The flyer was created to be published before the final of the Campeonato Gaúcho, the regional football tournament of the state of Rio Grande do Sul, Brazil. The final contest was between the two centennial clubs from Porto Alegre, Grêmio and Internacional, who together form the biggest rivalry in Brazilian football, the famous Gre-Nal.

In the first match of the final, Grêmio defeated Internacional 3–0 at their home stadium. The decisive match would take place at Internacional’s stadium. In the background of the image appears the Beira-Rio Stadium in blue flames, referencing an event that occurred in the 2000s when Grêmio supporters set fire to parts of the stadium during a derby. The coffin with three arrows alludes to Grêmio mascot, the Flecha Negra (“Black Arrow”), symbolizing that the outcome of the final had already been decided in the first match — as if the coffin had already been closed. On the ground there is a red pipe representing what would remain of Internacional’s mascot, the Saci-Pererê.

The title of the artwork, “O Grêmio Vai Sair Campeão” (“Grêmio will be champions”), references a traditional song sung by Grêmio supporters when the team is about to win a title.

Sarah Hall’s novel Helm was published by Faber & Faber. The “Indie & Website Exclusive” book jacket combines big typography with an illustration by Patrick Fox. The title and author’s name are set in Ergon Thin and Thin Italic, while the captions are set in Futura​​​​​​ Medium.

Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness? is a British musical film from 1969. Anthony Newley (1931–1999) co-wrote the script, served as director, played the lead role, and composed the score. From Adam White’s 2017 article for the Telegraph:

Famed at the time for its ludicrously unwieldy title, 1969’s Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness? is a surrealist sex-drenched disaster that could only ever have been made in the more free-wheeling Sixties. Released to significant controversy for Universal Pictures and given an X rating, it was dubbed “an act of professional suicide” by the New York Times.

The cover of the soundtrack album by Kapp Records is an adaptation of the movie poster, with illustration is by Robert Tanenbaum. It uses typefaces that all were available from Californian phototype company Lettergraphics. Most of the text is set in various widths and weights of Microgramma – at Lettergraphics, Microgramma and Eurostyle [sic!] were distinguished solely by whether the font was all caps or had a lowercase, without differences in the design. The title is a potpourri of Sans Shaded, Bodidot Flair (a copy of Pistilli Roman, with swashes), a generic sans in italic caps and small caps, Windsor Contour, Torena Italic Flair, Holiday, Groovy, and Gras Serrés Italique.

Das Luka-Evangelium was made by Orphea Joanna Heutling as her Bachelor thesis project at HFBK Hamburg. From the author and designer (translated):

Das Luka-Evangelium is an experimental translation of the Bible in which, based on research into the representation of gender diversity in heroic narratives, some of the male characters in the Gospel of Luke have been transformed into women and non-binary people. The original text is 85% male, as the Bible is a book written by men for men.

Das Luka-Evangelium was written for a diverse contemporary audience, just as the four Gospels are each their own version of the story for their respective times and audiences, and often deviate from historical facts. In the spirit of plurality in faith, this translation is intended to complement, not supersede, other translations.

To design this book, Heutling used Muoto (Matthieu Cortat, 205TF) and ABC Marist (Seb McLauchlan, Dinamo).

Personal portfolio website for Vincent Poulet, a Paris-based brand designer and art director currently serving as the brand design manager at Luko. His portfolio showcases a focus on visual identity and storytelling, blending user empathy with high-end graphic design.

For his branding and website, he used Champ by Type Everything paired with Sagace by Alexandre Créquer.

King & Partners developed the brand identity for Four Seasons Naples, built around the concept Impressions of Paradise, expressed through bespoke botanical illustrations and tactile design details. The Merchant Room is a refined New American Brasserie by two-time James Beard Award–winning chef Gavin Kaysen, inspired by the elegance of Old Florida. The Merchant Room branding is set in Romie Regular and Italic, designed by Margot Lévêque.

Description of the project by HumDrumPress:

Utterances: Composing a Care-Informed Research Practice in the Cracks is a humble offering towards an alternative artistic-research practice that is guided by an ethics of care.

Utterances proposes the ‘check in’ as an invitation, as well as a structure, dialogue, and reality that begins with the lived experience of the body, combined with the visceral experiences of sharing intimate spaces together. This approach opens space for collecting impressions, allowing for tensions and gaps, speaking and being silent, presence and non-presence, note taking and taking note, all as an ongoing process of caring coalition building.

