“¿Dónde está mi raza?” (in English: “Where is my race/people?”) is a poster-shaped essay by Puerto Rican writer and activist Yolanda Arroyo Pizarro, known for amplifying Afro-Caribbean, feminist, and queer experiences. Published by Rey Naranjo Editores (Colombia), designed by Raúl Zea (Art Director of Rey Naranjo Editores) and printed by Uno Estudio, the piece is both a visual and textual denunciation of racism and social exclusion.

The text reflects on the construction of racial and personal identity shaped by marginalization and the systemic erasure of Black identity. Arroyo transforms her lived experience into an act of political resistance and self-affirmation.

The cover features VTC Bayard, a typeface inspired by protest signs from the 1963 March on Washington for Jobs and Freedom, thus carrying a graphic legacy of civil rights struggles. In this work, word and image merge into a powerful call for Black visibility and dignity. The essay itself is set in Suisse Works.

Belafonte is a workspace designed to feel like home. Inspired by The Life Aquatic’s iconic research vessel and the warmth and charisma of Harry Belafonte, the visual identity strikes a balance between minimalism and comfort.

At the heart of the design is a subtle yet distinctive logo set in ALT Riviera, a symbol that shelters like a house, reinforcing the idea of a welcoming and personal space. The visual language is integrated into the architecture and interior design to create a serene and inspiring atmosphere for work and creativity.

The identity embraces a monochromatic approach in its core applications, enhancing the sense of cohesion and tranquility within the space. In contrast, ephemeral elements such as gift postcards introduce bold, vibrant colors, injecting energy and playfulness into everyday interactions. This thoughtful contrast ensures that while the brand remains elegant and understated in its daily presence, it also has moments of warmth and spontaneity that make it feel alive.

Concept and visual identity by Lucía Boiani and María Carmona

Breakaway is the second of three duet albums recorded by country/folk musicians Kris Kristofferson and Rita Coolidge. It was released in 1974 on Monument Records. The uncredited cover design pairs extrabold caps from Gothic (Nesbitt) with a delicate ampersand, from Caslon No. 540 Italic or similar.

[More info on Discogs]

Founded in 1540 by Ignatius Loyola, and commonly called the Jesuits, the Society of Jesus is a male religious order of priests and brothers in the Catholic Church. There are over 15,000 Jesuit priests, brothers and seminarians worldwide who serve in over 100 nations on six continents.

For the design of their new campaign website Be a Jesuit, the society pairs a gold and red palette with portraits and texts set in Degular and Arpona. The wordmark uses Friz Quadrata.

Héroïne is a retail design studio focused on client experience. Working together with ethnologists, interior designers, graphic designers, and retail managers, the team of Héroïne offers a method based on the design of persona’s courses, reflecting a brand’s strategy and target. The specificity of Héroïne is its dedication to create not only beautiful retail design, but an experience that brings a whole new idea of how branding can apply to space.

Kevin Bichaud designed Héroïne's identity and website. For the web design, the emphasis was put on large immersive images, taking the visitor into a swirl of fast-cut pictures at the time they arrive on the page. The single page design with subtle parallax scrolling effects plays with the adaptability of images to the user’s visit, and guides them into a path they can’t step aside from – an analogy to the compelling services proposed by Héroïne. The website is set in alll-caps Baton from Fatype for titles and in Columbia Sans from Production Type for body text. This pairing calls to mind some Art Deco prints with heightened middle-strokes and humanistic sans serifs such as Peignot; this style was also known for its wide application, from buildings to entire interiors, from objects to walls and floors. Both typefaces add a contemporary twist, Baton with a sobered lineal design, and Columbia Sans with more classical references in its design, ranging from Times New Roman to Plantin and the Elzevirs. Visiting this website works as an experience in different steps, where the typographic choices come to create a sense of unity.

If you've ever googled punctuation, chances are rather high that you've end up on Keith Houston’s Shady Characters. The excellent blog and subsequent two books dig deep into the use, history and character of our typographic little friends.

Styled in a classicist shroud, the type-only layout uses Sindre Bremnes’ Satyr and Faunus, beautiful antiques made up of curves only. Contrast is achieved through varied settings and the trusty typographer’s red. Houston even went so far as to commission some obscure punctuation glyphs missing from the retail fonts including l b bar (℔), interrobang (‽), and the ironieteken as proposed by Bas Jacobs (of Underware). The process is exquisitely detailed in this great blog post.

Roman and italic custom symbols from Monokrom’s Satyr typeface, as designed by Sindre Bremnes.