A modular social identity system for Public Records, a music venue and cultural institution based in Brooklyn, New York. The system covers club posters, lineups, schedules, live performances and editorial content – conceived as a flexible visual toolkit for high-frequency communication. WT Garamono and Univers were used in combination to create a typographic language that moves between cinematic and expressive, using scale and composition as narrative tools.

Mint is an annual architecture magazine made for Fresh Architectures. Each issue discusses an architectural project from several angles: societal, technical, economical or ecological. Mint invites professionals to talk about topics related to the project.

Opus (edition) 3 tackles the transformation of a nautical base taking climate change and water preservation into account. More broadly, this issue tackles the future of French coasts.

The typography changes with every issue. In this edition, the design by Travaux-Pratiques pairs Roman Grotesque with a yet unidentified serif typeface [edit: it’s Lyon, see comments].

Hitos del cine venezolano is an editorial and exhibition project by journalist and researcher Gil Molina. It is an unprecedented work within its genre, both in Venezuela and across Latin America, tracing 125 years of history through its most significant milestones.

Following four years of rigorous research – supported by filmmakers, critics, the CNAC, La Cinemateca Nacional, and La Hemeroteca Nacional, as well as the endorsement of 47 international film festivals such as Cannes, Venice, and Berlin – the project culminates in the book and exhibition titled Hitos del cine venezolano: 87 películas / 87 carteles. In this showcase, the graphic pieces have been reinterpreted by designers Ricardo Báez and Juan Mercerón.

Focusing on contributions that explore composites as art and design forms, as research methodologies and practices, and/or as theoretical concepts, issue 60 of the review Azimuts – Design Art Recherche proposes that composites can be understood as a mode of presentation or representation of realities. Different hypotheses have been explored by the researchers and creators gathered here.

Reading their proposals, we can consider that their narratives define composites either as smooth, since the glue that aggregates the various components is invisible, or as rough because the glue, conversely, is visible.

Thus, this issue of Azimuts proposes, through the authors, to understand and define the specific materialities of this glue in that it is a binder, negotiating relationships. It is then a question of considering these sticky materials as a space, a transition, a break, or even a silence. Or, to quote novelist, poet and philosopher Édouard Glissant, “as a relationship, an opposition or a consequence”.

It is published by École supérieure d’art et design de Saint‑Étienne.

Villa Libertad, Une communauté italienne en Argentine is the title of my Master’s degree project made at ÉSAD Pau. It is the result of a graphic and historical investigation initiated from genealogical research conducted in the northeast of Argentina. In the parish archives, I encountered a forgotten priest called Pedro Cisamolo who was living in a town named Villa Libertad and populated almost exclusively by Europeans. Between 1895 and 1901, this individual drew more than a thousand illustrations in those registers: animals, plants, landscapes, people, religious iconographies, buildings, smiling suns, etc.

This discovery was the point of entry into the history of the migratory and colonizing policies of 19th century Argentina. The law of 1876, in particular, is considered a turning point because it allowed, at the expense of the Argentinian Government, the coming of thousand Europeans who upon arrival were offered land to cultivate. Thus, in many provinces, colonies – as an artificial urban centers – were established. Villa Libertad is one of them, the first national colony of the Entre Ríos province.

This editorial project is made up of two complementary books. The first relates a historical study rooted in 19th century archives and more recent works conducted by Alejandro Fernández, an Argentinian historian. This book, through the faithful translation of these documents, contextualizes the founding and development of the Villa Libertad colony from 1872 to 1901. The second book compiles the huge amount of illustrated signatures made by Pedro Cisamolo in the parish archives. From scribble to calligraphy and finally to a whimsical bestiary, the evolution of his signatures eventually builds a singular repertoire of scriptural and figurative forms.

To emphasize the historical link between Italy and Argentina, typefaces from both countries were used. Titles and section markers are set in Borges Gris from the Argentinian foundry PampaType, and the body text in Etrusco Now, from the Italian foundry Zetafonts.

Graphics for the exhibition Anden Krop (English: Other Body) at Fuglsang Kunstmuseum in Toreby, Denmark, curated by Liza Kaaring and Tore Hallas. Spine Studio used Place together with Rhymes. Place is used with the blackletter capitals from its Extra styles. The exhibition architecture is by Louise Witthöft.

See also the exhibition catalog.

Kugel und Niere is a podcast production company that operates from Munich, Germany, since 2017.

Studio Veh led the 2025 (re)branding of the company, with a highly typographic approach. From the case study:

With words being the brand’s most important asset, Studio Veh delivered a typographic solution: a flexible type system using a wide typeface that not only emphasises the larger-than-life stories, but also the impact of the podcasts’ conversations.

For the logo and titles, Veh went with Druk Wide. Then, contrasting in weight as well as structure and width, we have NaN Rage Beau Condensed Thin (mostly). NaN Rage Beau is used for secondary titles and contrast, when needed. On Kugel und Niere’s website, Neue Haas Unica is used for all body copy and sub-headings too, while NaN Rage is curiously absent.

