The current identity for art center Kunsthaus Potsdam was designed by Onck West, using Affairs and FT Kunst Grotesk throughout. From the studio’s case presentation:

Kunsthaus Potsdam was founded in 2000 by the artists Hubertus von der Goltz and Frank Michael Zeidler in the former equestrian military hospital of the Garde-Ulanen barracks in Potsdam. The building now houses an exhibition hall and several artists’ studios. With the arrival of a new curator and a renewed focus on contemporary art, the Kunsthaus asked Onck West to develop a fresh visual identity. Our design was inspired by the extraordinary building and the time in which it was created.

Film posters for the feature documentary Shelf Life – observing the parallels of the cheese aging process and the human experience of growing old.

Linda Mai Green is a filmmaker based in San Francisco whose work often explores women’s internal landscapes through surreal visual narratives. Alongside directing music videos, contemporary Indigenous dance films, and Vietnamese American voter turnout ads set to cha-cha-cha rhythms, Green has developed a diverse body of work supported by institutions such as SFFILM—where she was a 2024–2025 Resident—as well as the Mill Valley Film Festival, Eastern Oregon Film Festival, and The Redford Center. In 2025 she premiered her award-winning narrative short Mondegreen, which is currently on the international festival circuit. The film’s poster and title graphics were designed by Mike Tully, a New York–based independent designer, educator, and writer who collaborates with artists, architects, publishers, and cultural institutions on editorial, exhibition, identity, and research-driven design projects.

For the opening titles, Tully chose DOSS, designed by Marc Rouault and distributed through Sharp Type. Specifically, the titles use the Problem Micro style from the DOSS collection, combined with Sharp Earth for supporting typography. Inspired by the logotypes of construction and hi-fi audio brands, the DOSS family also references the aesthetics of ’90s rave culture and ’80s sci-fi. Across its styles—Exaflop, Acid, Plexus, and Problem—it is characterized by exaggerated geometric structures, rounded counterforms, and unicase character sets. Paired with the pragmatic, globally oriented sans serif Sharp Earth, the typography in Mondegreen’s opening sequence balances expressive display forms with functional clarity, demonstrating how contrasting voices from the same type foundry can shape the tone of a cinematic title sequence.

The design explores the idea of transforming a minimal element—a dot—into something expressive and meaningful. It proposes a visual reflection on the present moment, encouraging viewers to slow down, observe, and engage more deeply with what is happening now. The dots that construct the custom letterforms symbolize the multiplicity of experiences and possibilities that exist in the present.

At the lower edge of the composition, two lines of text run horizontally across the design. This typographic element reinforces the conceptual message while introducing a chromatic counterpoint to the dominant vertical structure.

The use of colors reinforces this concept, evoking a diversity of moments, emotions, and experiences available in the here and now. As a whole, the poster functions as a quiet reminder to pause and reflect, inviting viewers to value subtle details and to perceive everyday life with greater attention and openness.

FAWA was a queer, solidarity-oriented venue in Paris combining a cultural center, community restaurant, and club. Developed as a collective initiative, it served as a shared living space where social engagement, culinary practices, and cultural events coexisted between 2023 and 2025.

The team of FAWA and edition.studio worked together to develop a visual language, using Phonk for a mural and the announcement of a mini-market.

Exhibition poster and workshop promotion for Flos Mortis, a project by Zaad. From voordekunst’s website:

Zaad is an annual permaculture magazine project—visually entertaining and intellectually educational—that promotes home gardening (organic farming) & home cooking by focusing on a single vegetable per issue. Our 1st issue (launching in 2026) focuses on the tomato!

Flos Mortis is a photography exhibition on the theme of Death, organized in collaboration with photographer Sungjae Joo and presented in July 2025 at projectspace 38/40, Amsterdam Noord.

“Route To Christmas” is a folded poster (55×80 cm) designed by Lars Schrodberger für effektiv Druck+Veredelung. The print, packaging and paper finishing company in Fürth also produced the product to market their craft and services. The poster acts as a calendar leading up to Christmas eve with 24 entertaining facts about the holidays. On the reverse side it also functions as gift wrapping paper, printed in two spot colors on Soporset Premium Offset 80 g/m² paper and finished with gold hot foil stamping. The outer folder is produced with Gmund Used 8 300 g/m² and stamped with white foil. It is typeset in HAL Timezone by HAL Typefaces and KTF Forma by Kyiv Type Foundry.

Created as part of the Posters for Gaza solidarity initiative, this poster contributes to the collective effort to support Doctors Without Borders through graphic design promoted by ADG-FAD.

The composition centers on a tree of life constructed through language. Words are woven into form, spelling out a single, unequivocal message: Life for Gaza. Drawing from Palestinian tatreez, the piece reinterprets this ancestral embroidery as a contemporary graphic system, where repetition functions as an act of remembrance and resistance.

The message is clear and direct, standing as a firm visual gesture in defense of life.

