In 2023, Pastai Sanniti, a historic pasta factory in Sannio, enters a new phase thanks to the acquisition by the two-Michelin-starred chef Giuseppe Iannotti. A bold and contemporary vision has transformed every aspect of the brand, leading it to break with the past to project itself towards an innovative future.

The rebranding was born from the encounter between the extraordinary quality of the products and a radical narrative approach, inspired by the legendary figure of Mazzamauriello, a mischievous elf of the Samnite tradition.

Mazzamauriello, a mythical and mischievous figure of the Samnite culture, has become the symbol of the project. This elf, with his pointed hat, has been reinterpreted in a modern key: an alchemist of flavors who wanders around the pasta factory while production is in progress, leaving the mark of his magic. Hence the idea of ​​the brand: Alchemy of wheat.

The logotype and other elements are set inSud. The typeface chosen for smaller text is Onest.

Happy Families, Miserable World is a self-published card game by Doomates Games that reappropriates the classic Happy Families as a vehicle for climate activism. Players compete to become the “Biggest Polluter on Earth” by collecting complete family suits (Big Oil, Big Tech, Big Bank, Big Fashion, and Big Agriculture), naming and shaming the corporations and individuals most responsible for the climate crisis. Each card highlights a key player, the propaganda tactics they employ (from greenwashing to gaslighting), and a concise fact about their climate harm.

The game is rooted in a deliberate shift of blame: away from consumer guilt, toward systemic accountability. Humor is the weapon of choice. The tone is satirical, sharp, and culturally literate, designed to break through climate fatigue by making polluters’ tactics visible and laughable.

The logo and card titles are in VTC Carrie, chosen for its political DNA. Family member names (The King, The Knight, The Witch, The Heir, The Fool) are set in the industrial-looking script Millie.

Doomates is an hybrid project born from a collaboration between Julie Mallat, founder of The Climate Propagandist, an independent platform that debunks oil propaganda and greenwashing, and Yasmin Knoller-Yrondi, art director and graphic designer.

MN Metis Sans is a custom handwritten-style sans serif created for Metis, a barley milk and fruit milk brand designed for Gen Alpha by M — N Associates.

The typeface was developed as part of a broader identity system centered around Vitrô, the brand’s playful mascot and character universe. Inspired by the spontaneity of doodles, internet stickers, and the imperfect visual language commonly found across Gen Alpha culture, the font embraces soft curves, chunky proportions, and an intentionally loose rhythm.

Rather than pursuing polished neutrality, MN Metis Sans was designed to feel alive, expressive, and slightly awkward in a deliberate way. The goal was to capture the confidence of imperfection without falling into overly childish or generic territory.

The typeface includes three weights and full Vietnamese diacritic support. Small details throughout the system reinforce the relationship between typography and character design, including a custom .notdef glyph rendered as Vitrô’s head in the typeface’s own proportions.

Across the Metis identity, the font appears throughout packaging, merchandise, digital touchpoints, stickers, and motion assets, functioning both as a readable system and as an extension of the brand’s playful personality.

Gianluca Patti is an Italian illustrator and art director. The website organizes his work into three primary archives: Featured, Playground, and Art Direction. The “Fun” section gathers the drawings that define Gianluca’s visual universe, a collection of delightful fun art that the artist is collecting during his carrer.

The UI features original animated icons, while the typeface Kaio Krilin perfectly matches the site’s bold, playful spirit. National Park is used for body text, adding a sense of softness and joy to the overall interface. The type palette is rounded off by Bitcount Grid Single Cursive Light.

Icon set

Fluctuating sticker

Design by Amélie de Lataillade for the 2026 volunteers’ T-shirt of Les Glénans sailing club.

Tenderly is an ongoing archive of drawings by Giovanni Spera. The book was typeset in Superness Modulo for both titling and interiors and Risograph printed by Atelier Tatanka in two colors (red and black) with a silkscreen-printed cover.

“Tenderly is a personal mirror of the present, conceived as a continuous struggle between good and evil”

Searching for balance, the subjects of the illustrations are marked by constant shifts: opposites that at times find themselves collapsing into one another and, at others, drift apart almost definitively, becoming part of a broader framework. This persistent tension, shaped by a sense of indeterminacy, allows comforting and reassuring images to coexist with figures of violence and fear, offering a vision of reality that is transitory and fragile.

The perfect-bound publication has 
178 pages measuring 14,5×20,5 cm
, in 100 copies. It was printed in Italy and published by Tatanka Edizioni.

The cover for A Pocket Guide to Pigeon Watching: Getting to Know the World's Most Misunderstood Bird by Rosemary Mosco was designed in-house at Workman by Sarah Smith. Her design pairs Garage Gothic by Frere-Jones Type with Archer and Gotham from Hoefler & Co..

