Designed in 2025 for the ceramic artist and educator Skander Zouaoui, this visual identity captures the elegant and collaborative atmosphere of his workshop located at Strasbourg’s Port du Rhin. The graphic identity is realized by Margot Cannizzo Lazaro and features a new logotype, a public signing on his workshop, and Riso printed communication supports.

The project is set in Large (designed by Alexandre Créquer) and Fluxisch Else (distributed by OSP-foundry), and was brought to life through Risograph printing by Pierre Faedi at Gargarismes. To ensure aesthetic continuity, the color palette builds upon the workshop’s initial graphic supports originally developed by Florent Vincente.

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).

The Chapelle Sauvage Festival, the second highlight of La Trinité’s 2024–25 season, offers three days of sonic exploration of nature, bridging early and contemporary music: concerts, performances, talks, and DJ sets for all ages – all taking place in one of the city’s most beautiful venues.

A visual that seeks to awaken all our senses: listening to great tits sing, watching Alpine swifts take flight in the distance, smelling the scent of lily of the valley, and blowing on a dandelion.

Bringing together more than 200 archival documents, works of art, videos, photographs, and testimonials, the exhibition Banlieues chéries / Dearest Banlieues explores suburbs as spaces of memory and transmission. This exhibition and its accompanying program reflect the Palais de la Porte Dorée’s commitment to combating preconceived notions by promoting a better understanding of history and contemporary social and political issues.

The exhibition was on view from April 11 to August 17, 2025, at the Palais de la Porte Dorée in Paris. The exhibition design was carried out by Roll Office, in collaboration with the graphic design studio Studio Plastac. The typeface used was Plaak, designed by Damien Gautier and distributed by 205TF.

La Balle au Bond! (“The Ball on the Bounce!”) is an exhibition of the photographer Guillaume Martial at the mine site of Arenberg in the north of France, organised by CRP/Centre régional de la photographie (Regional Centre for Photography) Hauts-de-France. The visuals were printed by R.dryer Studio in Brussels, using Risography.

From the About page:

We are Hardcore CDMX Art Book Fair, an art book fair powered by Can Can Press in partnership with LagoAlgo. Our goal is to bring together independent publishers, creatives, designers, and editors from around the world, creating a space to share editions, experiences, and exchange ideas. All of this is driven by the perspective of publishing as a hardcore act—pushing boundaries, breaking conventions, and taking the discipline to its limits.

For Eaux troubles, an exhibition by French artist Marie Guillard at Slow Galerie in Paris, graphic designer Hadrien Herzog used the serif typeface 00 Wagram by D0UBLE ZER0, set with OpenType alternates, alongside custom bubble-style lettering.

The type treatment combines the structured characteristics of 00 Wagram—referencing office-era serif fonts such as Times New Roman and Georgia—with the rounded, hand-drawn forms of the bubble lettering.

Visual identity and website design for the 17th edition of OFFTA. OFFTA is a festival dedicated to the creation of avant-garde live art. Throughout the year, it surveys the local artistic landscape in an effort to put forward creators whose practices trace new avenues in theatre, dance and performance. Programming by Patrick Thériault.

Ondrej Jób from Setup Type designed the branding for the 2023 Fontstand International Typographic Conference held in Dublin, Ireland. Similar to previous years, the conference's visual identity utilises various typefaces from Fontstand’s online rental font catalog. This year’s primary font choices write “Fontstand” in Megazoid by DJR, “International” in Origin Super Condensed by Production Type, “Typography” in LeMark by Playtype, and “Conference” in the yet unreleased Async Sans by Setup.

The featured typefaces are set in single words and enveloped in rounded rectangular “buttons” or “cards”, which are then used as modular parts, and aligned either left or light to their boundary box for a digital-forward look. Graphic elements continued the use of gradients, this time referencing the host country’s flag.

Speaker names are shown in additional typefaces that were either designed by the person in question or were otherwise found to be a good match.

Bergamo Film Meeting is one of the most important events on the Italian festival calendar: for 43 years in March, thousands of enthusiasts of auteur cinema come together to share a major cinematic event.

It represents nine days of screenings, over 160 films including feature films, documentaries, and shorts. The event includes Exhibition Competition, Close Up, Europe, Now! Alice Nellis, Christian Petzold, Animation Cinema: AnReal, Cult Movie / Special events, Previews and Classics - Cult Movie, BFM Opens Bergamo Jazz, Kino Club, Retrospective: Otar Iosseliani, and Tribute to Wojciech Has.

The typefaces used are Charlotte Rohde's New Edge 666 Rounded (always in all caps), and Christian Schwartz’s Neue Haas Grotesk.

Tanzhaus Basel is a new artist-run house in the city of Basel, dedicated to dance and performing arts in general. Opened during the summer of 2024, it’s aiming to be anchored in the city and mix social and cultural life together.

Knopp+Kiel delivered their identity, formed by a graphic logo (maybe a T mixed with other letters, or a stylized house?) and a proficient use of NaN Jaune Midi Black for the venue’s name and titles on top of a strong pink and red color combo, maybe only for the first season.

All texts are set using PolySans, converging with Jaune in the direction of friendly/quirky sans serifs, which we can only guess is in order to make the art institution look less pretentious and more affordable. However, the rest of the identity principles, grids and such, remains quite tuned-down, simple and serious, to not overdo it in the quirky direction.

