In fall 2025, South Korea’s representative rock band YB embarked on a nationwide tour titled YB REMASTERED 3.0: Transcendent, commemorating its 30th anniversary and presenting their latest album, Odyssey.

Design by Sujin Kim and Eungi Min of Triangle Studio, with art direction from Kisung Jang. The fonts used are Sinistre (Collletttivo), DGM Fette (Giulia Boggio), and an unidentified sans.

Zollbureau für Zucker und Tabak (Portuguese: Mesa de Inspecção do Açúcar e Tabaco) is a Portuguese–German poetry book by Laura Erber. It was printed in blue typography and was published by Alba in collaboration with Siesta Verlag.

About the author, from Barrio (Bairro) Berlin (translated from the German):

Laura Erber (Rio de Janeiro, 1979) is a writer, editor, and researcher. In Brazil, she founded the publishing house Zazie Edições. Her literary work includes poetry, essays, chronicles, and fiction. In 2006, she published Körper und Tage in German with Merz-Solitude, the result of her residency at the Akademie Schloss Solitude, translated by Timo Berger. Mesa de inspeção do tabaco e açúcar was published in Portugal by não (edições) in the Mutatis Mutandis series. She currently lives and works in the Netherlands.

From Danish brewery To Øl:

Brombajer is our sour wheat pilsner, packed with juicy berries and clean acidity. Sharp, refreshing, and hard to put down

Pairing the prickly acidity of the Brombajer, Glossy Display is the matching font delivering just that edge. Ready for spring. The wide sans is yet unidentified.

A zine designed for Magdalena Poost’s collection at the Greenway, using Ready Active by Plain Form, Romie by Margot Lévêque, and Source Serif by Adobe.

The pages bring together performance scripts, poetry, essays, and images from eight artists responding to the urgencies of climate change, extractive capitalism, and shifting ground beneath our feet. Inspired by Sharad Chari’s idea of earth-writing and Clara Wilch’s vision of spaciousness through the arts, it invites readers to imagine new forms of public art and shared space. More map than book, it gestures toward porous futures where creativity, infrastructure, and ecology meet.

YAS is a nationally recognised organisation for art in all its forms. We give artists space to think about, make and produce their work, and we open our doors to share, show and sell it. Founded in 1977, Yorkshire Artspace provides high-quality, affordable studios for around 170 artists and makers across two Sheffield city-centre sites — Persistence Works and Exchange Place. Alongside this daily creative life, we run a public programme of exhibitions and events that bring contemporary art and craft into view. We also support artists’ development through residencies, crits and access to subsidised facilities.

Design by local design agency Peter & Paul. From print to website, all typography is set in Daria Cohen’s Onlysans (available from Contemporary Type) and Aurèle Sack’s LL Brown, available from Lineto.

Vi Ser Mønstre Overalt. Tekstiltryk som håndværk, tradition og kunstart / We See Patterns Everywhere. Textile Print as Craft, Tradition and Art Form explores the rich tradition and contemporary relevance of hand-printed textiles – both as a living craft and as an artistic practice in constant evolution. The bilingual publication accompanies the exhibition Trykkraft / Printing Power at the Designmuseum Denmark and serves as both a scholarly exploration and an aesthetic experience, and contributes to highlighting the continuing significance of textile printing in Denmark. Featured are eight living Danish female textile artists: Anne Fabricius Møller, Bitten Hegelund, Else Kallesøe, Janne Wendt, Josefina Enevold, Lisbet Friis, Trine Tronhjem and Liv Marie Rømer.

The book was designed by Spine Studio using the typefaces Monopol by Nguyen Gobber for titles and Maligne by Maxitype for running text.

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.

Rakurai To Shukufuku (落雷と祝福), which means “lightning strike and blessing”, is a book consisting of short Japanese poems and essays, written by poet and writer Maho Okamoto (岡本真帆). The book was designed by Naoko Nakui (名久井直子) , a well-known designer in Japan.

Illyricvm is a European historical-adventure film, co-written and directed by Simon Bogojević-Narath. From IMDb:

The year is 37 BC. A young Liburnian Volsus is taken by a Roman unit to help in what at first seems a simple task of collecting taxes, but the encounters with local Illyrian tribes soon lead to unexpected turns of events, as they show more resilience to subjugation than meets the eye. We see their archaic, emotional world of quaint and brutal laws and traditions through the eyes of this youngster, regarded by the Romans as a primitive barbarian, and gradually come to understand that their world is not all that different from our own.

