Index_Georgia operates at the intersection of visual research, a cataloguing system, and a contemporary archive documenting the evolving street art landscape of Georgia. This cultural essay was built in the Swiss Style, featuring a 4-column grid and utilizing only a single font weight of Inter – chosen as a digital homage to Akzidenz-Grotesk,

Ma’Erra Production supports performance companies and artists in the structuring and management of their projects. “Building together” is at the heart of their approach: street performance is a collective work, shaped both on stage and behind the scenes. The visual identity highlights this creative process by exploring the construction of forms and deconstructing the elements of the set; stilts, costume patterns, scaffolding or music box mechanisms to reveal what is being played in the background.

The typography featuring Round Ultra supports this intention: its rounded and structured shapes evoke a construction in balance between organic and technical. The a and the o, very circular, echo the rhythms of street art, its apparatus, its percussions and scenic elements; the condensed aspect, stretched vertically, reminiscent of stilts, thus creating a direct link between typographic forms and the elements of the show.

Public Art in Toronto’s Don River Valley was published by Art Metropole and Evergreen:

This book documents the non-profit Evergreen’s public art program in Toronto’s Lower Don River Valley from 2017 through 2024. Twenty-five art and research projects commissioned and presented by Evergreen are reproduced here alongside new essays, interviews, roundtable discussions, and process images. Together the publication coheres current discussions on temporary, sustainable, collaborative, and site-responsive public art, and explores the role of artists in deepening our engagement with complex landscapes like the Don River.

To design this book, Meat Studio used Immortel Infra G1 (Clément Le Tulle-Neyret, 205TF) and National Park (Andrea Herstowski, Ben Hoepner, and Jeremy Shellhorn), an open source typeface.

Since 2016, telephone booths have no longer been part of Switzerland’s basic public infrastructure. When one breaks, it is not repaired. Yet few people know that calls made from the remaining functional booths are still free of charge – a final public service before these small-scale architectures turn into monuments.

On 4 July 2021, at 11:58 p.m., the artist Johanna Bossart purchased a telephone booth on the online platform Ricardo. Out of this object, ring ring emerged in 2023 on the publicly accessible grounds of Basislager Zürich – a platform for contemporary art that realises the idea of presenting art in public space and invites artists to engage with the site in a specific and responsive way.

Each year, six artists are invited to present a work at ring ring. The telephone booth, as a place of communication, may itself become a thematic point of departure. Each project opens with a vernissage and discussion. The photographer Christian Beutler documents the booth and its transformations, while art historian Sibylle Meier contributes a text on the participating artists and their work.

The visual concept draws on the Swisscom logo of the late 1990s: stylised bars inspired by the sound pattern – or rather, the rhythm – of the ringtone: short – medium – long.

By Mikhail Lychkovskiy:

A couple of years ago, I accidentally came across the Oripeau project, which immediately and permanently sunk into my soul. They help designers and any kind of artists showcase their works for free in public spaces in Nantes (France) and Montréal (Canada) — to the delight of both of artists and visitors. Usually the works are exhibited within one week, and new submissions are reviewed in October and April — more info on oripeau.art

The poster “Oripeau, Oripeau, Oripeau” was designed out of love and in support of the project and put on display in Montréal at the end of November 2025. The shape was made of paper and scissors.

The font in use is FL Art Grotesk from Contemporary Type, designed by Alex Slobzheninov.

Graffiti doesn’t just live on walls anymore, it lives in feeds. Consumed in seconds, from top to bottom. The title goes beyond a slang term, it reflects how we see and scroll through (sub)culture today: fast, fleeting, and often replaceable.

The first issue of TOP2BOTTOM (T2B) dives 144 pages deep into the Swabian avant-garde stretching from Stuttgart to Lake Constance. What started as an open call for submissions turned into a collective snapshot of the region’s scene, blending community-sent photos with personal field documentation collected over the past two years. It’s an analog response to digital noise, a way to slow things down and document subcultural fragments that might be gone tomorrow. Featuring key actors of the southern scene presented in textual contributions and showcased as four special chapters.

For the typography, I used Aether by DDOTT and Neue Montreal by Pangram Pangram. The magazine has 144 pages measuring 170×240 mm and comes with a thread binding. It was printed in Stuttgart in a limited edition of 100 copies – which sold out within 24 hours. Published via T2B Press.

For more insights visit the project page.

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.

Large exterior mural for Blaze Media, designed and painted by Andrew Wolfenden in Liverpool using Tablet Gothic Narrow.

This unique album was published in a limited run of 500 copies by Layup Galery – the result of a five-year process behind the creation of the Outsiders exhibition, captured in a carefully designed publication. The visual concept was developed by Olek Modzelewski, with editorial work by Cezary Hunkiewicz. The album features photographs of all artworks by invited artists, documentation of the SKM train entering the hall, in-depth interviews, and first-time published materials. Each copy is hand-numbered, making it not only a publication but also a collectible object.

