Argo, the journal of the Slovene Museums, is the most important publication of Slovene museum experts dealing with art history and the museology of ancient and medieval periods. The National Museum of Slovenia, which established the journal in 1962, today co-publishes it with the Association of Slovene Museums and the Slovene Museum Society.

Papers are in Slovenian with abstracts in English. The journal is published twice yearly and distributed within international museum networks. Back issues are available and can be purchased at the museum store of the National Museum of Slovenia or ordered by email.

As headline typeface, Argo 2025 68/1 is using Sokoli, designed by Valentina Lupi and published by Dotless Type. It is paired with FF Tisa and FF Tisa Sans, both designed by Mitja Miklavčič and originally released by FontFont. The designer of the magazine is Ajdin Bašić.

Designed by the Slovenian design studio Ljudje, Indeks is Dacho’s debut album. The cover features a photo of the young rapper and mimics a student record book. Main title is set in Ergon, the stamp uses a typeface named Karlin, designed by Type Salon after a concept design by studio Ljudje, and the artist’s full name is written by hand. There are a few more typefaces making an appearance and extending the typographic palette: Helvetica, Notera and Cactus Jack.

In 2024, the Ministry of Culture of Slovenia issued the Resolution on the National Programme for Culture in Slovenia (Slovenian: Resolucija o nacionalnem programu za kulturo) for the period between 2024 and 2031. It is the main document outlining the program and development goals that the Ministry aims to achieve during this and possible future mandates.

Under the name Festival hrane za možgane (“Food for the Brain Festival”), the University of Ljubljana organises cycle of events which, through workshops, exhibitions, and roundtable discussions, aims to open a dialogue on the biodiversity crisis and sustainable development. The festival brings together researchers, students, and the wider public, and highlights the importance of knowledge, collaboration, and concrete actions for nature conservation – including in urban environments. Shown here are the designs for the 2024 and 2025 editions.

In 2024, the festival menu has a strong sustainability focus and brings together researchers, UL alumni, and students at a shared table to address current societal issues and the challenges of establishing sustainable food systems.

The 2025 program focuses on the biodiversity crisis and responses to it with scientists. The festival menu is sustainability-oriented and brings researchers, students, and external participants together at a shared table to discuss current societal issues and reflect on the biodiversity crisis and our relationship to it.

Graphic design by Jernej Kejžar, using Univerza Sans designed by Alja Herlah and published by Type Salon.

The University of Ljubljana’s Academy of Theatre, Radio, Film and Television (AGRFT) organized a festival in the first week of October. Students of acting, theater and radio directing, film and television directing, editing, photography, dramaturgy and stage arts present themselves with numerous theater productions, fiction and documentary films, television dramas, performances, radio plays, works created in courses in dance composition, theater singing, and presentations of publications.

The festival is an opportunity for newly enrolled students, the broader university academic community, and the interested public – those who want to see what is bubbling and forming in future co-creators of Slovenian theater, film, television and radio arts – while also offering reflection on today’s world, society and humanity.

The festival’s visual identity was created by designer Črt Mate. The signature typeface, Wesna by Type Salon, draws inspiration from Slovenian posters of the interwar period, with a distinctive italic style that captures attention. The body text is set in Zeitung, designed by Underware.

Maribor Fine Artists Association (DLUM) is one of the oldest art associations in Slovenia, tracing its roots back to the Grohar Art Club, the first professional art organization established in the liberated Styrian region after World War I within the Kingdom of Serbs, Croats, and Slovenes. Since 1920, DLUM’s annual group exhibition has remained a key event, showcasing members’ newest works. An expert jury selects honorary awardees, who go on to exhibit domestically and internationally, contributing to the recognition of Slovene cultural identity within Europe.

The exhibition Vabljeni mladi 2025 (“Invited Young Artists 2025”) features selected newcomers. It was shown at the Media Nox Gallery, Maribor, Slovenia, from July 9 to August 29, 2025.

