Mothering Myths: An ABC of Art, Birth and Care is a 300-page book by Laurie Cluitmans and Heske ten Cate. It was designed by Bart de Baets in a softcover 24×32 cm format and published by Valiz (Amsterdam):

Motherhood is a theme that touches upon the core of life, but has nevertheless been kept in the private sphere, haunted by clichés, stigmas and myths for a long time. Motherhood has always been seen as trivial, not as a subject for real art. At the same time, artists with a womb faced the cliché that they had to decide between making art or having a child, as they both would take up all the time and energy of the mother.

Mothering Myths unravels these clichés, stigmas and myths, through the lens of art, and a transhistorical and intersectional perspective, at the same time being very playful and open to many interpretations. It breaks the perspective of the individual mother-figure and makes space for collectivity, different forms of ‘mothering’ and political questions around self-determination. Mothering Myths presents the emancipatory nature of the artist- mother, the voluntarily childless woman, the non-female mother and the raven mother, through concepts as kinship, revolutionary parenting, womb consciousness and reproductive justice.

On the occasion of her exhibition Total at Lafayette Anticipations, this catalog traces the practice of artist Martine Syms (b. 1988). Between intimate references, historical archives, cultural representations of blackness, feminist history, and invocations of spirituality, Total is a survey of the artist’s creative production and artistic sensivity since her career start in 2002.

Text by Guillaume Houzé, Rebecca Lamarche-Vadel, Claudia Rankine, Hannah Black, and Martine Syms. Edited by Antonine Scali Ringwald, and Martine Syms.

Rayon Vert is a design studio for bold and playful objects and luminaires based in Bordeaux, France. The visual identity was created by the French studio Forme Brute and features EE Rajola, designed by Luismi Gómez. EE Rajola is used in its Plena version, slightly modified to give the logotype a unique touch. It is paired with Auger Mono designed by Max Phillips and Seán Mongey from the type foundry Signal, which is used as the corporate typeface.

Our Shelter is an exhibition that took place in Seoul. It explores “shelter” as a threshold between life and death, where —

artists turn enduring images and ritual acts into encounters with ruins, memory, and the living presence of the dead.

The exhibition ran from August 19th to September 7th, 2025. It was hosted and curated by Kim Yubin at LDK.DT.

The graphic design for the exhibition is by Passage Group. It utilises two distinct typefaces: for the title, OO Theran by Laura Csocsán (released on Outline Online) and, for the smaller texts, Takt by Janis Gildein, sometimes paired with a yet unidentified Korean Myungjo typeface [edit: it’s Eulyoo1945 by Mingoo Yoon, see comments].

Niul is the first cosmetics brand in Brazil to adopt aluminum cans as packaging. This decision stems from a simple yet impactful fact: while almost 100% of aluminum is recycled in the country, only 1.3% of plastic meets the same fate. The proposition is straightforward – clean, vegan, and cruelty-free formulas in infinitely recyclable packaging that can be transformed back into containers, closing the loop.

The visual identity puts the planet at its core. Shapes echo world maps, doubling as flexible graphic elements and becoming a visual asset recognizable across brand applications. These shapes are also the starting point for the mascot, with a plant sprouting from its head symbolizing a healthy, thriving planet. Curious, attentive, and friendly, it embodies Niul’s spirit.

The cycle of melting and reconfiguring aluminum inspires the custom-drawn logo and the brand's animated behavior, reinforcing the idea of continuous transformation. This concept is also reflected in the typography, with the solid impact of Greed as primary typeface, always used all capitalized to ensure the urgency of the recycling conversation and the boldness of the product proposal. Also contrasting with the fluid strokes and connected serifs of DaVinci, to balance the branded impact from Greed with light and organic feeling for a variety of communication.

Deeply rooted in nature and environmental commitment, Niul offers an innovative approach to conscious consumption and planetary responsibility.

Investigating Decentralized Action in Art was designed for Baltan Laboratories, a cultural institution based in Eindhoven, the Netherlands.

The publication is the result of ARTeCHÓ, a European initiative connecting five institutions to support artists exploring art, crypto art, blockchain, and NFTs. It explores how AI and NFTs intersect with art, economy, and politics, questioning their sustainability and equity.

Through essays and artworks, the book challenges centralized systems, colonial legacies, and extractive capitalism, proposing decentralized, autonomous alternatives for a fairer digital future and new forms of collective knowledge and creativity. It was edited by Marlou van der Cruijsen, Lorenzo Gerbi, and Julia Kassyk, and published by Lecturis.

The design is built upon the concept of digital brutalism, to recall the material foundation (the hardware) that sustains any software. Harber and ABC Monument Grotesk, along the material qualities of the book, contribute in creating such “digital-brutalist” aesthetic.

CRSL also designed the visual identity of the related exhibition Decentralized Futures, held at Koelhuis in Eindhoven, during Dutch Design Week 2024, see this previous post.

