Poster and merchandise realised by Studio Cutané for Eternal Mana, a Paris-based music event organisation. The event was held on April 15, 2026, at La Station – Gare des Mines.

Studio Cutané used Aldine, a work-in-progress typeface by Lucas Maréchal, as well as Large by Alexandre Créquer and Arial by Patricia Saunders and Robin Nicholas. For both typefaces, the studio played with stretching them.

Faire école… de la résilience is a collaborative project led by Cité Anthropocène and Éditions 205 that brings together scientific and civic knowledge to develop concrete solutions for environmental challenges. Built during the winter of 2024–2025 by participants from academic, cultural, non-profit, economic, and public sectors, the initiative aims to foster new forms of cooperation, creativity, and collective engagement.

The titles are set in Pinokio Grand, while the interview questions are set in Pinokio Sans (Tanguy Vanlaeys, 205TF). The body text, interview answers, and quotations are set in Alcalá Xtra (Damien Gautier, 205TF). The page numbers and running headers, meanwhile, are set in CX80 (Damien Gautier, 205TF).

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.

Absolvent*innen 2026 is the catalog showing graduation projects made at the Akademie der Bildenden Künste in Nuremberg:

We approached the design of the catalogue like a memory box, filled with works, impressions, and moments that last. Time at the academy can be quite formative. With graduation, an important chapter comes to an end for many students. We tried to translate this feeling to the catalogue.

The design was created by Juliane Abart and Paul Grassler, using Interlope and Bastardo Rounded.

Site-specific installation by Tomo Tomo, commissioned by the Olympic Museum in Lausanne and YesMilano in the Metro 5 station of Portello, Milan.

Fundamentals was developed for the Olympic Winter Games 2026 in Milan and Cortina. The installation highlights the four disciplines hosted in Milan – ice hockey, figure skating, speed skating, and short track speed skating – bringing sport and art together.

Through a series of large-scale illustrations, the installation reveals key movements, rules, historical facts, figures and the stories of champions. Drawing on images selected from the Olympic Museum’s collections and reinterpreted in a graphic style inspired by Futurismo, the metro station becomes a place of discovery woven into everyday life.

The installation blends together moving images, infographics, and visually striking typography. Fully composed in Söhne Fett and Söhne Mono Kräftig by Klim Type Foundry.

A project curated by Zero.

This book tells the story of Bizet Bizar, an activation of a former car park in Brussels, Belgium, between 2022 and 2024. As part of the Bizet Sustainable Neighbourhood Contract, Dear Pigs, Werkplaats Walter, and MUS-E were appointed to breathe new life into the site pending a new urban development.

From three perspectives – urban nature, art, and community – various processes emerged that make the site what it is today. Project partners, residents and neighbourhood organizations found each other in unexpected collaborations; new networks took shape. At the same time, the process raised many questions: When will the garden finally be ready? When will the gate be open?

In this book, we outline the development of Bizet Bizar through an alphabet of words and images. Each word opens a window onto the rich archive of the place. The abécédaire inspired six authors – Sonia Dermience, Gideon Boie, Pascal Gielen, Eleonora Campenella, Edith Wouters and Jolien Naeyaert – to reflect on the project. The ‘alphabet primer’ and essays interlock and engage in dialogue with each other. They can be read in any order: an exercise in open-endedness that invites us to reflect on and fantasize about how we can shape our social environment.

Bizet Bizar continues to produce and collect stories. This book is therefore neither the conclusion of two years of action, nor a classic project documentation, but rather a look at future actions in the urban space.

With this publication, Dear pigs takes up a position within the architectural and urban planning discourse that advocates the importance of experimental development models and practices of permanent temporariness. Not to offer solutions, but to create space for questions, for cross-pollination, for the unfinished. We hope that readers will be challenged to celebrate unexpected twists, chance encounters and open endings as ingredients of an inclusive city.

The typefaces used are Exposure by 205TF and Neue Haas Grotesk by Christian Schwartz.

Main text is set in Exposure, a typeface that balances an intentionally unfinished character with full legibility. Secondary content is set at a slightly smaller point size in Neue Haas Grotesk.

Graphic design by Els+Onno. Concept and composition by Dear pigs, (Martha Meijer, Jasmien De Ryck, Jan Laute and Lode Vranken). Photography by Sarah Michielsen and others.

Asfalt Billboard Coiffeur. Notes on Bizet Bizar is available from Public Space.

Experimental typographic poster with every piece of information I could find on Ponte City Apartments.

