General poster

Design Parade is a double festival for product design and interior architecture organized by Villa Noailles. It takes place annually in Hyères and Toulon in Southern France. The visual identity for the 2024 edition was once more designed by Marc Armand. This time, he worked with Image Future, a new release by Guillaume Goron. In some of the applications, text is shown in capitals from an extrabold weight, filled with a pattern. These glazed ceramic letters were made in collaboration with Maximilien Pellet. The accompanying sans is Emmanuel Besse’s Enduro. Both typefaces are available from Production Type.

Toulon poster

Hyères poster

Hyères catalog cover

Detail showing the glazed ceramic letters

Detail showing the glazed ceramic letters

Toulon catalog cover

Detail showing the glazed ceramic letters

Catalog spread with contents

Catalog spread

Catalog spread with works by Ronan Bouroullec

From design studio Avanti:

The Center of Contemporary Culture of Barcelona, have joined forces with the Institute of Photonic Sciences (ICFO), the ALBA Synchrotron, the Institute of Bioengineering of Catalonia (IBEC), and the Institute of High Energy Physics (IFAE). Together they have created an innovative platform where internationally renowned scientists and artists collaborate to imagine how science will shape the world in the coming decades: Ciència Radical.

The visual identity breaks with the traditional communication codes of research institutions, experimenting with moving typography and looking for abstract visual codes that reflect the basic principles of scientific research: flexibility, transformation and creativity.

The creative campaign aims to make science more accessible and appealing to all audiences through messages and questions that invite the public to imagine the transformative impact of future scientific breakthroughs on humanity.

The visual identity was designed using the Bold style of Melange Grotesk plus DM Mono.

Exhibition poster

Parisian art gallery Natalie Seroussi hosts an exhibition of the work of Belgian-born French poet, writer and painter Henri Michaux (1899–1984), with a focus on ink and pencil drawings.

The exhibition communication and accompanying printed catalog were designed by Doc Levin / Léo Quetglas. The title as well as all texts and poems from Henri Michaux are set in Benjamin Dumond’s Michaux, an homage to the artist's work. When Henri Michaux explored a loss of control in the production of written shapes through the use of narcotics, the typeface relies on computer scripts for the same purpose. Benjamin Dumond wrote a program to generate thousands of random three-stroke signs, then proceeded to subjectively select those which looked most like letters, numbers and other glyphs.

All captions and supporting info are set in Avenir.

Cover of the printed catalog

Backcover of the printed catalog

Rigatoni Runners is a weekly community running club, based in Saarbrücken, Germany.
This poster and flag was designed for their community event in November 2024.

The letter shapes of Goiters perfectly capture the rigatoni spirit, paired with a deliciously healthy dose of Vulf Mono.

No Way Out is the debut album by American garage rock band The Chocolate Watchband, released in 1967 by Tower Records. The album blends garage rock, psychedelic influences, and elements of R&B, featuring a mix of original songs and covers, including “Let’s Talk About Girls” and “Come On”.

The album cover features bold typography, combining two distinct typefaces. The band’s name and album title are set in Braggadocio, a geometric stencil typeface designed by W.A. Wooley in 1930 for Monotype. Below the title, the band's name appears again in Caslon Rounded. Track names are set in Akzidenz-Grotesk schmal fett, also known as Standard Bold Condensed. “Keep the 18th Amendment” is added in Helvetica, and “LP” at the bottom features Agency Gothic Open. The cover designer remains unknown.

[More info on Discogs]

The dedication on the back cover appears to be set in all-caps News Gothic Condensed.

The niche design zine is an open call for designers and product makers seeking meaning beyond metrics. An invitation to rethink how we shape products and culture.

It's a personal project but also communal—sharing philosophies and work ethics of people building atypical products and technologies, from software to hardware.

Using Maxi Round by Dinamo as the primary typeface felt natural for conveying the project's weird and niche perspective. It’s used together with Diatype.

In 2023, Göran Söderstöm was awarded Berlingpriset, the only Swedish award to a person adding to the culture of typography. The previous winner designs the invitation and diploma for the current year’s recipient – that year it was me, Peter Ström.

The diploma is set using Peter Bruhn’s Bruhn Sans and Göran’s own Sväng. From the text I wrote to Göran complementing the diploma on its typeface selections:

Dear Göran,

A huge congratulations on the Berling Prize! An award that is indisputable – there is hardly any typeface designer who has meant more for Swedish typography in the past decade than you.