Golden Age. Dictateurs et dictatures des années 70 is a Panini-like sticker album… of dictatorships.

It covers 29 regimes with a total of 348 stickers to collect. That’s a whole pile of despots. A project about history, graphic design, and memory. Started over ten years ago, Golden Age was finally published on June 25, 2025, after countless twists and turns – and a lot of time spent editing, coloring, or tracking down portraits that were sometimes impossible to find.

Identity and ephemera designed by French design studio Bizzarri-Rodriguez for Cercle Valrose, an experience in contemporary art. The logo is set in Harker (OTT) and the text is set in Vincent Chan’s Quadrant Text Mono by Matter of Sorts.

The pink text is set in caps from Moreau-le-jeune. It’s probably not a part of the art space’s identity.

Series of vintage postcards with the overprinted Cercle Valrose logo. The fonts used on the original postcards include ITC Avant Garde Gothic Condensed, Van Dijk, and ITC Souvenir. Again, these are not part of the art space’s identity.

Description of the exhibition by The Met:

Superfine: Tailoring Black Style explores the importance of style to the formation of Black identities in the Atlantic diaspora, particularly in the United States and Europe. Through a presentation of garments and accessories, paintings, photographs, decorative arts, and more, from the 18th century to today, the exhibition interprets the concept of dandyism as both an aesthetic and a strategy that allowed for new social and political possibilities. Superfine is organized into 12 sections, each representing a characteristic that defines the style, such as Champion, Respectability, Heritage, Beauty, and Cosmopolitanism. Together, these characteristics demonstrate how one’s self-presentation is a mode of distinction and resistance—within a society impacted by race, gender, class, and sexuality.

The exhibition is on at The Met in Gallery 999 from May 10 until October 26, 2025. The “Superfine” title is set in a modified Playground, with subtitles and body text in Wulkan (some all-caps titles using the alternate S from Stylistic Set 1) and ABC Monument Grotesk.

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.

L’aiguille & la plume, Jules Gay, Désirée Véret, 1807–1897, written by Thomas Bouchet, is a book designed by French graphic design studio Helmo.

A quick description of the book from Éditions Anamosa (translated by the contributor):

A leading specialist of the tumultuous 19th century, historian Thomas Bouchet revisits and questions biographical writing in this masterful book. He offers a “pas de deux” that brings us closer than ever to his “characters” (the needleworker Désirée Véret and the publisher Jules Gay), to their political and social commitments, and to the “shifting landscapes” that deeply color lives – theirs, and ours.

Flyer design for ULTRA, a performance by lo.me in Zurich. The event was organised and curated by Perrrformat in collaboration with Gessnerallee and CARAH – Collective for Anti-Racist Art History.

Perrrformat is dedicated to the presentation, mediation and documentation of performative practices in public space.

Designed by Silvan Possa for HOMI, a creative studio based in Basel and Zurich. The typefaces in use are KTF Compact by Kyiv Type Foundry and Oracle Triple by Dinamo.

Visual identity for the exhibition Révéler l’impact, shown in the Salle des Douches du 9-9bis (Oignies, France) from April 5 to December 7, 2025.

Through a dialogue between contemporary artworks and heritage archives, the exhibition Révéler l’impact attempts to make visible the repercussions that mining still has on our landscapes and territories today.

Curated by Sophie Huck. With works by Jérôme Bailly, Hicham Berrada, Tiphaine Calmette, Claude Como, Cléa Coudsi & Eric Herbin, Safia Hijos, Zhenqian Huang, Hideyuki Ishibashi, Caroline Le Méhauté, Dillon Marsh, Vincent Mauger and Catherine Zgorecki.

From word-famous paintings to contemporary pieces, Je veux être riche et célèbre, je serai artiste aims at showing children and teenagers the various aspects of what it is to “be an artist”. Tired of the overtold story of the pennyless genius, Dominique de Font-Réaulx (mediation director at the Louvre) tries to paint a different picture with detailed explanations about artist’s works, historical context, and vision.

The book features titles in Benoît Bodhuin’s Pimpit (bb-bureau) and texts in Jonny Pinhorn’s Karla, with italics from Loretta (Nova Type Foundry).

A presentation label accompanies each artwork, giving useful details such as artists’ names, title and techniques but also unexpected ones like the moment the work was created in the artist’s life, or the artwork size compared to an average human being. Those labels are set in Clash Grotesk (Indian Type Foundry) and Roc Grotesk (Kostic).

Published in 2024 by Éditions courtes et longues.

Located in the city of Anderlecht, Belgium, Circle Park is a former industrial terrain of 15,000 square meters. Awaiting redevelopment it is used for sports, workshops and all sorts of cultural events targeting both the local vicinity and a larger audience from the capital region of Brussels.

