Booklet and communication for the end-of-the-year exhibition of the Typography and Type Design department at Bauhaus-Universität Weimar:

What happens when order is disrupted and decoded? Constantly shifting between control and uncertainty. Join us in the lab and carefully move among tools, lists and handmade code. Here design becomes an act of survival, the showcased works being the traces left behind.

Design and concept by Anni Welz, Lea Sailer, Mona Kerntke, and Yasmina Khalil. The typeface in use is Ufficio Mono.

satzfahnen is an exhibition by Büro Uebele, shown in January 2025 at Necktar 127. From the studio’s website:

what we are committed to is no secret: we show it in our exhibition »satzfahnen« and give an insight into what we think and how we act. because without language there is no design and there is no design without principles.

The 2023–24 edition of the RUFA Annual Report, conceived as a collective performance, goes beyond documenting the year’s activities to become a shared design act focused on intention, process, and collaboration.

Inspired by Vilém Flusser’s idea that “everything depends on intention (design)”, the report was created through a 48-hour creative marathon involving 50 selected students alongside designers, visual artists, photographers, copywriters, and faculty members. Working together in an open laboratory, the teams produced content, images, data, and narratives that shaped the final publication.

The volume unfolds through ten keywords defining the Academy’s identity, a photographic selection of undergraduate and postgraduate theses, and an overview of the year’s activities, including events, workshops, talks, and international projects. Data Humanism–inspired infographics, based on interviews and questionnaires with students and faculty, complete the narrative.

A die-cut dust jacket revealing the names of the participants and a concluding photographic report underscore the collective nature of the project. The annual report thus stands as both a document and a method, reflecting the Academy’s growth through shared experience, research, and collaboration.

Four-colour printing plus white and fluorescent yellow Pantone on Favini paper.
Typographic composition in Milligram by Zetafonts.

Design by Guido Lombardo, Davide Luccini and Francesco Paolo Incantalupo at Intorno Design, with illustrations by Francesco Fidani. For a full list of credits, see the RUFA website.

Telka by Rellence and Office Times Sharp by BoulevardLAB were used for the rebrand of Market Art Fair, the Nordic region’s leading contemporary art marketplace. The logo features Droulers Clarendon by Bureau Brut.

From 25AH:

Market Art Fair is the leading marketplace for contemporary art in the Nordic region. Founded in 2006, it brings together top galleries, collectors, institutions, and enthusiasts from across the Nordics and beyond.

The identity centers around an elegant wordmark in a bespoke serif typeface. A tilted, centered “R” introduces a touch of artistic imperfection — symbolizing creativity at the heart of the fair. A monochrome palette of black and white is refreshed annually with curated accent colors, keeping the identity dynamic and contemporary.

A graphic pattern was developed from close-up sections of the logo, symbolizing the endless perspectives viewers can have when experiencing different works of art. The broad typographic palette combines accessibility with a sense of exclusivity, allowing the visual language to adapt across different platforms and expressions.

The Wooden City by Benjamin Gallagher is an exhibition of highly laboured, meticulously constructed forms drawn from his close observation of the built environment. Gallagher’s background in architecture and industrial design is deeply informed by decades working alongside his father as a heritage tradesman, specialising in the restoration of slate roofs — many of them across Maitland. This combination of formal study and hands-on craft underpins a body of work grounded in material knowledge, precision, and lived experience of the buildings we inhabit. Hosted at Maitland Regional Art Gallery.

The exhibition branding features Hardy. Its forms mimic those found in the pieces throughout the exhibition. Hardy is used alongside DIN 2014, the MRAG’s standard typefaces, used in several widths.

This bilingual yearbook showcases contemporary Latvian photographers and significant exhibitions at the Latvian Museum of Photography in Riga. Designer Alexey Murashko selected three typefaces by Nikola Djurek for the book: Diurnal Display for the titles, Nocturno for the main text, and Diurnal for the marginalia. The book is cut horizontally in half, with the lower part containing the English text and the top part containing the Latvian text. This system allows the pages to be flipped independently and creates unexpected compositions.