“The international bestseller” is added in caps from a Didot.

The raw, visceral energy of Akwaeke Emezi’s Little Rot finds a striking visual counterpart in the typeface Good Girl designed by Marion Bisserier. Set against a backdrop of intimacy, hunger, and defiance, the title design leans into the grotesque beauty of Emezi’s prose – unflinching, emotional, and gloriously corporeal.

Used for the cover treatment and supporting visual assets, Good Girl delivers sharp, sculptural forms that feel both confrontational and deliberately off-kilter. Its uneven rhythm and bold personality echo the themes of bodily transformation and emotional reckoning that run throughout the work.

Much like Little Rot itself, the typography refuses to be neat or easily digested. It’s typographic grit – loud, unapologetic, and perfectly aligned with Emezi’s fearless storytelling.

Front panel with a blurb by Bolu Babalola. Secondary type is in Voyage.

Audio book cover

“Ukraine is like a prison you can’t get out of, and Kyiv is my cell. Only skateboarding allows me to escape.” This sentence, uttered in the summer of 2023 by twenty-five-year-old skateboarder Aleksandr Burchak, sums up the stagnation in which Ukrainian youth finds itself. Photographed with a silver camera from the 1990s (XPan), this work by Robin Tutenges reveals the dead time of a war that shattered Europe in the winter of 2022. It’s a step sideways, abandoning the litany of breaking news to show how the conflict reconfigures everyday life, right down to its most trivial aspects. Here, skateboarding is more than just an unusual way of talking about a brutally confiscated youth: the figures of these teenagers appear as an act of resistance and creativity in the face of the violence imposed by Russia. The panoramic format, similar to the dimensions of a skateboard, represents this reduced horizon, where the board is now the only opening: for the time of a few tricks, those who could be soldiers escape gravity. This photographic series was supported by the Centre national des arts plastiques ( Cnap), as part of the “Performance” national photographic commission.

This 100-copies self-published booklet, bound with two black staples, plays with the panoramic format, using multiple flaps and folds to accentuate the composition of the images. The title is set in Tempel Softland, the introduction in Minotaur Sans, and all other texts (captions, comments, imprint) in Yorick, using its Cyrillic characters. 32 pages and 36 fold-out flaps, 110×200 mm. Photographs by Robin Tutenges, editorial and graphic design by Théo Miller.

Naked Paper is a UK-based paper company specializing in unbleached paper products. The company was originally named Naked Sprout but recently unveiled a complete rebrand designed by Otherway.

Though the press release describes the logo as a “flowing wordmark, inspired by the gentle curve of paper, speaks to softness and simplicity”, it's actually a slightly customized version of Central Type's Piegraf. The open counter shapes have been rounded to further emphasize the visual metaphor of rolls of paper. All in all, it's well-executed though if you look closely at the interior shapes of the K, the customization of the curves is a bit clumsy.

The body copy throughout uses Extraset’s ES Build, whose circular curves nicely complement the wordmark.

OSHI is a talent development platform that creates fertile ground for driven musicians and aspiring creative professionals through collaboration and connection. Inspired by R&B, soul, jazz, hip hop and related genres cultures, the visual identity of OSHI is based on a colorful and impactful graphic system.

The typography combines Baste from Lift Type, used for logo and titles, paired with Denim INK from Displaay Type Foundry, used for all other texts.

Designer Camille Moreau writes (translated from the French):

To coincide with the 2024 Olympic Games, the Archives nationales d'outre-mer has published its first collection of stories drawn from political archives, colonial personnel files, private archives, photographic collections and sports newspaper collections. Histoires sportives offers an overview of sport in the French colonies: a political and media object, a mirror of a society in tension, it was used by the French state as an instrument of control over colonized populations, who also seized upon it in the fight for their independence. Designed as a newspaper that unfolds as a poster, Histoires sportives reinvents the graphic and typographic codes found in newspapers of the time, which I had the pleasure of consulting in the Archives' incredible collection.

Desire Lines is a collateral pavilion of the Venice Art Biennale 2024. The project brings together three independent European cultural institutions: Proforma (UK), Begehungen (DE), and PASE (IT). Their goal is to build connections between artists from the European scene through residencies, exhibitions, performances, and other events. This edition features the work of artists such as Edgar Leciejewski, Margret Hoppe, Max Magaldi, Pierpaolo Ovarini, and Omari Taylor.

The visual identity is initially built around the concept of an apparent grid – both evolving and flexible – that serves as a foundational structure. It evokes the idea of a modifiable playground, a dynamic visual framework reflecting the diversity of creative approaches and perspectives of the invited artists. The logotype block unites the three entities, reinforcing the idea of connection and links, symbolized by a line that takes shape, illustrating the various possible paths. Each line becomes a guiding thread, a metaphor for the exchanges and connections woven between the different cultural actors and the spaces they occupy.

