In 2025, Swiss hotel group Capsule Hotel commissioned Odd Forms Studio to redesign its visual identity. The studio translated the core qualities of this experience into graphic form: economy of means, clarity, intimacy, modular repetition and a sense of enclosure. The identity unfolds through a restrained and structured visual system, designed to work across printed matter, signage, communication and digital uses.

The design uses BallPill by Benoît Bodhuin, T-Star by Binnenland and TWK Everett​​​​​​​ by Weltkern.

Experimental typographic poster with every piece of information I could find on Ponte City Apartments.

The challenge was to create an A0 poster packed with information about only one topic using mainly typography. I dove into the world of Africa’s tallest residential building – a massive cylindrical structure from 1975 in Johannesburg, full of mystery and historical significance, that I wanted to convey through type.

Designed with a dual purpose, the poster works both as a physical reference, letting you read everything about the building – from its social and cultural significance to its role as a symbol of resilience – and as an immersive experience, placing you at the center of the “hole.” Divided into 30 topics under a single type weight, the text forms the shape of the façade as if seen from the inside, with context and key information at the center, maximizing the large format and creating a sense of depth.

By carefully working with the text partitions, I developed a deliberate sense of false symmetry. The left, center, and right sections follow different alignments, creating subtle quirks that keep the composition dynamic, while the jagged edges of the text echo the building’s raw concrete texture and sense of decay. This approach reinforces the structure’s character, turning the dense typographic layout into an extension of the architecture itself, where precision and irregularity coexist to reflect both its monumental presence and its worn, lived-in history.

785 sentences, 13,994 words, 86,694 characters, 841×1,189 mm

Project developed in the typography module of the Master in Visual Design at Elisava.

This unworn T-Shirt from the Python Conference 2002 – before it was called PyCon – is currently available on eBay. In my opinion, the design (presumably by Erik van Blokland) perfectly embodies the whimsical spirit of Python.

The French Federation of Mountaineering and Climbing (FFME) is the organization responsible for the development, supervision, and promotion of mountain and climbing disciplines in France, from leisure to high-level competition.

This communication was designed ahead of the 2024 Olympic Games in Paris to introduce sport climbing to the general public and to support its promotion in the Olympic context, during an event organized in France. Ginka (from lift type) is an important element of the project, used as the sole font for both title and secondary information, thanks to its versatility.

Protest Grotesk is the typeface used by Neues Amt Altona.

From Stan Hema:

Neues Amt Altona eG is ready for the groundbreaking ceremony. The cooperative construction project, which will start in 2025, combines sustainable timber architecture with a concept that focuses on community and creativity. Co-working spaces, art studios and local meeting places – locations that connect people and enable inspiring interaction – are being developed around the popular creative site of the old tax office in the Hamburg district of Altona.

To mark the start of construction of the ambitious project, the NAA has a new visual and verbal brand identity, developed by Stan Hema. The revised identity combines a clear brand language, cross-media recognisability and the diverse voices of the more than 250 committed members. With heart, soul and conviction, they are designing a neighbourhood that is entirely geared towards people and community.

AC Rhetorik Serif in use together with Salmanazar for the catalog to the exhibition Do Medalheiro Allen ao Gabinete de Numismática (“From the Allen Medal Collection to the Numismatic Cabinet”) published by Museu do Porto.

Luís Cepa on the design:

The book highlights over 300 sets of coins, medals, and banknotes, which form part of the collection acquired by the municipality in 1851 for the establishment of the Museu Municipal do Porto. The origins of this collection lie in the medal cabinet founded by João Francisco Allen (1781–1848) and these artifacts, spanning different periods of history, are presented chronologically (Ancient Greece, Roman, Iberian, Suevic, Visigothic, Arab, up to the emergence of the Portuguese monarchy).

All objects have been photographed and displayed in carefully curated sets throughout the book, with visual scales of 8.5, 6, and 3.5 cm. Coloured backgrounds are used to enhance the texture and metallic composition of each coin. Each item is accompanied by introdutory cientific texts, key characteristics, and an exact transcription of its inscription.

[Be]Life is a young brand dedicated to developing healthy hair products. The products are vegan, cruelty-free, sulfate-free, paraben-free, and petroleum-free. The brand asked us to create its identity, packaging, and web design. The premise was to create something that would capture attention and stand out in the current market within its industry.

