Colossal presents itself as “an online art magazine based in Chicago that celebrates contemporary art and visual culture across a wide range of creative disciplines, and is focused on both emerging and established artists”. As a cultural agent, the team behind Colossal also “curates and produces several exhibitions annually, hosts artist workshops online and off, facilitates talks, and publishes opportunities for artists every month”.

From a typographic point of view, it is also a visual feast, which matches the mag’s editorial ambition with an impeccable art direction (as it should be).

On the About page, the editors state:

In a world brimming with information overload, an epidemic of loneliness, climate catastrophe, capitalism run amok, and social inequity, we curate Colossal to focus on the most positive, diverse, and impactful stories that bring about change and meaningful connection. We intend to amplify the voices of artists working toward more equitable and sustainable futures through innovation, unexpected materials, humor, spectacle, and vast reserves of skill and hope. We are supported largely by our extraordinarily generous members.

Such an editorial statement could only be paired with an excellent and vibrant design, and these people and their design partners deliver.

Colossal was redesigned by Firebelly, and it was one of the winners of the 2025 STA 100 Judges’ Choice, awarded by the Chicago-based Society of Typographic Arts.

Departing from the original logo designed by Armin Vit (Brand New), the Firebelly and Colossal joint redesign venture came up with a wordmark that spawned the bespoke Colossal Display, with two distinct wavy S glyphs that feel like they were ritually trimmed at the base with an ancient katana.

In the project page dedicated to their collaboration with Colossal, the agency says:

After rounds of aligning, playing, and imagining, we crafted a final direction on the logo that is dad & son tested and approved — really! This final, larger-than-life mark brand speaks to the core values: play, whimsy, and curiosity. Subtle adjustments to letterforms (especially the distinctive ​“S”) helped preserve Colossal’s recognizability while introducing a tongue-in-cheek referential nature.

As far as headline elements and body text are concerned, the two workhorses that power this publication and art endeavour are its trusty sans, Visuelt (Colophon), and a ridiculously elegant and legible Fabric Serif (Monokrom), which – dare I say – belongs in the same Hall of Serif Fame as Ivar Text, Tiempos, the Feature Collection, Newsreader, Victor Serif, Tid, IvyPresto, Aktuell, Reckless Neue, SN Litteratur Text, etc.

Both Visuelt and Fabric Serif are used in different hierarchy text instances, and they handle both responsibilities with ease.

Article headline with date, byline and share options in Visuelt

Text detail in Fabric Serif

Homepage detail (top)

Homepage detail (bottom with footer)

Whispers of the Unheard is Ishita Chakraborty’s first monograph. The work of the artist, who is based in Switzerland, is rooted in postcolonial discourse and deals intensively with topics such as ecology, migration, and sociocultural inequality. The 112-page publication comprehensively documents and illuminates her artistic practice, providing insights into her work over the past few years.

The publication was designed by Megi Zumstein, who selected the Juneau​​​​ font family by Phillip Neumeyer for the typography. This typeface combines geometric construction with grotesque characteristics, uses circular forms, and references old metal grotesques. Since the typography remains subordinate to the photographically documented works, it is primarily used in smaller text sizes. Juneau’s economical proportions and open stroke endings support readability at these smaller scales. For headings, increased letter-spacing makes them distinguishable without requiring significantly larger font sizes. The typographic approach aligns with the publication's overall production and maintains a balance with the artistic content.

It was published by Anouchka Panchard and Aargauer Kunsthaus through Edition Clandestin.

An assemblage of artistic reflections and perspectives that grew through and together with the collective experiences of inhabiting a garden in Villa Romana, Firenze.

The book design uses Ouvrières by Laure Azizi (in affamées and agricultrices styles), Grancy by Minjong Kim, BianZhiDai (in Base and Ring styles) and Kiddo by notyourtypefoundry, FA_AAAIEMOADDP and FA_PTGWDOBSHK by Full Auto Foundry, and OPS Cubic by OPS Type. Lincoln/MITRE was used as well, but isn’t shown in the images.

Cercle is a themed magazine, with its 11th issue published in May 2023 dedicated to mythology. For the occasion, Ariel Martín Pérez designed a custom typeface named Luperca. The typeface, now published by Tunera Type Foundry, is inspired by Roman capitals, with contemporary calligraphic influences in some of the letters and various ligatures, alternate glyphs and nested characters. The five optical sizes of the typeface means that it could be used in several kinds of titles, quotes and subtitles.

Luperca can be downloaded for free on Tunera.

The standard typefaces used for the magazine are Wigrum by Production Type and ITC Spirit by Jovica Veljović.

Beyond simple objects, GiftArt delivers artistic inspiration that blends into everyday life. At typefounder, we designed a comprehensive visual system by reinterpreting GiftArt’s symbolic ribbon and gift motifs into a unique graphic language.

Cпорт в Советском изобразительном искусстве / Sport in Soviet Fine Art was published in hardback by Sovetsky Khudozhnik, Moscow, in 1974. It comes with a text by A. Davydova.

