Visual identity of La Loge, a production and artistic support structure. La Loge’s main mission is to support contemporary creation in theater, music, and dance. The identity is set exclusively in Forma DJR Deck Bold.

The visual identity for Staatsballett Berlin, designed by Eps51, combines expressive typography with a restrained contemporary layout system. As one of Germany’s leading ballet companies, Staatsballett Berlin plays a central role in the development and preservation of ballet, both locally and internationally.

The identity translates the grace, energy, and emotional intensity of dance into a graphic language that balances movement and structure. The typographic palette pairs Similar with NT Zeu, whose proportions and rhythm complement the geometric character of Similar while introducing a contrasting voice across editorial materials, posters, and digital applications.

Developed in close collaboration with the team at Staatsballett Berlin, the system reflects both the tradition of classical ballet and the company’s contemporary cultural presence in Berlin.

Source: www.junges-schloss.de Junges Schloss. License: All Rights Reserved.

Poster for Bunt (“Colorful”), the current participatory exhibition

We love seeing Kit Rounded used like this, unapologetically playful.
⁠
The Old Castle in Stuttgart revamped their children’s section. Junges Schloss (“Young Castle”) is voiced with Kit, softly welcoming yet structured enough to hold its own in a centuries-old space.⁠

Darden Studio’s Kit Rounded is used for everything from the website and the logo (with Atkinson Hyperlegible for “LandesMuseum Württemberg”) to posters and teasers for the museum’s hands-on exhibitions and events.

Source: www.junges-schloss.de Junges Schloss. License: All Rights Reserved.

Website detail with menu. Body copy is in Open Sans, with some bits in Arial Black.

Source: www.junges-schloss.de Junges Schloss. License: All Rights Reserved.

Website detail

Source: www.junges-schloss.de Junges Schloss. License: All Rights Reserved.

Poster for Sommeroase, the holiday program for summer 2025

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Poster and flyer series for the successful dance theater production Ascochinga. La vida todavía (“Ascochinga: life still goes on”) staged by the municipal theater company Teatro Comedia in Córdoba, Argentina. Illustrated and designed by Santiago Guerrero, using Reforma 1918 (PampaType), part of the tailored type family originally made for the National University of Córdoba.

Stéphanie Desjeunes is responsible for the visual identity and artistic direction of the 2025 edition of Départ d’Incendies, a performing arts festival in Paris, featuring theater, dance, and contemporary circus.

The visual system is based on a series of illustrations and Tartuffo (from Lift Type) and its ligature system.

Front cover, 10th printing, December 1974

Cooper Black Italic in use for Bantam’s paperback edition of Thomas Pynchon’s The Crying of Lot 49 (1965), first published in 1967. Cooper Black Italic is used with a couple of swash caps. Some were included in the metal original, but most of those seen here were added only later, in phototype. While the front cover features two swashy Th ligatures, the back cover has an unligated pair. Furthermore, the glyphs for C and L are different between the two settings of the title.

Blurbs are set in News Gothic and Caledonia. The cover artist is unknown.

Who is Oedipa Maas? And what was she doing when the Paranoids blew out all the lights? What was the strange legacy of Pierce Inverarity that first led her to the world-wide conspiracy known as the Tristero System, and them on into the mystery and enigma of America itself?

Back cover, 10th printing, December 1974

Back and front cover, 1967

Crystal and Atacama typefaces in use by Swiss designer Ilaria Citti for the first issue of the dance publication KRUMP SEEN. Started as her Diploma project at ECAL in 2023, it was launched in June 2025. Ilaria Citti comments:

As a Krump dancer, I noticed a lack of editorial content dedicated to this dance form. Originating in the disadvantaged neighbourhoods of South Central Los Angeles in the 1990s, Krump is a way for dancers to express their anger, aggression, frustration and pain in a positive way. This magazine highlights the spirit of this dance through its codes: its community spirit, its vocabulary, its music and its competitions. By meeting the key players in this scene in Switzerland, I hope to offer an authentic perspective on this movement.

The Maison des Métallos is a public cultural center in Paris located in the 11th district. The institution is dedicated to the performing arts, hosting performances, theater, dance and other events and gatherings.

The creative studio Feelings designed a new visual identity for this historical venue using Modale Antique as the main typeface. It is complemented by LL Mono in its bold version for the programs.