The book features an eclectic palette of typefaces, spanning Authentic Sans 60 (Christina Janus, Desmond Wong), DINdong (Clara Sambot), Euripides (Tanvi Sharma), and Victor Mono (Rune Bjørnerås) to Velvetyne's collection showcasing Abordage Regular (Eugénie Bidaut), Compagnon Regular (Juliette Duhé, Léa Pradine) and Italic (Valentin Papon), and Director (Justine Herbel, May Jolivet).

Utterances was written by The Promiscuous Care Study Group and co-published by HumDrumPress and Meteoro Editions. The cover measures 140×195 mm with inner pages measuring 110×155 mm. It has 60 pages and was printed by Offsetdruckerei Karl Grammlich GmbH.

The exhibition Dear Future presents ten artistic positions by young graduates of Burg Giebichenstein University of Art and Design Halle. The joint presentation offers a critical perspective on the present and a vision of the future. Marlene Bonamy, Lynn Gerstmair, Leon Meschede, Jonas Mosbacher, Hanbyeol Mun, Todor Joe Musev, Keren Rothenberg, Anna Taradina, Ayaha Tokusa, and JiongJi Wang provide insight into their individual approaches to analyzing the present and future and translating them into artistic formats.

Dear Future was curated by Elisabeth Würzl.

Farta (“plenty”) is an independent, biannual publication that highlights the value of traditional Portuguese food. Positioned between a magazine and an artistic platform, it focuses on everyday recipes deeply rooted in local culture but often overlooked by mainstream media.

Each issue centers around one iconic dish, the first being the francesinha, and explores it through articles, essays, photography, design, and artistic collaborations. The goal is to understand not just the recipe, but the people, rituals, and stories around it.

The publication treats food as a cultural expression, something that unites communities and defines identity. It invites participation, encourages dialogue, and promotes the richness of Portuguese culinary traditions.

Visually, Farta combines bold editorial design with artistic elements: custom illustrations, photography, and objects like ceramics, all crafted to celebrate food in a tangible, aesthetic way. For the logo and title of the publication, they chose TroisMille by Marc Rouault available at Sharp Type, a typeface that’s friendly, visually striking, and instantly recognizable. Inside the publication, the team opted for a thoughtful pairing of two typefaces. Stratos from Production Type, a sans serif with a subtle condensed feeling, thanks to the pill shape of its uppercase letters, and a yet unidentified classic serif that brings a timeless, editorial tone (Sentinel, Sebenta, and CoFo Robert are similar).

Concept by Another Collective / Rafael Tonon. Art direction by Bruno Soares and Eduardo Rodrigues, with design by Eduardo Rodrigues and photographs by Álvaro Martino. Ricardo Barbosa handled the project management.

Albra by Ultra Kuhl, Helvetica Now by Monotype, and Suisse Int’l Mono by Swiss Typefaces are used in Xapo Bank’s branding. Xapo is a Bitcoin-centric digital bank that merges the security of traditional finance with the innovation of crypto to empower global financial autonomy.

The designers from unstudioenplus describe the project as follows:

Beyond aesthetics, our work strengthens Xapo’s brand presence across every touchpoint. The design and messaging reinforce that Xapo Bank isn’t just a banking service—it’s an enabler of lifestyles for driven, digitally connected individuals shaping the future of global finance. This unified approach positions Xapo as the ultimate partner for those seeking empowerment, convenience, and autonomy.

Some of the images shown by unstudioenplus also feature Microsoft’s Segoe.

The Museu Terra’s branding and communication design reflect its role as a cultural center focused on sustainability and rural culture, learning from the past to shape the future. Inspired by geological strata, the graphic system symbolizes both the earth’s layers and historical depth. The use of sans-serif ABC Diatype and serif GT Alpina typefaces reinforces this connection across time.

Since its opening in 1988, the museum has evolved into a space that preserves and shares knowledge, fostering reflection on sustainable change from a rural viewpoint. It operates two cultural venues: one rural, one urban.

The name and visual identity are rooted in the metaphor of strata—representing time, land, and legacy—creating a distinct design language that extends beyond the logo.

