and the team's capsule collection, with custom numerals for the car’s race number 99.

Images taken across the FIA World Endurance Championship 2025 in Imola, Le Mans, and at Fuji Speedway, photographed by Lukas Gansterer.

Attak chose Giboula by Spaghetype for the World Skate Center in ’s-Hertogenbosch, the Netherlands, both to decorate the interior walls and to tie in with the venue’s logo.

Title and poster design for Chasing Cambodia, a documentary following a Cambodian-American cyclist invited to race for Cambodia's national team.

The project began with translation, rendering the film’s title in Khmer in a way that would feel natural and nuanced to native speakers. From there, custom Khmer lettering was drawn by Fred Shallcrass, drawing from Moul script: a bold, rounded style ubiquitous across Cambodia. The letterforms carry cultural weight while holding their own visually against the Latin type.

We paired the Khmer lettering with Signal Compressed, a typeface rooted in French road signage and designed to remain legible at an angle or in motion. These qualities made it a fitting counterpart for a story about racing, and the compression amplifies a sense of speed and forward momentum. The small text is in Polymath.

The color palette and compositions take their cues from cycling kits and race jerseys, reinforcing the kinetic energy at the heart of the film.

Image and Power. Zooming into Zeppelin Photography / Bild und Macht. Zeppelin-Fotografie im Fokus is an exhibition at the Zeppelin Museum Friedrichshafen that explores how images can both hold and communicate power. It asks how images shape our understanding of history, how they can be manipulated, and when they become propaganda. The exhibition was created for the 125th anniversary of the first Zeppelin airship ascent. It examines the Zeppelin as a visual and symbolic motif in photography and connects this history to broader questions about images and power today.

Berlin-based neo.studio developed the design, creating a key visual that captures the exhibition’s core ideas in a bold and direct way. Large typographic forms interact with a zoomed-in Zeppelin photograph. Halftone textures, chromatic shifts, and vivid gradients further intensify the visual language. Generation Mono by Nguyen Gobber was used as the main typeface for titles, which were set with stacked letters to dominate the given format. The headline typeface was paired with ITC Avant Garde Gothic, originally drawn by Herb Lubalin and Tom Carnase.

The program leaflet additionally uses ABC Favorit by Dinamo.

Branding and identity for Broad Leaf Spirits, a boutique offshoot of Michigan-based craft beer juggernaut Brewery Vivant, forged as a passion project of the restaurateur to explore non-traditional brewing and distilling techniques.

The design brief was an open invitation for experimentation and play. On-site conversations led to discoveries. The team’s philosophies and external positioning? A group of self-proclaimed mad scientists who share a love for cassette futurism and bygone electronics.

50+ unique graphics were created using a modular synthesizer and oscilloscope. Sounds from the synthesizer’s patch bay were plugged into the oscilloscope and captured at 1/50th shutter speed for analog light trails and haze.

The fuzzed-out 8-bit Unknown font signals the spirit type (vodka, gin, mezcal) while Futura supports with legible sans-serif copy and descriptors. Accessible technology for those who are blind or have low vision was incorporated by printing Braille DIN as raised text with a double-hit of spot gloss.

Introducing the Sanctuary EP by Sioc, a four-track journey through meticulously sculpted drones, intricate filter automation, and eerie, mysterious melodies layered over a solid foundation of finely crafted percussion. Across these four tracks, Sioc channels emotions of longing, tension, and melancholic euphoria, blending elements of hard trance, psytek, and goa into a hypnotic and cinematic package.

Produced by Sioc with mastering by Gaute Holen and released on Flux Collective.

Design by Saurabh Kumar, using BD Alm from Büro Destruct. A big thanks to Dave for letting us use his Scythe for commercial purpose.

In 2024, TT Commons Pro became the new corporate font for Kiwitaxi.

Kiwitaxi is an international service for booking private transfers online in advance, primarily from airports and between cities. TT Commons Pro maintains a consistent style across different languages and formats, ensuring the brand looks equally confident across all mediums.

The logotype uses seomething, possibly a modified Axiforma.

MS NOW is an American cable news channel that was originally established in 1996 as MSNBC and is currently owned by Versant. The rebranding as MS NOW (a backronym of “My Source [for] News, Opinion, [and the] World”) took place on November 15, 2025.