Zeit zu sterben is the German title of Tiempo de morir, known in English as (A) Time to Die. The Colombian-Cuban co-production is based on a script by Gabriel García Márquez. Directed by Jorge Alí Triana, the film stars Gustavo Angarita, María Eugenia Dávila, Enrique Almirante, and Sebastián Ospina.

The art on the poster for the East German release by Progress Film suggests a rooster’s head, with the beak depicted as a bullet. The tombstone-like letters for the title are from Buster.

Steffen Knöll gracefully showcasing the print

Poster for OHAYŌ, the project presentation of the Master’s students from the Weissenhof Fine Arts program at the ABK Stuttgart, shown from 24 October to 23 November 2025 at Villa Merkel, Esslingen. The poster was designed by the team of Studio Tillack Knöll (consisting of Sven Tillack, Steffen Knöll and Zevako Maryna). It’s a three-color silkscreen print on DIN A0 paper, 
flawlessly executed by Lézard Graphique.

The typefaces used on the poster are HAL Magic (designed by Elias Hanzer and Lucas Liccini and released on HAL Typefaces) for the text and information, and OO Theran (in Black weight; by Laura Csocsán and released on Outline Online) for the bold, dot-matrix type of the title.

Print detail

During production. Photo by Lézard Graphique.

Print detail

During production. Photo by Lézard Graphique.

Print detail

Koalicje wody / Coalition of Waters is an exhibition presenting works and actions by contemporary artists that address environmental issues. The participating artists share their visions across three locations under the Baltic Gallery of Contemporary Art in the Słupsk region.

Curated by Agnieszka Kilian and Romuald Demidenko, the exhibition focuses on observing our surroundings in the face of climate change, taking the River Słupia and the Baltic Sea as its points of departure. The reflection on water – as a force that transcends borders and fosters symbiotic relations – is inspired by Édouard Glissant’s concept of Tout-monde.

The exhibition identity was designed by Karolina Pietrzyk and Tobias Wenig. All typography is set in KTF Prima by Kyiv Type Foundry.

Poster and program flyer for Forum Neues Wetter, a series of talks in Grimma, Saxony, organized by the office for spatial design laufende quadratmeter (lfm2, Christian Göthner) and artist collective Situation Room (Sven Bergelt and Kai-Hendrik Windeler).

DIN A2 (42×59,4 cm), folded to A5, printed with two HKS spot colors.

Custom title lettering combined with the headline typeface Gamuth by Max Esnée and the body typeface Friedl by Camelot Typefaces.

On August 5, at the Romania Pavilion of Expo 2025 in Osaka, representatives of the governments of Ukraine and Japan explored the immersive exhibition of contemporary Ukrainian art titled Home Beyond the Dawn (Дім за зорею).

Tatiana Berezhna, Acting Minister of Culture and Strategic Communications and Ukraine’s General Commissioner at Expo 2025, addressed the participants and guests with a welcoming speech.

Home Beyond the Dawn, running until August 12, is a 30-minute video installation featuring works from 30 Ukrainian artists. The project was first presented in Mexico and now has the opportunity to introduce itself to an Asian audience at EXPO 2025 in Japan.

It was curated by Natalia Matsenko, Yuri Yefanov, and Clemens Poole, and featured adapted works by Kateryna Aliinyk, Yehor Antsyhin & Lucy Ivanova, Katya Buchatska, Bohdan Bunchak, Dmytro Chepurnyi, Timur Dzhafarov (John Object), Zhanna Kadyrova, Semen Khramtsov & Rina Khramtsova, Sytuatsiini klumby (Anna Nykytiuk, Dasha Chechushkova, Kseniia Shcherbakova), Anastasiia Leliuk, Yevhen Maloletka, Viacheslav Mashnytskyi, Sasha Maslov, Daniil Nemyrovskyi, Viacheslav Poliakov, Sofia Pomohaibo, Georgiy Potopalskyi (Ujif_notfound), Polina Raiko, En Rozen, Vasyl Sai, Pavlo Sirko, Elena Subach, Sergei Sviatchenko, Stanislav Turina, Yuri Yefanov, and Anna Zvyagintseva.

Yuri Yefanov provided the visual direction and composition. 3D modelling, digital artwork reproduction, and CGI support was done by Pavlo Sirko, and the sound design and score by Georgiy Potopalskyi. Mila Kostiana was in charge of the graphic design and used Ufficio Display for the typography. The Japanese font is Kozuka Gothic, see comments.

Theatrical poster for Bugonia

For Yorgos Lanthimos’ latest film, Bugonia, the Greek director has teamed up again with longterm graphic designer Vasilis Marmatakis, At the center of the marketing campaign for the film is a weird geometric typeface called Churchward Roundsquare. The font is one of many designed by New Zealand graphic designer Joseph Churchward (1933–2013), founder of Churchward Type. His biography can be found in the Encyclopedia of New Zealand:

Samoan-born graphic designer Joseph Churchward was an internationally renowned typeface designer whose work graced record covers, billboards, newspapers and popular literature such as posters and brochures around the world, both during his lifetime and beyond. He hand-created around 700 typefaces, drawing upon influences from his Pacific heritage and family. His work was well known to the international design community from the 1960s but was not prominent in New Zealand until Te Papa Tongarewa acquired his archive and held an exhibition of his work in 2009.

