Le Grand Livre de la Moto, or “The Big Book of Motorcycles”, is a 2025 anthology by publisher Marabout. From the early days of racing to the rich history of MotoGP, via off-road racing, discover the iconic riders and bikes, the anecdotes and moments of bravery that have forged the legend of this sport.

As often, Atelier AAAAA display a polyphony of typefaces. In this case: NaN Metrify, Based, ITC Barcelona, Chromium One, Core Escher and BRZO are sharing the scene. Their combination provides a range of styles and functions, helping to structure content and create a consistent visual identity throughout the book.

Inside of the book, East of Rome’s Based does most of the legwork for the titles and subheaders, while ITC Barcelona, Chromium One, Core Escher and Brzo are punctually used for chapter headings. NaN Metrify A is used for most long running text as well as in tables and infographics, in many widths.

Initially beginning as a branding project, Wade and Leta designed and built the physical lockup for Taubmans’ 2021 campaign, Chromatic Joy. From their case study:

Our multi-layered logo and its system of glyphs existed as physical wall reliefs that, when assembled, would create a giant composition that we photographed for the header of the website. Each of these letters and glyphs were hand painted to showcase the vibrancy and tactility of Taubman’s colors for 2021. We had a lot of fun determining this modular typographic approach as it gave us infinite opportunities to showcase Taubman’s color pairing possibilities with our material approach.

Additionally, we designed our own ideal buildings to supplement the site by pulling inspiration from architects like Kunihiko Hayakawa and Kazuo Shinohara. Everything was nicely linked together with the eclectic palette derived from Taubman’s colors of the year in order to exist on Taubman’s digital annual report website (designed by Sons & Co.) featuring loads of chromatic inspiration and insightful interviews with other colorful creatives such as Yinka Ilori, Camille Walala, and Adam Nathaniel Furman. We’re in there too ;)

Geometer is used alongside what looks like Gordita as well as an unidentified sans similar to LL Circular.

When the Democratic National Committee held their National Tribute to President Clinton in May 2000, the invitation featured Lo-Type Medium Italic and ITC Stone Informal.

Visual identity for the exhibition Inezita Barroso: 100 anos de viola e pioneirismo for Sesc Mogi das Cruzes.

The show about Inezita Barroso (1925–2015) and “100 Years of Viola and Pioneering” is presented by Sesc Mogi das Cruzes to mark the artist’s centennial and bring together fifteen activities in her honor. The concept is anchored in enraizamento (“rootedness”), inspired by a statement Inezita made to Revista Brasil: “Something without roots flies away; the wind takes it and it disappears.” In her performances, Inezita was often seen wearing floral dresses, full skirts, and scarves, elements associated with traditional attire from Brazil’s countryside. The visual identity draws on this symbolic dimension by placing vernacular rural prints and folk embroidery at the center of the graphic system. The full booklet is available for download.

1983 album by Sly & Robbie and the Taxi Gang, released on their own Taxi Records.

The open letterforms casting a perspective shadow are from Alpha Sunrise, the dimensional style of Hiroshi Yamashita’s typeface family. “Taxi Gang” is in Letraset’s Revue. “Taxi Connection” appears to be Advertisers Gothic – also available from Letraset – with a custom C made from an O. The names of the Taxi Gang members on the side of the car are set in Franklin Gothic Extra Condensed.

In memory of Robbie (1953–2021) and Sly (1952–2026).

[More info on Discogs]

Packaging design for Xochi Prebiotic Agave Soda made with 100% natural ingredients, respecting the traditions surrounding aguamiel.

The concept aims to capture the essence of Mexican cultural elements and create a brand identity that pays homage to its vibrant heritage from a contemporary point of view. We drew inspiration from the streets, using a wide range of references such as local signage, festive traditional costumes, decorations, flowers, and everyday graphic expressions.

We wanted the cans to feel like a celebration of Mexican culture from a pop perspective, where colors are vibrant and typography is bold, oversized, and playful.

Front cover

Cover for the 1991 single “The Wave of the Future” by Dutch/Belgian duo Quadrophonia. The design is credited to Image Building.

The group’s name is in Variex, while Modula Sans is used for the title and the text on the back cover. The large Q is from ITC Benguiat.

[More info on Discogs]

Back cover (with the ARS logo in Stop)

The Entrelacs cross-residency is being coordinated by the small troglodytic village of Villaine-les-Rochers in Touraine, France. This annual residency aims to draw a reflection on the new uses and know-hows of basketry. It hosts artists and craft practitioners who collaborate on contemporary creations. The main goal is to protect the local basketry production and to raise awareness about the art of basketry in France.