The challenge was to create an A0 poster packed with information about only one topic using mainly typography. I dove into the world of Africa’s tallest residential building – a massive cylindrical structure from 1975 in Johannesburg, full of mystery and historical significance, that I wanted to convey through type.

Designed with a dual purpose, the poster works both as a physical reference, letting you read everything about the building – from its social and cultural significance to its role as a symbol of resilience – and as an immersive experience, placing you at the center of the “hole.” Divided into 30 topics under a single type weight, the text forms the shape of the façade as if seen from the inside, with context and key information at the center, maximizing the large format and creating a sense of depth.

By carefully working with the text partitions, I developed a deliberate sense of false symmetry. The left, center, and right sections follow different alignments, creating subtle quirks that keep the composition dynamic, while the jagged edges of the text echo the building’s raw concrete texture and sense of decay. This approach reinforces the structure’s character, turning the dense typographic layout into an extension of the architecture itself, where precision and irregularity coexist to reflect both its monumental presence and its worn, lived-in history.

785 sentences, 13,994 words, 86,694 characters, 841×1,189 mm

Project developed in the typography module of the Master in Visual Design at Elisava.

Born in 2008 from the side hustle of friends Sarah Thornton and Brooke Johnston, The Finders Keepers has grown into Australia's most-loved design market, each year hosting festival-style markets in Sydney and Melbourne.

The Finders Keepers is where communities come together to shop, explore and discover the very best from designers, makers and entrepreneurs in our country.

The branding by Melbourne-based agency Young Folks uses Maroni’s Regular weight for the logo. “To balance playfulness with clarity”, they “combined Parkinsans for confident headlines with Inclusive Sans for welcoming body copy.”

ZER01NE (“Zero One”) is an open innovation platform belonging to Hyundai Motor Group where different perspectives converge to create questions and find answers. ZER01NE DAY 2019 took place at Hyundai Motor Service Center, Seoul. Massimo Grafia was used for the graphics, together with what appears to be Sandoll GothicNeo for Korean text.

From the designers of Everyday Practice:

ZER01NE DAY 2019 presents the results of the past year as creative minds who create questions from people, society, and life concerns, start-ups that translate questions into real-life, and find answers through quick action, and connect and share various questions and answers with people-centered social values. We have developed a borderline fluid image that reflects the theme of ZER01NE DAY 2019 called “BORDERLESS in EVERYTHING,” and have worked hard to articulate the theme of the festival in preparation for an object symbolizing the engine

Poesia no Centro is a poetry festival promoted by Megafauna, a bookstore in São Paulo, Brazil. The visual identity and scenography allude to the city’s signage and urban cacophony, anchored in the use of the Plaak typeface by the type foundry 205TF, also present in the bookstore’s visual identity.

The graphic design consists of a simple structure of boxes and vertical bars with moving typography superimposed on the work of guest photographer Mauro Restiffe. In the scenography, the lines become industrial shelving structures, the boxes become animated LED signs and the photographs become large-format posters.

The program booklet uses FF More and Acumin for text.

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 publication Navigating Change Through Conscious Design Education: Institutional Plan 2025–2028 is the result of the Design Academy Eindhoven community's efforts, from students to alumni and staff. The booklet was coordinated by Stella Verdult and Evelyn Janssen and printed by die Keure. Its design and illustrations were created by Pedro Lobo, typeset in HAL Repost by HAL Typefaces.

Words on the project by Pedro Lobo:

How do we reflect, adapt, and imagine new futures? How can an institution be built not only on legacy, but on possibility? As part of a collective reflection on Design Academy Eindhoven’s future, students were invited to shape their ideal ‘building block’ with clay. The result is a collection of unconventional forms used to help guide readers through the chapters of the Institutional Plan, while illustrating Design Academy Eindhoven’s proactive vision of ‘shaping ideas through practice’.

Vital CxNs is a Boston-based nonprofit redesigning systems of care by centering community leadership. Their refreshed brand and website, designed by TART, position them as a credible leader in systems change while staying grounded in community leadership.

Typography plays a central role in achieving this balance. The updated identity uses Lazzer Bold and Medium by Displaay Type Foundry. Lazzer’s geometric structure and sharp cuts bring a contemporary boldness that signals expertise and authority, while its softer curves and rhythm keep the tone approachable and human.

The type system works in tandem with an expanded color palette, bespoke illustrations, and flexible templates, enabling Vital CxNs to communicate consistently across audiences — from funders and public agencies to grassroots partners and community members. Their refreshed brand and website, strengthen their credibility with institutions while amplifying their role as a convener of grassroots partners.

