10th (and final) issue of Die Epilog, a German magazine that deals with the change of our society. By looking into the small things that are changing in our everyday lives, it wants to explore and welcome the bigger shift around us:

It’s going to get gross! Die Epilog is approaching an unpleasant concept: strength. The opposite of brains! Or is it? The raw, the crude! We set out to find the positive side of strength: how it moves, how it changes. How does political momentum arise? How do anabolic steroids work? Can we find it, this post-disgusting power? To do so, we’re taking the discourse to the gym and looking at the forces of our time: social, psychological, physical and magical forces that simmer, build up and erupt beneath the surface of culture, of things, of the earth’s crust. We look at mountains of muscle and beneath masks, and pull marble from its pedestal. A power-packed issue on the strength of parcel delivery workers, the power of anger, and the power of pumpernickel.

Die Epilog’s standard typefaces Tobias, Kern and Cardinal Short Italic were complemented by T1 Korium, TWK Everett and Generation Mono for this issue.

Poster and schedule for a two-day experimental music festival in Lyon, organized by Le Périscope. The name Tournée Générale means “Drinks All Round” in French, referring to the particularity of the event: the 12 concerts take place in 12 different bars, with a schedule where the audience moves each hour from one place to another.

In March 1996 TassinariVetta took over the art direction of Casabella, the historic architectural review founded in 1928. From that moment on the magazine has become part of the everyday life of the studio, where it is designed month after month.

Aiming to go beyond the traditional concept of ‘typographic architecture’ – which sees graphic arts subject to the universal compositional rules expressed in architecture – and to offer a new perspective on the world of letters, the 2024-25 cover design sets editorial objectives ahead of graphic ones.

Taking advantage of the constraints inherent in monthly publication in sectoralization and serialization, and enhancing repetitive elements—the masthead, headlines, but above all the sequential number—the project brings editorial content to the cover through the choice of the font used to compose the number, its graphic interpretation, and the explanatory note published on the inside pages, which is an integral part of the project itself.

Faithful to the magazine tradition, issue after issue, the choice of lettering or typeface moves through the 20th century between avant-garde and modernism, with forays into adjacent spaces suggested by unlikely discards or ambiguous analogies, while exploring the development of the industrial means underlying mechanical writing.

With philological respect—using fonts available under license, photographic reproductions of original specimens, or vector redrawing, as appropriate—and with the calibrated use of a color palette consistent with the magazine visual history, the graphic interpretation ultimately aims to bring the historical artifact into the present, contextualizing it in a contemporary and accessible language.

no. 976 – Lettering for the Tomba Veritti (Udine, Italy), Carlo Scarpa, 1951

no. 975 – Univers, Adrian Frutiger, Deberny & Peignot, 1957

no. 974 – Prisma, Rudolf Koch, Klingspor, 1930

no. 973 – LL Le Corbusier, Nico Schweizer (da Le Corbusier), Lineto, 1999

no. 971-972 – Memphis, Rudolf Wolf, Stempel AG, 1929

no. 970 – Ingenieur, Wim Crouwel, 1964, The Foundry Types, 2012

no. 969 – bayer-type, Hebert Bayer, Berthold, 1931

no. 968 – Mexico 68, Lance Wyman, 1966–68

no. 967 – Our Bodoni, Massimo Vignelli, Tom Carnase, WTC (World Typeface Center), 1989

no. 965-966 – Futura Black / Paul Renner / Bauer, 1929

no. 963 – Fat Face, Herb Lubalin, Tom Carnase, ITC International Typeface Corporation, 1970

no. 962 – Kabel, Rudolf Koch, Klingspor, 1927

no. 961 – Stop, Aldo Novarese, Nebiolo, 1970

no 959-960 – New Alphabet, Wim Crouwel, 1967

no. 958 – Frankfurter, Bob Newman, Letraset, 1970

no. 957 – Universal, Herbert Bayer, 1925

no. 956 – Oakland, Zuzana Licko, Emigre, 1985

no. 955 – Aldina (Aldino), Nebiolo, redesign Adalberto Libera, 1938

no. 954 – Kombinationsschrift, Josef Albers, 1926–28

no. 953 – Bifur, A.M. Cassandre, Deberny & Peignot, 1929

Poster for the 10th anniversary of Behind This Wall bar in Hackney, London.

1988 poster

A poster promoting the Mike Tyson vs. Tony Tubbs world heavyweight championship boxing match on 21 March, 1988 at the then newly-opened Tokyo Dome. It was designed by John C. Jay, with English-language typography by Neville Brody and portraits by Anthony Russo.

The poster features the initial versions of what would later become the fonts FF Tyson, FF World, FF Tokyo and FF Dome. The Japanese text uses Gona.

Official reissue from the collection The 100 Best Posters from Europe and the United States 1945–1990 (1994)

Detail

Detail

A 1993 poster recreating the typography of the 1988 poster for the release of the fonts by FontShop

Design and identity by Yitong Ha for the exhibition Murse and Camera Obscura, using DaVinci Regular and Italic by Virgile Flores plus an unidentified typeface for Chinese text. The exhibition shown during the 11th Jimei × Arles International Photo Festival in Xiamen presented photographs by artist Xiang Sun (孙瑞祥) and was curated by Qilan Shen (沈奇岚).

A ___ Design Show showcases the work of fourteen designers from Concordia’s 2025 Master of Design cohort, spanning fields from graphic and architectural design to sustainability and interaction. The visual identity reflects the exhibition’s theme of concept and craft, featuring each designer’s handwriting to create a collective typographic language. This mix of structure, shown through Goudy Oldstyle, and expression, captured in the handwriting, reflects the diversity of the work itself, human and deeply collaborative.