As of May 2026, the website uses Cooper Hewitt in Medium and Bold weights for headings, navigation and short texts. Body copy as well as some headlines and teasers are in Merriweather. Provided as variable font, Merriweather is used with its optical size axis set to the smallest size, 7pt.

Kerry James Marshall – The Histories is on view at Kunsthaus Zürich from 27 February to 16 August 2026. The exhibition marks the first large-scale survey of Marshall’s work in the German-speaking world, bringing together central works from different phases of his career as well as new paintings.

Marshall’s monumental, multilayered paintings place Black figures at the centre of the image. Since the early 1980s, his work has engaged with the Western tradition of history painting, questioning its omissions, exclusions and inherited hierarchies.

The exhibition graphics were designed by Lena Huber and Chantal Hochuli, using Riant Display and Kit Rounded.

The exhibition is a cooperation with the Royal Academy of Arts, London, and the Musée d’Art Moderne de Paris. It was realised under the direction of Mark Godfrey in collaboration with the participating institutions, including Cathérine Hug for Kunsthaus Zürich.

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.

Baustelle Transformation, published by Jovis Verlag, presents ten strategies by architects and urbanists for transforming buildings, neighbourhoods, and infrastructures toward a climate-conscious future. The book was edited by Olaf Bahner, Laura Holzberg and the Bund Deutscher Architektinnen und Architekten BDA, with an interview with John von Düffel and contributions by Frank Adloff, Leona Lynen, Susanne Wartzeck, and Andreas Willisch.

The publication was designed by Bureau Est and typeset in HAL Timezone and HAL Four Grotesk, both published by HAL Typefaces.

About the book from the publisher’s website:

The socially and ecologically conscious transformation of the built environment—whether urban or rural—calls for productive discussions with the community. The sharing of collective experiences gives rise to inspiring ideas and concrete visions for the climate-neutral reconstruction of our lifeworld. Starting from these principles, architects and urbanists present ten strategies for transforming residential and office buildings, urban districts, and traffic infrastructures. They shape processes that rely on discussion and trial and error, taking lived reality seriously, experimenting with temporary utilizations, and encouraging shared responsibility rather than simple acceptance. Together, they are developing a vision of a possible future.

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.

Designed by Graham Bradley of A+ with Mallory by Frere-Jones Type, The Newlywed Table: A Cookbook to Start Your Life Together encourages newlyweds to cook at home, cook as a team, and set up a home kitchen they'll want to cook in day after day; with recipes for classic and modern dishes to build the couple’s culinary arsenal.

Recipe headings and intro texts use Domaine Display and Domaine Text by Klim Type Foundry. According to A+, the designers “created hand lettering for the cover and chapter openers, drawing on the world of wedding scripts for inspiration while keeping the letters streamlined and without excessive flourishes.”

The book was authored by Maria Zizka, a cookbook author and recipe developer, and published by Artisan Books.

Breakout #2 takes Cihan Tamti’s early explorations into real-world projects from 2022 to 2025, building on the success of Homebound—New Wave and Breakout—100 Posters. Tamti originally started Breakout as a personal experiment—treating Instagram like a graphic design gym and creating a poster every day. Without briefs or constraints, he explored typography, lettering, illustration, layouts, and bold visual ideas. Some of these early works won awards and attracted clients, eventually leading to the publication of Breakout—100 Posters, a book compiling 100 formative pieces.

In Breakout #2—100 Posters, these early experiments evolve into a wider range of projects: commissioned work for clients, community initiatives like the “Local Support Posters” launched during the Covid pandemic, and collaborative projects with other designers. The book presents all posters equally, showcasing a broad spectrum of graphic design techniques and approaches. Breakout #2—100 Posters gathers 100 selected works that demonstrate how thoughtful, original design can communicate powerfully across contexts and inspire creative freedom.

Alongside the standard edition, a small number of exclusive limited bundles are available. Each bundle includes the book paired with additional pieces that extend the project beyond print—such as a screen-printed tote bag and the custom Yolcu typeface.