Tortillas are an omelette dish and a Basque institution. For Amatxi, studio Morbo created a brand identity to break with the dish’s exclusivity in pintxo bars. Between tradition and modernity, the identity is based on a custom-drawn wordmark, which can be shortened to a monogram A, and the slogan “tortillas sin hostias” (“tortillas without wafers”).

The visuals are created with Baste (from Lift Type) as the titling font, paired with the 45° version of Bourrasque (form Bureau Brut) to bring rhythm to the typographic compositions.

Ondrej Jób from Setup Type designed the branding for the 2023 Fontstand International Typographic Conference held in Dublin, Ireland. Similar to previous years, the conference's visual identity utilises various typefaces from Fontstand’s online rental font catalog. This year’s primary font choices write “Fontstand” in Megazoid by DJR, “International” in Origin Super Condensed by Production Type, “Typography” in LeMark by Playtype, and “Conference” in the yet unreleased Async Sans by Setup.

The featured typefaces are set in single words and enveloped in rounded rectangular “buttons” or “cards”, which are then used as modular parts, and aligned either left or light to their boundary box for a digital-forward look. Graphic elements continued the use of gradients, this time referencing the host country’s flag.

Speaker names are shown in additional typefaces that were either designed by the person in question or were otherwise found to be a good match.

The Bundespreis für Kunststudierende (“Federal Prize for Art Students”) is organized every two years and is open to art students from 24 academies, colleges and universities in Germany.

The catalog for the 26th edition was designed by students of the ABK Stuttgart. It features a slipcase crafted from brown cardboard material, secured with an integrated magnet strip for a seamless closure. Inside, six artist portfolios are presented, offering insights into their biographies, diverse works through imagery, and accompanying texts about their artistic endeavors. Additionally, each individual catalog incorporates a built-in pocket that houses five postcards.

The typefaces used are from the EK Roumald family (Roman, Italic, Bold and Bold Italic) by Erkin Karamemet and Elza by Daniel Sabino.

Marriage Unplugged is a short film written and produced by the Nüesch sisters, Florine and Kim. It tells the story of a frustrated couple in their fifties who resort to a sex robot as a final attempt to salvage their crumbling marriage, unwittingly uncovering the very fractures that damaged it in the first place. It has been awarded the Jury Prize in the Fanomenon category by the Leeds International Film Festival. Clio Ha designed the movie poster and the trailer credits using Selva Script alongside Neue Helvetica.

I was tasked with transforming Eleanor Heartney’s essay “Postmodern Heretics” into a standalone zine. The essay, originally published in Art in America in February 1997, examines the Catholic influence on postmodern art, specifically the transgressive art movement of the late 1980s and early 1990s.

The design of the publication takes cues from Catholic visual vernacular to mirror the essay's themes. The zine opens like a triptych, and each page utilizes a cross-like proportion. The paper stock, color palette, and typography all take inspiration from biblical layouts, and other subtle design gestures throughout the piece call back to themes of the church.

Made as student project at ArtCenter College of Design.

My new portfolio website combines Scope with Signifier. The prominent and descriptive site title mixes both typefaces, with Scope set in all caps for highlighted words and Signifier Italic for minor words. The body copy is set in Signifier, while Scope is used for headlines, interface elements, project titles, and credits.

New identity for the campaign “Study in Antwerp” by the University of Antwerp. The typography uses Forma DJR Mono in various weights.

Albert Penn is an agency with creativity at its heart, producing inspiring and authentic content for businesses with stories worth telling. The company was founded by three brothers who have since then worked with clients such as Vogue, American Express, Warner Music Group, and Levi’s. When the time came to create a narrative of their own, they invited us to help tell their story through a new brand and website.

The visual identity is based on the company’s values: creativity, optimism, and family. For the brand, we selected a family of typefaces, Value Sans and Value Serif, that helped us display both kinship and diversity in every brand application. We used a warm yellow as a summary of optimism and possibility, displayed in the company’s work, ranging from heartfelt interviews to people-focused portraiture and candid videos. We designed and developed a website as an easily navigable library where their work drives the plot, and tells the stories within.

The new identity and website empowered Albert Penn to authentically represent their business, confidently showcase their work, and proudly tell great stories.

Doing Me Doing You is a design studio based in Australia working on projects across in branding, packaging, websites and communications. Their portfolio website features PS Times by Parker Studio and Dinamo’s ABC Rom.