Andrew Wyeth at Kuerner Farm: The Eye of the Earth is a traveling exhibition centered on American artist Andrew Wyeth (1917–2009) and the Brandywine Valley farm that inspired him to create many of his most iconic works, including Groundhog Day, Winter 1946, and Trodden Weed.

Robin Brunelle designed both the exhibition and its catalog, using Forevs by OH no Type Co as the title font. The title lockup also effectively doubles as the exhibition’s logo. In the catalog’s interior spreads, Brunelle draws on the glut of alternate glyphs available in Forevs for a little bit of variation in chapter titles.

Supporting Forevs in the catalog is Obviously Wide (also by OH no Type Co) for subheads and GT Super Text (Grilli Type) for text. In the exhibition, the text face is replaced by Acumin (Adobe) for use on signage.

Photographs of the exhibition at the Brandywine Museum of Art are provided by the museum. The exhibition is on view at the Reynolda House Museum of American Art from February 15 to May 25, 2025; the Brandywine Museum of Art from June 21 to September 28, 2025; and the Cummer Museum of Art & Gardens from October 25, 2025, to February 15, 2026.

As a trusted agency partner of PepsiCo since 2020, JD&Co. Creative collaborated with this iconic brand to develop the official ten-year anniversary publication. This meticulously crafted book pays tribute to PepsiCo’s evolution as a global creative powerhouse, reflecting its unwavering dedication to innovative design across its renowned portfolio of food and beverage brands.

The PepsiCo design team envisioned an anniversary book that honors a decade of creative excellence in brand design. Each page showcases revolutionary products and services brought to life through dynamic cropping, thoughtful composition, and a vibrant color palette, capturing PepsiCo’s bold and influential presence over the past ten years.

The typefaces used for this publication are Pano and Ivar. The thoughtful combination of these two distinctly different styles – Pano being extensively extended and Ivar being elegantly condensed – symbolizes the flow of time in all directions, both vertically and horizontally. This conceptual approach metaphorically celebrates a remarkable journey of creativity spanning the past decade while looking ahead to the next ten years with renewed ambition and vision. Brut Grotesque is used for the title and for text.

Good Design Is for Everyone: The First 10 Years of PepsiCo Design + Innovation was published by Rizzoli.

Moret by The Northern Block in use for the book design of Luigi Lucioni: Modern Light.

Anna Rieger, the designer behind the project, states on her website:

This first comprehensive survey of the life and work of Luigi Lucioni (1900–1988) places him in the context of fellow Regionalist painters Grant Wood, Charles Sheeler, and Maxfield Parrish. Lucioni is known for meticulously rendered still lifes, landscapes, and arresting portraits drawn from his close-knit circle of queer New York artists and cultural figures. Text by David Brody and contributions by Thomas Denenberg, Katie Wood Kirchhoff, Alexander Nemerov, and Richard Saunders. […]

Format: Hardback, 160 pages
Size: 9.5 × 10. 5 in, 235 × 340 mm

Modern New York, written and illustrated by Lukas Novotny, designed by Lilly Marques, and published by Rizzoli Books, is a gorgeous book of architectural illustrations of NYC landmarks, plus a decade-by-decade history of the city over the last 100 years.

Through a long-lasting artistic collaboration after our own hearts, artists Brad Davis and Janis Provisor’s Fort Street Studio has brought the ancient practice of Chinese carpet weaving to an international audience. A Tale of Warp and Weft chronicles their joint discoveries and explorations throughout a shared career, craftily designed in parallel to the act of weaving itself. Hardcover editions also include a cloth fabric spine featuring a sample of their work.

Box and spine view

Founded in 1900, Nikken Sekkei is a world leader in architectural innovation, urban planning and technology. Instrumental in achieving the modernization of Japan itself, the company is both a national icon and a renowned international creator of architectural, engineering, and environmental landmarks.

This book, edited by Rosa Maria Falvo and published by Rizzoli International, is an elegant tribute to Nikken Sekkei’s remarkable achievements and contributions to world architecture over the last 120 years. A poetic, photographic journey features Nikken’s approach to timeless design: its integrated perspectives, meticulous craftsmanship, and quintessential Japanese traditions.

The book's layout is inspired by Japanese typographic traditions and clean spaces, featuring Futura – Nikken Sekkei's institutional font – and the monospaced Iki Mono in several weights.

Box and backcover detail

Double spread

Spread with index

Index detail

Scrawl presents “Sketches, drawings, and scribbles from the private letters and notebooks of some of the greatest names in history” as collected by The Strauss Schulson family. Published by Rizzoli:

From the first ever sketch of the Red Cross logo by its founder Clara Barton to a cartoon scrawled on a love letter from Charles Bukowski, the objects in this fascinating collection are a perfect reflection of the eclectic and storied cast of characters from whose archives they've been collected over the years. Organized alphabetically, with a range of influential names, from William Burroughs to Mark Twain, the book is a voyeur's treasure trove of the ephemeral(...)