Layup Galery is an exhibition space dedicated to contemporary urban art, located on the post-shipyard grounds of Gdańsk. Established in 2015, it was one of the first alternative cultural institutions to emerge in this post-industrial area. Housed in the giant historic Hall 94b, Layup presents a unique gallery focused on artists rooted in the graffiti scene. The collection includes over 50 works by internationally recognized artists such as Moses & Taps™, Rage, Sabe, Rocco and His Brothers, Sebas Velasco, Sainer, Martí Sawe, Karso, Finer, M-City, Krik, and Sicoer, as well as a fully preserved 24-ton EN71 048 SKM train car.

The book interior (336 pages + a 24-page insert printed with silver spot color) was printed on Arctic Volume White 115 g/m² and Munken Print White 115 g/m² by Arctic Paper. The Swiss-bound hardcover was wrapped in Natural Art Silk Eggshell White paper, with embossing on the front and spine.

To celebrate the centenary of the Cité internationale universitaire de Paris, French art center CNEAI (stylized cneai =) activated Le Musée sans bâtiment (“The Museum without a Building”), a proposal by Hungarian-born French architect, urban planner and designer Yona Friedman.

From CNEAI:

The Musée sans bâtiment is a museum without doors, walls or roofs, open to exhibitions by all, to collections by local residents, to public debates, to social customs, economies and ecologies.
The Museum without a Building consists of some twenty cubes, designed using large steel hoops placed freely on the site. “They serve as a support for artworks made from packaging or other objects: graphic works, collages, photographs or graffiti partly created by the public.” (Yona Friedman) The Museum without a Building is open to all.

For the occasion, designer Odilon Coutarel created a triptych of bright-colored posters, exclusively using Benjamin Dumond’s Michaux in its Regular weight. Symbols and illustrations emulate the typeface’s somewhat chaotic energy.

Art Field Nanhai, located in Guangdong, stands apart from typical public art exhibitions in urban settings by focusing on the preservation and revitalization of regional culture. Unlike the fast-paced environments of cities, this initiative emphasizes the value of rural areas and their rich heritage. The Signage Project is an independent exhibition segment featured in the second edition of Art Field Nanhai. This segment aims to breathe new life into old neighborhoods by designing and installing signage for spaces like Taiping Hui, a once-vibrant commercial street that is now nearly abandoned. The project seeks to revitalize forgotten spaces through thoughtful design and community-focused solutions.

One of the standout pieces in this project is the Taiping Granary. The creative concept behind this design is inspired by the shape of granary buildings and their function as “transit stations.” We incorporated the visual elements of conveyor belts into the sign design to evoke historical memories and connect the past with the present.

This is the promotional poster designed for the installation project. It incorporates the creative concept of a “conveyor belt.” A massive conveyor belt circle occupies the entire frame, creating a strong visual impact. The symbolic meaning of the conveyor belt is a dual reference to both heritage and transformation, while also suggesting that the installation project serves as a bridge connecting the past and the future, leading the audience to rediscover the overlooked old neighborhoods and commercial streets.

Hardcore Kids is a project developed by Claudio Bolzonello together with Filippo Anceschi at ISIA Urbino between 2022 and 2024. Bolzonello comments:

It involves the continuation and documentation of the workshop of the same name, held in Bolzano in partnership with the Rainerum Institute.
The project resulted in two publications: a broadsheet documenting the workshop’s outcomes, inspired by the “Hardcore Kids” concept, and a book that compiles and reflects on the overall experience.

Supervision by Nicola Chemotti Beutel. The book is set in one of the oldest cuts of Bastardo Grotesk.

Our font Pitanga gives a genuinely Brazilian touch to Rua Walls, one of the country’s largest urban art festivals!

The festival, which takes place in Morro do Pinto, in Rio de Janeiro, chose our typeface to bring life to their new visual identity, created by Tipograma. With light, organic, and loose strokes, Pitanga brings that irreverence that perfectly matches the event’s urban and social transformation proposal.

Seeing our font in the streets, contributing to a project that includes 20 initiatives highlighting Brazilian cultural identity and heritage, fills us with pride.

Dates Doors Then & More is an art project led by John Fekner and Brad Downey in the autumn of 2022, following an invitation by Lunds konsthall. In this project the artists reactivated some of the artworks created by John Fekner in the 1970s and the 1980s. Most of these artworks are unauthorised street stencil paintings made in the streets of Lund. The book is a rendition of this project, featuring interviews, essays, and a large iconography.

To remain conceptualy close to the project, Matthias Hübner designed the cover as a stencil, using the Constructed version of the typeface Chantier (with its own version of the ampersand). The texts, titles and credits are typeset in Chantier Regular and Italic, supplemented by the monospaced version of Timezone.