You don’t need to travel to experience the joy of bird-watching. Just take a look at the pigeons in your nearby park! With this fun, quirky, and scientifically correct field guide to the most common bird in most cities, you'll learn to see pigeons and doves (they're the same thing) with a bird-watcher's expertise, understanding their fascinating behavior and appreciating nature right outside your window.

Jacco Bunt is a Dutch illustrator based in Berlin. His new portfolio website uses Indicate Mono throughout.

The homepage features a collage layout, while project pages make use of a brutalist, minimal layout with full-width text paragraphs and images stacked sequentially. Navigation sits in a classic top bar.

Body copy appears in blue color with links being red, a color combination that is derived from Jacco’s use of color in his illustrations. On hover, links are rotated at a random angle.

Po co nam sztuka? (“Why do we need art?”) is a children’s book written by Katarzyna Witt designed by Olek Modzelewski and illustrated by Ola Niepsuj. It introduces contemporary art through playful, character-driven narratives. Developed with the Muzeum Sztuki Nowoczesnej w Warszawie, it combines a visual atlas, short texts, and interactive ideas to encourage curiosity, interpretation and imaginative thinking. Through open-ended questions and artworks, the book presents art not as something to decode, but as a tool for exploration, emotion and inquiry.

The sans serifs used here are NEXT Book and NEXT Poster by Optimo. The serif used for the text is Softcore by Tekio.

A beloved holiday classic, The Night Before Christmas by Clement C. Moore captures the quiet magic and anticipation of Christmas Eve. First published in the early 19th century, the poem follows a peaceful household as the arrival of St. Nicholas brings wonder, warmth, and festive joy. Its rhythmic verse and vivid imagery have made it a lasting seasonal tradition, passed down through generations. This edition features charming illustrations by Janet Samuel that enhance the story’s cozy, dreamlike atmosphere and invite young readers to experience the enchantment of Christmas night.

The cover typography pairs playful and elegant styles: the title is set in ITC Tapioca, lending a whimsical, handcrafted feel that matches the story’s tone, while the author credit appears in Malonia Voigo, offering a refined contrast. On the back cover, the opening capital N of the excerpt continues in ITC Tapioca, with the remaining text—“estle your children all snug in their beds…”—set in Malonia Voigo, maintaining visual continuity with the front. Additional publication details, including the copyright, imprint information, price, and printing line, are set in Gill Sans, providing a clean, modern sans-serif contrast to the decorative display fonts used elsewhere.

Front cover

Moon Safari is the debut album by French electronic duo Air. Featuring the singles “Sexy Boy”, “Kelly Watch the Stars” and “All I Need”, the album was a huge critical success and a landmark title in the downtempo genre. The album design is by Mike Mills.

The artist name uses ITC Pioneer. The A has been modified, with the top left corner of the glyph and the counter being changed to right angles. The length of the shadows have also been extended. All other text on the cover, back cover and inner sleeve use Eurostile.

Back cover

Inner sleeve of the vinyl release by Astralwerks

In 2021, Dave Depper of Death Cab for Cutie released a cover album covering Moon Safari. It seems the designer of the new logo, Katie Geppert, was unaware of the original font, so modified a different font (Sporty Pro Xbold?) to look like ITC Pioneer.

The project originates from a series of monotype experiments carried out on plastic surfaces sourced from everyday materials. By applying paint to plastic samples and then printing them onto paper, random and diffuse impressions emerged. The flexibility of the plastic favored the formation of folds and creases. These prints, somewhere between abstract landscapes and imaginary territories, quickly revealed their potential for a cartographic approach. Eight monotypes were digitized, modified, and vectorized to serve as modular templates. Variations in contours, colors, rotations, gradients, and line styles enabled the creation of a series of maps with multiple and evolving compositions.

To give these representations visual legitimacy, scientific imagery was employed. Titles, legends, scales, and grids were incorporated into the compositions, enriching interpretation while blurring the boundaries between science and fiction. These maps depart from the conventions of traditional cartography to offer a sensitive and poetic journey. Compiled as an edition, they form a fictional atlas: a guide to mysterious territories, at once foreign and familiar.

This atlas presents itself as a visual trace of an imaginary planet, a graphic testimony of life forms and spaces yet to be explored. By giving these fictional worlds a tangible dimension, it grants them artistic and cartographic recognition. Straddling abstraction and evocation, these representations offer an alternative perception of the world. They open up new perspectives, inviting contemplation, exploration, and immersion in a universe where reality intertwines intimately with the imagination.

Quel Chantier! Attention, cerveau au travail (“What a Project! Watch out, brain at work”) is a children’s educational publication by La Pastèque that explains how the brain works in a fun and accessible way, with amazing illustrations by Stéphane Poirier. Printed in three spot colors and black, the book is divided into several sections (evolution, anatomy, the senses, the brain in action, and taking care of it).