The visuals for the exhibition were designed by Karin Rošker, using Spektra Tekts for by Dotless Type display and Commissioner by Kostas Bartsokas for body text.

From the introduction by Sara Nuša Golob Grabner:

Despite its jury-based and award-giving nature, the purpose of the call is not to establish a hierarchy, but rather to provide opportunities and visibility to as many new creators as possible within the capacities of the participating institutions. That is precisely why this year’s competition had no overarching theme, allowing the submitted works—across various media—to speak for themselves about collective interests, research areas, and emotional shifts reflected through the artworks, forming a portrait of the younger generation’s direction.

ALUO Uho is a series of lectures by creatives and experts from various fields related to contemporary concepts of fine arts, design, and conservation-restoration. These lectures, organised by Academy of Fine Arts and Design, University of Ljubljana, Slovenia are intended for students as well as the wider public. The ALUO Uho events have been organized since 2015, and the 2024/25 academic year marks the 11th season.

Visuals for the 11th season of ALUO Uho are designed by Žiga Anderlič, using Univerza Sans by Type Salon for text and information, with the Inglesa Script script typeface by Sudtipos for the wordmark.

Holyburger is a 340-page international anthology featuring contributions from ten extraordinary comic artists.

Designed by AA, Anja Delbello & Aljaž Vesel, a design duo from Ljubljana, the accompanying text is written by Domen Finžgar and it was printed by Tiskarna Medium. The book was published by Stripburger Comix the 6th of February 2025 after nine years of work. Ten visionary comic artists each crafted a chapter, blending the origins of past and present, sacred rituals, divine poems, prophets, and the unknown into a book that walks the fine line between truth and myth. The book was printed in dark violet Pantone color, with texts in English and Slovene.

Holy comics by: L.L. de Mars (FR), Matej Kocjan – Koco (SI), Anke Feuchtenberger (DE), Malcy Duff (SCT), Domen Finžgar (SI/SCT), Jorge Quien (AR), Jakob Klemenčič (SI), Rikke Villadsen (DK), Lukas Verstraete (BE), Marcel Ruijters (NL)

Stripburger is a publishing pioneer of independent comics in Slovenia. Since 1992, it publishes a renowned international comics magazine dedicated to showcasing the work of contemporary comics artists with personal styles and stories.

Level 39, presenting bands Lunch Money Life and Plesni

Level Up is a concert series that takes place every month or so at Channel Zero, Ljubljana, and promotes new bands on the Slovenian scene.

The posters made for the concerts are designed to look like early video games. Every event is a new level in the knowledge of the music scene, which is reflected in the posters. The illustration presents the headlining band of the particular event. Because every event has a different genre of music, the design is neutral enough so that the illustration and color choice can adjust the feel of the poster. The typeface used on these posters is the variable version of Teletext, which allows every band name to occupy the same amount of space.

This series of posters and illustrations started with a general redesign of the brand which is represented on promotional material and on their social channels. The redesign included a redesign of the character and the colors it appears in. One of the main elements that changed was the typography. The variable font version of Teletext was expanded and finished for this project, now counting three axes (Height, Width and Weight).

Level 38, presenting bands Otay:onii and Đo

Level 37, presenting bands Nemeček and Izpod korenin

Level 36, presenting bands HHY & the Kampala Unit, heavenphetamine and Ribeiroia

Level 35, presenting bands Stuck and Suzi Soprano

Level 34, presenting bands Julek Ploski and Ascyth

Level 33, presenting bands Skotni Vrag and Svojat

Level 32, presenting bands Schntzl and Tachyon

Level 31, presenting bands Sister Iodine and Jolted

Special event Limun up, presenting bands Seine, Rien Virgule and Frankly

The exhibition Castle → Concepts, Objects, Spaces / Grad → Concepti, predmeti, prostori was held at the MAO – Museum of Architecture and Design, located in Ljubljana’s Fužine Castle. The visual design is a collaboration between exhibition and graphic designers Sara and Sara and type designer Alja Herlah.

