Designed by Miko McGinty and Rita Jules, and featuring Retina by Frere-Jones Type, Prospect 4. The Lotus in Spite of the Swamp by Trevor Schoonmaker was published by DelMonco Books/Prestel in 2017. The cover typeface is LTC Kennerley.

Accompanying the international triennial Prospect New Orleans, Prospect 4. The Lotus in Spite of the Swamp, the publication features work by 73 artists and arts collectives illustrating transcultural connections through contemporary art. The fourth iteration evokes New Orleans's natural environment–surrounded by bayous, lakes and wetlands near the mouth of the Mississippi River–and alludes to the city’s unique cultural landscape as a creative force.

The Union of Bulgarian Artists (UBA), known in Bulgarian as Съюз на българските художници (СБХ), is the largest and oldest professional organization of its kind in the country. To manage its extensive history and diverse membership of thousands of visual artists, the UBA adopted Mont by Fontfabric as its primary digital typeface.

The choice of Mont brings a sense of “geometric clarity and minimal elegance” to an institution with roots dating back to 1893. While the UBA oversees everything from classical oil painting to contemporary installations, Mont’s versatile 22-style family provides a neutral yet distinct framework that works across editorial layouts and UI. The typeface's sharp details, like the pointed apexes of the M, echo the precision of fine art, while its high legibility ensures that the organization’s complex historical archives and exhibition schedules remain accessible to a global audience. This typographic shift marks a transition from the academic traditions of the 20th century to a modern, digital-first presence in the 21st.

In 2023, Henie Onstad presented the second edition of  New Visions, the Henie Onstad Triennial for Photography and New Media. The triennial takes the pulse of experimental practices within contemporary photography and new media. The second edition of the triennial presented works that push the boundaries of photography and automated image-making, to examine acutely relevant issues such as resource extraction, energy distribution and data harvesting. ANTI have designed the exhibition and the accompanying catalog.

The title of the triennial refers to Hungarian artist and photographer László Moholy-Nagy’s text “A New Instrument of Vision” (1932), which greatly influenced the development of experimental photography in the 20th century. In the early decades of the last century, photography enabled new perceptions of an increasingly mechanized and industrialized world. Similarly, today’s artists use photography to explore the entanglements with machines and processes of automation and extraction. The identity signals dynamism, fluidity and changeability. The holographic cover reflects the nature of photography, by capturing the light and its surroundings.

The New Visions catalog was edited by Susanne Østby Sæther. It includes a foreword by Caroline Ugelstad, a curatorial statement by Inga Lāce, Reem Shadid, and Susanne Østby Sæther, and an essay by scholar Eglė Rindzevičiūtė, in addition to artist presentations. Publishing by Henie Onstad Kunstsenter and Mousse Publishing.

The text typefaces used in the catalog include Helvetica (or similar) and Freight Text, with some words in PicNic.

Every three years, each department at RISD gets to curate and design a triennial exhibition. For the 2024 Graphic Design Triennial, our small team had just three weeks to do just that with work submitted by over 100 students.

Expiration Date explores graphic design's ephemerality by showing the relationship between designed objects in their originally made contexts, and the work being stripped and placed into an art gallery setting. While reproduction and redistribution is what distinguishes graphic design from other art forms, what was always ephemeral to deterioration is now subject to obsoletion of digital infrastructure and limitations of technological compatibility.

Curation and exhibition design: Deborah Khodanovich (lead), Annabel Gillespie, Barbara Cutlak Soares, Chanya Vitayakul, Manna Patiparnprechavut
Identity design: Andrea Mato (lead), Hyelim Lee, Jeanie Yu, Jolin Chen, Seungeun Jeong, Siyuan Wang, So Jung Yoon
Web design: Avrie Allen (lead), Ashley Lee, Minah Kim, Xiyue Zou
Promotional team: Ammi Kira, Minah Kim, Nadine Hanah Macapagal, Rafael Mediodia, Roye Zhan

Logotype

The Triennial of Bruges, Belgium, is an event dedicated to contemporary art, architecture, and the public space. In its current form it was first held in 2015, the fourth edition will take place in 2024. The Bruges Triennial (Flemish: Triënnale Brugge) invites artists and architects from around the globe to conceive of site-specific installations in its world heritage center. The ambition is to widen and to sharpen the public view on the city and to give impulses for the renewal and transformation of the public space and the way it is used.