The design duo Image Format, based in the south of France, created the visual identity and the 2024–2025 season programme for Théâtre des Salins – Scène nationale de Martigues. They developed a strong artistic direction applied across all printed and digital communication materials, including posters, the season programme, and signage. To strengthen the project’s typographic identity, Image Format used the typeface Trois Mille, designed by Marc Rouault and available from Sharp Type, a contemporary type family with a wide range of styles and widths, bringing character and visual presence to the theatre’s communications.

Anna & Günter Grass – The Paris Years (1956–1960) at the Goethe-Institut in Paris is a bilingual (German and French) exhibition that retraces the couple’s shared creative life in 1950s Paris—linking literature, dance, and visual art—while foregrounding Anna Grass’s own practice as a dancer and her role as Günter’s first reader during the writing of Die Blechtrommel (The Tin Drum), through three thematic “islands” (Life in Paris / Dancing / Writing).

The exhibition was designed by GfG, set in Romie Italic and Regular (designed by Margot Lévêque) for titles, paired with the sans-serif Boreal by Production Type for body text.

The visual identity of the Paço do Frevo museum was revamped in February 2025.

Created by visual artist Joana Lira, together with the studios Alles Blau and Ligatura, the colors, shapes and representations that will accompany us from today on are “an alphabet of free bodies articulated in motion, mixed by graphs representing the sound frequencies of the frevo”.

The project includes print, merchandising, interior and exterior signage, using Maroni as the main display typeface.

On social media graphics, Maroni is supported by Silvana Text. The typeface by Brazilian designer Daniel Sabino is used in roman and italic styles.

Located in Recife, Brazil, Paço do Frevo is a Reference Center for the Safeguarding of Frevo, dedicated to the dissemination, research, leisure, and training in the areas of frevo dance and music. Its objective is to protect, promote, and propagate the practice for future generations and to be a space for the promotion and celebration of carnival culture and frevo throughout the year. Since 2014, Paço has developed exhibitions, activities, research, and events for the dissemination and protection of this Intangible Cultural Heritage of Humanity, which should be revered every day.

The Frevo Vivo (“Living Frevo”) exhibition on the 3rd floor of the museum can now be explored in a 360° virtual tour.

The Teatro Stabile dell’Umbria (TSU) is a public theater institution in the Umbria region of Italy, officially recognized by the Ministry of Culture as a teatro di rilevante interesse culturale (“theater of significant cultural interest)”. Established in the mid 1980s, the TSU has produced over a hundred theatrical works, both regionally and beyond, in collaboration with many prominent directors. It operates across many of Umbria’s historical theaters, promoting theater and dance, supporting both national and international artists, and contributing significantly to the cultural life of the region.

In 2024, the Teatro Stabile dell’Umbria introduced a new visual identity to mark the milestone of its 150th production and to project a more contemporary, dynamic image of the institution. Designed by Due Studio, the rebranding was applied across posters, billboards, tickets, and other materials. A key feature of the project was the use of photographs from TSU’s historical archive, reinterpreted through a bold and flexible graphic system that highlights the theatre’s dual role as both pillar of cultural heritage and a space of ongoing innovation.

From Due Studio’s website:

The new visual identity of Teatro Stabile dell'Umbria for the 2024-2025 season celebrates the 150 TSU theatre productions with a bold and contemporary design. A geometric and dynamic system that evokes the theatre wings, both container and mask for the images of the productions from the historical archive of the TSU and the typography. A versatile visual system that reflects dynamism and innovation.

One element of this new identity is the adoption of Suisse Int’l Condensed and Suisse Works, whose clarity and flexibility support the dynamic system of shapes and imagery. These typefaces not only provide a strong visual backbone for the 2024–2025 season but are also adopted in the 2025–2026 campaign, where they are paired with a striking fluorescent green. This continuity strengthens TSU’s refreshed identity, while the bold new color highlights the launch of a new season of productions, all within a contemporary brand language that continues to evolve.

Fourteen booklets were designed for the 2024-2025 season.

The G2 Airdancer typeface in use as part of the visual setup for the 2024 edition of the Nation of Gondwana festival. The design was developed by Tim Vormbaeumen, with illustrations by Ilya Lorenz Barrett.

This is the single cover for the 1996 Euro house song “Show Me How You Love Me (Do You Love Me)” by Elissa. The fonts are Lithos and ITC Anna.

