The exhibition Petits mondes (“Small Worlds”) at the Hôtel des Arts TPM presents works from the collections of the Centre Pompidou, the Centre National des Arts Plastiques, the Musée des Arts Décoratifs in Paris, and the Mobilier National. It explores the world of childhood, where furniture, toys, decorative objects, and illustrated books stimulate imagination and creativity, promoting children's personal development.

For the visual identity and the catalogue, Marc Armand used Rillus (as the main typeface) and Malamocco (for body text).

Every three years, each department at RISD gets to curate and design a triennial exhibition. For the 2024 Graphic Design Triennial, our small team had just three weeks to do just that with work submitted by over 100 students.

Expiration Date explores graphic design's ephemerality by showing the relationship between designed objects in their originally made contexts, and the work being stripped and placed into an art gallery setting. While reproduction and redistribution is what distinguishes graphic design from other art forms, what was always ephemeral to deterioration is now subject to obsoletion of digital infrastructure and limitations of technological compatibility.

Curation and exhibition design: Deborah Khodanovich (lead), Annabel Gillespie, Barbara Cutlak Soares, Chanya Vitayakul, Manna Patiparnprechavut
Identity design: Andrea Mato (lead), Hyelim Lee, Jeanie Yu, Jolin Chen, Seungeun Jeong, Siyuan Wang, So Jung Yoon
Web design: Avrie Allen (lead), Ashley Lee, Minah Kim, Xiyue Zou
Promotional team: Ammi Kira, Minah Kim, Nadine Hanah Macapagal, Rafael Mediodia, Roye Zhan

Design studio Our Polite Society used OPS And Ever, a newly released sanserif by OPS Type, for this book of archival research into Argentinian architect Amancio Williams (1913–1989) published by the Canadian Centre for Architecture in partnership with Spector Books. Readings by Studio Muoto, Claudia Shmidt, and Pezo von Ellrichshausen present new and expanded understandings of Williams’s work, and situate the social, material, and political dimensions of his practice within contemporary architectural discourse.

OPS And Ever, designed by Jan Egbers, is a proportional update and continuation of OPS Favorite, a monospace released by the foundry in 2019. In the book, it is used alongside the mono, which still features in the indexes. The headings and cover of the book are set in a still-unreleased Ultra cut of the typeface.

How do you design a book about the disappearance of art without losing art in the process?

For Een wereld zonder kunst is een wereld zonder ziel, Cathelijne Blok’s written manifesto became a visual one. Design studio All Sizes treated the publication as a living argument: every decision in layout, pacing, and typography carries the same urgency as Blok’s words.

Control by Commercial Type reinforces that energy. Rooted in mid-century lettering manuals, Control combines the clarity of a sans serif with the immediacy of a handwritten sign. Its slightly irregular rhythm and open forms give the text a sense of movement and insistence – a voice that demands to be heard.

In short: the book doesn’t just say saving art matters – it looks like it matters.

Published by Nijgh & Van Ditmar

The National Gallery Prague decided to present artworks the origins of which are linked to women and cover a lengthy period of six hundred years – from the fourteenth century to the beginning of the twentieth.

Through this exhibition, the National Gallery Prague intends to fill a gap in terms of what may hitherto have been overlooked or is incomplete from the visitor’s point of view. Two of the gallery’s collection exhibitions, housed in the Schwarzenberg and Sternberg Palaces at Hradčany, are named Old Masters (I–II). But this very title linguistically excludes women from the creative process, or at least hides them beneath a generic masculine term.

This is also the reason why the stylised sketches of the floor plans of both palaces appear in the graphic presentation, in the architectural design of the exhibition, and on the cover of the exhibition catalogue, thereby drawing attention to the marginalised role of women in the aforementioned installations

The visual identity, exhibition graphics, printed matter and exhbition catalogue used Azeret and Azeret Mono family typeface by Displaay Type Foundry.