Preparing for the 2024 edition, Bruges Triennial commissioned a new website from Glue, a communication agency specializing in digital formats, based in nearby Ghent. On a white background the website displays a generously airy layout. Under the menu header and a panoramic teaser image one can find several entries to upcoming and past editions. A simple yet efficient trick renders the layout more vivid: picture and text swap places from entry to entry.

The website uses Muoto by 205TF as the reading typeface and Kreuz Light by Production Type as the display font. Apart from the top-level navigation and the headlines, Kreuz was also used to set the logotype of Bruges Triennial, here in capitals from the Regular weight. Designed by Emmanuel Besse, it is characterized by the contradiction of its smooth, round inner shapes and its edgy outer shapes. And this is where the relation of typeface and layout gets very interesting: lending from the octagonal form of the letter O, the graphic designers deducted the form of the buttons and the hover effect applied to images.

About page (Flemish version)

Overview of installation projects shown at the 2018 edition, with octagonal hover effect

Detail with text in Muoto and a quote in purple Kreuz

Overview of installation projects shown at the 2015 edition, with octagonal hover effect

“TRI BRU 24”: an abbreviated logo variant with added numerals for the upcoming edition is used on the Triennial’s Instagram account.

The Museum of the City of New York has launched the inaugural photography triennial exhibition titled New York Now: Home. This exhibition features more than 100 works from 33 contemporary artists hailing from the city’s five boroughs. Its focus is on exploring the intricate concepts of shelter and belonging in New York City, examining the experiences of marginalized groups, such as immigrants, queer people of color, unhoused people, and chosen families. The exhibition's architecture is characterized by a series of gabled roof frames that create a dynamic grid-like structure, with temporary walls forming smaller, thematic spaces. The typography of the exhibition is both dignified and expressive, with the word “New York” repeated in a lens-like configuration.

The exhibition design is by Isometric Studio and utilizes Romie by Margot Lévêque along with the sans-serif Diatype by Dinamo.

A series of posters for the 5th Croatian Graphic Triennial exhibition, organized by the Department of Prints and Drawings of the Croatian Academy of Sciences and Arts (KG HAZU) in 2018.

As the exhibition was divided into different sections, several posters were designed to accompany each of them. The identical typographic structure containing all the information was applied on each of the versions consistently.

The Form of Form is a triennial event designed to discover and construct dialogues around the visual dimension of architecture and its social and technical impact.
Its graphic identity is built around the typographical elements of the title, with prominence being given to the two square “o’s” that generate various spaces between themselves.
The visual translation of the title follows the strategy of redundancy, equivalent to the way in which the title itself constructs its meaning when spoken.

The forms are created through the relationships that are established by the ‘O’ letters and through the space and format of the support(s), transforming the rationality of the starting point into flexible forms that, in some cases, end up being defined according to their actual contents.
Based on New Rail Alphabet typeface, Henrik Kubel responded to the challenge presented to him by R2 and designed new glyphs for the letters ‘F’, ‘R’ and ‘M’, “Form” is written with different forms of “Form”. Some glyphs have been modified in order to subtly distinguish the repetition of the word through the form of the letters. In this way, the meaning of the identity can be expanded, varying according to the different contexts.

Project description by R2

Poster, program and global communication for the Triennale 2017 in Wallis (Switzerland) by Swiss designers Johanne Roten and Inès Dal Soglio.

Suisse Int'l is part of the Suisse typeface, available from Swiss Typefaces.

From the XXI International Exhibition of the Triennale di Milano, The 21st Century. Design After Design, presentation of the Republic of Croatia.

Speculative design is a critical design practice that comprises or is in relation to a number of similar practices, such as critical design, design fiction, design futures, anti-design, radical design, interrogative design, discursive design, adversarial design and so on. The focus is on a discursive activity founded in critical thinking and dialogue which questions design practice. The basic reference of the speculative (and critical) design practice is primarily the radical Italian architecture and design practice in the 1960s and 1970s. The founding principles of the radical approach, resistance to modernism and technological domination, focus on social topics, re-thinking of the profession, very often through a political prism as well, today figure as the main characteristics of speculative and critical practices. [...]