The poster, journal and brochure produced for each residency were created with modesty, efficiency and lightness. The intention was to put the work of the residents at the center of each piece of communication. The identity is carried through the sturdy and organic Droulers typeface and the kraft ribbon, acting like a wicker twig to intertwine the many communication devices.

This first edition sheds light on Clemence Althabegoity and Catherine Romand (from Romand’art Basketry), winners of the 2024 Liliane Bettencourt prize for l’Intelligence de la Main (“Intelligence of the Hand”) with their wicker shade structure Tresser l’Ombre (“Weaving the Shade”).

Reading is hard, but writing is harder.

De Situatie is a literary platform and publication founded by PIP Den Haag, aimed at promoting the art of storytelling among young audiences by providing space for emerging writers and type designers alike.

For this second publication they selected ten texts selected from De Situatie’s annual writing competition. For each text, All Sizes selected a unique typeface in close collaboration with type designer Céline Hurka. None of these typefaces had been published before, allowing writing talent and design talent to meet on equal footing.

The texts are interspersed with half pages that are tilted in the reading direction, inspired by the dwarsligger concept—originally designed to make books readable with one hand. Within the context of De Situatie, this device also functions symbolically, reflecting the platform’s slightly off-axis position within the literary landscape. All editorial texts are placed on these half pages, reinforcing the relationship between form and content.

More information on the All Sizes website.

Klaar by Luka Appelberg

Klaar by Luka Appelberg

Spencer Platt, Spencer Ellen and Spencer Persis by Kaat Vandenbroeck

Spencer Platt and Spencer Ellen by Kaat Vandenbroeck

Gauche by Céline Hurka and Jan Egbers

Arête by Huw Williams

Arête by Huw Williams

Heline by Morgane Vantorre

Dargon and Dargon Text by Anne-Dauphine Borione

Kabreet by Andrea Hayek

LNT Natalia Mono by Nóra Békés

Segmentor by Mălin Neamțu

Heline by Morgane Vantorre

Heline by Morgane Vantorre

Prepis Skoropis by Luboslav Boyanov

Prepis by Luboslav Boyanov

Pasara and Pasara Display by Tina Božan

Every year, Biergarten Brewery & Kitchen celebrates the Karnataka Food Festival – a tribute to a state that’s a mosaic of accents, kitchens, playlists, and Friday-night pints. This year’s identity draws from the warmth of the Kowdhi quilt of North Karnataka; square patchworks of reused fabrics stitched into rhythmic geometry, paired with colours inspired by vibrant risograph inks and traditional quilts.

Tiny square illustrations echo Kowdhi’s pattern and pair seamlessly with Bungee, Biergarten’s primary typeface with its bold, structured form. Anek Kannada brings the regional script and language into the system, adding warmth through its semi-rounded forms and generous curves while maintaining clarity at every scale. The stacking of Bungee with Anek Kannada mirrors the layered patchwork of the quilts. P22 Underground anchors the typography with a clean, highly legible foundation for body copy and functional text.

Design, illustrations and much more for Trädgården, Stockholm, season 2025.

Visual identity for Studio Soleil, a yoga studio in Brest, designed by Adèle Mahé, who writes:

The logo: a nod to vintage surf fonts, mixed with a touch of “cocktail” on the beach.
The illustrations: variations on the symbol, where the sun becomes Yogis in motion.
The typography: ultra bold, to break with the codes of the sector's thin and sensible fonts.

Inspired by movement, bodies, the sun and the ocean, this identity embodies a yoga open to everyone — free and alive. Here, there is no rigidity: only breath, intention, and fluidity.

Adèle used Mosa Black for the logo with a customized S, designed by Alexandre Créquer. Other texts are set in Velvelyne from Velvetyne and Rethink Sans, available from Google Fonts.

The script used on the flyer is Oooh Baby by Rob Leuschke.

68.7×99.7cm letterpress printed poster

Exhibition poster announcing a project that was working with LEGO® bricks to letterpress print letterforms by different typedesigners and graphic designers from many places around the globe.

The posters have also been letterpress printed from a total of 5,469 pieces of 1×1 LEGO bricks. The large outline type with the checkerboard gloss is a pixelated form of Univers 93 Extra Black Extended. The main info has been cast from Ludlow hot metal slugs in Record Gothic Bold Extended and the small bottom line was set in Record Gothic Bold.

A New Model of the Universe: Principles of the Psychological Method in Its Application to Problems of Science, Religion and Art is a book by Russian philosopher and esotericist P.D. Ouspenski. First published in Russian in 1914, it was translated to the English by R.R. Merton and issued in 1931 by Routledge (London) and Knopf (New York). Shown here is the paperback edition from the Dover Occult series, 1997.