Emma Passarelli Design seems to be a design studio that specializes in UX design, branding, and strategy with a strong emphasis on storytelling, empathy, and human-centered design. It’s a place where creativity meets strategy, with the added dimension of coaching and mentoring to help other professionals thrive.

Emma Passarelli Design uses Orange Squash as main typeface for the website. In addition, the website uses Almarai for body text and navigational elements. The occasional ‘handwritten’ words are rendered in Aguafina Script. The logo pairs Brown Sugar with Agrandir.

Imagine—Embracing Chaos and Possibility in a Planetary Emergency is not a non-fiction book or practical guide, but rather an interdisciplinary collection of conversations, reflections and contributions that explore life in times of global crisis—what some call a “planetary emergency.” The editors shed light on the ecological, social and cultural challenges of our time from various perspectives and aim to create up space for further reflection and solutions.

The book was edited by Laura François and Natalie Seisser. Viola Dessin provided the design, with art direction from Lars Harmsen. It was printed by Stober Medien and published in September 2025 by Slanted Publishers, with the kind support of Awe Exchange.

The hardcover publication has 160 pages and measures 12×19 cm. It comes with a headband, hot-foil embossing, thread-stitching, full color offset printing, changing papers.

ISBN: 978-3-948440-89-3

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.

The typefaces TT Ramillas, Satoshi and Nippo are part of Madness AI’s identity.

Madness AI is consultancy agency that is tailoring AI solutions to specific business needs, like predictive models and automated data processing, for optimized performance.

Nieuwe Instituut presents SIDELINED: A Space to Rethink Togetherness, the Dutch contribution to the 19th International Architecture Exhibition—La Biennale di Venezia, developed in collaboration with curator Amanda Pinatih and social designer Gabriel Fontana. Hosted at the Rietveld Pavilion in the Giardini in Venice, the project reimagines the sports bar to question how architecture shapes social dynamics.

The museum describes the projects as follows:

How can architecture resist exclusionary social norms? How can we create spaces that nurture new ways of coexisting? SIDELINED explores these questions by presenting an alternative sports bar, continuing designer Gabriel Fontana’s investigation into social dynamics in through the lens of sport. By subverting traditional norms and suggesting deviations, the Dutch Pavilion strives to change the rules of the game.

Sport, as both a reflection and producer of societal conventions, shapes group identities and can often be divisive, polarising and exclusionary. Fontana challenges these structures by understanding sport as an architectural system—one that regulates spaces, bodies, and behaviour—opening the playing field to inclusivity, empathy, and solidarity.

In collaboration with designer Koos Breen, artist Jeannette Slütter, curator Amanda Pinatih, and including works by a range of artists, researchers, and others, SIDELINED shows how built spaces can be hostile or welcoming, encouraging new ways of thinking about bodies, spaces, and identities.

Responding to the Biennale’s theme of Intelligens, the pavilion stages encounters that disrupt the norms of sport and its architecture, inviting visitors to engage through play and observation. The font used for the pavilion is WT Skrappa by Jacob Wise.

Who Are We Cheering For? is the sports newspaper accompanying the exhibition.
The newspaper was developed by Gabriel Fontana and Amanda Pinatih, edited by Maia Kenney and produced with the help of Frank Verkade and Charly Blödel. It was designed by Doğa Gönüllü, using the typefaces Feraz by Giulia Boggio and Literata by Irene Vlachou, Veronika Burian, Vera Evstafieva and José Scaglione.

Serbia Games Association (SGA) is a non-profit organization that supports the growth and international visibility of the Serbian video game industry. Founded in 2018, SGA connects game developers, artists, publishers, and educators, fostering collaboration and knowledge sharing. Through mentorship programs, workshops, and global partnerships, the association plays a key role in positioning Serbia as a rising hub for creative and technical talent in game development.

We designed and published SGA’s digital annual report for 2024 to spotlight key trends in Serbia’s gaming industry. The aim was to present complex data visually, highlight over 150 studios and 10 expert voices, and support SGA’s mission to boost industry visibility—all while aligning with modern digital standards.

Each year, we explore a fresh, creative approach. This time, we leveraged a new 3D design tool to generate all visuals, bringing a unique and contemporary aesthetic to the report.

The final report is clear, engaging, and accessible, blending humor with bold design to position Serbia’s gaming scene on the global map.

Designed by Connary Fagen, the typeface Integral CF gained significant attention when prominently used in the 2018 MTV Video Music Awards (VMAs) branding. With clean lines and geometric precision, Integral CF creates maximum visual and emotional impact and fits perfectly with the VMAs’ dynamic and youthful image.

Integral CF features six weights and wide language support.

Campaign design by Rebecca Wheatman.