Poster for my solo poster exhibition titled Typoposterized, held in Berlin from 17 March till 13 April 2026. It took place at PANDA Platforma, a cultural venue famous for being a hub for independent shows and exhibitions, where you can listen to jazz or poetry while watching the works of designers and artists on the walls.

Since my main practice is typographic posters, the name Typoposterized was proposed by exhibition curators as a pun on both typography and pasteurized milk, safe from harmful bacteria (or safe from anything except of typography). The poster consists of digital lettering, acrylic paint applied to clumps of paper, the playful Onlysans by Daria Cohen, and the somewhat stricter, more functional and rhythmic FL Art Grotesk by Alex Slobzheninov of Flight Mode.

The original poster was screenprinted at Bankov Print Space in Prague by the legendary Peter Bankov and Julieta Fedulova.

Seelenwesen reden by Andreas Bratz is a collage-based artist’s book combining photographic fragments with short poetic texts in a continuous, associative sequence.

The text is set in Bull-5 Mono, whose monospaced structure introduces a steady, mechanical rhythm across the pages. Used for both longer passages and brief text fragments/credits, it establishes a consistent grid that contrasts with the irregularity of the collages. Its typewriter-like tone reinforces the book’s process of assembling and recomposing visual material.

Graphics for an event organized by No Glucose at Bologna’s Freakout Club, with umru, Aaron Rumore, and Luna Lias.

This poster series for Plugball (yes, the sex toy) is a collaboration between Plug.Radio and community center Circolo il pallone, both based in Bologna, Italy.

Colossal presents itself as “an online art magazine based in Chicago that celebrates contemporary art and visual culture across a wide range of creative disciplines, and is focused on both emerging and established artists”. As a cultural agent, the team behind Colossal also “curates and produces several exhibitions annually, hosts artist workshops online and off, facilitates talks, and publishes opportunities for artists every month”.

From a typographic point of view, it is also a visual feast, which matches the mag’s editorial ambition with an impeccable art direction (as it should be).

On the About page, the editors state:

In a world brimming with information overload, an epidemic of loneliness, climate catastrophe, capitalism run amok, and social inequity, we curate Colossal to focus on the most positive, diverse, and impactful stories that bring about change and meaningful connection. We intend to amplify the voices of artists working toward more equitable and sustainable futures through innovation, unexpected materials, humor, spectacle, and vast reserves of skill and hope. We are supported largely by our extraordinarily generous members.

Such an editorial statement could only be paired with an excellent and vibrant design, and these people and their design partners deliver.

Colossal was redesigned by Firebelly, and it was one of the winners of the 2025 STA 100 Judges’ Choice, awarded by the Chicago-based Society of Typographic Arts.

Departing from the original logo designed by Armin Vit (Brand New), the Firebelly and Colossal joint redesign venture came up with a wordmark that spawned the bespoke Colossal Display, with two distinct wavy S glyphs that feel like they were ritually trimmed at the base with an ancient katana.

In the project page dedicated to their collaboration with Colossal, the agency says:

After rounds of aligning, playing, and imagining, we crafted a final direction on the logo that is dad & son tested and approved — really! This final, larger-than-life mark brand speaks to the core values: play, whimsy, and curiosity. Subtle adjustments to letterforms (especially the distinctive ​“S”) helped preserve Colossal’s recognizability while introducing a tongue-in-cheek referential nature.

As far as headline elements and body text are concerned, the two workhorses that power this publication and art endeavour are its trusty sans, Visuelt (Colophon), and a ridiculously elegant and legible Fabric Serif (Monokrom), which – dare I say – belongs in the same Hall of Serif Fame as Ivar Text, Tiempos, the Feature Collection, Newsreader, Victor Serif, Tid, IvyPresto, Aktuell, Reckless Neue, SN Litteratur Text, etc.

Both Visuelt and Fabric Serif are used in different hierarchy text instances, and they handle both responsibilities with ease.

Article headline with date, byline and share options in Visuelt

Text detail in Fabric Serif

Homepage detail (top)

Homepage detail (bottom with footer)

From Madrid to Brest, Domino is a team of creatives and activists committed to social and environmental justice since 2018.

The agency uses Maroni Condensed by Calame.Bureau for the logo and headlines, supported by Atipo’s Brockmann.

This work traces the history of photography from its invention in 1827 to its contemporary uses, through the collections of the Nicéphore Niépce Museum, which comprise four million photographs, 8,000 cameras, and 30,000 magazines and technical or illustrated books. Off the beaten path, it presents an “alternative history” of photography, focusing on the richness of the medium in the diversity of its techniques, artistic movements, and modes of dissemination. It documents the social, documentary, and commercial dimensions of photography from its origins. Deliberately heterogeneous and quasi-encyclopedic, it bears witness to the many paths taken by photography.

The design of this publication, published by Éditions Textuel, was entrusted to the French graphic designer Le Petit Didier. He chose the typeface Garaje (with Garaje Mono, by Thomas Huot-Marchand, 205TF) for headings and subheadings, and the typeface Portada Text (José Scaglione and Veronika Burian, TypeTogether) for body text and captions.

