Civa describes itself as follows:

The Civa media art festival highlights the interplay between contemporary technologies, realities, and experiences across digital, physical, and hybrid spaces. This year’s festival and exhibition, |indeterminate⟩⟨apparatus|, focuses on the realm of quantum physics. […] The artists engage with quantum concepts through poetic gestures, multi-layered embodied experiences, and playful abstraction. The festival is hosted by Belvedere 21.

Designer Manuel Radde took care of the exhibition design with Gerald Moser, and of the catalog design with Philipp Doringer. They chose NaN Display in Text and Display styles together with the newer NaN Tragedy Display Mono for the scenography, the website and the catalog. The use of pipes and chevrons in the exhibition name seems to insist on its scientific / technical theme.

The all-caps titles of the book, with their dynamic left-and-right alignments look like a missed opportunity to align characters between all lines on the rigid grid of the monospaced font.

A scanned picture of a book with a photographic picture of an exhibition showing the exhibition's scenography on the further wall in the picture. We need to go deeper.

Poster for the “Back to the Beginning” concert, which featured an all-star lineup of supporting acts

Black Sabbath’s final live show dubbed “Back to the Beginning” took place on July 5th 2025 in Birmingham, very near to where the band was formed in 1968. The concert branding called back to the typography of their Vol 4 album from 1972 by re-using the same bold geometric letter style.

Instead of the original Gadget, one of the digital re-interpretations was used. It’s VolumeFour (Ryan Corey, 2018), which is directly based on the album cover, and hence is different in letters that weren’t included there. K22 Gadget (Toto G., 2014) is another digitization, derived from a showing of Gadget Lined.

Stage decoration at the “Back to the Beginning” concert, July 5th, 2025

The available merch included hoodies and T-shirts. Proceeds from the event totalled £140 million, and will be donated to Acorns Children's Hospice, Birmingham Children’s Hospital, and Cure Parkinson’s.

Albra from Ultra Kuhl is used for the rebrand of Spacegoods. Their champion product, Rainbow Dust, “combines the coffee you love with functional mushrooms and adaptogens to promote focus, energy, calm, immunity and gut health”.

Albra with its contemporary edge makes an ideal match for Spacegoods bold, future-forward aesthetic. Its sculptural forms and sharp terminals echo the brand’s mix of psychedelia and precision, striking a balance between expressive and refined. The typeface adds personality without sacrificing clarity, anchoring the brand in a world that feels both elevated and experimental. On the packaging designs, it’s used together with Mark Simonson’s Anonymous.

The publication Experimental Re(é)[flex|ct|ion] presents the results of research projects developed by participants in the first edition of the Artistic Research Lab at Casino Display.

Guided by their desire to destabilise and question the constraints they encountered, and strengthened by the discussions that took place over three weeks of in situ research, the book presents work resulting from experiments around the concepts of community, uncertainty, resistance, hybridity, preconceived expectations, movement and alternative.

The publication features a coloured edge, open stitch binding and hot foil press on the cover. Dinamo’s ABC Walter Neue is used for titling and on the cover, accompanied by Out of the Dark’s Remix A for body copy.

Located in Vienna’s 2nd district, around the corner from Karmelitermarkt, kraus café bar is a modern interpretation of fin-de siècle coffee houses. In Karl Kraus’ time the Viennese coffeehouse was the center of intellectual gatherings as well as heated debates – something Kraus himself was ambivalently attached to. The restaurant aims to present a modern interpretation of this social venue and to revive the critical spirit. kraus in the digital age also weaves its satirical media criticism into the design: nonsensical fake news headlines, punctuation pedantry paired with visual indifference in form of goofy doodles.

Deluxe 40th anniversary edition of John Crowley’s novel Little, Big, with artwork (not done as illustrations) by Peter Milton. Worked with publisher Ron Drummond to create a dance and conversation between the text and the art, while making pages that could be read comfortably and easily. The typeface, FF Clifford, with its three optical sizes and its traditional feel, lent itself well to this novel.

The company Dalkia is bringing together all of its teams and regional activities on a single site, including offices, workshops and storage facilities. The building, designed by AFAA Architecture, meets all of Dalkia’s requirements within a relatively constrained urban area.

In the same way, Bureau 205 conducted a detailed study of the architectural project and requirements in order to develop a perfectly adapted signage system: from the multiple accesses on the street to the top floor, including the technical rooms and the shared company restaurant. As usual, Bureau 205 has worked to design a project in close connection with the architectural project to integrate and highlight the details.

To design this signage system, Bureau 205 used the typeface Maax Mono by Damien Gautier, distributed by 205TF.

Két portré – Mészöly–Pilinszky 100 (“Two Portraits – Mészöly–Pilinszky 100”) is an exhibition organized on the occasion of the 100th anniversary of two iconic Hungarian writers and poets, Miklós Mészöly and János Pilinszky. It’s on display at the Petőfi Literary Museum in Budapest from September 2, 2021 until January 2, 2022. The exhibition was curated by Dániel Szolláth and Imre Wirth.

Beatrice is used for everything from wall texts to the exhibition poster and leaflets.

“About ‘Cache’ [temporary storage; actually hiding place; French cacher = to hide]: We all have something in our cache. The computers, hard drives, drawers and files of humanities scholars are filled with notes, copies, half-complete drafts and – last but not least – countless folders with .pdfs, .jpgs, .docs, .avis, .mp3s ... some of them find their way into our publications and lectures, a lot disappears forever, most of it ends up in the cache, the hiding place for things that have no place in everyday research …”

The substantial text compendium Gegen|Wissen was published in October 2020 by Intercom Verlag, Zurich, as the first volume in the cache series. The design makes use of Gerstner-Programm FSL as well as of Lyon. The cache logo uses a custom typeface named Cache Mono.

Flyers and promotional material for the Superlux Records launch party in London.

Superlux Records is a collaboration between Mike Gill, Nick Gynn (N-Gynn) and Johnny Hunter. With years of combined experience in the industry and roots in various musical backgrounds, each member brings their own unique flavour to the mix, creating a sound that feels wholesome, while pushing the boundaries of breakbeat, house, garage, rave, electro and more.

JAF Zalamander in use for posters and web banners for a series of parties at Doka, Amsterdam, 2013–2014.

The place for colorful nocturnal animals to dive deep into the night with the city’s most colorful night vision goggles. Don’t be afraid of wet feet, because you’ll only dance harder with them.

Designed by Tim Ahrens and released with Just Another Foundry in 2006, JAF Zalamander is influenced by “Black­let­ter, Graf­fiti, Construct­iv­ism, Art Deco, Hip Hop”. The fonts come with a large glyph set including Cyrillics and numerous alternates. There are even special Caps styles for all seven weights, with letterforms that are optimized for all-caps settings. As far as I can tell, the compact glyph for the Dutch IJ in “Nachtkijker” is not included in the fonts, though, and appears to be a custom addition.

Nitti used in São Paulo, Brazil. Designed by R2, Porto, Portugal

Public Bikes, Inc:

Many of the key issues for our cities and our public world are often overlooked, taken for granted, and even contested. So we invited 27 international designers to interpret the concept of "public" with a vision to reclaim urban streets, sidewalks and spaces for walking, biking and other social purposes.