The structure of the album—a system of two blocks, the inclusion of subjects not, at first glance, directly related to the main theme, and chromatic rhythmic contrasts—made it possible to convey the essential features of Soviet sport as an integral part of Soviet society, its social function, and its inherent dynamism. The album presents reproductions of works by A. Deineka, M. Manizer, M. Gerasimov, G. Savitsky, G. Toidze, S. Lebedeva, and many others.

From the publisher’s annotation:

The publishing house regards the reader as an active co-author of the album. By freely combining fragments of paintings in various arrangements, the reader will discover a wide field for imagination, construct their own rhythm, and independently create an image of a bright, joyful celebration—sport—one that most fully corresponds to their character, knowledge, mood, and emotional state.

Mille Cent Jours (“One Thousand and One Hundred Days”) is an artistic residency program conducted over three years in schools across the Île-de-France region, aiming to make schools places for experimentation, creation, and encounters. Led by the DRAC Île-de-France (Regional Directorate of Cultural Affairs), it brings together artists, students, and teachers to transform schools into vibrant spaces for culture and civic engagement.

The leaflet (pdf) was designed by Antonin Faurel using GroteskRemix by Benoît Bodhuin as display typeface. Text is set in Courier and Neue Helvetica. It was offset printed by Média Graphic, Rennes, in black plus three colors.

Русские в Африке (“Russians in Africa”) is a book that explores — through art, poetry, and philosophy — how Soviet Russia of the mid-20th century tried to understand the culture of African countries. The book, published in 2023 by ABCDesign, was designed by Katya Yumasheva. The typography in the publication is executed using CSTM Xprmntl 02 Bold by CSTM Fonts and Geometria by Brownfox.

Cover of the German-language edition

Description of the project by Sammlung Wemhöner:

The catalogue Follow Me Behind the Mirror. Positions of the Wemhöner Collection highlights the impressive breadth of the Wemhöner collection through Philipp Bollmann’s curatorial eye, replacing conventional order with associative juxtapositions. Showcasing a selection of around 400 works from the much larger collection, Bollmann’s dialogical approach opens up new perspectives and underscores its complexity.

This book contains works of numerous artists, including Marina Abramović, Nevin Aladag, Kader Attia, Georg Baselitz, Hans Op de Beeck, and many more. It was published by Distanz.

Cover of the English-language edition

Dongtan Station Art Station_MARS 151 is an art project that imagines a journey from Hwaseong, a city on Earth, to Mars, a planet in the universe. Through this journey, visitors are invited to envision a sustainable future through art.

In Korean, the name of the city Hwaseong (화성) refers both to the city where Dongtan Station is located and the planet Mars. This shared pronunciation creates a poetic link between reality and imagination.

The number 151 refers to Dongtan Station’s address (151 Dongtan-yeok-ro), a major transportation hub, while MARS symbolises an alternative planet envisioned by humanity.

Over three weeks of exhibitions, performances, lectures, and children’s workshops, Dongtan Station was transformed into the boarding platform of the Eco Spaceship MARS 151.

The project’s visual identity, designed by studio moonanhan, features a dynamic key image that conveys a sense of motion through time and space. The accompanying poster series combines tactile visual textures that invite multiple interpretations in line with the exhibition’s concept. Recognising the symbolic importance of Dongtan Station within the project, the design also visually emphasises B4, Dongtan Station.

For the main title, Hofmann by Nguyen Gobber was selected for its bold, futuristic character. The fluid curves of these Latin letters are contrasted by the rather straight geometric lines of the figures, which are set in Slight Chance by David Jonathan Ross. Dates are set in PF Expo by Parachute Type Foundry, and all Korean text was set in Noto Sans KR by Sandoll, and Pretendard by Hyung-jin Kil.

Many Danes believes that wind turbines spoil the country’s beautiful landscapes. To challenge this view and inspire a conversation about what true beauty means in the face of environmental change, energy company Andel launched “Danish Beauty Remastered” – an art collection reimagining how we see and value the Danish landscape.

Sacred Ethereal Feminine Energy is a 3D-knitted tapestry by artist Yamuna Forzani and type designer Céline Hurka produced at the Tilburg Textile Museum in 2023.

The artwork features various weights of a custom version of the variable font family Tonka as well as a new in-progress variable typeface called Yamuna Bottom, developed by Céline and Huw D. Williams. Tonka’s variable weights and widths adjust to the width of the tapestry.

Yamuna Bottom was gifted as a birthday gift to Yamuna by Huw and Céline. It is a variable version of the 1960s typefaces Scorpio & Hoopla and is not available for retail. Yamuna has always liked Lorvad’s digital version Bell Bottom Laser. The custom version shifts the weight on a horizontal axis up and down, creating fun patterns if repeated.