The deconstructed letter parts in red are from Sandrine Nugue’s Orientation, see the comments.

The Ngôn Dạng campaign is Hùng Đỗ Mạnh’s Bachelor thesis in Van Lang University’s Graphic Design Honors Program.

Ngôn Dạng is an educational communication campaign that helps Gen Z understand their natural communication strengths and develop a personal style that feels authentic and confident. While Gen Z is often seen as outspoken, many young people struggle with self-doubt and social conformity, which gradually limits genuine self-expression. The campaign combines awareness posters, an interactive communication style test, and an educational seminar with talk shows and workshops to encourage self-reflection and practical learning. Through these experiences, participants gain tools to communicate clearly, confidently, and be true to who they are.

The campaign concept, “Reflect to ReShape”, draws inspiration from the phenomenon of light bouncing back from a surface. “Reflect”, in this context, is more than a physical process; it represents an inward journey to understand how we communicate with others, whether through habits, preferences, and challenges in communication, and thus, to “ReShape” how we express ourselves.

Ngôn Dạng Mono is developed based on a 12×12 grid system derived from the wordmark. The custom typeface includes full diacritic support for Vietnamese, ensuring suitability for Vietnamese audiences. At the same time, inspired by Dr. Dellinger’s Psycho-Geometrics, it is designed based on basic geometric shapes, creating tension between straight and curvy lines. In addition, it is combined with Florian Karsten’s Space Grotesk within the same word, creating a visual interest while subtly symbolizing the exchange of information and dialogue inherent in human communication. The complimentary sans is Maison Neue by Timo Gaessner.

A full list of credits can be found on the Behance page.

Born in 2008 from the side hustle of friends Sarah Thornton and Brooke Johnston, The Finders Keepers has grown into Australia's most-loved design market, each year hosting festival-style markets in Sydney and Melbourne.

The Finders Keepers is where communities come together to shop, explore and discover the very best from designers, makers and entrepreneurs in our country.

The branding by Melbourne-based agency Young Folks uses Maroni’s Regular weight for the logo. “To balance playfulness with clarity”, they “combined Parkinsans for confident headlines with Inclusive Sans for welcoming body copy.”

Bottle and label design for the very limited água-pé Pomo de Ouro, made by Juicy.ttf.

Traditionally, água-pé is a very light wine made by adding water to the leftover grape skins, seeds, and stems (bagaço) after regular wine has been pressed, then letting it ferment again. With Pomo de Ouro, that process was made with cider apples.

Art Direction by Francisco Torres and Miguel Mesquita, with design by Mesquita and illustration by José Luis Dias. The chosen typeface is Ramboia by Rui Abreu. Pedro Lopes took the photos.

For more detailed info, check out this Instagram post and feel free to get in touch with the producers.

Based in Auckland, New Zealand, Hone Studio is a small, collaborative landscape architecture firm focused on craft, refinement, and place-based design.

Drawing on years of experience, the studio works closely with clients and communities to deliver thoughtful, resilient landscapes across projects of all scales, guided by careful listening, local knowledge, and a commitment to honest, well-made outcomes.

Branding assets featuring Gatch were designed in-house by Hone Studio. The website additionally uses Crimson Pro.

The Japan Pavilion at Expo 2025 Osaka, Kansai, is centered on the theme “Between Lives”, exploring the the concept of junkan (circulation of life) through a life relay where waste becomes the foundation for future generations. The pavilion’s entire communication framework, spanning visual identity, signage systems, digital platforms, and film, was designed by Nippon Design Center in collaboration with nendo.

The visual system is conceived as a form of life itself – a breathing, growing organism that evolves across all media. To communicate this complex concept to a global audience, the design team utilized Code Next by Fontfabric as the primary English typeface.