We tried to answer “Speculative – Post-Design Practice or New Utopia?” question through a series of interviews with the authors of the presented works together with the prominent international practitioners in the filed of speculative design. We have also incorporated a discoursive view of the eminent experts in the field of speculative (and general contemporary) design practice.

Published by the Ministry of Culture of the Republic of Croatia & Croatian Designers Association. Editors: Ivica Mitrović & Oleg Šuran.
The reader is available for free in pdf form in English and Croatian language.

La Triennale di Milano is a centre for contemporary art, architecture and design. The building was built in 1933 by Giovanni Muzio, with the purpose of hosting the international exhibition on decorative arts, industrial arts and modern architecture, La Triennale di Milano, every three years.

LFT Iro Sans, designed by the Italian studio Leftloft, is part of the permanent signage of the museum. The signage plays with different materials and sizes: three-dimensional letters have been cut to welcome the visitors, flat metal letters are used attached to the walls, while neon letter signs and pictograms are placed to highlight some areas inside the building. The type family is also used in a wall-sized digital screen that offers information to the visitors when they arrive to the museum.

Ruhrtriennale:

Music, dance, theatre, performance and fine arts in the former industrial buildings of the Ruhr Area: that’s the Ruhrtriennale. The venues of the Ruhrtriennale are the region’s outstanding industrial monuments, transformed each year into spectacular sites for impressive arts productions. At the center of all this are contemporary artists seeking a dialog with industrial spaces and between the disciplines. World premieres and new works are the essence of the program which makes visiting to the Ruhrtriennale an incomparable event. Every season, festival productions from the Ruhr region go on tour around the world.

Base Design:

This edition’s artistic director Johan Simons selected Belgian creative agency Base Design to give the unique art festival a complete visual makeover, one that reflects its inclusive, unconventional approach and of course this cycle’s theme: “Be embraced”.

Designed by Base Design (Lara Berg, Sander Vermeulen). NewParis Skyline is part of the NewParis collection available from Swiss Typefaces.

Community: Italy is an exhibition about “architecture, city and landscape from the postwar period to 2000”, curated by Alberto Ferlenga and Marco Biraghi. On display at Triennale di Milano from 28 November 2015 to 6 March 2016.

The title and the background pattern is composed from the elements included in Tribasei, a digital version of Fregio Mecano. This set of 20 geometric shapes for building letters and images was made in Italy probably sometime in the mid-1930s and appears in a Nebiolo specimen from c. 1954. The designer is unknown, but the author of Modular Type suggests it could be Giulio da Milano who designed Fregio Razionale, another modular typeface system, and Neon, a conventional typeface with similar letterfroms as Fregio Mecano (both Nebiolo, 1935).

In 2015, Tipoteca Italiana and Lino’s Type collaborated on the “Fregio Mecano (digital) resurrection” project. The original elements were scanned and then modeled into bronze with a special 3D printer.

While Section Bold Condensed (Compugraphic, c. 1980s) is a digital interpretation with ready-made glyphs, Luciano Perondi’s Tribasei (2006) is a truly modular digital version. It is available from Molotro and soon from CAST— Cooperativa Anonima Servizi Tipografici.

The type treatment of the description “Architectura Città Paesaggio 1945–2000” is peculiar, too: This is not Mrs Eaves XL Serif, the 2009 addition with larger x-height, but the original Mrs Eaves, with capitals replaced by small caps.

Header for the call for entries website

Zak Group:

The third edition of the Lisbon Architecture Triennale—titled Close, Closer—considered the condition in which architecture is practiced and the way it is framed, expressed and understood today. We were invited by the chief curator Beatrice Galilee to contribute a visual identity and took an investigative approach by seeking ways for the public to be the generative force in the visual identity of the Triennale. Despite the lack of a singular logo, Close, Closer was given a strong and coherent form through the embrace of striking typography and bold colour that presented the responses in print material and public spaces throughout the city of Lisbon, sourced from the website we designed for the Triennale.