Biscuiterie koi is an artisanal biscuit maker. In November 2025, they opened a pop-up shop at Mineral House in Hwasun-eup county, South Korea.

For their black-and-white identity they selected WT Bobine’s Bold weight, using it in different scales such as a big display sign on the shop window, and small poem-like inscriptions on the biscuit packagings.

Zeena Bakery’s visual identity, designed by Portrait, uses 00 Wagram Mono Slab by D0UBLE ZER0 Foundry throughout. The typeface appears across the logo, packaging, printed materials, and the website, providing a consistent typographic system.

Based in Brooklyn, born in Bilad Al-Sham, serving Arabic baked goods and flavors of the Arab world.

00 Wagram Mono Slab is part of the 00 Wagram Collection, a serif family influenced by late-1990s and early-2000s office typefaces, as well as historical models such as Monotype Plantin. The collection is built around a neutral base that extends into more varied styles.
The identity is complemented by handmade linocut ornaments, which introduce texture and contrast alongside the controlled typographic framework.

Emcee Studios – stylized as emcee – is a lifestyle and fashion platform built for discovery. Their mission statement is “social commerce powered by people”. The branding was designed with Richard Turley and Echo Wu of FOOD. Focal Maxi was originally commissioned as the workhorse typeface in their new brand system, across web and app and some in store. Focal Maxi works along a custom headline typeface based off the logo that is sparsely used. 

Postlife is an independent magazine exploring how technology, community, and the human condition intersect, sometimes merging seamlessly, sometimes colliding in unexpected ways. Through essays and storytelling, the magazine invites readers to reflect on how technologies, or their absence, shape our identities, our relationship to nature, and even our understanding of death.

This second issue continues Postlife’s critical and poetic approach to current culture. Mixing digital aesthetics with organic imperfection, it visualizes technology meeting the human condition: structured yet messy, artificial yet alive. The logo captures this duality. It isprocedurally generated rather than being hand-drawn, forming, shifting shapes that feel both biological and digital. Typography and materials echo the same contrast. Machine inspired lettering balances order and warmth, while justified text and loose letter spacing introduce tension. Uncoated paper roots the magazine in the tangible, while a metallic overprint adds a futuristic sheen.Postlife stands as a reflective object in itself, not just a magazine, but an experiment in how editorial design can capture the instability and curiosity of our time.

From Nyshka Chandran, Resident Advisor:

One of Los Angeles’ best parties returns with another explosive lineup. From RHYW’s shapeshifting club selections to Sister Zo’s percussive magic, this will be a night of searing breaks and futuristic techno.

The poster for Fast At Work uses Offset TM, a distressed display sans by Type Mania. The typeface features three stylistic sets that automatically alternate, producing organic variation throughout the text.

Every Apple is a limited edition aromatic stone sculpture by Clue Perfumery. Shaped like a ceramic apple core, it is soaked in perfume oil to gently release fragrance notes inspired by the entire life cycle of an apple, from crisp skin and mealy pulp to timber, seed, and botanic rot. The apple is accompanied by a poster featuring drawings of apples by 29 invited artists, making it a multisensory collectable for the home.

Store Norske Eleganse from Skriftkompani is the typeface used for the campaign’s visual identity. With its refined forms and graceful presence, Eleganse perfectly matches the poetic, slow-release character of Every Apple. The typeface adds a sense of sophistication and quiet allure to the campaign, echoing the sculptural and aromatic qualities of the product.

The 20-minute documentary In Search of a Landscape follows visual artist Chrystel Lebas who engages in long-term projects involving photography, sound, and video. Her work documents and reveals changes in nature driven by ecological and anthropological interactions.

Starting from a 1723 map, she explores the territory surrounding the Hofgestüt complex in Bleesern, reflecting on its history, the challenges of preserving the former court stud farm as a monument, and the ambitious renovation project led by the local community. The initiative aims to transform the site into a public hub for nature, agriculture, and culture.

The film was by created by Grupppo in collaboration with the Passage artist-in-residence program and produced by Förderverein Hofgestüt Bleesern e.V. It premiered in Bleesern—where it was filmed—on the occasion of Tag des offenen Denkmals. The film’s title and poster was typeset in HAL Timezone, its subtitles in HAL Timezone Mono, both published by HAL Typefaces. The film can be viewed on Grupppo’s website.

Design studio HyperPension created a poster for the exhibition 198X, organized by the Design History Society of Korea. The exhibition revisited the 1980s through the lens of creators born in the 1990s and later, especially in the section titled “Young Eyes, 198X”. The assigned theme for this poster was “The Dawn of Color TV in 1980”. In Korea, color television broadcasting officially began that year.

The headline is typeset in Megascope and the supporting text in Circule. The fully circular counters in the headline (9, 8, 0) and the supporting text (O) blend well with the central graphic.

