The visual identity for PolyFutures was designed by Import/Export, using Politip by Benoît Bodhuin. The project is described as follows:

PolyFutures is an invitation to explore how participatory, creative, future-oriented and actionable approaches can inspire better policymaking. Over two days, participants will exchange ideas, share experiences and reflect on how foresight and design approaches are used to inform and transform policymaking.

From Desisto:

“Tertúlias Gráficas” are informal meetups for enthusiasts in the field, held at our studio in Santa Apolónia, Lisbon. Before we head off for a summer break, we’ve invited [João Queirós] to come by and share a bit about his work and journey.

Desisto is a graphic design studio established in 2013, and based in Lisbon, Portugal. They also operate a Riso printing lab. They have been organizing the “Tertúlias Gráficas” at their studio since July 2019. Porto-based designer João Queirós was invited for the 19th edition, taking place on July 17, 2025.

The type-only banner-like poster was Riso-printed in two colors (brown and gray) and features Plain Form’s Ready Active, together with Helvetica.

From Daniel Frumhoff:

The fifth edition of FIG. (Festival for Illustration and Graphics) took place in Sofia, Bulgaria. The festival hosted numerous exhibitions, group shows, talks, workshops, concerts and screenings. The identity and graphics were created by Velko Kalchev, who came up with a colorful collage of cut-and-paste-style visuals, blended with type and dotted lines. The festival’s website adds a level of playfulness with animated dotted lines. The design uses the chunky Montagu Slab (Florian Karsten Typefaces) for the logo and Good Direction Sans (Folch) for headlines. The text font is HAL Timezone by HAL Typefaces, nicely making use of its small caps.

The first paragraph from the opening press release:

What happens when artists, designers, thinkers, and curators come together to reimagine the future of cultural practice? The fifth edition of FIG. – Festival for Illustration and Graphics invites the public to find out. From June 6 to 15, 2025, Sofia transforms into a playground for collective creativity, exploring the theme How We Work Together. This year, the festival is dedicated to collaboration in all its forms—intentional, subconscious, and even accidental—bringing together emerging and established voices from the contemporary visual scene to challenge traditional ideas of authorship and creativity.

A poster for my lecture at PXL MAD School of Arts in Hasselt, Belgium, using an image that’s part of the lecture and my personal e logo.

Simone donne sa langue au chat unfolded as a four-part event series in Châteauvillain (Haute-Marne, France), within the walls of a former boot factory, once called Le Chameau, now reimagined as Simone.

These events invite a shared, participatory reflection on the status of living beings and the space we allow them, at a time when biodiversity is collapsing under human pressure. Bringing together citizens, artists, researchers, and legal thinkers, the event explores how animals might belong within human communities, through questions of place, proximity, and otherness.

The A2 poster consists of four A4 designs, each able to stand alone. Designed in two colors (plus white background) by Fabrication Maison, it was printed by Lézard Graphique.

Designed for the Experimental Animation Visiting Artist series at CalArts, this poster features the work of Yaloo Lim. Ironica Sans utilizes the familiar skeleton of Helvetica as a base but subjects it to a series of rule-breaking formal transformations. By squaring traditionally rounded curves and terminals and implementing a unicase system, the design disrupts the visual expectations associated with classic grotesque structures.

The layout emphasizes visual rhythm through character-specific variations. The repeating O’s in the name feature contrasting outer and inner counter shapes, creating a subtle shift in formal perspective. In the motion sequence, the M transitions into a fluid, spaghetti-like form that bridges the letterforms, adding a dynamic and playful continuity to the kinetic composition. Small text is added in Effra.

Graphic identity, website design and printed materials designed by Lara Coromina Parcet for CODA, the 2nd Young Architecture Biennal of Catalonia, which took place at Col·legi d’Arquitectes de Catalunya (COAC) in Barcelona during October 2025. The design features Comma Type’s CMM Coda in its Normalized version throughout.

Referencing the musical figure of the coda – an independent ending that rewrites itself, that reiterates, that deforms under its own rules – we claim an ending not as closure, but as a threshold. A gesture that is articulated from inherited frameworks and transforms them into possibility.

Following the manifesto’s call to “recognize failed, unfinished, or obsolete architectures as active parts of the landscape”, the graphic identity was built by gathering textures using frottage. This analogue technique, which consists of rubbing paper with a pencil directly against material surfaces, became the starting point for creating visual impressions of the surrounding environment: non-linear traces of architecture, marks of what is worn, unfinished, or already turning obsolete.