Code Next was selected for its clean, geometric forms that harmonize with the pavilion's floating typography layouts and minimalist architecture. By integrating the typeface into spatial feeling experiences and unassuming video content, Nippon Design Center ensured a cohesive visual unity. The font’s modern, simplified structure mirrors the pavilion’s focus on small cycles and transformation, providing high legibility while maintaining the visceral, organic atmosphere of the exhibition.

The bold serif used alongside Code Next is Mastadoni. The typeface used for Japanese text is Hiragino Kaku Gothic.

When two enthusiasts combine their expertise, STAMM is born: a vibrant place nestled in the heart of Paris’s 11th arrondissement, where fermentation, sharing, and craftsmanship come together in perfect harmony.

Between heritage and modernity, STAMM celebrates beer and pays tribute to its most noble qualities: expertise, history, and culture. It is a place where you can enjoy brewed creations and fermented cuisine from noon until night.

For the identity, Install Bold plays a main role, used at different scales, on the menu and as big sign on the restaurant window.

Richly illustrated and printed in two colors (purple and pink), Tous les dictionnaires sont des monstres (“All dictionaries are monsters”) is a text by Sébastien Dégeilh. It details Paulo de Cantos’ approach through a dictionary that is surprising both in the texts it contains and in the graphic and visual forms used, demonstrating great inventiveness and audacity for the time. Paulo de Cantos’ work remains little known to lovers of graphic design and book arts, despite his iconoclastic, avant-garde, and prolific output.

This is the fifth issue of La petite collection, designed by Roman Seban. As with every issue, the number is printed on the cover, typeset in his own Bertin typeface. The body text is typeset in Kelvin by Thomas Bouville, while the drop caps and quotations are from Tifo by Romain Tronchin. All of these fonts are available from 205TF.

La petite collection is co-published by the Association Presse Offset and the École européenne supérieure d’art de Bretagne (EESAB), site de Lorient, in partnership with type foundry 205TF.

air–condition.ing* is a small scale design studio that tailors visual communication—primarily digital, and occasionally spatial—for ethical businesses, impact-driven non-profits, independent creatives, scholarly organisations, cultural and research institutions of any scale.

The studio’s portfolio website, developed by Nikolai Sivertsen, pairs two type families: Waldenburg – Medium and Bold – plus Lincoln/MITRE.

Claim is a free and ad-free magazine that aims to say a few things, but to say them clearly. Six issues will be published per year, each with a clear claim analyzed by a variety of voices.

Issue no. 1, “Di futuro si muore, di futuro si vive” (“We die of the future, we live of the future”) was launched in December 2025.

For the visual identity, Lola Giffard-Bouvier uses Maroni in a bold and impactful way: big capital letters to write the titles, and using texts as a form of manifesto, both on paper and on screen.

For the magazine’s logo she uses a custom drawn squared C, depicting a stylized megaphone. The text typeface is Romek.

Editor-in-chief: Gabriele Bartoloni
Deputy editor-in-chief: Mosè Vernetti
Project concept and general supervision: Edoardo Bucci and Cecilia Pellizzari
Managing editors: Chiara Sgreccia, Giada Arena
Graphic design and layout: Lola Giffard-Bouvier, with support from Frita

The fourth edition of BoCA (Biennial of Contemporary Arts) took place in 2023. Lisbon and Faro were the cities hosting a new and effervescent program from 2 September to 15 October.

Between commissions, world and national premieres by both established and emerging artists, performing in their own language or taking risks to create for other registers, BoCA built its 4th edition on the idea of “Invisible Present”.

Always aware of the current times – cultural/artistic, social and political – artistic director John Romão said he ‘wants to give visibility to living things that are not seen, either because of social, political, cultural, economic, legal or technological conditioning, or because we premeditatedly don't want to recognise the existence of otherness, to validate identities that inhabit the margins’. It is with this desire that the program reflected on issues related to the migrant crisis or gender identity, claiming the physical presence of what is not seen.