At the center of the poster, a pale white dwarf begins to wane, while a planet with an iridescent atmosphere appears to wax. This abstract visual composition evokes a sense of transition—from black-and-white to color, and from one era to the next.

The exhibition was held at DDP (Dongdaemun Design Plaza) from November 12 to December 7, 2025. The poster was produced as a 120×300 cm large-format banner.

The identity for Poirier Coutansais establishes a dialogue between Art Deco and modern rationalism, between ornament and structure. Designed by eschenlauer sinic, it extends the philosophy of Victor Poirier Coutansais’s practice, where craft meets concept, and sensibility meets precision.

The wordmark follows an architectural approach to letter design. Loosely inspired by the decorative proportions of Gershwin, its construction recalls the spirit of Parisian Art Deco façades, where geometry became ornament. The rigid framework is balanced by more lyrical, almost calligraphic details reminiscent of hand-tooled metal or carved wood from the applied arts of that era.

This is countered by the use of Figure Monospace, whose mechanical logic introduces a contemporary tension – a dialogue between the analog and the digital, the handmade and the systematic.

Around the logotype, a custom visual vocabulary was developed: frames, borders, and star-shaped symbols act as rhythmic markers throughout the system. Echoing the geometric motifs and gilded fillets of the period, these elements bring a sense of controlled fantasy. Each motif serves a functional purpose, merging hierarchy and decoration in the spirit of modernist applied arts, where structure becomes ornament.

The identity finds its balance in a form of inhabited precision, where the rigor of the line becomes a vehicle for emotion.

Kuturar: Live at the Mammoth Museum consists of a recording of a performance by Yakutsk-based stoner rock band Kuturar in the P.A. Lazarev Mammoth Museum, interspersed with videos about the museum collection.

The typography concept is grounded in the idea of weight – both literal and symbolic. The music of Kuturar, a Sakha (Yakut) metal band known for blending ancestral themes with experimental heaviness, embodies raw mass and density. This visual identity translates that sonic gravity into typographic form.

The design employs Alte Haas Grotesk and Apple Garamond Light, creating a tension between a solid, utilitarian grotesque and a refined serif. The pairing reflects a dialogue between the primal and the cerebral, echoing Kuturar’s fusion of ancient echoes and modern distortion. Wreckage Grotesque is mixed in for its tactile, fibrous quality reminiscent of mammoth fur.

In the final credits sequence, typography becomes the gravitational anchor of the composition, organized around a photograph of mammoth bones – a visual counterpart to the band’s thematic core. The same sense of heaviness is mirrored in the video thumbnail, where the shadow of the lettering physically “presses” on the typography, reinforcing the concept of weight and permanence.

The lettering was generated using AI tools Midjourney and Firefly, merging technological precision with organic texture to create a hybrid typographic expression – one that feels both ancient and futuristic.

Although there is no need to present another showing of Helvetica, this one is too bad-ass not to share. Has there ever been a more bad-ass poster about calligraphers and letterers? (That was not an invitation for you to send us posters about calligraphers and letters that you think are more bad ass.) This one by Georg Schmid is a total stunner and one of our all-time favorites. Also, it’s a good excuse to look up the work of Lore Bujatti, Friedl Goldschmid, Hertha von Larisch, Epi Schlüsselberger, Georg Schmid, Gretl Wollner, and Leo Wollner. Get to it.

Jaime Pintado Ruiz a.k.a. Jimbo is the driving force-serving as the legs, brain, and heart-behind Looping Gramps, a project that brings together his passions, values, and the people he loves. It’s inspired by his grandmother, Marina.

Jimbo’s goal was to “loop his grandma” more deeply into his life, allowing them to share experiences and joy despite the distance between them. Rather than simply providing her with a tracking number for his ride, he chose to involve her in both the preparation and the purpose of the journey. Marina, who has always been a source of support for those around her, now seeks to extend her help to a broader community. Jimbo had long promised her that together they would strive to make the world a better place. When defining the project, they quickly agreed on a shared mission: to combat loneliness among elderly people and to offer affection to those who feel forgotten.

I’m aiming too “loop my grandma” into my life more and more so we can enjoy ourselves together in the distance and more aspects of life. For this reason, this time, I would not just give her a tracking number but I would involve her in the preparation and purpose of the ride. She has helped everyone she has had around immensely and now has this need to help on a broader scale. I always promised her that together, we would make the planet a better place and, when defining this project, we both quickly knew how: fighting against loneliness in elderly people. Giving affection to those who feel forgotten.

Murcia (Spain), the starting point and my homeland. The rest of the route is unplanned and will be guided by my heart. I will ride nonstop and unsupported until the candle goes off, pushing my body to the limits, compromising sleep, and taking certain risks. While lightened, the candle will take care of me, as it always did.

The project's bold typography is a mix of KTF Rublena, ALT Systema and Right Mono.

Poster for INSIDE, an event at Indie Club in Cervia, Italy, featuring Nicola Ceccarelli, Victor Leonardi, and Alessandro Haenni. The typography pairs Mineral Solid with Kiblind and Marianne.