Işıl Gün is a Turkish stylist and set designer based in Milan. Each of her projects reflects a sophisticated, eclectic, and irreverent eye, shaped by a unique style that blends retro influences, surrealist elements, bold textures, and strong contrasts—always with an elegant and unmistakable touch.

She partnered with DilloStudio who designed the new identity directly from this coexistence of opposites: a vibrant and varied palette creates unexpected and lively combinations; geometric patterns echo the aesthetics of the 1970s, while surreal compositions mix illustrations, classical busts, animals, and natural stones in a dreamlike, personal language.

The logo features Blackest by Zetafonts, a typeface that merge radical design references with nods to Turkish visual culture. GT Alpina Condensed by Grilli Type and Fragment Mono by Wei Huang are used respectively for headlines and paragraphs.

Design by Mattia Finardi with direction from Marco Fogaccia. Web design and development by Daniele Capelli.

Poster artwork for Norwegian band Gold Celeste’s July 2025 tour celebrating the tenth anniversary of their album The Glow (accompanied by Vinyl Williams).

The poster was illustrated and designed by Thirst & Co, a studio based in Fort Worth, Texas.

Cowboy Hippie is used for the artist’s name and the tour title, featuring its V and W glyphs which are quite different from the inspiration, Sintex and Stretto. Fd Massive serves for the dates and locations.

Poster for the Rey Ahogado tournament

Rey Ahogado is the first chess tournament held at 404 Coffee & Beers as part of the cultural and community programming of the project in Caguas, Puerto Rico. The event followed an open Swiss system format with 10-minute rounds. The project was developed in collaboration with the Centro Criollo de Ciencia y Tecnología del Caribe (C3tec) and the Puerto Rico Chess Federation.

To honor this collaboration, we combined 3D graphic generation with 3D-printed object production and augmented reality, inspired by the concept and chess situation known as the “smothered mate”, or “rey ahogado” in Spanish. The graphic composition is based on the contrast between Garamond Premier and Untitled Sans. The central poster features a king piece wrapped in checkered squares, evoking the chessboard. The project was created as part of a broader effort to highlight chess as art, game, and educational tool.

Poster for the Rey Ahogado tournament

Flyer for the Rey Ahogado tournament

Digital promo of the Rey Ahogado tournament ft. a DSPO lens photo

At the Rey Ahogado tournament, May 24, 2025

Digital promo of Rey Ahogado tournament ft. a DSPO lens photo

At the Rey Ahogado tournament, May 24, 2025

A giant King piece in augmented reality, created in Adobe Aero for an Instagram reel

In issue 197, ballesterer covers the story of the Viennese football club SK Rapid Wien, during its 1984/1985 season. Victories and defeats, celebrations and sorrow, miracles and scandals – it’s all there in these nine months. From September 1984 to May 1985, SK Rapid experienced a European Cup season like no other.

The display typeface chosen for this issue is VAG Rounded, paired with Archive by Colophon ​​​and A2 Grot10 by A2-TYPE.

From publisher Victionary:

The Vibrant Artistry of the ’60s & ’70s
What comes to mind when one thinks of the vivid and exhilarating visual world of the 1970s? Is it attention-grabbing lettering and clashing colours, groovy paisley motifs and floral patterns reminiscent of hippie culture, or mind-bending psychedelic visuals that transport one to a different dimension? Funkadelic invites readers to step back in time and witness the audacity and dynamism of an era that embraced individuality and pushed artistic boundaries.

An homage to the graphic design trends and styles that embodied bold expression, cultural revolution, and free-spirited creativity, discover a handpicked selection of visual identities and branding design inspired by the iconic aesthetic of the '70s in a visual treasure trove of inspiration and nostalgia for designers, artists, and era enthusiasts alike.

The type and headlines in the book are set in Oakley by Mark van Leeuwen, accompanied by a yet unidentified typeface [edit: it’s BioRhyme by Aoife Mooney, see comments].

Parmizza is a Los Angeles-based restaurant that offers casual dining and drinks. Its signature dish, the Parmizza, is a playful fusion of “Parm” and “Pizza”. Parm, short for Parmigiana, is an Italian-American dish made with breaded and fried ingredients like chicken or eggplant, topped with Parmesan. The mix of these flavours with traditional pizza toppings gives Parmizza its culinary twist.

The restaurant’s visual identity draws inspiration from the aesthetics of Italian-American diners, creating a playful and inviting atmosphere. The wordmark Parmizza is set in Farmacia by Nguyen Gobber, displayed in all caps, and appears across various touchpoints, including the restaurant’s sign, T-shirts, caps, and other materials.