Bastardo Grotesk for Colmar’s refreshed website. The clean and sharp aesthetic fits perfectly with their sporty and clean style.

Superior Ingredients, launched by 74Wythe, is a well-established independent nightlife venue in NYC that has been reimagined for a new era. Dedicated to showcasing a diverse range of dance music, the space hosts artists and DJs from around the world.

For its 2021 rebrand, Superior Ingredients partnered with Fuzzco, a South Carolina-based creative agency, to develop a visual identity that seamlessly extends from the physical venue to its digital presence. The design system accommodates the venue’s dynamic programming, transitioning effortlessly from rooftop gatherings in daylight to the immersive atmosphere of the nightclub below. The identity also supports the venue’s ability to transform from a corporate event or wedding setting into a nightlife experience within hours.

A defining feature of the brand is its exclusive use of Pilat, a typeface by General Type Studio, in two distinct widths. This typographic approach provides both structure and flexibility, reinforcing the venue’s evolving character across different spaces and events.

CAP Beauty, the self-described “destination for the best in natural effective skincare, plant based pantry goods”, uses Wulkan alongside Futura across their own in-house products.

The performance "Los Idiomas" by Alessandra García explores how language shapes our perception of the world and our relationships. Alessandra reflects on oral, physical, and emotional languages and how these forms of expression can either connect or separate us.

What makes this piece unique is that Alessandra doesn’t speak any language. This absence emphasizes the universality of the body and emotions as tools for communication. Through her intonation, movements, and non-verbal communication, the actress becomes the language itself, speaking them all without knowing a single word, turning limitation into strength.

The staging takes place in an intimate space where Alessandra uses words without understanding any language, accompanied by bodily movements that invite the audience to question how language defines our identity.

For the visual identity, we translated the sonority of languages into typography. Using Formula Condensed for the headline “Los Idiomas,” we displaced the sheet during the scanning process, creating a wordmark that reflects vibration and movement, in harmony with the essence of the performance. For the residual information, we used Neue Montreal and Noto Sans (for the Japanese and Arabic parts).

Niger et Albus is the official catalogue of the Venice Biennale Theatre 2024, designed by Tomo Tomo Studio. A book that goes from black to white, crossed by silver. Cross-cut by alchemical fascinations and the universe of combinatorial play. A voyage of discovery and deconstruction that interprets the pivotal theme of this fifty-second International Theatre Festival, a labyrinthine and fragmentary journey but also one of discovery and ascent, from black to white.

Composed entirely in Union, with widespread use of all caps to allow the typographic composition to draw a page grid as regular as possible, so as to integrate with the basic grid pattern made up of all the squares that from time to time appear or disappear on the page. Printed in three colors on normal, black, and transparent paper.

Edited by Stefano Ricci and Gianni Forte. Editorial co-ordination by Flavia Fossa Margutti. Published by La Biennale di Venezia.

Grocery is a retail and concept space in Nørrebro, Copenhagen. The visual identity, designed by Valdemar Juul and Harvey Wise, perfectly captures the innovative and modern spirit of the store. Grocery stands out with its contemporary and laid-back approach to shopping for clothes, blending local traditions with international culinary influences.

The design duo created a minimalist and impactful visual identity, using the Slussen Mono typeface from Blaze Type to give the project a unique and functional character. This monospaced font evokes a utilitarian yet sophisticated aesthetic, ideal for reflecting the clean and urban image of the store.

Brutwax offers “homemade brutalist homeware”:

Chamber is a solid concrete sculpture, designed to conceal a single tealight that when lit, illuminates the inner walls, creating a warm, diffused glow.

The Monolith is a two-part pillar candle, composed of an all natural wax upper and a concrete base.

The packaging design by Everall Design utilizes FKT Sinvoll Sans Mono.

