Blac is a seafood restaurant with a warm and lively atmosphere, where wine plays a central role in the dining experience, along with fresh, flavourful cuisine focuses on grilled dishes.

For the logo, the designer used a custom twisted version of Maroni Condensed, playing with the letters and the sea level. The accompanying typeface is Baskervville Italic.

Letterpress printed Souvenir Ticket for the 2026 Bay Area Printers’ Fair & Wayzgoose. Printed in 2025 from vintage handset metal type, in order from top:

Caslon Bold Extended (1911)
Futura schmalhalbfett (1936)
Lilith (1930)
Figaro (1940)
Hellenic Wide (c.1954*)
Festival Titling (1952)
Gill Sans Cameo Ruled (1935)
Antique Condensed (pinmark from MacKellar, Smiths & Jordan, 19th century)
Ad Lib (1961)
Antique Shaded (1913)
Mistral (1953)
Plymouth (1900)

All borders are cast by Stephenson Blake, printed from new-in-box old stock fonts.

*) Note that Hellenic Wide is a 1950s adaptation of the same letter style as the 19th century Antique Extended.

From Saetta Books:

The story of this book begins where daylight ends: when night falls. It is the story of a headlong flight, far from the diurnal world and its harsh, singular, zenithal light. For as dusk descends, light sources multiply; celestial bodies and artificial glows transfigure space and time. Then he dives into these troubled waters, drawn in by the dark energy that runs through and transforms him. He does not know it yet, but he has embarked upon a journey that will last seven years. A voyage to the end of the night, no doubt, intense and initiatory, during which he will search for love in all the noises of the world, hunting for fragments of the real in the realm of dreams and masks. But the night, full of promise, always yields to dawn. And in the end, it is photography itself, the art of writing with light, that will allow him to emerge from the dark.

Quand vient la nuit is the first monograph by French photographer Fabrice Catérini. The book was published by Saetta Books in November 2025 and designed by Théo Miller.

The cover features a mirror lamination combined with a perforated black dust jacket, allowing light to pass through and creating subtle moiré effects and visual vibrations. Cover and jacket texts are set in Yorick by Matthieu Cortat (205TF), using a typographic treatment that plays with repetition, fragmentation, and text deconstruction.

Printed on the inside flaps of the dust jacket, at the beginning and end of the book, is Guy Debord’s palindrome, borrowed from Virgil: In girum imus nocte et consumimur igni (“We go round and round in the night and are consumed by fire”).

The interior of the book is dense, combining a large number of photographs with black pages that immerse the reader in the darkness and agitation of the nightlife scene. The photographic sequence is interrupted by a long central text (the only white pages in the book) set in Exposure by Federico Parra Barrios (205TF) in a sober and classic layout, designed to contrast with the visual tension and rhythm of the photographic sections.

168 pages, 200×300 mm, 102 duotone plates
Section-sewn softcover, with mirror lamination and perforated dust jacket
Texts in French and English, ISBN 978-2-9593672-1-2, November 2025

How do you live? is Anja Pleyer’s interior architecture studio in Davos and Zurich. The dynamic logo reflects the question's creative potential, combining solid typography with architectural elements. Variable paper and colors allow a subtle brand flexibility.

The branding was created by Anuschka Fink.

This story generator was developed from texts written by Gennevilliers residents and inspired by the arrival of the new metro, as part of La Société du Grand Paris’ shared project. In the form of a terminal, it travels to several public places in Gennevilliers in 2023 and 2024. Fragments of these stories are punched into painted metal plaques, scattered around the project’s various stakeholders.

The Quand Soudain story generator is also accessible online.

This project was developed in partnership with La Ville de Gennevilliers and Centquatre-Paris. Writing accompaniment was provided by Valérie Mréjen. The development was carried out by Hugo Hilaire. The terminal was designed by Jacques Averna and built by EFR Scéno.

Studio Double used the typeface Beretta Sans designed by Damien Gautier (205TF) and Krana Fat designed by Florian Schick and Lauri Toikka (Schick Toikka).

Web version

Moana is a ceramic artist working in Cancale, in the Bay of Mont-Saint-Michel, France. In her workshop, which was once a mill, she handcrafts delicate and sensuous white cream-colored faïences.

For her new identity and the design of the two flyers that showcase her studio and class schedules, Moana commissioned the graphic designer Paul Dagorne. He used Footic Italic, a font originally created in Cancale and inspired by the Brittany region.