WØRKS created the identity system for Converse 1908, a platform built around Converse’s archive and future creative collaborations. The visual system pairs Denton with Helvetica Condensed across identity, retail, packaging and campaign touchpoints, balancing archival Americana with a clean contemporary utility.

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.

Under Approval is a creative digital studio specialising in brand and advertising content. The website is reduced to a short self-introduction, a list of capabilities and a contact form, giving the studio a direct and highly compressed online presence.

The copy centres on lines such as “We make stuff move” and on services including precision 3D modelling, look development, digital simulation, character development, brand films and motion systems. Its sparse structure makes the website feel closer to a calling card than a conventional agency portfolio.

Typefaces in use are Store Norske Ja and Store Norske Ja Mono from Skriftkompani.

Showcase is the graduate platform and end-of-year exhibition for the students of the University of the West of England (Bristol) in the College of Arts, Technology and Environment (CATE). The platform and its identity was created in 2020 and refreshed in 2023 by Rhombus under creative direction of James Ratcliffe. Originally launched as a digital showcase during the COVID-19 pandemic, the platform was expanded as part of a broader rebrand accompanying the return of the physical end-of-year show. The website continues to serve as a portfolio space for graduates to present their work and connect with potential employers and collaborators.

The identity takes cues from the “white cube” gallery model. A restrained monochrome palette and generous white space position the students’ work as the central visual element across the website and printed materials. Typography is set in Swiss Typefaces’ Suisse Works and Suisse Int’l. From the article “Showcasing creativity” by The Brand Identity:

The typographic direction maintains the professional look of the brand, thanks to Rhombus’ decision to use the elegant, modern and cutting-edge Suisse font family which, Ratcliffe explains, “felt right for an identity that needed to bridge art and education.” Suisse Works is used for the wordmark for its classical flair and ability to “stand alone as a logo without fancy customisation.” The supporting typeface, Suisse Int’l, was chosen for its versatility and legibility, ensuring a clear hierarchy, and its utilitarian ability to maintain accessibility across the extensive website.

The artwork on the poster to the right uses Velvetyne’s Pilowlava.

Czerny's Symposium. License: All Rights Reserved.

Czerny’s Symposium, issue 001: “Kodoku” is a 204-page publication that revolves around the Japanese idea of 孤独 (kodoku)—exploring how isolation and loneliness creep into the lives of visual artists, writers, and creatives alike. Select contributors offer an intimate insight into their creative process, share how they find resilience in the face of solitude, and reflect upon the emotional journey they navigate in the act of creating.

Pantasia (Wei Huang / Counter Forms) serves as the primary typeface for the visual identity of Czerny’s Symposium—as seen in the logotype and used throughout the publication across section headings, running footer labels, and speaker identifiers in interviews. Herbik (Daniel Veneklaas / Counter Forms) is the secondary typeface used for all body text. Neue Haas Unica (Toshi Omagari / Linotype) provides visual contrast to the previous two serif typefaces as a functional and unassuming sans serif; it is applied to page numbers, artwork captions, and footnotes at smaller sizes, while blown up in scale across pull quote pages.

The inaugural issue was published in 2025 in an edition of 100. The publication includes a foreword and introduction by Junpei Satyapan, along with contributions from Charlie Broadhead, Dakota Butler, Daylen Seu, Ethan Ming, Lola Dement Myers, Shi Hong, and Weihong Zheng.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Design thinking has created divisions in the discipline: either designers are too theory driven or simply practitioners. Those feeling lost can easily turn to a language meant to inspire creative production in easy to pitch ways, where rhetoric uses design to keep power at bay, to celebrate hegemonic beliefs which are used to indoctrinate designers in bad education, incapable of imagining different futures. If you take away the post-its, the A3 papers and the markers, can designers think?

Led by Antonio Gramsci’s advice that knowing thyself requires compiling an inventory, design critic, educator and researcher Danah Abdulla pays tribute to the late architect, activist and critic Michael Sorkin, whose original list “Two Hundred and Fifty Things an Architect Should Know” inspired this updated version targeted at designers. The iterative list is not meant to be a definitive how to guide, but to spark conversations, to prompt critical thinking and to help designers reconfigure their discipline.

Published by Onomatopee in 2022 and reprinted by Set Margins’ in 2024 and 2025.