In the context of Bugonia, Vasilis Marmatakis uses the typeface in quite a jarring manner. In the trailer for example, Marmatakis disturbs the naturally flowy Adobe Garamond Bold Italic for the credits, choosing to interrupt them halfway through with the harsh, sharp edges of a single letter of Churchward Roundsquare. The end result is jarring and off putting, a perfect tonal fit for the film work of Yorgos Lanthimos.

Churchward Roundsquare print negative, from the Museum of New Zealand (Te Papa Tongarewa)’s Pacific Cultures Collection.

Emma Stone credit, from the trailer

Jesse Plemons credit, from the trailer

Yorgos Lanthimos credit, from the trailer

In 2024, the Hongik University Visual Communication Design Club Festival Week: SISO presented Our Index, a group exhibition.

We were nine students participating, each categorized into a distinct “index” based on our area of interest. While our directions may seem different, we all began from the same starting point: design.The nine clubs are classified according to indexes that reflect their respective areas of interest. Although we may seem to move in different directions, we all share the same point of departure—design. Through this exhibition, we bring together these indexes of our perspectives and interests under the title Our Index. The indexes formed at this origin embody the shared identity we create together. What began as separate focuses becomes a collective identity grounded in our common origin.

The identity makes prominent use of Megazoid for its titles, supported by a trio of sans serifs that share the heavy lifting: ABC Rom Condensed, Neue Haas Grotesk, and SD Gothic Neo 1.

The visuals were designed by Juhyeon Kim and Woosung Jung.

The Hofvijver Regatta is a rowing event held at the eponymous Hofvijver in The Hague (Den Haag). Every year, local rowing teams come together to row for the good cause.

This was the first use of Grandessa and features a numeral 2 with a closed counter, which has been changed by now. Especially for this event I’ve also added the Dutch IJ to allow for a slight increase of the headline size.

Originally it was planned to print all three posters in A1, but the management didn’t manage. In addition we produced a sweater and stickers.

Les Tragédiens is Jean Desbordes’s first novel, published by Grasset in 1931. It tells the story of a son’s love for his mother until the painful separation. This book, which has never been republished since, is read and performed by Olivier Charneux—a writer, playwright, and director—during special evening readings.

For the occasion, Toan Vu-Huu uses BVH Anto Rounded Italic in a colorful poster.

The poster was exhibited at the 31st International Poster Competition at Le Signe, the National Graphic Design Center in Chaumont (France).

To celebrate the centenary of the Cité internationale universitaire de Paris, French art center CNEAI (stylized cneai =) activated Le Musée sans bâtiment (“The Museum without a Building”), a proposal by Hungarian-born French architect, urban planner and designer Yona Friedman.

From CNEAI:

The Musée sans bâtiment is a museum without doors, walls or roofs, open to exhibitions by all, to collections by local residents, to public debates, to social customs, economies and ecologies.
The Museum without a Building consists of some twenty cubes, designed using large steel hoops placed freely on the site. “They serve as a support for artworks made from packaging or other objects: graphic works, collages, photographs or graffiti partly created by the public.” (Yona Friedman) The Museum without a Building is open to all.

For the occasion, designer Odilon Coutarel created a triptych of bright-colored posters, exclusively using Benjamin Dumond’s Michaux in its Regular weight. Symbols and illustrations emulate the typeface’s somewhat chaotic energy.

Mir’a creates cultural events such as concerts, screenings, and exhibitions to promote Middle Eastern and North African artists in some of Europe’s most prestigious venues. Their new visual identity was created by Zaina, and is typeset exclusively in Forma DJR Arabic, designed by Wael Morcos and Khajag Apelian, and its companion Latin that was revived by me (David Jonathan Ross) based on the original Latin from Nebiolo.

Zaina describes their thinking behind the identity:

The visual identity reflects Mir’a’s unifying mission. The bilingual logo design plays on the relationship between the two wordmarks, with shared punctuation and harmonious stacking. The symbol evokes cultural synergy, emphasising the connection between Arabic and Latin writing to create a simple yet striking icon. The typography-led communication uses both scripts assertively to present the artists and their native countries in a spirit of representation and integrity.

I worked with Zaina to customize Forma DJR Arabic with a series of fine-tuned weights between Medium and Bold, and the alternate R and j deployed as the default forms.

This is the first time I have seen Forma’s Latin and Arabic bouncing off of one another in this way, and I am so happy to see Zaina harnessed this interplay so successfully in their work.

Post Tenebras Lux. Les vitraux du Musée Ariana is an exhibition at the Musée Ariana, the Museum of Ceramics and Glass in Geneva. The exhibition’s visual communication was developed by the Geneva-based studio Giganto, and the scenography was created in collaboration between Giganto and Narrative.