For the identity, we worked with the concept of duality between the scientific and the organic, the structured and the gestural. Both the brand and the texts make reference to laboratory formulas. The typeface used is Dazzed with an editorial and minimalist approach. On the other hand, the illustrations representing the natural ingredients are gestural, organic, and feature vibrant colors.

The duality is reflected in both the formal and chromatic aspects, creating a logic that allows us to develop the different visual elements of the brand's system.

Tangible Design Festival presents its event as follows (translated by the contributor):

Tangible is a festival dedicated to all forms of design expression, offering a close look at local specificities. Supported by several partner organizations/designers from the Aix–Marseille–Provence metropolitan area and coordinated by the Fotokino association, it is conceived as a shared program promoting the visibility, promotion, and dissemination of design practices in the region.

Each year, a call for participation invites organizations and professionals to propose and organize events that will enrich the program. Open to all forms of expression (object design, graphic design, urban design, textile design, social design, crafts, etc.), the festival draws on the vitality of the local context while exploring links with related practices: research, crafts, art, and applied arts.

Cover art of the Mono Mind album Mind Control

Mono Mind – yet another side project of Per Gessle – have released one album and seven singles. They all feature designs that follow almost a cookie-cutter template, with coarsely halftoned images of the band characters on random backgrounds in bright colours. The band's name has always been set in David Kerkhoff’s Dirrrty, with the release title in Bureau Grot Medium Compressed. The sole exception to this is the album which has its title set in Akzidenz-Grotesk Extended. From the third single onwards, the single titles have been mechanically skewed 15° to create a faux italic.

[More info on Discogs]

Cover art of the first Mono Mind single “Sugar Rush”, featuring a different design to all the singles that followed

Cover art of all the versions of the Mono Mind single “Save Me a Place”, featuring a slightly evolved design from the first single

Cover art of both versions of the Mono Mind single “I Found My Soul at Marvingate”, featuring a design template that would be followed by all their subsequent single releases

Cover art of all versions of the Mono Mind single “LaLaLove”

Cover art of the Mono Mind singles “Down by the Riverside”, “Fighting for the Future”, and “All Over Your Body”

Originally published in Mercurius magazine (2024), this piece contextualizes how I approached my gender identity during the formative years of my childhood.

Brackets were used to produce a cocoon-like structure with letters containing the word “male” and an inner core encasing the text “fe-” representing my spirit.

Altogether, to embody the word “female."

From Session Victim:

Sidequests: Chapter One, the first part of a trilogy with subsequent EP’s featuring further explorations in creative rhythm and the nostalgic echoes of adventure!

Featuring four original tracks and a standout remix by underground hotshot Frits Wentink, Chapter One showcases Session Victim’s signature fusion of hazy house, broken beat, and trip hop—all wrapped in their trademark rich production and uplifting energy.

Alias Harbour is used for title type. It’s paired with a yet unidentified italic font [edit: it’s Perfetto, see comments].

Album cover

Raw Data Feel is the sixth studio album from English art rock band Everything Everything. The quartet has once again teamed up with Adult Art Club – comprising Charlotte Audrey and Jonny Costello – for its art direction. GT America Black Extended was used for all titles on the album, singles, and website. The body text and captions were set in Aperçu Mono. On the tour posters, the band name is set in caps from Korolev.

[More info on Discogs]

Website

Instore poster

US tour poster

Nicht nur Mütter waren schwanger. Perspektiven auf Reproduktive Gerechtigkeit & Zeit[en] (English: “Not Only Mothers Were Pregnant. Perspectives on Reproductive Justice & Time[s]”) is an online project based on a book with a similar title, Nicht nur Mütter waren schwanger. Unerhörte Perspektiven auf die vermeintlich natürlichste Sache der Welt, which was published by Edition Assemblage in 2018.

The project poses questions such as: How have reproductive rights in Germany changed over time? What influence does the global rise in authoritarianism have on the desire to have children and family constellations outside the norm? How can we keep spaces of exchange on reproductive rights open, despite the various crises that favor isolation instead of solidarity?

Concept and curation by Alisa Tretau, Moooon
; design by studiokwi; plain language images by Simone Fass, and sustainable and accessible web development by visiert.