These flyers are printed by Studio Fidèle using monochrome risography (Light Teal version for summer hours, Black version for the rest of the year). While discussing the paper with Mari Campistron from Fidèle, Mari mentioned an interesting reference for this project: Alga Carta, an environmentally responsible paper made from algae. It’s an off-white paper with an almost mineral-like texture: the choice was made.

The flyers were then pre-cut to serve as business cards for Moana Céramiques.

A small insert, tucked into the unused paper edges, provides credits for this object and some essential information: what ceramics are, what risography is, and what Cancale is all about.

The small insert reads: “A ceramic is an object made from molded clay and then fired.”

Concept and design of the publication poetry of the week by Myriam Holme.

In poetry of the week, Myriam Holme processes excerpts from various issues of German weekly newspaper DIE ZEIT. The work is ongoing and reflects the Mannheim artist’s interest in language and poetry. The book is perforated in the middle, allowing the reader to remove the individual works in postcard format. It was edited by the City of Rastatt/Städtische Galerie Fruchthalle and published by Einraumhaus c/o.

The typefaces used in this publication are Waldenburg Schwarz accompanied by Times New Roman.

Véronique Simon (graphisme sans sulfite, toutenbasdecasse.com) designed a smart business and greeting card using Amster with Amster Versal Iluminada, combining embossing and color layering.

The message of the greeting card part is a quote by John Cage: “La situation étant désespérée, tout devient possible.” (“The situation being desperate, everything becomes possible.”)

Who defines our daily dress code? Who decides how our close future will look like? Which role should I play in society? These are just a few of the presented questions in Invisibles, an editorial piece made as student project at EASD Pedro Almodóvar. It makes gender stereotypes preconceptions visible to break them into a critical, social and didactical analysis. In essence all these concepts are perpetuated realities.

The main concept was to visualize the problems that comes from gender role definitions during a journey through the different stages of life. In a didactical way, along this piece designed with different die-cuts the reader will deconstruct reality into divided images as the result of the usage of the collage technique. Invisibles is a limited edition with various sizes, printed on demand in black only. The absence of color and its rich typographic language using exclusively Fixture (including its compressed Ultra styles) gives this piece an adequate look for the extraordinary harsh critique of its main message.

This project was awarded during the 2020 edition of the Laus Awards, receiving a Bronze award in the “entire book” category. Graphic design, creative and art direction by Lara MM and A Lajara.

For the promotion of the ZUM 2018 Photography Grant, supported by the Brazilian contemporary photography magazine of the Instituto Moreira Salles, a large typographic poster was created with texts at different sizes, all set in Druk. On the original 88×61 cm (35″×24″) poster, a grid of perforated lines allows the derivation of pieces in various formats, from smaller posters to postcards. In each module, the information is repeated in different arrangements, so that all pieces, regardless of size or format, carry the same content as the others. The concept was a typographic scale play with the name of the photography magazine zum [already a Portuguese word-play with the English word zoom] and it was also used in digital communication, such as social media posts and even a cinema vignette.

The project won the TDC 65 (Type Directors Club New York) Certificate of Typographic Excellence.

From GBH.london:

MOB is not a normal hotel. MOB is analogue. MOB is bold. MOB is inclusive. MOB is resourceful. MOB is simple. It's a place of genuine and original hospitality.

MOB’s mission is to create an affordable, social, and stimulating experience. The hotel is a hub for the local community. Inspired by the teachings of Karl Marx, it’s a place that plays with conventions, challenging the norm at every turn. Not a place to stay holed up in your room, but a place to explore.

The MOB Hotel brand only uses Raisonné Demibold. The typeface’s playfulness enhances tactile experiences. It's both utilitarian and charming, speaking to MOB's ethos of “By The People, Of The People.”

A fun and versatile extension of the branding was found in ticket rolls. The tickets are an easy and tactile way for staff to interact with guests by means of applying different stamps. The stamps range from business cards to free hotel vouchers and check lists, or just a thoughtful message.

Os Patos is a fictional diary Flavia Péret. In Brazilian Portuguese, the title of the book means something like “The Silly Ducks” (loose translation). Published by Impressões de Minas.

A woman, encouraged by her physician, tells a story about her own body. In other words, Os Patos is about a woman who has a body; it is about a woman who lives an ordinary life; it is about a body that has changed in time; it is about writing; and it is, in the end, about how foolish we all are.

The acidic but spirited style of the text is very objective and simple — and these attributes guided the book design throughout. We can also say the design interventions frequently confuse themselves with the text, sometimes highlighting certain words and phrases, or even suggesting that the reader cut off one of the book's pages.