Simone donne sa langue au chat unfolded as a four-part event series in Châteauvillain (Haute-Marne, France), within the walls of a former boot factory, once called Le Chameau, now reimagined as Simone.

These events invite a shared, participatory reflection on the status of living beings and the space we allow them, at a time when biodiversity is collapsing under human pressure. Bringing together citizens, artists, researchers, and legal thinkers, the event explores how animals might belong within human communities, through questions of place, proximity, and otherness.

The A2 poster consists of four A4 designs, each able to stand alone. Designed in two colors (plus white background) by Fabrication Maison, it was printed by Lézard Graphique.

Wer Bringt Den Kuchen? Who Brings The Cake? was a series of art events (talks, screenings, workshops) happening during the year 2024 in Kunstbunker Nürnberg. Designer duo Lucia Schmuk and Elisabeth Thoma created a poster for each talk, keeping the overall same layout but changing the colour duo and the titling font each time. The poster series was selected among the 100 beste Plakate 2024.

The font used for the series title and the name of the place on each poster is Lÿno Stan by Radim Peško, while smaller text is set in Suisse Int’l by Swiss Typefaces. Then are used Gulax, Terminal Grotesque, Gap Sans and the free weight of NaN Holo as unique titling fonts for each poster. The condensed sans used for “The End of the End of Selling Out” is yet unidentified.

Apart from Lÿno and Suisse Int’l, almost all of the selected fonts – if not all – are free to use or open-sourced.

Graphic designers Carmen Dusmet Carrasco and Lukas Engelhardt have been developing the colourful identity and website for Home Cinema for the past five years. The identity uses various weights of the variable font Tonka (by Céline Hurka and Huw D. Williams) and OPS Favorite (by OPS Type and Jan Egbers).

The identity has been evolving over the past years through all the different events and happenings and used Tonka prior to its release in 2023 and has been updated with newer versions and weights as soon as they were completed or released by Céline.

Home Cinema designs online streams and physical screenings, challenging storytelling formats. Through invitations and open calls, Home Cinema’s programs formally respond to the question: What can we see together when we cannot see each other?

In past editions, Home Cinema has collaborated with Mubi, wysiwyg, Filmhuis Den Haag, Reneenee, Laak, Waag Society, Rialto UV, Heartqore, Sandberg Instituut, Mike Kokken, Julian Ross, WORKNOT!, Karina Zavidova… Our 2023 programs are generously supported by Stimuleringsfonds Creative Industries.

Home Cinema was founded in 2020 by Carmen Dusmet Carrasco and Andrea González Garrán, designed and developed with Lukas Engelhardt.

Due to funding cuts Home Cinema is on a temporary break. The website is still online and the program will continue once further funding is available. If you are interested in supporting the project, please reach out to the organisers.

Starting with the 2025–2026 season, Cinéma Arletty is launching a brand-new event: Les Dimanches Lyriques. This series offers a different way of experiencing opera – on the big screen – through broadcasts of productions from some of the world’s most prestigious stages.

Three Sundays each year, audiences are invited to immerse themselves in the world of opera with carefully curated screenings, followed by moments of exchange and discussion to extend the experience. It’s a warm and accessible way to (re)discover the great classics of the repertoire as well as contemporary creations, and to share together the emotion of live performance.

2025 marks the twelfth edition of the Freiluftkino Frankfurt. For this season, the visuals shine in summery color gradients. In combination with film stills from the current program, the posters and printed matter create an atmosphere of warm summer evenings in the open-air cinema. The use of Scto Grotesk A supports the minimalist character of the design.

This year, the Berlinale 2025 International Film Festival celebrates its 75th anniversary under the new direction of Tricia Tuttle. In addition to the printed poster, for the first time there is an animated version and an mp4 key visual at the center of the design. In doing so, the organizers underline the step change towards digital channels and the importance of motion graphics in communication.

For the fifth time, Claudia Schramke is in charge of the art direction for the festival. This year, she designed a key visual which is inspired by the almost forgotten film leader countdowns, which were used to help thread a film reel. “I wanted to create something lively that celebrates 75 years of film tradition and impressively interprets the theme of time. The beating heart of the Berlinale, so to speak,” writes Claudia Schramke on her website.

To contrast with the strong colors, the designer was looking for a high-quality, classic-looking font. She came across Fontwerk’s Pangea, designed by Christoph Koeberlin. Added in June 2024, Pangea Condensed in particular is “wonderfully striking”, she claims. Schramke was also won over by the comprehensive language expansion of the typeface, which is of great importance for an international film festival. “Those were convincing arguments for me” she says, summing up her decision.

.moving pictures experimental garage (.mpeg) is a platform for contemporary video art and experimental film run by Filmische Initiative Leipzig FILZ e.V. It showcases monthly rotating moving image works after dusk in a video display window in Leipzig, Germany, and facilitates cultural participation in public spaces for people of different age groups, backgrounds, and areas of interest.

The website mpeg-art.space serves as the platform’s second home, designed to mirror and digitally extend the physical space in Leipzig. The city’s local time and current light situation is reflected as if on the garage’s blurred window. The work currently on view is shown within a digital simulation of the recessed black space inside the garage. An archive documents all works shown since the project’s inception and includes synopsis, stills and interviews.