BoCA 2023 used two primary colors, gray and yellow, throughout its identity. It used one primary typeface within its permanent, geometric and mutable logo: Neureal by Laura Csocsán (released on ECAL Typefaces) – including for titles and descriptions. LL Replica by Dimitri Bruni and Manuel Krebs (released with Lineto) was used for displaying longer texts within the newsprint pamphlet and for smaller information.

The posters for the exhibition Every Time I Conjure a Stone I Throw It at Sol Koffler Gallery were designed using the typeface Roumald and were designed by Andrea Mato.

From curator Marley Trigg Stewart:

To look through a lens is to break something open. For the 2025 iteration of RISD’s Photography Graduate Biennial, Every Time I Conjure a Stone, I Throw It, MFA candidates turn photography from a means of observation into an instrument of transformation. The title, drawn from Alice Walker’s The Color Purple, evokes the power of intentional release and return—a dual act that reverberates through the artists’ practices.

Across the exhibition, image making becomes a means to fracture, reassemble, and reimagine inherited worlds. These artists work through and against material memory, which include the textures of time, familial history, faith, and the shifting landscapes where these moments take place. Ultimately, we are asked to reconcile how photography continually remains contradictory—how do we point to a moment that has already left us? Whether through intimate gestures or expansive terrains, the works gathered here suggest the notion of seeing goes beyond the surface area of an image. These artists are conjuring new futures—breaking them open and beginning again.

Featuring photographers: Alexa Nikkol Curran, Elliott Golden, Elysia Perkins, Jake Benzinger, Jessica Chappe, Kyle Dong, Lola Owett, Nji Tuma, Renee Cornue, Tomorrow Chapman, Victoria Pépin, Virginia Hanusik, Wen Zhang, and Wenhan Hu

MUAS is a boutique ceramic atelier (and also a cafe), with products present worldwide, known for beautiful, yet bold and out-of-the-ordinary creations.

Japanese minimalism provided the foundation, aligning with the owners’ cultural inspiration while establishing luxury associations. Generous white space and editorial layouts created breathing room around products, transforming presentation from catalog merchandising to gallery curation. The simplified palette used warm greys inspired by clay tones, providing subtle backgrounds that enhanced rather than overshadowed the rich product glazes. Typography reinforced premium positioning through deliberate scale – small, spread-out text in English and Japanese added sophisticated detail without competing with photography. The organic, rounded logo softened stark minimalism while referencing clay forms. Despite simplification, the MUAS letterforms retained distinctiveness, demonstrating the thoughtful reduction characteristic of luxury design. This visual strategy positioned MUAS as a ceramics gallery rather than retail shop, fundamentally shifting customer expectations and justifying premium pricing. The identity successfully communicated that MUAS products exist at the intersection of craft, design, and art – transforming purchases from functional decisions to cultural investments.

Throughout printed matter, Neue Haas Grotesk is paired with snippets of Japanese text set in M PLUS 1p; on the bilingual website, text is rendered in Inter.

The Bundespreis für Kunststudierende (“Federal Prize for Art Students”) is organized every two years and is open to art students from 24 academies, colleges and universities in Germany.

The catalog for the 26th edition was designed by students of the ABK Stuttgart. It features a slipcase crafted from brown cardboard material, secured with an integrated magnet strip for a seamless closure. Inside, six artist portfolios are presented, offering insights into their biographies, diverse works through imagery, and accompanying texts about their artistic endeavors. Additionally, each individual catalog incorporates a built-in pocket that houses five postcards.

The typefaces used are from the EK Roumald family (Roman, Italic, Bold and Bold Italic) by Erkin Karamemet and Elza by Daniel Sabino.

New brand identity designed by Lotta Nieminen for the skincare brand Erly. “ERLY was founded by two friends and mothers, Jamie Chandlee and Dr. Hallie McDonald, in order to address growing concern about the influence of the skincare and beauty industry on their young daughters.”