Mother Design has redesigned the identity of user-powered library and tech company Scribd.

The typeface used is Scribd Sans, a customised version of Store Norske Ja, from Skriftkompani. The letters G, R and u have new alternative shapes and all dots and tittles changed from squares to circles.

On launch Mother Design wrote in their Instagram post:

Scribd is the document sharing tool nearly everyone’s used but not many remember. With 2 million contributors and over 200 million documents, you can access everything from washing machine manuals to studies on ancient botany. The challenge was getting people to treat it as a destination, rather than a place they happened upon after searching on other parts of the internet.

We worked closely with the team to build a brand that rejects our culture’s fixation on fast results and surface level knowledge, and instead supports contributors and readers in their quest to understand things deeply. Borrowing cues from the world of referencing, we positioned Scribd as life’s bibliographer with a brand language that speaks to the depth and breadth on the platform and evokes a sense of discovery along journeys for information.

The (fictional) planning office TIEFPLAN develops subterranean living as a response to global challenges. With a focus on the crises and issues of our time, plans and simulations for underground living spaces are designed. Model experiments are used to test and analyze various implementation approaches.

This student project was made by Luis Bullinger and Laurin Stemmann at the Faculty of Design of the University of Applied Sciences Würzburg-Schweinfurt.

Web portfolio designed to showcase the photographic work of Victor Zurbarán with a clean and minimalist aesthetic. The smooth and structured navigation allows for easy exploration of two main sections: personal projects and curated projects, offering an intuitive and direct experience.

The projects are displayed in two optimized grids: a horizontal scroll for curated projects, where each image can be zoomed in and credits are shown, and a compact grid for personal projects, allowing multiple images to be viewed at once and project information to be revealed based on user interest. The color palette, featuring shades of gray and yellow, adds warmth without losing clarity, aligning with the photographer’s visual identity.

ABC Diatype Light is used in all caps on the website as well as for the business cards.

Margaret Whiting’s Moonlight on Vermont is a jazz CD released in 2000 by ASV, under the company’s Living Era label. The compilation contains 25 different jazz songs performed by Margaret Whiting (1924–2011), a vocalist active during the 50s and 60s.

All-caps Compacta is used alongside Pritchard for the subtitle. The Living Era logo is set in Roco with a custom RA ligature. All three faces were released by Letraset. The back also features ITC Kabel and Univers for the body text. (The ASV logo is based on Stop.)

[More info on Discogs]

Installation at HALLE 14, Leipzig

The artist group Spiral Threads created a large-scale wall piece for the exhibition Monica Ross: Ghost in The Spinning Mill at HALLE 14, Leipzig (shown from 16 November to 18 December 2022). Entitled Now We Stand in a Crowded Gap, this work links to British artist Monica Ross’ speech History or Not, which recounts the activism and art of feminists in 1970s Britain. Drawing on their collaborations and alliances, Ross criticised the exclusion of feminist works from a survey exhibition of conceptual art in her March 2000 speech. She marks the lack of consideration and inscription of feminist art in art history, the attribution of the domestic and craft spheres, and echoes the activities and achievements of the feminist liberation movement.

The artists group Spiral Threads (Hanako Emden, Sophie Florian, Anja Kaiser) follows the narratives and demands of Ross and her contemporaries and spins additional narrative threads to them.

Detail of typeface CMM Coda Mono Serif

Detail of typeface CMM Coda Mono Serif

Performance by Lea Dippold & Nygel Panasco

TT Hoves is part of youEngineering's identity.

youEngineering is a software development partner agency. The company’s services include software and application development, web design, and consulting. youEngineering’s mission is digital progress. The company believes that software development should come from the heart and the approach to development should be responsible and sustainable.

Je t’abîme fort, whose title is taken from a typo in a birthday text from the mother of one of the authors, is a collective zine devoted to the mother–daughter bond published by Papier Charbon in Lyon. Through ten texts of varying styles, the edition makes the observation that, despite our own stories, our narratives all come together in several places, which say a lot about the role of mother that our patriarchal societies have shaped, and the experiences of “mother’s daughter” that result.

The graphic design was created by Cecilia Gérard. The running text is composed in HAL Timezone, and the titles in Kalice. Specific glyphs were also drawn to designate each text.

The zine was Riso-printed in Lyon.