The 2023 Summercamp was not a single festival but a colorful bouquet of outdoor activities and festivities. The visual design in this posting acted as some sort of roof mark vaulting everything. With regard to the typefaces used, it might be described as a colorful bouquet just as much.

The typographic main act in most of the media is Blocked, a 3D font by Harold Lohner, based on Sally-Ann Grover’s precursor for Letraset from 1974. While rather hard to read, it certainly fulfills the role of eye-catcher perfectly.

The headlines one level down display Tempel Softland, designed by Reymund Schröder and published by Production Type. In use here is the Condensed variant which is the widest of the three widths available (the others being Ultra Condensed and Compressed). Tempel Softland’s design refers to wood type used to print posters. It’s conceived on a rigid rectangular scheme, using the maximal surface. Then, however, all its edges are rounded off.

On the third typographic level, Courier serves for the reading text. Originally designed by Howard Kettler of IBM as a typewriter face in 1955, it since became a prototype for many similar design approaches, a classic of the digital age.

In very small quantities you may spot a fourth font, the left-inclined Falling Script. It is the work of Masahiro Naruse and came to life on Future Fonts.

Iris Rachez mixed up Lilian and Tonka (both typefaces published and designed by Céline Hurka, with Tonka created in collaboration with Huw D. Williams) in her graduation thesis at ENSA Nancy. A notable detail is the use of the ornaments included in Lilian.

Iris describes the content of the publication as follows:

Les mystères de la nature, narration documentaire dans l’œuvre de Jean Painlevé & Geneviève Hamon (“The Mysteries of Nature, Documentary Narration in the Work of Jean Painlevé & Geneviève Hamon”) is a dissertation about the movies of the filmmaker and biologist Jean Painlevé and his co-director Geneviève Hamon. In their films, they use the cinema as a tool, an eye wide open to life, to reveal the mysteries of creatures that we cannot perceive but that inhabit ponds, streams, coastlines, and the ocean. Between scientific observations and sensitive ones, their work fosters a rich reflection on our relationship with animals, our environment, and reality.

Sonne der Relation and more Postcards from a Postcolonial Museum oder Das Expressionismus Dossier, published by Mittel und Zweck in 2024, is the title of the follow-up publication to Karten zur Kreolisierung der Welt and The Marvelous Arithmetics of Proximity and Distance oder Decolonial Reading Notes (Out of Berlin), printed in similar yet slightly darker spot colors. The author of the publication is Moses März and it was designed by Marcus Wachter, typeset in HAL Timezone (HAL Typefaces) and Gibbon (Camelot Typefaces), an unreleased typeface by Wolfgang Schwärzler.

From Marcus Wachter’s Instagram post:

[…] the maps propose a shift from linear and vertical towards transversal and horizontal ways of writing. They also propose a multidirectional kind of reading, one in which the reader may freely choose where to begin, at which degree of proximity or distance to engage with the map, and which lines to pursue further.

You Can’t Make This Up was an exhibition by and about the work of Silke Schönfeld held at Hartware Medien Kunstverein (HMKV) in Dortmund:

You Can’t Make This Up is a fitting title for Silke Schönfeld’s solo exhibition at HMKV. Her films are political reflections that often take place in unexpected spatial and temporal contexts, seamlessly moving between documentary and fiction.

Ten Ten developed the appearance of the exhibition, consisting of high-contrast typography combined with stills from Silke Schönfeld’s films. Various media such as exhibition signs, catalog, posters and digital campaign motifs were created for this visual identity.

Exhibition view and signage

Posters for the exhibition Converging Elements at Backshop, Brunnenstraße 107, Berlin.

The five exhibiting artists Nikolai Frerichs, Clemens Fischer, Yumo Wu, Moritz Jekat, and Ilse Kind investigate the in-between of nature and technology.

Kubaparis, an online platform that promotes and exhibits art online, describes the project as follows:

Observing nearby objects causes your eyes to converge and point inward. Two lines of vision that meet in a point very close by. This show is looking at the convergence of technology and nature as two elements that orbit around one an other. Their interdependency in one space results in a slowly approaching meeting point.

Unstable assemblages of ancient wood build structures which autonomously produce images from C. Fischer, are in dialogue with negative photographs of Y. Wu that play with the boundary of perception within the human brain, as they appear as positives images in front our eyes. Meanwhile Sculptures and fragile canvas engravings of teeth, seemingly exposed to never ending growth, by N. Frerichs ask questions about the contradiction of technology as a destroyer and potential savior of nature. On the other end we meet an Avatar speaking about it's deep subconscious feelings and thinking about its life before its birth, embedded into a wooden triptychon meeting with 3d printed "constructed emotions" by M. Jekat.

The design uses Cobra from Storm Type foundry and OO Arketa, a monospace font by Outline Online (Laura Csocsán and Samira Schneuwly). The pixel numbers are from a custom-built, unreleased font of Laura Csocsán, included in the design specifically for this project.