The typeface CMM Coda Normalized Proportional was chosen alongside the existing logotype set in Berthold Block Regular to match its softness and proportions.

Design and development by magma design studio.

Under the label Svensk Kortfilm c/o Folkets Bio, the Stockholm based cinema Zita has been showcasing high-quality Swedish short films. Since its inception in 2008, more than 100 films have been included in the program.

Fredrika Frykstrand designed the materials for the 2022 edition, using Knopp and Rigid Square.

Instagram story

The project is a visual identity for the film program Небывальщина (“Unfathomable”), held at Moscow’s Zotov Center. The program is dedicated to the incredible in Russian cinema, spanning from Soviet avant-garde to post-Soviet underground. Небывальщина brings together films where reality collides with fantasy, and the supernatural becomes an integral part of the narrative.

A poster celebrating the end of the first motion graphics course at Texas A&M University with a triple feature of films that the students developed opening titles for. It is printed on the Risograph using three inks (Black, Bright Red, and Mint) and featuring the in-progress typeface by Mass-Driver, MD Thermochrome.

Urtina Hoxha has designed the promotion for the City Film Days Prishtina titled Të fala nga Prishtina (“Greetings from Pristina”), a film program showcasing experimental, fictional, and non-fictional works related to Kosovo’s capital. The films were screened at Kino Moviemento in Berlin, on the 19th and 20th of October 2024.

Curated by Blerta Haziraj, the selection presents a 12-film portrayal of the city and its surroundings through a cinematic reflection on social, political, and historical themes, as well as intimate and personal stories.

Hoxha used the Book and Book Italic cuts of Store Norske Nord from Skriftkompani.

Africa is/in the Future is a festival that takes place in Brussels since 2016. It’s dedicated to showcasing multidisciplinary productions from African and Afro-descendants artists and creators. For the 2023 edition, the festival invited Laurent Mbaah (a.k.a. Simio, a.k.a. Chimères) to create their communication. He partnered with Elodie Goldberg Jacquemain and Alexandre André to create an identity based on a strong yellow/black/white triad.

The main font used for the communication is Frank Adebiaye's Forward, either in its bolder and wider or thinner and narrower styles. Its sculptural lettershapes led the designers to create illustrative dingbats. Made by pasting parts of glyphs together or overlapping them, they are being used as illustrations for different events.

To accompany Forward, the designers picked Clara Sambot’s DINdong, a font released by the Belgo-French collective Bye Bye Binary and featuring, like all their fonts, special glyphs and ligatures allowing to write in a more gender-inclusive French. The festival made good use of these ligatures across all their publications.

An example of the gender-inclusive ligatures included in the DINdong typeface.

For his second Supernova appointment, Damien Chazelle presents a selection of his early films that explore the debut and subsequent uses of sound in films. The program comprised:

• Walter Ruttmann’s Weekend (1930)
• Finding His Voice (1929)
• Scene from Hitchcock’s Blackmail (1929)
• Three scenes from Fritz Lang’s M (1931)
• Scene from Dziga Vertov’s L’Entusiasmo (1931)
• Black and Tan Fantasy by Dudley Murphy (1929)
• Opening scene of Love Me Tonight by Rouben Mamoulian (1932)
• “Battle on Ice” from Alexander Nevsky (1938)

Graphics by Arnoud Verhaeghe, using Adriano Etc and a yet unidentified monospaced serif [edit: it’s Quadrant Text Mono, see comments]. The Supernova logo (not part of this poster design) is based on Antique Olive Nord.

Tobias Moser harnessed the bold, dynamic flair of VZWO Choreo Display, blending its massive black style with its sleek, swinging thin style to craft captivating posters and animations for the electrifying “UMTRUNK” event by Hochschule München’s Faculty of Design.

The night kicked off with a public screening, building anticipation for an unforgettable DJ set by the one and only DJ Alberto Amore.

FIG. – Festival for Illustration and Graphics is an annual event in Sofia, Bulgaria. Description of the project on the festival's website:

Since our first edition in 2021, we have challenged the boundless potential of illustration and graphics by continuously pushing their boundaries and redefining their meaning. Through a carefully curated programme featuring exhibitions, workshops and activities led by both local and international participants we provide a fruitful platform for creative experimentation and exchange.

Designed by Miroslav Zhivkov, using Harber by Benoît Bodhuin.

Cover for the 2024 festival program with art by İnci Eviner

”I call ‘Whole-World’ our universe such as it changes and endures through exchange…” This line by Martiniquan poet and philosopher Édouard Glissant (1928–2011) was chosen by the Maison de la Culture Amiens as the guiding star of a festival held annually since 2019. The term Whole-World (Tout-monde) can be understood in correspondence to Glissant’s concept of multicultural creolization in which all individuals and societies can profit from cultural exchange, leading to completely new, otherwise nonexistent cultural phenomena.