The design draws inspiration from the versatile and quirky history of the castle over the past 500 years. A defining component of the visuals is the combination of custom type and illustrated icons, which form dynamic textures. Geometric shapes reference items from the museum archive, such as metal fences, glasses, and ceramic cups.

The custom typeface Rozamunda – designed for the exhibition and published by Dotless Type – draws inspiration from a lettering specimen found in the Vintage Alphabets book. Featuring high-contrast letterforms, it questions the role of a castle nowadays, what it means to the surrounding community, and the people who work there. Texts are set in Roman Grotesque by Bureau Brut.

Photography: Luka Karlin

Photography: Ana Skobe

Photography: Ana Skobe

Photography: Luka Karlin

Rasgueado is a cycle of classical guitar concert organised by Izidor Erazem Grafenauer and located in Ljubljana, Slovenia. The Rasgueado logotype is designed with typeface Univerza Sans by Type Salon, combining upright and italic styles with stylistic alternatives for a, g and d.

Visuals for 2019 concerts combine digital material for social media and printed posters – using Univerza Sans in light, regular, medium and bold styles.

Shots is an international short film festival taking place in the town Slovenj Gradec, Slovenia. The festival shows 20 to 30 short films every year from a vast selection of more than 1,500 submissions from all over the world. This approach ensures high quality in the program while maintaining a manageable quantity for every visitor. The program ranges from feature to documentary and animated shorts.

The poster for the 2023 edition of the festival was designed by Alja Herlah, featuring Spektra Tekst published by Dotless Type. Spektra Tekst is a youthful offspring of Type Salon’s Spektra. The letterforms are defined by the unified counter shape that is the main feature of the original typeface. Designed in five weights for both Latin and Cyrillic scripts, Spektra Tekst offers versatility and adaptability to various design needs.

Vili Fijavž is a Slovenian logistics company based in Slovenske Konjice. The font that is used in the logo is Revue designed by Colin Brignall for Letraset.

This schedule planner for the Srednja šola za oblikovanje in fotografijo (SŠOF, High School of Design and Photography) in Ljubljana, Slovenia, is the result of Loti Turk’s graduation project, which was created under the mentorship of prof. Sava Kosmač, published for the 75th anniversary of SŠOF in August 2021.

SŠOF is located in Križanke, a building that was strongly impacted by architect Jože Plečnik’s mastermind. Descriptions beside the sketches are using “Plečnik’s punctuation marks” (dots for spaces, etc., as on the facade of Križanke building). To make it look as similar as possible, the spacing is increased.

A series of four intimate concerts to accompany Brinas Studio and their pop-up Christmas gift shop. The concept was to bring together tiny desk concerts in pleasant company with a cup of warm tea and magical music. The pop-up boutique hosted ten Slovenian artists with a variety of products such as textiles, ceramics, photo and crochet.

Argo, the journal of the Slovene Museums, is the most important publication of Slovene museum experts dealing with art history and the museology of ancient and medieval periods. The National Museum of Slovenia, which established the journal in 1962, today co-publishes it with the Association of Slovene Museums and the Slovene Museum Society.

Papers are in Slovenian with abstracts in English. The journal is published twice yearly and distributed within international museum networks. Back issues are available and can be purchased at the museum store of the National Museum of Slovenia or ordered by email.

Argo 2020 63/2 is using Spektra, designed by Type Salon as headline typeface. It is paired with a yet unidentified serif [edit: probably Arnhem, see comments]. The designer of the magazine is Ajdin Bašić.

Cover, brochure and labeling system design for PONJAVA 2, the annual overview exhibition of the best student projects of the Department of Photography, 2022 at the University of Ljubljana, Academy of Fine Arts and Design.

Ponjava is the Slovenian word for “tarpaulin” or “sailcloth/canvas”, and the exhibition is organised as a launch pad for emerging artists from the academy. The brochure presents artworks and descriptions and is ready for the students to bounce off and continue their studies.