From these traces, a visual system of overlapping textures, lines, patterns, and typography was developed, echoing the manifesto’s idea of a “persistent, dense atmosphere”. In this landscape, ruins are not endings but material to work with, and the biennial’s identity embraces the end (Coda) as a place of possibility, where what remains can be reactivated, layered, and transformed into something new.

CODA was curated by Naiara Albizua & Carmen Salas (objet a) and organized by AJAC Agrupació de Joves Arquitectes de Catalunya under the direction of Dani Montes and Guillem Elvira. Website code by Clara Layti. All photographs by Natalia Vaquero. Risograph printing by Do the Print.

Visual identity of the quarterly booklet, the quarterly program posters and the posters for all events for Maison CFC, a bookstore in Brussels, Belgium.

Wer Bringt Den Kuchen? Who Brings The Cake? was a series of art events (talks, screenings, workshops) happening during the year 2024 in Kunstbunker Nürnberg. Designer duo Lucia Schmuk and Elisabeth Thoma created a poster for each talk, keeping the overall same layout but changing the colour duo and the titling font each time. The poster series was selected among the 100 beste Plakate 2024.

The font used for the series title and the name of the place on each poster is Lÿno Stan by Radim Peško, while smaller text is set in Suisse Int’l by Swiss Typefaces. Then are used Gulax, Terminal Grotesque, Gap Sans and the free weight of NaN Holo as unique titling fonts for each poster. The condensed sans used for “The End of the End of Selling Out” is yet unidentified.

Apart from Lÿno and Suisse Int’l, almost all of the selected fonts – if not all – are free to use or open-sourced.

Parenthèse is a free, monthly event open to everyone, dedicated to exploring motion design in all its forms. Each edition focuses on a different theme and features three highlights: a showcase of recent graphic works for inspiration, a friendly meetup with drinks for students, professionals, and enthusiasts to connect, and a rotating “module”, a surprise format that can be a talk, workshop, roundtable, DJ set, or more. The first event took place in Nantes, France, on November 18th 2025.

The artistic direction, including visual identity and motion design, is realised by Koeeb. He used Sagace as the only typeface for the whole identity, designed by Alexandre Créquer.

Posters designed by Hani Wibowo for the design talks with Golnar Kat Rahmani and Sarah Fricke & Lea Sievertsen of Distaff Studio at UdK Berlin’s Klasse Kampagnen.

Printed at the art school’s in-house screen printing workshop. The fonts in use are Ready Bygone by Plain Form and Elastik by Benoît Bodhuin.

Rainbow Unicorn has designed the website for Matthias Scheffelmeier, a founder and facilitator committed to creating meaningful impact through social enterprise, consulting, and community-building initiatives. Scheffelmeier’s work spans founding organisations like ChangemakerXchange, The Facilitators, and The Possibilists, as well as supporting others through consulting and moderating impactful events.

The website’s visual identity is anchored by a dynamic pairing of Store Norske Ja from Skriftkompani and ABC Grow from Dinamo. ABC Grow brings a contemporary, approachable feel to headlines and navigation, reflecting openness and optimism. Store Norske Ja complements this with clarity and professionalism, ensuring content is accessible and easy to engage with. Together, these typefaces create a welcoming and trustworthy online presence that mirrors Scheffelmeier’s dedication to positive change and collaborative action.

Glitch Library is a knowledge sharing space and an idea exchange place. We stack books on art, design, cultural theory and everything în between: from visual culture resources to typography, illustration, photography, with a keen interest on poster design.

It is not just a physical collection of books; it’s a place where creative minds come together to exchange thoughts and build a community around the love of art and design books.

The library itself is housed in the Glitch Design Studio offices, surrounded by colleagues and friends who share a deep passion for art and design. This unique setting fosters collaboration, whether you’re here to work on a project, explore new ideas, or simply enjoy a good book.

The branding inspiration was found in print based elements such as letterpress blocks, trim symbols, color guide symbols and typographic experiments. The main font used is Inter from Rasmus Andersson for its clean aesthetic and paired with Bookmania by Mark Simonson Studio for it serif madness and appropriate name for a book library project.