The Maison de la Culture Amiens (MCA) is the major cultural hub of that Northern-French city. It is a multi-partite house showcasing exhibitions, theater, dance, cinema and many other forms of visual and performative arts. In earlier posts we presented Julien Lelièvre’s redesign of MCA’s visual identity and his work on program brochures and advertising material.

While these are usually very colorful, Lelièvre takes a whole different approach in the design for the Festival Amiens Tout-monde. It is exclusively black and white and uses a single typeface collection: Cardinal from Production Type. Cardinal Classic is a roman of normal width but available in three different variations with regard to the length of its ascenders and descenders. Cardinal Classic Short is in use here for all reading texts. On the headline level you can see Cardinal Fruit in different weights. This branch boasts condensed proportions and an expressive italic.

In some way this reduced design concept seems to counteract the spirit of the festival whose aim it is to bring artists from around the world together and in touch with the local scene. At a second look, the omission of color can be read as an invitation to discover the actual event in full color in person. The reduction also offers a stage for the different artists and illustrators that were invited over the years to spark the crowd’s curiosity.

2024 festival teaser clip

Spread from the 2024 festival program

Spread from the 2024 festival program

Cover for the 2023 festival program with illustration Louise Druelle alias Loup Blaster

Announcement of the 2023 festival

Cover for the 2022 festival program with art by Amélie Fontaine

2022 festival teaser clip

2021 festival poster with art by Elsa Abderhamani

2020 festival poster with illustration by Zeina Abirached

Cover and back cover of the 2019 festival program with illustrations by Edmond Baudoin

Spread from the 2019 festival program

Spread from the 2019 festival program

Source: www.behance.net Julia Miceli Pitta. License: All Rights Reserved.

The first edition of the Libre Film Series took place in 2022 in the small coastal village of Santa Mónica, located in the Maldonado district of Uruguay. The five-days festival was mounted by the collective space Lablat who chose five Latin American films to project and discuss over the Laguna José Ignacio in the last days of December of that year. In the center of the curators’ interest was how, in their medium, filmmakers present creators from other fields of art, such as fine arts and landscape architecture.

The graphic design advertising the event is the work of Julia Miceli Pitta, an Argentinian designer working in Buenos Aires and London. The key visual is the lettering piece “LiBRE” that combines the idea of light coming from a projector with splashy shapes reminiscent of the nearby lagoon.

The big-size headline typeface is Big Daily, a roman with marked stroke contrast. The “Short” branch of this typeface series is distinguished by especially short ascenders and descenders, a feature brought to full splendor in the tight line spacing on the film posters. Miceli Pitta commented that she wanted a subtle and elegant typeface that would connect to the past while sitting comfortably in a modern identity. Big Daily was designed by Alaric Garnier and brought out by Production Type from Paris in 2020. The second typeface, used for the smaller reading text, is Archivo, a sans-serif of rather narrow width, designed by Héctor Gatti from Omnibus Type, Buenos Aires.

Source: www.behance.net Julia Miceli Pitta. License: All Rights Reserved.

Source: www.lablat.art Julia Miceli Pitta. License: All Rights Reserved.

Source: www.lablat.art Julia Miceli Pitta. License: All Rights Reserved.

Source: www.lablat.art Julia Miceli Pitta. License: All Rights Reserved.

Source: www.lablat.art Julia Miceli Pitta. License: All Rights Reserved.

Source: www.behance.net Julia Miceli Pitta. License: All Rights Reserved.

Source: www.behance.net Julia Miceli Pitta. License: All Rights Reserved.

Source: www.behance.net Julia Miceli Pitta. License: All Rights Reserved.

The Moving Couch Cinema was a series of movie screenings hosted by Rita Davis and Björn Giesecke. Taking place on a couch with four wheels moving through the Estonian Academy of Arts in Tallinn. Arriving every time at a different location – staircase, fine arts drawing studio, bathroom, exhibition space. Staying for short, projecting a movie, and moving back.

The pamphlets produced for each occasion gather scanned bits and fragments to provide context for further reading, like transcripts, film reviews, interviews, and newspaper clippings.

The title features the first use of Drama. An all-caps monospaced zig-zagging typeface based on Rogers (Boston, ca. 1889), Drama can run up (Zig), down (Zag), around corners (Zig Zag), on uneven ground (Zig Zag Zig Zag), simply straight ahead (Horizontal), and is variable for everything in between.

Cinema Rhythm was an event organized in December 2023 by Made to Move and Body High, meant to celebrate dance. On the menu: several DJ sets, as well as a screening of Check Your Body at the Door, a documentary about underground NYC club dancers in the 1990s.

The poster was designed by L.A.-based Saish Kotecha, using movie stills and all-caps typefaces. Most of the text is set in an extended Eurostile, paired with Plain Form’s Ready Active for the date and what could be described as an under-layer for the title. The superposition of the two typefaces creates an interesting contrast and vibration, almost as if electric sparks were moving around the letters.

Visual identity for the second edition of Temps suspendu (“Suspended Time”), an artistic and cultural event organized by Médicis-Clichy-Montfermeil (now known as Ateliers Médicis). The posters, flyers, and leaflets were designed by Building Paris using Jaakko, supported by Agipo.