[More info on Discogs]

In May 2024, Le Labo and dance school 4ème Art presented Diane Tsitera’s piece Mémoires dansantes ou lettre à un jeune danseur (in English: “Dancing Memories or Letters to a Young Dancer” at Le Rocher de Palmer.

In keeping with the reflections and writings of choreographer Maurice Béjart, the visuals I designed for the show refer in particular to this phrase: “Struggle, work and fly away”, represented here with dancer Marius Tsitera, where several movements form a graphic whole.

The photographs of dancer Marius Tsitera are by Reportage sud. The drawings used in this presentation are from my process and were not used for the show’s visual communication. Sherman Display is the main typeface, assisted by Intro Bold.

The Supremes A’ Go-Go is the ninth studio album by The Supremes, released on August 25, 1966, by Motown Records. The album blends original material with covers of contemporary pop and soul songs, featuring hits like “You Can’t Hurry Love” and “Love Is Like an Itching in My Heart”.

On the front cover, the group's name is set in Fiedler Gothic and the album title is displayed in Latin Wide, with an upside-down apostrophe. Song names are set in caps from Futura Condensed Bold.

[More info on Discogs]

On the back cover, the band name is shown in Peignot with a non-standard u, set on an angle. The title is arranged on a bouncing baseline, with two exclamation marks and added motion lines. The extracondensed contrasted sans is yet unidentified. Track list headings feature Radiant. The upright brush script with the wide caps for “The Sound of Young America” is Filmotype Hawk. “The Motown Sound” at the top right is in Stencil while credits at the bottom left use regular-wide Futura and Monotype Grotesque.

The F°LAB Festival for Performing Arts is an interdisciplinary format at Frankfurt LAB, held biennially since 2017, in cooperation with its partner institutions Dresden Frankfurt Dance Company, Ensemble Modern, Hessian Theatre Academy, Frankfurt University of Music and Performing Arts and Künstler:innenhaus Mousonturm, as well as the associated International Ensemble Modern Academy.

In 2022, Via Grafik, together with Btween Studio, developed a new visual identity for F°LAB, centred around an animated key visual in which modular elements continually reconfigure. The design system evolves from edition to edition: in 2022, slow-moving spectral gradients washed over a neutral grey background; by 2024, these fields had transformed into rubber-tube sculptures that snake across the canvas—same grid, new choreography. The entire system relies on Antipol from phospho, solely used across all print, digital, and motion assets.

F37 Beckett was used as the primary brand font for Neighborhood Ballet. From design studio Proper:

Neighborhood Ballet is an Atlanta-based dance studio that gives students of all ages a place to discover, inspire, and develop a love for dancing. After opening in Grant Park in 2017, the studio had since grown to four neighborhood locations around the city of Atlanta. Neighborhood Ballet needed a brand update that would represent their vision and growth. We worked closely with founder, Rebecca Harman, to align the identity more closely with the quality of the brand experience.

For the 2022–2023 season of Le Lieu Unique, Brussels-based studio Ekta reimagined the visual identity by playfully disrupting the historical logo of the national center for contemporary arts and music venue in Nantes. The three iconic bars are exploded across layouts to create dynamic spaces for text and imagery, all set in the Staff type family. A photographic series by Charlotte Marchal explores “perfect imperfections,” echoing Erik Kessels’ quote: “Mistakes set us free. They allow us to see things differently

Translated from Ekta’s website:

We started from the existing historical logotype to shake it up and revisit it.
Superimposed onto the visual elements of the events, the three “bars” of the logo are used like captions. By exploding their format and layout on the page, we free up spaces dedicated to typography and practical information.

Using the basic elements of the logo and embracing its off-balance composition allows us to create a multitude of graphic signs related to the original logo. A large number of materials are “stamped” with these simple yet always different graphic elements.

Continuing the dynamic applied to the logo, we aimed to shift the viewer’s perspective, to avoid freezing anything in place.
In collaboration with Charlotte Marchal, we proposed a series of photos reflecting the theme of “perfect imperfections” (Erik Kessels). Happy accidents and poetic displacements joyfully disrupt the reading of these images.

Jeanne Triboul designed a program brochure for the dance company Atmen, which wanted a publication to present itself and showcase its creations. The company, which creates a dialogue between contemporary dance and historical heritage in its performances, finds expression here through the combination of a traditional serif typeface – Freight Text – and two contemporary ones: Circule and a yet unidentified grotesk. The provided images, which varied in quality and nature, were color-corrected to create a harmonious look throughout the publication.