On the Tanzhaus website, to accommodate with the very tight line spacing of headings and the recurring umlauts in German, they devised the clever solution of applying a white/transparent outline on the the text, making the umlaut of a line of text appear cut-out in the bottom of the letters of the previous line instead of simply overlaping.

For the opening of the space, Tanzhaus Basel created a self-made mustard showcasing the identity on the packaging.

This year, the Berlinale 2025 International Film Festival celebrates its 75th anniversary under the new direction of Tricia Tuttle. In addition to the printed poster, for the first time there is an animated version and an mp4 key visual at the center of the design. In doing so, the organizers underline the step change towards digital channels and the importance of motion graphics in communication.

For the fifth time, Claudia Schramke is in charge of the art direction for the festival. This year, she designed a key visual which is inspired by the almost forgotten film leader countdowns, which were used to help thread a film reel. “I wanted to create something lively that celebrates 75 years of film tradition and impressively interprets the theme of time. The beating heart of the Berlinale, so to speak,” writes Claudia Schramke on her website.

To contrast with the strong colors, the designer was looking for a high-quality, classic-looking font. She came across Fontwerk’s Pangea, designed by Christoph Koeberlin. Added in June 2024, Pangea Condensed in particular is “wonderfully striking”, she claims. Schramke was also won over by the comprehensive language expansion of the typeface, which is of great importance for an international film festival. “Those were convincing arguments for me” she says, summing up her decision.

The FIS 2024 design system by Ana Types Type utilizes FKT Echo and FKT Ashmore.

FIS is a multidisciplinary artistic structure that develops initiatives within the scope of programming and development of solo performing arts, offering support for the creation, presentation, training and qualification of the sector and its artists. Since 2015, it has been proposing to the public new ways of seeing and interpreting what is done on stage through the FIS Festival.

Designer Ana of Ana Types Type comments:

Playing with a circle (the central element of the festival’s identity, along with the past editions) with an impactful typographic display and adding a playful color pallet, I could recreate and combine these elements dynamically. This versatile and modular system allowed me to play with the different assets freely, keeping the graphic’s identity unimpaired but, at the same time, fun and bold.

Motion Design by Nuno Leites. Music by Dídac Gilabert.

You Can’t Make This Up was an exhibition by and about the work of Silke Schönfeld held at Hartware Medien Kunstverein (HMKV) in Dortmund:

You Can’t Make This Up is a fitting title for Silke Schönfeld’s solo exhibition at HMKV. Her films are political reflections that often take place in unexpected spatial and temporal contexts, seamlessly moving between documentary and fiction.

Ten Ten developed the appearance of the exhibition, consisting of high-contrast typography combined with stills from Silke Schönfeld’s films. Various media such as exhibition signs, catalog, posters and digital campaign motifs were created for this visual identity.

Exhibition view and signage

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.

La Gazette des Arches is a monthly publication produced with the support of Plateau Urbain and Arches Citoyennes. The leaflet contains the latest news about the site – a social space and community center located in the heart of Paris – the photo of the month, as well as games and anecdotes.

In this fun and colourful leaflet, graphic designer and illustrator Maud Remblier uses Dina Chaumont Display and Roc Grotesk.

The redesign of L’Alliance New York was handled by Eddie Opara’s Pentagram team, using Inferi and Rules from Blaze Type, while the new logo is based on Dahlia by VJ-Type. From the case study:

L’Alliance New York, a key player in French culture in New York and beyond, offers immersive French language courses and a wide range of multidisciplinary programming. This independent non-profit organization celebrates the diversity of Francophone cultures and creativity worldwide. Formerly known as the French Institute Alliance Française (FIAF), the institution was renamed to better reflect its openness and role as a bridge between Francophone cultures and the New York public.

Pentagram redesigned L’Alliance’s visual identity by creating a framework that highlights its dynamic and welcoming spirit. The use of expressive typography and the creation of an apostrophe brand mark symbolize the organization’s lively approach to language teaching. The fonts chosen include Dahlia, a creation by the VJ Type foundry known for its dramatic curves, along with Inferi and Rules from the Blaze Type foundry, which bring an elegant and modern touch. This new visual universe, with its vibrant and contemporary colors, aims to engage a broader and more diverse audience.

Les Aventurier.e.s is a production and artistic support bureau founded in 2010. The association is primarily dedicated to the production, creation, and dissemination of live performances. It is committed to questioning conventions and performance spaces while developing cultural, educational, and social initiatives.

For their visual identity, Les Aventurier.e.s collaborated with French graphic designer Pierre Jeanneau. He crafted the design using Louize Display and Muoto, two typefaces designed by Matthieu Cortat and distributed by 205TF.

These posters were designed by French studio Image Format for the fourth edition of the music festival Les Trois Beaux Days that took place in July 2024 in Montmartre, Paris.

The 2024 edition of the Adelaide Biennial of Australian Art, entitled Inner Sanctum, ran from March 1 to June 2 at the Art Gallery of South Australia. Curated by José Da Silva, this biennial explored the complexity of the human condition and the search for intimate and spiritual places, sanctuaries that evoke moments of refuge and reflection. More than twenty artists and poets presented works that revolve around themes of memory, spirituality and collective and personal experience.

To design this project, Base Design used Louize and Louize Display designed by Matthieu Cortat and distributed by 205TF.