Designers Brankica Harvey and Dan Keegan (associate partners at Pentagram / Eddie Opara) present the collection in a design that is both rigid – as a counterbalance to the lightness of the sketches – but also loud, using color blocks and playful typography in order to amplify that same lightness.

The near-monolinear Sul Sans (R-Typography) is used for most typography, from headlines to parts of the body text. It is paired with another typeface by Rui Abreu, Gliko Modern, for headlines. Pitch (Kris Sowersby) is used for biographies and page navigation.

Leslie Williamson’s third book is essentially a love letter to her home state of California. Interior Portraits: At Home with Cultural Pioneers and Creative Mavericks, A California Design Pilgrimage is an exploration of some of the Golden State’s most creative trailblazers through their homes. As Leslie writes in the book, “The homes of these Californians are not just interiors, but portraits of their inner creative worlds where their dreams have been nurtured and have grown.” This vibrance, wanderlust, and spatial reckoning come to terms with one another in the book’s design. The subdued color palette, accented by a rich russet, is reminiscent of the California landscape and its renowned landmark and identity as the ‘Golden Gate’ of the west. Its typography and layout ‘weave through space’ through the juxtaposition of typographic scale—the differing sizes of the title and chapter titles to create a sense of perspective—and the cadence of the photographs’ layout.

The book’s photographs are laid out in a rhythmic flow wherein each spread contains at least one full bleed image, weaving the entire layout together across its pages. This design approach guides the reader through the book, as well as connecting them to the travel- and movement-based component of Williamson’s work, her ‘pilgrimage.’

The book possesses a certain intimacy as a view into the deeply personal interior worlds it documents, and as an artifact of travel—an innately intimate process and experience. This closeness is furthered in the book’s sophisticated nod towards the design of traditional photo albums. A two piece cover with contrasting cloth textures and colors, subtly debossed text, and a tipped-in photograph transforms the book into a refined, tactile object that, much like the work of its author and subjects, is reminiscent of the familiar and traditional while also assertively innovative. The book’s body font Pitch, an elegant and contemporary reimagining of the traditional typewriter genre, frames Williamson’s stories as personal recollections, letters, or journal entries such as one might compose during a journey, from the comfort of a home, or as a central part of the creative process. Van Condensed —uppercase lettershapes, rounded corners — is used for headlines on the cover and throughout the book.

Studio: Volume Inc.
Creative Direction: Adam Brodsley, Eric Heiman
Design: Yuya Yoshida
Photography: Leslie Williamson

Part personal history, part design philosophy, and part advocacy, this volume showcases the arresting work of Oliver Munday. Employing humor and menace in equal measure, Munday wields graphic design as a tool of empowerment, activism, and resistance. Drawing from the history and utility of twentieth-century agitprop, from Russian Constructivism to the Black Panthers, Munday updates a timeless medium for the social media age with his stark and often unsettling imagery. — Rizzoli publishers

This book about Houghton Hall makes full and detailed use of the Kingfisher typeface. Careful body copy setting is married with exquisite typographic detailing. Designed by Robert Dalrymple for Skira Rizzoli.

Lying behind the dust jacket are foil-blocked caps

Title page utilizing one of Kingfisher’s clip-on swashes

Chapter opening

Picture captioning

The book Inside Out captures the scope of [French photographer] JR’s vision and his innovative global art project Inside Out launched after he won the TED Prize in 2011. Packed with hundreds of images from the project, it includes contributions about how JR’s art functions as a worldwide platform for social change, in which hundreds of thousands of people have participated all around the world, in their own communities.—Social Animals

Alias Cactus is used for front cover type.

Book designed by Notter+Vigne using the Suisse Works typeface from Swiss Typefaces.

The first monograph on one of today’s most celebrated architects, renowned for designing interiors that combine minimalism with classic French style. When describing a space that intertwines both minimalism and elegance, the name Joseph Dirand immediately comes to mind. — Rizzoli New York, 2017.

Written by Joseph Dirand, Photographed by Adrien Dirand, Text by Yann Sillec and Sarah Medford. 255 × 325 mm. 248 pages. ISBN 978-0-8478-6200-9

UnderConsideration translated the design of the original hardcover edition of Lucha Loco down to a smaller paperback format. The typography is changed from the previous edition, using the exhuberant Carmen Fiesta typeface from Typerepublic.

“A gorgeous volume celebrating the personal styles of dynamic creatives, revealing how inspirations translate to the canvas that is home […] Written by Kim Ficaro and Todd Nickey, Text by Mayer Rus and Sarah Sophie Flicker, photographed by Ditte Isager” — rizzoliusa.com

Inventing the Modern World, by J Busch and C Futter, a catalog for an exhibition of artifacts from World's Fairs. The light version of Stag isn't seen as often as bolder weights.

Images below are from MGMT.

WTC Our Bodoni was commissioned by Bert Di Pamphilis of World Typeface Center and designed by Tom Carnase under the direction of Massimo Vignelli. The goal of this 1989 Bodoni revival was to match the proportions of Helvetica, one of the few typefaces Vignelli uses.