This work is the starting point of a longer collaboration bringing textile art and variable type together to celebrate the beauty of female friendships. The tapestry is available in three colors and measures 170×150 cm. It has been shown at various fairs and exhibitions since 2023, such as Villa Museum Amsterdam, Affordable Art Fair Amsterdam, and Object Rotterdam. It’s available for purchase on request.

Konstringar was published by Natur & Kultur, with a cover featuring Magnet Headline by Frere-Jones Type for the title. The smaller text is added in Alice Savoie’s Faune.

The same typefaces are also used for the interior, together with Molengo by Denis Jacquerye for body text, as well as Bree, TT Ramillas, and one yet unidentified serif.

From the designers of Studio Parasto Backman:

Konstringar is a declaration of love for the possibilities of art to ask difficult questions and formulate the stories of our time. The book intends to make contemporary art accessible so that it reaches far beyond the art world.

The curator and writer Maria Lind has selected 20 pieces of art/case studies. These are divided into 4 different themes/circles; abstraction, handprint, reporting and together.

From Éditions Pyramyd (translated from the French):

In this optimistic and inspiring essay, Valérie Belmokhtar invites the reader to think about art in today's world. How can we respond to the multiple challenges of the climate crisis? How can we include all creators in the art world?

By tracing the history of art, the author shows that the preservation of resources and the transmission of know-how have been present in the work of many artists for centuries. She draws up an enthusiastic panorama of contemporary creation, presenting the work of men and women whose art can be defined as ecological. Land art, materials recovery, collaborative work: the avenues for reflection are numerous and stimulating.

Titles are set in Sud and body copy in GT Alpina.

A new publication about the Dortmund artist Barbara Koch was published on the occasion of the awarding of the CityARTists Prize 2024. The publication will be accompanied by selected works from the Kunst Aus(leihe) Dortmund collection. The focus is on Koch's experimental material paintings – between painting and object art. Her works address the tension between vitality, transience and artificial aesthetics.

The fonts in use are Manrope and R41 Magister.

Investigating Decentralized Action in Art was designed for Baltan Laboratories, a cultural institution based in Eindhoven, the Netherlands.

The publication is the result of ARTeCHÓ, a European initiative connecting five institutions to support artists exploring art, crypto art, blockchain, and NFTs. It explores how AI and NFTs intersect with art, economy, and politics, questioning their sustainability and equity.

Through essays and artworks, the book challenges centralized systems, colonial legacies, and extractive capitalism, proposing decentralized, autonomous alternatives for a fairer digital future and new forms of collective knowledge and creativity. It was edited by Marlou van der Cruijsen, Lorenzo Gerbi, and Julia Kassyk, and published by Lecturis.

The design is built upon the concept of digital brutalism, to recall the material foundation (the hardware) that sustains any software. Harber and ABC Monument Grotesk, along the material qualities of the book, contribute in creating such “digital-brutalist” aesthetic.

CRSL also designed the visual identity of the related exhibition Decentralized Futures, held at Koelhuis in Eindhoven, during Dutch Design Week 2024, see this previous post.

ZAK 15 features artworks by Japanese artist Shoji Mochida. Link Overlap is used for headlines and small titles. The type settings are super tight, creating interesting graphic patterns in the layouts. Ufficio Sans is used as the body copy.

ZAK is a zine introducing special Japanese artists, curated, edited, art directed, and published by Lukas Holinka.

Identity created for Borderlands – a place-based project, running from March 2025 to March 2028, showcasing art in the communities of the English/Welsh borders, commissioned and developed by Meadow Arts.

Lydian is used here to represent modern rurality; the letterforms could have been painted by hand (evocative of the home-made signs found on land in the borders) – and brought up-to-date in the context of growing interest around contemporary art being made in the area.

Meadow Arts is an inspirational visual arts charity delivering ambitious and accessible projects in unexpected, often rural places.

Tableau is a richly illustrated magazine about fine arts from all ages. The issue for winter 2024 makes use of IvyMode and IvyPresto for headlines, combined with Futura and Frutiger for text. The magazine logo is in ITC Franklin Gothic.

Edvard Munch. Skrik/Der Schrei/Le Cri/Scream is a book about the numerous analogue and digital mutations of Edvard Munch’s famous painting The Scream in popular culture. The typeface used, Store Norske Skrik from Skriftkompani, is also a reference to Munch’s work – “Skrik” being the Norwegian word for scream, and the original title of the painting.

From the book’s introduction:

Ever since Munch first came up with the Scream motif at the end of the 19th century, countless artists, including Andy Warhol and Marina Abramović, have modified it within their own work. In addition, the open-mouthed figure has cropped up in popular cultural productions such as Wes Craven’s Scream film franchise, the poster for the kids’ movie Home Alone, and in scores of satirical cartoons – on everything from Brexit to Donald Trump’s presidency and tax rises – as well as on innumerable political banners and placards, most recently in protests about the climate emergency. [...] this book embraces Munch’s best-known image as a cultural phenomenon.