Design for the film was done by Andro Giunio who used Rector for everything from the poster to the title credits.

Branding and website for Angela Wimmer, a psychological counselling and coaching service. Angela Wimmer works exclusively with women aged 30 and over, guiding them through complex personal themes such as relationships, identity, and family, helping them regain balance and move forward with confidence and optimism.

All text is set in Gatch. David Einwaller’s typeface appears in modified form in the wordmark by Studio mi.

This bilingual yearbook showcases contemporary Latvian photographers and significant exhibitions at the Latvian Museum of Photography in Riga. Designer Alexey Murashko selected three typefaces by Nikola Djurek for the book: Diurnal Display for the titles, Nocturno for the main text, and Diurnal for the marginalia. The book is cut horizontally in half, with the lower part containing the English text and the top part containing the Latvian text. This system allows the pages to be flipped independently and creates unexpected compositions.

The deconstructed letter parts in red are from Sandrine Nugue’s Orientation, see the comments.

Photographie, Jeu Vidéo, Paysage (“Landscape, Video Game, Photography”) explores the universe of video games through the lens of Swiss photographer and filmmaker Pascal Greco. The book gathers in-game photographs that question our relationship to images, technology, and environment. Each image is paired with the real geographical reference that inspired it, blurring boundaries between reality and simulation.

The art direction, layout, and editing by Dennis Moya Razafimandimby establishes a distinctly architectural and spatial language. Baikal Condensed is deployed at massive sizes, reinforcing an aesthetic vocabulary rooted in video game typography, particularly e-sports, and title design. In contrast, the photographs themselves are given generous space to breathe, allowing room for contemplation and imagination. This tension between bold typographic presence and meditative visual quietude mirrors the book's core inquiry into virtual and physical landscapes.

Published in an edition of 500 copies by IDpure éditions and Chambre Noire, the book was printed in EU and released in October 2025.

Selected at Tokyo Type Directors Club 2026 in the category “Excellent Works”, Editorial/Book Design.

Poster design for the fifth summer festival of Künstler:innenhäuser Worpswede. I worked with layers to connect illustration, typography and color. The bright green and orange create a vibrant contrast, inviting viewers to explore and engage with the design’s rich and varied facets.

Final letterpress printed poster, 89.5×128 cm, 2025

A visual cut-up between a poster of Karl Bickel (Alter/Invalidität, 1925) and Dafi Kühne (Wilkommen, 2018) for an exhibition on a juxtaposition of the two different approaches and contexts.

The cut-up poster has been letterpress printed from etched and hand-cut linoleum to reproduce mainly the complicated Bickel hand – which was originally printed in stone lithography.

Watch the production video for the documentation of the process:

Original poster #1, Alter/Invalidität by Karl Bickel, 89.5×128 cm, stone lithography from 1925

Original poster #2, Welcome! by Dafi Kühne. 64×88cm, letterpress print, 2018

Alta Fidelidad is a book collection from the Colombian publisher Rey Naranjo, paying tribute to the transformative power of music. Each title revives the passion for the artists and sounds that have shaped generations, becoming the soundtrack of pivotal moments in our lives. Every book explores how an iconic album influenced the life and work of Colombian writers, creating a bridge between music and literature.

The design, led by Raúl Zea and Isabella Viracachá, evokes the aesthetic of the blank cassette tapes from the 1980s, the ones used for creating mixtapes. Typography plays a key role: Basalte for the titles, Mercury for the body text, and a mix of Aperçu and Aperçu Mono for the details, creating a visual atmosphere that complements the energy of the music. Edited by Alberto Dominguez, Alta Fidelidad is not just a book collection, but a sensory journey that explores how sounds and words intertwine to transform our lives.

The advertising for Berl-Berl – A Live-Simulation was designed by Skala using the Bold weight of Melange Grotesk. From the Museum für Gestaltung Zürich:

Jakob Kudsk Steensen’s Berl-Berl transforms the Ausstellungsstrasse auditorium into an immersive installation. A large screen wall and precisely synchronized sound system create a virtual swamp in the museum. The wetlands surrounding Berlin, including the local flora and fauna, as well as old swamp mythologies are interwoven into a digital landscape. Visitors are invited on a journey into a world that is constantly oscillating between hyperrealism and fantasy. Berl-Berl reveals the hidden beauty and complexity of wetlands as well as their ecological and historical significance.