Ladna and Turist (WIP) in use for ULTRA-RED: A Journal of Militant Sound Inquiry Vol. 1, designed by Ott Kagovere. Publishing house Rab-Rab Press describes the project as follows:

For their thirtieth anniversary, Ultra-red, the international sound art and popular education collective is releasing the first volume of ULTRA-RED: A Journal of Militant Sound Inquiry, investigating movement-based listening practices that take the forms of militant inquiry and political education.

9am Health is a California-based company delivering tailored digital solutions for people suffering from diabetic conditions.

Skinpossible is a skincare brand based in South Victoria, Australia. Their brand identity and packaging design were designed by AKLR, pairing Bagoss from Displaay Type Foundry and Simon Mono, available from Actual Source.

Solare by Nikolas Type, among TT Interphase by TypeType in use for the portfolio website of Rodolfo Sarno.

Rodolfo Sarno is a user interface and interactive designer with a diverse body of work including clients from the likes of R/GA Sydney, VML Sydney, the Commonwealth Bank of Australia, and Qantas Airlines.

As seen in the domain name rdlf.co itself, the preloader of the website is displaying the designer’s name without vowels, playing with Solare Italic and TT Interphase in the mix. The initial, fixed throughout the site as a center-aligned signature element, is using the Italic style of Solare.

Interactive exhibition design

Waterdicht is an exhibition for contemporary art. Ten artists created specific works that relate to the exhibition’s immediate surroundings, namely Fort Maarsseveen. The fort and the landscape around it are part of the New Dutch Waterline.

We found the given topic of water an interesting one to design with. In abstract form for the identity and in a literal form where visitors could use watering cans (filled with the water from the moat around the fort) to read the information on the signs near the works of art – because it appeared only after spraying the signs.

Exhibition poster

Interactive exhibition design

Motion graphic

Flyer design

Webdesign in Webflow

With the title of the exhibition, Living in a Pastime Paradise, artist Michael von Brentano refers to a song by Stevie Wonder from 1976, in which the singer laments that most people focus only on the pleasant aspects of the past and elevate them to a paradigm for the future.

I incorporated this theme into the design by combining two different fonts by Pangram Pangram: PP Monument, representing the present/future with its clean and structured form, and Playground, reflecting the embellished past with its playful and ornate style. This contrast is further echoed in the background, which shows the reflection of an upside-down forest in a frozen lake, blurring the lines between reality and illusion, past and present.

Graphic design for Konstfack Research Week 2025, which is hosted by Konstfack University of Arts, Crafts, and Design, Sweden’s largest art school. Research Week is a five-day event consisting of lectures, workshops and panels focused on artistic research. many events are open to the public.

The logo and layout are fully coded in DrawBot and printed material is produced with Konstfack’s Risograph printer. Depending on whether the material is printed or digital, the colour combination is switched around.

Concept, design and printing by falk schröter, a current Masters student in Visual Communication at Konstfack. The fonts used are vägra!, as a display typeface and for titles; bonk for the icon; and Latin Modern Roman for everything else.

Digital A6 program booklet

Announcement banner graphic

Zine about design process, shown in Konstfack’s library

Tobias Moser harnessed the bold, dynamic flair of VZWO Choreo Display, blending its massive black style with its sleek, swinging thin style to craft captivating posters and animations for the electrifying “UMTRUNK” event by Hochschule München’s Faculty of Design.

The night kicked off with a public screening, building anticipation for an unforgettable DJ set by the one and only DJ Alberto Amore.

Iconic House has commissioned the Parisian creative practice eschenlauer sinic to design a book (and website) to present the legend surrounding the Chalet de l’Inconnu. This famous chalet, located in Megève at the heart of the Mont d'Arbois domain, was originally built by Jean Walter and Henry Jacques Le Même. It is now being offered with a renovation project signed by the interior design agency Claves. Inspired by Domenica Walter—the original owner of the chalet—and her art collection, our typefaces and layout evoke the elegance of mid-century art catalogues. We also drew on archival documents, including original plans and correspondence, to guide our choices. Our aim was to imbue the project with historical depth and sophistication while adding a contemporary twist.