Within the library's activities Glitch Studio DesignSessions (a talks series of events) was initated. I designed all of the event posters as part of Glitch Studio. All of them play on the general love of print that is also the basis of the visual identity. Beyond typographic and lettering experiments all posters use trim marks or color guides in different ways for cohesion.

For the last three DesignSessions talks, designers from the Netherlands were invited to give talks on book design and graphic design. The first of these events saw Esther de Vries on her book design experiments, as such the main focus was showcasing a virtual book cover for the poster. Following this Richard Niessen showcased his ongoing project The Palace of Typographic Masonry, inspiring the poster to focus on Graphic Languages.The final event was hosted by Liza Enebeis from Studio Dumbar/DEPT® on books and motion. The concept behind this poster was an animated form of letterpress blocks.

This project has been awarded in the Poster category of Local Design Awards 2025; it was also selected in the 29th International Warsaw Poster Biennale Main competition as well as shortlisted for the Antwerp Poster Festival 2025.

Creative direction by Dan Stănescu, project management by Ana Banu. Art direction and graphic design by Andrei Nicolescu. Photo credits: Mihai Ciobanu (posters) and Dragoș Hanciu (events).

River Garza (b.1994) is a visual artist from Los Angeles, California, “whose work draws on traditional Indigenous aesthetics, Southern California Indigenous maritime culture, skateboarding, Graffiti, Mexican culture, and Low Rider culture.”

On March 27th 2024, he gave a talk as part of the Paul Brach Visiting Artist lecture series at Calarts. The poster uses Rage Italic and Dealerplate California, referencing the Golden State’s iconic license plate typography.

Poster and program flyer for Forum Neues Wetter, a series of talks in Grimma, Saxony, organized by the office for spatial design laufende quadratmeter (lfm2, Christian Göthner) and artist collective Situation Room (Sven Bergelt and Kai-Hendrik Windeler).

DIN A2 (42×59,4 cm), folded to A5, printed with two HKS spot colors.

Custom title lettering combined with the headline typeface Gamuth by Max Esnée and the body typeface Friedl by Camelot Typefaces.

Para from Ultra Kuhl is used in the branding of Urania Berlin, a cultural and scientific institution in the heart of the city. The identity, designed by Stan Hema, highlights clarity and openness while giving the venue a distinct visual voice. Para’s strong, geometric forms are applied across signage, print materials, and digital channels, ensuring high legibility and a recognizable presence in both cultural and educational contexts. The accompanying sans is Colophon’s Basis Grotesque.

Description of the project by design studio The 1984:

Melipir is our initiative to decentralize design and literature beyond Jakarta. Ran by our creative events unit Double Happiness and launched last year, we've already hosted five successful events – in Solo, Denpasar, Cirebon, Semarang and Malang. The enthusiastic response from different cities has been inspiring, it was delightful to be able to exchange knowledge and perspectives with creative minds in other regions in Indonesia.

In this work, we play with multiple colors. With consistent application of neon colors, we change the palette in every Melipir event.

Strict grids does not always mean rigid or boring layouts. In Melipir, we developed geometric forms that go further beyond basic shapes and compose them fluidly against a structural grid. This creates a system that is both structured and playful.

We've chosen Franklin Gothic as our main typeface. It is a classic, workhorse sans-serif that had this slightly condensed letterform. This choice of typeface keeps the layout clean, allowing the information to fit comfortably within the playful shapes without feeling cramped.

We also added OffBit as display font, creating stark contrast against the utilitarian Franklin Gothic.

From the About page:

We are Hardcore CDMX Art Book Fair, an art book fair powered by Can Can Press in partnership with LagoAlgo. Our goal is to bring together independent publishers, creatives, designers, and editors from around the world, creating a space to share editions, experiences, and exchange ideas. All of this is driven by the perspective of publishing as a hardcore act—pushing boundaries, breaking conventions, and taking the discipline to its limits.

Type Thursday Tbilisi is a monthly gathering in Tbilisi for type-lovers from all walks of life and all levels of experience. After a two-year hiatus, the format was revived by Erika Ivashkevich and Adelina Shaydullina, and I had the chance to design a poster and some additional graphics for the June event that took place at Kera Space.

To celebrate the event I decided to use a new playful geometric Onlysans typeface by Daria Cohen (available at Contemporary Type), therefore, the architecture of the letters became the basis for the architecture of the poster.

The work exists as a classic 70×100 cm poster and a tiny A3 version, so it can fit on bulletin boards in cafes and other indoor spaces.