Hey Kids, Watch This! is a new book designed by Studio Elana Schlenker and Jordi Ng and illustrated by Anna Haifisch. The book features over a hundred kid (and parent)-friendly films, activities, and a family film tracker to rate and record your impressions of each movie.
The project is produced and edited by the film and TV production company A24.

Projekt Roku is an annual competition in Poland that highlights and celebrates the best design works in various categories. It covers areas such as graphic design, typography, branding, and social impact, offering recognition to both professionals and emerging designers. The initiative is focused on promoting creativity and innovation within the design community, while also reflecting on the social and cultural relevance of design projects. By showcasing diverse design solutions, the competition helps set trends and inspire further exploration in the design world. It is organized by the Association of Applied Graphic Designers (STGU), the largest organization of graphic designers in Poland.

The winner of the Grand Prix is invited to design the identity for the next edition. For the 22/23 edition, TEKIO used Komuna and Halisa.

Eterna Fantasía is a small personal project created as a gift for the designer’s sibling, Miquel Feixas, a professional futsal player for FC Barcelona. The football-inspired shirt features F37 Burton, a rounded display sans.

Swedish studio Bukett Grafik created the identity, signage, and a small catalog for the second round of the exhibition Sopor är bra at Rian designmuseum. In the spirit of the theme, it became a low-tech solution with recycled signage materials and laser prints on colored office papers.

For this project, they used a pairing of Baste (from lift type) for titling and Founders Grotesk Text (from Klim Type Foundry) for text. The Rian designmuseum logo is set in Wigrum (from Production Type).

Das Fest gegen Rechts. Für eine bessere Demokratie (“Anti-right wing party. For a better democracy”) took place on May 18, 2024, in Stuttgart. The rally, filled with poetry, music, and speeches, was headlined by Max Herre, Max Uthoff, Walter Sittler, Tanja Thomas (University of Tübingen), Klaus Dörre (University of Jena), and Serkan Eren. The event was moderated by Maike Schollenberger and Joe Bauer. The following groups were also involved: Theater Rampe and Stuttgart gegen Rechts (“Stuttgart against right wing”).

The rally was initiated by Netzwerk gegen Rechts and the graphic design was delivered by Bureau Progressiv, set in HAL Repost (published by HAL Typefaces).

Rory Clifford collaborated with SODA_UX to design and develop the SODA_UX Graduation Website. The website showcases the final year projects of students enrolled in the BSc (Hons) Digital User Experience Degree Apprenticeship (DUX) and BSc (Hons) Web and User Experience Design (WUX) programs at the School of Digital Arts in Manchester, UK.

The main font used for the website is Hofmann by Nguyen Gobber, an expressive display typeface based on a 4×4 dot grid. Rory Clifford playfully incorporated Hofmann’s distinctive appearance by overlaying characters and glyphs to create various colourful shapes and intersections. The positioning of the letter shapes is randomised to continuously produce new vibrant compositions. The website also allows for user-controlled colour manipulation through mouse interactions.

Hofmann is paired with Sono by Etcetera Type Company and Crimson Text by Sebastian Kosch for running text.

INDIE is proud to present ROLE/PLAY, an homage to both the world of cinema as well as the art of book making.

Created in special partnership with Chanel, ROLE/PLAY celebrates the transformative power of fashion in film. Starring actors Suzy Bemba, Marlene Burow and Galatea Bellugi, photographed by Daniella Maiorano, and a featuring an interview with Olivier Assayas’ go-to costume designer, Jurgen Döring, ROLE/PLAY marks INDIE’s most standout print project to date. As an ode to the transformative power of fashion in film, it playfully probes how costume empowers character.

Referencing the the iconic designs of 80s and 90s VHS tapes with their eclectic font mix and handwritten stickers, all 500 copies of the limited edition carton page book in special matte finish were lovingly numbered and labelled by hand.

Designed by Louisa Victoria Clever for her Master thesis at HfK Bremen, Patriarchat mit Todesfolge (“Patriarchy with fatal consequences”) aims at interrogating on gender-based violence worldwide. The project includes an installation (230×120 cm) and a publication (40×57,4 cm). From Clever’s Instagram post (translated):

Gender-based violence is one of the most common human rights violations worldwide and the numbers continue to rise. We should move away from the idea that the obvious is enough to overcome patriarchy. The patriarchal structures are deeply rooted everywhere in our system. They are in business, politics, family life and our legal system. These structures provide the breeding ground for the highest level of patriarchal violence: femicide. Hardly discussed or ignored by the system for years, the numbers are still enormously high today. We have to work together to overcome this system and one step among many is thematic discussion. In order to be able to remedy the grievances, we need to know where they come from and where they reach. This is exactly where we have to start and change the system from the ground up so that all people in a society can live equally and self-determinedly.

Set in Fabio XM by Giulia Boggio.