I would like to take this opportunity to share a bit about the design of your diploma, which I had the honor to typeset.

My first contact with you was through our late friend – and perhaps mentor – Peter Bruhn. Peter and I both worked at the web agency Abel & Baker in the late 1990s. The ten-year age gap between us seemed enormous to me as a 20-year-old at the time, and the fact that Peter was soon to have children felt incredibly… grown-up. He therefore became known as “Dad Bruhn,” a title that also served as a role for us at Konst & Teknik when it came to typeface design. We always knew we could ask him about serious typography questions that only a Dad could answer.

I know that you were close friends with Peter, so when I was asked to design your diploma, it felt natural to use Peter’s typeface. The typeface in question – Bruhn Sans – was, moreover, finalized by you and Rui Abreu after his passing and was the only one of his typefaces that I still have access to, making it an obvious choice. It also feels important to, in some way, include Peter in the Berling context; he was ahead of his time and never received the recognition he deserved in my opinion.

The replacement of the letters å, ä, and ö in your Sväng typeface is less about Peter Bruhn and more about the experience of having those letters in one’s surname – something you and I share. During the early days of digitization, I often had to swap my Ö for one from another typeface because it was missing from the font files. This is something you have been instrumental in changing with your contributions to Swedish typeface design and digital innovation. And thus, the diploma turned out a bit more visually playful as a result.

From a Ström to a Söderström, with the spirit of another Peter watching over us,

Peter Ström, September 2023

A real world use of Abracadabra – by the designers Banks and Miles. Encounter ran from the 1950s until the 1990s and was largely funded by the CIA and MI6 until the late 60s. According to Wikipedia, “[r]epresentatives of MI6 and the CIA met in 1951 to discuss the creation of an ‘Anglo-American left-of-centre publication’, partly to counter the New Statesman.”

Open House Roma is an annual architecture festival that celebrates the city’s built environment. The theme for 2023, “Balance”, inspired a visual identity that explores the dynamic interplay between order and movement. We designed a flexible grid system rooted in mathematical precision, juxtaposed with typography that moves freely within its structure. This contrast creates a visual tension—oscillating between chaos and harmony—that mirrors the layered complexity of the urban landscape.

The identity was applied across all festival materials, including the printed catalog and a foldable map featuring all the sites open to visitors. These elements not only guided participants through the event but also reinforced the conceptual narrative, turning each piece into an extension of the city’s architectural dialogue.

Cover for issue 7/1966 of Typografia, the technical journal of Czechoslovak printers.

The design is by Oldrich Hlavsa (1909–1995) who contributed cover designs to the periodical already in the 1930s. For the one shown here, Hlavsa arranged the letters of the title in five lines, working with caps from a display cut of Times New Roman and utilizing repeating glyphs and the crop-and-repeat technique. The small text at the top is set in italic and bold styles from Empiriana Antikva, Grafotechna’s version of ATF’s Bodoni.

in Ultra-Processed People, Chris van Tulleken goes deep in the realm of ultra-processed food (UPF) and marshals the latest evidence to show how governments, scientists, and doctors have allowed transnational food companies to create a pandemic of diet-related disease.

In the Brazilian version of the book, the cover takes reference on the colorful packaging that most UPF use to desguise their (lack of) nutrients, showing characters who seems like products on shelves themselves. The author’s name is highlighted on a magnifying glass label, a clear reference to a law recently passed in Brazil, where companies must show the high content of harmful ingredients (sugar, fat, sodium, etc.).

The Good Food Guide was first compiled by Raymond Postgate in 1951, and is “about empowering diners, helping readers to find the very best places to eat and encouraging restaurants to offer the best possible food, service and experience.” [Wikipedia]

The cover of the 1972 edition is adorned by a chromatic use of Stack. The aptly named display typeface was designed in 1969 by British designer Les Lawrence (b. 1945). Stack was initially released with Face Photosetting in London. Oher type providers soon adopted it, including by Photo-Lettering in New York and three manufacturers of dry transfer lettering, Letraset in England, Mecanorma in France, and Chartpak in the USA.

The guide was published by the Consumers’ Association, best known for their flagship publication Which? According to Paul Harpin in Eye magazine, “from 1964 to 1988 the title and its spin-offs were designed by Banks & Miles”. In his 2002 obituary for Colin Banks, James Alexander mentions the studio worked on Which? magazine and other CA magazines from 1964 until as late as 1993. Chances are Banks and Miles take credit for this typographic cover as well.

See also the cover for the previous edition, kindly contributed by James Alexander.