Exhibition graphics for the residency of designer Andreu Carulla in Chistén, a little village in Pyrenees Mountains, Spain. With fewer than 100 inhabitants, its aging population keeps traditional crafts, forestry, and livestock farming alive, while a small rural school survives with just three students. For ten days in January, Carulla moved his studio to Chistén to experience this reality firsthand. The result was a collection of wooden and leather pieces, designed and produced in the village using materials sourced from its surroundings.

Life in a mountain village is measured by the fires lit in winter, so we proposed that the charcoal from those fires be the medium to draw (and write) the story. The illustrations and typography were created entirely using a system that blends craftsmanship and technology: a cutting plotter in which the blade was replaced with charcoal tips.

Geometrical Edition, a single-line typeface by Elias Hanzer, was used in its Open Path version, designed for the use with CNC tools. The accompanying typeface is ITC Avant Garde Gothic Condensed.

The project was made for Madrid Design Festival / Amazon. Graphic design and illustration is by Run Design, with creative direction, curating, and authorship of the pieces by Andreu Carulla Studio. Pau Carulla did the filming and video editing. Exhibition design by Queralt Suau Arquitectes. Photography of illustration details by Marc Castellet.

See more from this project in the case study.

Identity and signs for Bean Brothers Coffeehouse in Seoul, designed by Joosung Kang of Studio Remote.

French embroidery artist Zoé Pignolet commissioned type designer Tanguy Vanlaeys to create certificates of authenticity for her works. Included with each piece, these certificates serve to identify the artwork and confirm its status as a unique creation, personally signed by the artist. What sets these certificates apart is their production method: they are drawn with a pen plotter, a specialized machine that, unlike traditional inkjet or laser printers, uses one or more pens to render smooth, continuous lines. Known for his expertise in designing typefaces for such machines, Vanlaeys chose his Milling SL (SL for single line) font in its Simplex version – available through 205TF – for this project. This typeface is notable for its single-line construction, specifically optimized for CNC machines, including pen plotters, milling machines, and laser cutters.

Made possible by the Municipality of Carlentini, Sicily, the former Ente Colonizzazione Latifondo Siciliana (English: “Sicilian Latifondo Colonization Authority”) was renamed “Entity of Decolonization / Ente di Decolonizzazzione”.

The plaque was made from 2 cm thick etna stone and was produced by Etna Stone and Design and created in collaboration with DAAR (Sandi Hilal and Alessandro Petti), Marginal Studio (Francesca Gattello), Stefan Fuchs, Herman Hjorth Berge. The plaque was Installed by Samuele Marino, Fabio Nigro, Antonio Barberi. The typeface is International Edition by Elias Hanzer.

Read more about the project at www.decolonizing.ps.

This typographic stair screen was made to celebrate local history in Poole, Dorset, UK.

It is part of an interactive public art and wayfinding project, designed by architects Dallas–Pierce–Quintero and graphic designer Stephen Barrett, in West Quay, an evolving area in Poole. A variety of interventions take inspiration from the told and documented stories of the local area, signposting local landmarks and amplifying the area’s rich heritage.

The typographic stair balustrade marks the entrance to a Georgian graveyard, now a public park. Made locally in Poole from laser-cut COR-TEN steel, in reference to local shipyards and weathered harbour walls, the text is both decorative and informative, telling a story of the area’s past whilst offering a view to the park beyond and casting poetic shadows on the surrounding ground. The monolinear typeface Standard by Benoît Bodhuin was used as the basis for the design.

Photography by Jamie James

Goliath CNC is a portable robotic tool that can cut and engrave a variety of materials, including wood, plastic, and metal. It was developed by a team of engineers and designers at Springa Srl, an Italian startup company, and was first introduced to the market in 2017.

Springa SRL choose Stencil Creek for the Goliath logo, using its alternate a – available in the first of Stencil Creek’s four stylistic sets.

The Goliath CNC machine uses a combination of sensors and software to navigate and operate on a workpiece. The sensors include a camera that captures images of the workpiece, as well as distance sensors that allow the machine to determine its position relative to the workpiece. The machine is also equipped with a router that can be fitted with a variety of bits for cutting and engraving different materials.

Engel&Engel Koblenz commissioned Felix Braden with the design of a corporate identity for Nick Stanztechnik, an established provider of sheet metal, plastic, metal, and stone processing. Nick Stanztechnik is offering services like CNC laser-cutting, punching or punch-nibbling, edging, welding, press-fitting, riveting as individual solutions for customers in a wide range of industries.

The identity represents the first use of Turbine, designed by Felix Braden of Flood Fonts and released in July 2020 with Fontwerk.