See the animated poster on Instagram.

Source: m.media-amazon.com Tredition. License: All Rights Reserved.

Der böse Geist Lumpazivagabundus by Johann Nestroy

Tredition Classics is a book series by German publisher Tredition. In addition to serving as a self-publishing platform, the company aims to “publish all the world’s classics”. Texts for these volumes are sourced from various non-profit literary projects, including Project Gutenberg. In exchange, these receive a portion of the proceeds from book sales.

The series’ cover design used since around 2012 features a (posthumous and inauthentic) portrait of Johannes Gutenberg, after a copper engraving made by Nicolas de Larmessin in the 17th century. The sans-serif caps for the series logo are from Ascender Sans. All other text is set in a single size of Ascender Serif. It’s also possible that the specific fonts in use are Liberation Sans or Arimo for the former and Liberation Serif or Tinos for the latter – these are derivatives of Steve Matteson’s designs made available under open-source licenses. The versions are different in terms of character set/language support and license, but are virtually impossible to tell apart in terms of the basic design.

Source: shop.tredition.com Tredition. License: All Rights Reserved.

Seemanns-Sagen und Schiffer-Märchen by Heinrich Smidt

Source: shop.tredition.com Tredition. License: All Rights Reserved.

Marceline Desbordes-Valmore by Stefan Zweig

Source: shop.tredition.com Tredition. License: All Rights Reserved.

Der Leuchtturm am Ende der Welt by Jules Verne

Source: shop.tredition.com Tredition. License: All Rights Reserved.

Glück der Ehe by Lew Tolstoi

Byraa Bodø has designed the exhibition identity for Mot Nord / Fra Nord for art museum Bodøgaard.

Bodø used the book weight of Store Norske Maleri from Skriftkompani. It’s paired with LL Akkurat and, on the museum website, with Neue Helvetica.

The exhibition consists of two parts. Mot Nord (“Towards the North”) shows works by Peder Balke (1804–1887), the first Norwegian artist to depict the northern parts of the country. Fra Nord (“From the North”) provides a rare insight into the earliest known printed documentation from the High North, through Terje Øiesvold’s collection of books and prints on the pictorial history of the Cap of the North from 1550 to 1850.

Located at Skeiddalen 2 in Bodø, Norway, the show is open until September 22, 2024.

Exhibition poster

The exhibition catalog comes in newspaper format.

Animation for social media

In the exhibition

The Transgressors (1961), 1994

Covers for a series of books by crime fiction writer Jim Thompson (1906–1977), designed by Pamela Scheier and published by Vintage Crime/Black Lizard in 1994.

The author’s name is set in tracked out caps from Filmotype Quiet. In this stencil typeface from the 1950s, almost all bridges run vertically, even in letters like M or N where diagonal cuts would be an obvious choice. The designer emphasized this fact by highlighting the bridges with color.

Titles are set in an unconnected brush script with a remarkably small x-height. This typeface is yet unidentified. Additional text and blurbs are set in DIN 1451 Engschrift and Monotype Bodoni.

Scheier used Compliment in her cover designs for two other books by Thompson published the same year. Previously, in the early 1990s, Keith Sheridan Associates used Latin Wide for several reissued titles by the author. Later on, the publisher had a series featuring Neue Helvetica Black Extended, designed by Chin-Yee Lai.

Now and On Earth (1942), 1994

Heed the Thunder (1946), 1994

ASFALT is a multi-day urban festival for street culture in Ghent, celebrating everyone who shapes it, from free runners, street artists, and BMXers to skaters, rappers, and basketball players.⁠

The Ghent-based multidisciplinary design studio Toykyo chose to create a visual identity with a clear and bold colour-blocking system. This system allows them to combine imagery and videos of the festival's sporting disciplines seamlessly. The design can be easily adapted to different sizes, enabling the motion design to flourish within its simplicity.

The typographic centrepiece of ASFALT’s visual identity is the stacked letters of a slightly customised version of Generation Mono by Nguyen Gobber. For all further typographic needs, ABC Diatype by Dinamo was used.