The typography uses Redaction in different levels of disintegration.

Students:
Tjaša Bon, Bor Cvetko, Rok Černezel, Tina Dernovšek, Nataša Ilec Kralj, Valerija Intihar, Oskar Kandare, Tine Lisjak, Tilyen Mucik, Eva Nicoletti, Hana Podvršič, Lana Požlep, Markus Röder, Lana Soklič, Kaja Škorjanc, Vita Tušek, Lara Žagar

Mentors:
doc. mag. Emina Djukić, doc. Peter Rauch, izr. prof. Peter Koštrun; Klemen Ilovar, doc. dr. Tomo Stanič, doc. Kristina Rutar

Zgodilo se je čisto blizu nas (“It happened very close to us”) is an exhibition of the 30th anniversary of the arrival of migrants from Bosnia and Herzegovina to Slovenia, exhibited at Match Gallery, Ljubljana. The exhibition and parallel events were coordinated by Divja misel. The show and the visual communication were designed by Alja Herlah and Sara Badovinac (studio Pra Pra), using typeface Wesna (Type Salon) and Inter (Rasmus Andersson). We can notice the modification of Wesna: its more expressive S was altered to be more neutral.

“Gradually, I realise I am a refugee. A person without documents and without a face, with no present and no future. A person with a heavy stride and a broken body, a flower of evil, alien and scattered as its pollen. I no longer have a name, I am no longer tall nor short, no longer a son or a brother. I am an oblivion-soaked dog in a long, morningless night, a tiny scar on the face of the world.” – Velibor Čolić, Manual of Exile (Goga, 2020)

Curator Tina Popovič on the exhibition:

On the 30th anniversary of the beginning of war and the arrival of BiH migrants to Slovenia, we are addressing our shared, yet poorly known experience with the help of personal memories of migrants as well as the people who helped welcome them. The exhibition, which assembles personal memories of 45 individuals with selected media reports and other docu-mentation, is divided into two parts.

Stories about the leaving of homes, arrivals to Slovenia and the unusual life in exile, which from expected weeks inconceivably expanded to years, are presented at the Match Gallery. Some of the exiles grew up here, others grew old, some made Slovenia their home, others just passed it on their way.

Collected memories encourage us to reflect on our actions and our attitude towards those people who all over the world are being forced to leave their homes.

Aden, Arabija is a Slovenian edition of Paul Nizan’s Aden Arabie (1931) with a foreword by Jean-Paul Sartre. It was translated from the French by Marko Crnković, designed by Domen Fras and published by Totaliteta.

The cover design includes Spektra, a variable typeface designed by Type Salon (Alja Herlah & Krista Likar), using upright and italic style. Signifier by Klim Type Foundry is used on the cover with its italic style. Its roman is used as the body face.

Spektra and Signifier work well together as a combination of dark, yet soft letter shapes with robust, brutalist forms.

New edition of the book Poster and Sign, the Leading Themes of Modern Slovenian Visual Communications Design. The book is an appeal by a group intensely concerned with Slovenian and Yugoslav cultural traditions as well as with creativity in our own time. It applies to visual culture and its roots, especially graphic communications, in which we recognise our past, our own time and ourselves.

Univerza Sans, designed by Alja Herlah for Type Salon, is used throughout. The book was republished by Zavod Basic, edited and designed by Ajdin Bašić, who explains:

The first time I read the book was as a third-year student of visual communications at the Ljubljana Academy of Fine Arts and Design, while studying design history with Professor Stane Bernik. At that time, the book published in January 1898 was simply impossible to get. It was the first and last publication of the Art Directors Club Ljubljana.

The main part of the book consists of relatively short essay offering an overview of the history of Slovenian graphic design, with an additional cross-section of key authors from each generation from the Second World War until then in Slovenian, Serb-Croatian and English text.