Urbane Künste Ruhr redefines the role of contemporary art in the post-industrial Ruhr region. With a mission to engage audiences from all walks of life, the initiative creates connections between public art, local narratives and global discussions, seeking to redefine art’s impact in transforming public spaces and promoting sustainable cultural networks.

The new identity is designed by Studio Yukiko:

With their local and polycentric approach, we wanted the new identity to be direct, accessible, easily adaptable and highly recognisable, whilst offering a playful design space that invites people who are keen to make new discoveries. A decentralised place to visit, but also highlight UKR as an institution interwoven into society.

The main fonts in use for the identity are Tokyto by Benoît Bodhuin and Bandit by AllCaps. The Urbane Künste Ruhr logo uses their custom UKR, designed by Florian Lamm and Elias Hanzer with Dinamo. The temporary website for the Grand Snail Tour 2024–2027 additionally uses KH Type’s KH Giga.

Documentation of the graffiti and streetart festival which took place from 20th November 2015 to 6th December 2015 at the Bundeskunsthalle in Bonn.

The German-language publication was edited by Allan Gretzki, Johanna Adam, Matthias Hübner, and Robert Kaltenhäuser, with texts from Rein Wolfs, Allan Gretzki, Robert Kaltenhäuser, Johannes Stahl, Harald Hinz & Patrick Gau. It was published by Possible Books.

Matthias Hübner provided the book design, using Ostia Antica and Totentanz, both from Bureau Brut. See more images on his website.

160 pages, 23 cm×18 cm.

As part of a street art project, I installed pseudo-memorial plaques in the city of Cluj in November 2024. The texts do not refer to the deeds of personalities, revered members of the political-cultural canon; I used the walls as a canvas, exposing my very personal memories connected to this city.

The plaque shown here – a digital print on PP banner film, 34×47 cm – is stuck on the door of a dilapidated garage, the most pitoresque one in the city center. The text, beyond the subjective/lyrical content, it’s a parody of the official monument information boards.

In terms of design, it’s also a suggestion. Instead of mixing the relatively hard-to-read Arial with the the all-too-familiar and soft Calibri, it would be more appropriate to set the text with an excellently readable, distinctive, and at the same time no-nonsense typeface like David Jonathan Ross’ Input Sans.

The pseudo-plaque next to the furrier’s own handwritten inscriptions. The craftsman announces that he has moved his workshop about a kilometre away

For reference: the official design of the monument information boards in the city of Cluj, using Arial and Calibri. Digital print on transparent acrylic panel, approx. 35×45 cm

This project was inspired by the literary work of José Luís Peixoto and the locations in Abrantes, Constância, and Sardoal linked to the writer. It was developed to create a literary urban experience, materialized in a series of concrete blocks that evoke the pages of a book, allowing the texts to occupy and transform the public space. Each block represents a ‘page’, exploiting a distinctive typographic design that emphasizes the depth of the textual content.

The structure of the text supports was conceived from a parallelepiped with displaced vertices to create organic and asymmetrical pieces. This modular solution allows for a versatile arrangement of the blocks: on the floor, on walls, vertically or horizontally, adapting to different spatial contexts. The graphic layout of the texts refers directly to the aesthetics of a book page, reinforcing the concept of literature as a visual intervention in urban space. The texts are stenciled using GT Sectra, which adds a contemporary touch and contributes to the work’s cohesive visual identity.

Monograph for the artist GOLIF, presented as follows on the back cover:

‘I have a passion to redesign the city.’ Powerful brushstrokes, black paint on a white background—a penetrating gaze staring at the viewer. Since 2013, Golif’s characters have been a distinctive feature of urban space throughout Europe.

The book was published by Drava Verlag, edited by Peter Doujak, with copy editing by Gundula Wagenbrenner, translation by Nick Somers, picture editing by Mario Rott, and printed by Jelgavas Tipogrāfija.

Reclaim Poetry, January 2024. Two posters, each with a quote. On the left a quaote by Simone Marcelli Pitzalis: “inhabiting a place not ours in suspension is the definition / of haunting a home”. On the right, words from Arundhathi Subramaniam: “It took some time / to realize that /poems are important / Because they have holes in them”.

Reclaim Poetry, January 2024. “And that failing would serve, if only, to repudiate, exorcise the master's damned tools” – Wissal Houbabi

Reclaim Poetry, January 2024. “Bless me free, and be patient / Before my rejection.” – Maram al-Masri

Reclaim Poetry, January 2024. “And I will turn into marvel” – Chandra Livia Candiani

Reclaim Poetry, January 2024. “The word is an entanglement, then collapses like any monument” – Silvia Bre

Reclaim Poetry, March 2024. “No one puts their children on a boat unless the water is safer than land.” – Warsan Shire

Reclaim Cavalli, May 2024

Reclaim Cavalli, April 2024. “I wasn't born to be reasonable”