Niceshit is a Barcelona-based animation studio. For their tenth anniversary, they asked Ufficio to redesign their visual identity. Their design pairs Onlysans by Daria Cohen (distributed by Contemporary Type) and Niceshit Non-Regular, a custom typeface designed by Fer Cozzi.

From Ufficio’s portfolio website:

From the start, we understood their work needed no extra visual layer. What we wanted to amplify was their voice. Our goal was to capture two things that were central to their work method: the collaborative team and the off-screen ideas where every project is born.

So we proposed building a custom typeface from the handwritten alphabets of all three founders: a flexible system with multiple variables per character, designed to work across different contexts and scales without losing identity.

The direction made us completely rethink the process. It was our first time designing a typeface, and we were doing it in the most unorthodox way possible. With no visual references, we let the conceptual bet guide every decision. Doing what's easy to say and hard to actually do: designing from the idea.

The Niceshit Non-Regular was then paired with a more stable sans serif of equal weight and spirit, one representing process, the other delivery. The logotype and phonogram ‘nsh’ came later as a synthesis and timeless symbols of the brand.

Graphic design and web design by Ufficio (Crista Bernasconi, Sofía Noceti, Luis Cruz) under management of Luna Nuñez. The website was developed by Juan Pinkus.

Superness semiT and Fluxisch Else are used for the design of A Place to Stay. From publisher Corraini Edizioni:

A Place to Stay is a place to stay without a defined deadline, an elsewhere that contains and connects other places. It is not an isolated space: Cecilia Mentasti started populating it who knows how long ago until it became a place inhabited not only by artists and women artists of the last century, but also by animals, specifically dogs.

The work, which is accompanied by this volume, is a sound installation composed of a selection of 200 stories of Italian artists told to 200 dogs. It is promoted by Video Sound Art and created thanks to the support of the MiC and the SIAE, as part of the ‘Per Chi Crea’ programme. The installation, presented in the spaces of Careof from 10 October to 1 November 2024, is accompanied by a photographic project, which collects the portraits of each dog listening, and by this editorial project.

The artist makes a personal rewriting of art history, selecting little-known works and sometimes reconsidering the role of traditionally neglected figures or those outside traditional art circuits.

What is art today and what role should it play in society? The dog, a recurring presence in art history – devotional icon and witness to social transformations – seems to be the right recipient of this question.

The bilingual (Italian and English) softcover publication has 
136 pages measuring 10.5×15 cm
. It was printed in Italy. ISBN 979-12-5493-132-5

Sesame oil isn’t new, but Sooki’s approach to it is. In the United States, it’s often treated as a background ingredient, something you reach for at the very end rather than something you build a meal around. Joseph and Hannah Choi of Sooki Foods came to us with a different point of view. They wanted to introduce a premium Korean sesame oil that highlights its depth, versatility, and cultural roots, while still feeling approachable and relevant to a broader audience.

We built a brand that brings sesame oil forward. Grounded in Sooki’s family story and traditional production methods, the identity balances heritage with a more modern, expression. The result positions Sooki as something you don’t tuck away in a cabinet, but keep out on the kitchen counter.

Karasek is an Austrian winery whose labels combine expressive illustration with a restrained typographic system. The main information is set in Morion, whose sharp, high-contrast serif forms give the labels a precise, contemporary presence across winery name, varietals, and key descriptors. Supporting details are set in Akzidenz Grotesk, providing a neutral counterpoint and handling dense information efficiently, particularly in the narrow vertical column. The pairing creates a clear hierarchy that balances character and readability.

Posters for il Canterino, an event at La Cantera in Cesena, Italy. The typography pairs Gikit with GroteskRemix.

Words by Studio Trames, the designers of the project:

A major project for the studio: the exhibition catalog marking the 20th anniversary of the bookstore L’Échappée Belle. A limited-edition book designed and produced by the studio, featuring 35 works printed using risography. Each work was produced using contemporary risograph printing techniques, with a custom color palette created specifically for it. In total, 16 ink colors were used for the entire project, with up to 6 colors per image. The 35 works can be kept in the book or detached using the perforated lines on each page.

This book is set in Kaio Krilin (from Lift-Type). It was designed and produced to pay homage to the bookstore’s cultural history.

Maie ja Mummi is a book by Kadri-Maria Külaots, telling the story of simple everyday, yet memorable activities done together with her grandparents when she was little. It is mainly aimed at children, but due to the imagery and nostalgia-instilling theme, it has received a warm welcome from audiences of all ages: from 2-year-olds to seniors. The illustrations are completely handmade out of paper.

The book measures 29,8×22 cm. It was printed by Greif and published by Pänja in 2024. Maie ja Mummi was selected as one of the best designed Estonian books of 2024. The illustrations and book design were also awarded at ADC*E Estonia's and in the Golden Egg Awards.

The typeface used throughout is Baton Nouveau.