The exuberant and luxurious Chalet de l’Inconnu: it resembles nothing that existed and nothing after it will resemble it.

— Centre d’archives d'architecture du XXe siècle en Savoie

Editorial and web design by eschenlauer sinic, featuring a custom digitization of ITC Busorama, alongside Persona (logo), Herbik (text), and Pantasia (captions etc.).
Interior design by Agence Claves (Laure Gravier & Soizic Fougeront)
Production by Iconic House
Computer-generated imagery by jeudi.wang
Photographs by Adel Slimane Fecih

Spring greeting card by French designer Véronique Simon, using Amster for the texts and some of the initials of Amster Versal Iluminada (both by PampaType).

Евге́ний Брусило́вский. Воспоминания с комментариями и иллюстрациями (English: “Evgeny Brusilovsky. Memories with Comments and Illustrations”) is a book edited by Nari Shelekpaev and published by Tselinny Art Center. The typefaces in use are Columba Ruby and Text by Lewis McGuffie.

The hardcover publication measures 170×248 mm and was printed on Mondi 60 g/m² paper by Service Press in Almaty, Kazakhstan, in an edition of 1,000 copies. ISBN 978–601–7158–06–4.

Note from the publisher (translated):

The memoirs of E. G. Brusilovsky deserve interest for many reasons. Firstly, they are a valuable ego-document that not only describes the life path of Brusilovsky himself, but gives an idea of the country in which the author lived most of his adult life, and of the people with whom he communicated and worked in Kazakhstan. Many of these people were key figures in Kazakh politics and culture in the second third of the twentieth century. Secondly, the memoirs help to understand how the Sovietization of Kazakh culture took place in the 1930s and 1940s, shedding light on this process “from the inside.” In this way, they compare favorably with official sources, which inform the reader about what the local or union leadership wanted to achieve, but leave without attention to how exactly certain directives of the Soviet government were implemented. Thirdly, Brusilovsky’s diaries are of interest precisely because of their subjective view of Soviet Kazakhstan: not being a native of Kazakhstan, the author discovers the country for himself and writes about it with disarming frankness.

Issue 06 of Respect magazine is title “Ailleurs, Ici” (“Elsewhere, here”). According to the magazine’s Instagram account, this issue deals with the concept or territories:

Territories seen by territories, experienced by their inhabitants, supported by public and associative players – that’s what our special territories feature is all about.

Respect is a French quarterly magazine, designed by Paris-based graphic design studio Zoo using Waldenburg, paired with a version of Times.

SantosDilone and Hyphenated developed a new identity for Nike Diamond, the baseball and softball subbrand of sportswear company Nike. The new identity is centred around the slogan “Doin Damage”, symbolizing the impact of youth in revitalizing the iconic sport. In doing so, they aim to attract and inspire a diverse, younger generation, infusing the game with a fresh attitude.

The primary typeface of “Doin Damage” is Farmacia by Nguyen Gobber. It’s a bold condensed typeface combining geometry and sharp angular shapes found in old baseball stadium signage, street posters and classic Nike fonts. Farmacia is used for headlines and big, bold typographic treatments, while Neue Helvetica from Linotype is used for all further typography. The typographic treatments serve complementary expressions to highlight athletes’ initials and numbers, extending the visual language of “Doin Damage”.

The new visual identity for Nike Diamond utilizes a flexible, modular grid system inspired by the diamond-shaped baseball field. This adaptable framework allows for dynamic and energetic layouts, enabling flexibility with typographic sizes, styles, and proportions. Its modularity ensures consistency across various touchpoints, reinforcing the ‘Doin Damage’ identity.

The motion language is inspired by the action inside and around the diamond. It’s decisive and snappy edge to edge. Every movement has a clear intention by a specific direction and speed, indicating no hesitation in the athletes’ actions. Short holds and fast speeds define the rhythm of the sequence. The motion design was created in collaboration with Thru Motion.