For its 39th edition, the Festival International de Musique de Belfort (FIMU) – which draws over 100,000 festival-goers and 1,000 international artists each year – honors Belgium with a quirky, advertising-inspired visual identity. Conceived by me, art director and graphic designer Benjamin Puddu, the concept revisits the traditional cone of French fries. Treated as an iconic object, this popular symbol captures the festival’s energy without falling into literal folklore. The colors of the Belgian flag structure the composition, while the inclusion of wristbands from past editions weaves a link to the event's history.

The poster is the result of a close collaboration between me and IGO Studio (Steven Mazzola and Coline Munier). Known for their sculptural and meticulous approach to still life, the duo focused on authentic materiality in the face of omnipresent AI. In contrast to algorithmic visuals, the image comes from a 100% real studio production using deliberate flash lighting. This technical choice heightens the visual impact of this free festival, while adopting a frontal aesthetic that underscores the absurdity of the staging. To bring this universe to life across all touchpoints, graphic designers Sarah Not and Barbee meticulously handled the entire graphic rollout and layout adaptations.

On the typography front, the choice of Julieta Ulanovsky’s Montserrat responds to a need for clarity and power. Inspired by the urban signage of Buenos Aires, this geometric sans-serif eliminates all artifice. Its rational structure resonates perfectly with the almost commercial treatment of the photograph. Universal and robust, its raw neutrality offers an ideal counterpoint to the image, anchoring FIMU within a sustainable and coherent art direction for all audiences.

The visual universe is also adapted into a children’s version with a more playful tone. The typographic block adjusts: Montserrat becomes rounded and the letters of the word FIMU shift to create a freer rhythm. Secondary information adopts a handwritten style evoking children's writing, while the color palette swaps vivid tones for four pastel shades, all while maintaining the aesthetic rigor of the main poster.

I recently designed and built a website for a business coach who works with managers in the IT outsourcing industry.

I chose TWK Continental because the client’s coaching practice revolves around organizational architecture and systemic coherence for IT management. The typeface’s constructed, mechanical DNA and compact architecture perfectly mirror that focus on structure and system design. It behaves like a quiet, reliable workhorse for functional text blocks while retaining enough sharp, Swiss-inspired precision in display sizes to position the brand as premium, modern, and authoritative.

Eight years after the first English edition by Basic Books, A.R. Luria’s The Mind of the Mnemonist was reissued by Chicago-based publisher Henry Regnery. Roger Harvey’s jacket design uses Harry Obese, the heaviest weight of Harry, alongside Univers. The layered text snippets in pink and red additionally feature Helvetica, Times New Roman, and Bookman – but those are likely repurposed from existing material.

The Maison des Métallos is a public cultural center in Paris located in the 11th district. The institution is dedicated to the performing arts, hosting performances, theater, dance and other events and gatherings.

The creative studio Feelings designed a new visual identity for this historical venue using Modale Antique as the main typeface. It is complemented by LL Mono in its bold version for the programs.

Poster design for the fifth summer festival of Künstler:innenhäuser Worpswede. I worked with layers to connect illustration, typography and color. The bright green and orange create a vibrant contrast, inviting viewers to explore and engage with the design’s rich and varied facets.

Visual identity for Project Space Festival Juárez 2025, Operaciones aleatorias (“Random Operations”), at Museo de Arte de Ciudad Juárez.

Happening each year in Saint-Briac-sur-Mer (France, Brittany) the Rendez-vous à Saint-Briac is a fair showcasing contemporary works of art and artists' publications, mainly from Brittany-based galleries and institutions. For this edition, Paul Dagorne and Lucas Le Bihan worked on a reset of the fair’s identity. We used the symbol of the city (the bridge between Saint-Briac and Lancieux) as the main visual along with three illustrations of clichéd Saint-Briac’s landscapes and a single typeface – Scenery – throughout the whole communication.

Post Tenebras Lux. Les vitraux du Musée Ariana is an exhibition at the Musée Ariana, the Museum of Ceramics and Glass in Geneva. The exhibition’s visual communication was developed by the Geneva-based studio Giganto, and the scenography was created in collaboration between Giganto and Narrative.

The typefaces TT Ramillas, Satoshi and Nippo are part of Madness AI’s identity.

Madness AI is consultancy agency that is tailoring AI solutions to specific business needs, like predictive models and automated data processing, for optimized performance.

Nexus Station aims to create a space for artistic convergence, dedicated to emerging creators from across France, including illustrators, comic artists, graphic designers, ceramicists, DJs, and more. The association's mission is to encourage exchange and collaboration between a new generation of artists from diverse backgrounds, while making art accessible to everyone. It wants to become a meeting point between artists and their (future) audiences, blending creativity, community, and cultural discovery.

The association is committed to organizing multidisciplinary artistic events such as exhibitions, DJ sets, creator markets, workshops, creative pop-up stores, and more. These initiatives come together over one weekend during the Nexus Station micro-festival.

Its art direction is renewed each year by Hénagone.

Designed in collaboration between the specialized research unit affiliated with the Kandinsky Library within the National Museum of Modern Art and the Centre Pompidou Publishing House, the “Recherches” collection highlights critical studies and interdisciplinary research in modern and contemporary art history. These studies are conducted with a focus on the collection of artworks and archival materials preserved by the Centre Pompidou. The collection is particularly dedicated to making previously unpublished texts available in French. For the first issue of the "Recherches" collection, the Centre Pompidou Publishing House presents a critical anthology of eighteen texts on the themes of globalization and post-colonialism.

Since the launch of this collection in 2022, the graphic design has been led by the French studio Huz & Bosshard. They use Zénith by Matthieu Cortat (205TF) for body text, captions and titles, and FF Balance by Evert Bloemsma (FontFont) for footnotes and credits.

This book is available for download from the website of the Centre Pompidou.

Poster and artwork for a party series by DJ and music producer Some Guest, held at club Jasna 1 in Warsaw, Poland. I used modified Compacta Bold Italic for the name in the center, Generation Mono for the name of the party and date as usual, and Microgramma Extended Bold for the lineup. Made using a combination of printing and scanning techniques, with a touch of digital color processing.

Visual identity for waterslide, a Decentralized Finance (DeFi) frontend that enables users to take out loans on cryptocurrencies at fair conditions in a decentralized environment and completely detached from banks. The centerpiece of the visual implementation is a complex interface with which users can interact with the Liquity protocol via their browser.

Sonic Acts is an interdisciplinary arts organization based in Amsterdam presenting new developments in electronic and digital art forms. Their biennial international festival is an art, theory and technology gathering motivated by changes in the ecological, political, technological and social landscape.

The visual identity for Sonic Acts 2024 edition “The Spell of the Sensuous” was designed by Anja Kaiser and Knoth & Renner, who also programmed the accompanying website. The design pays homage to Georgia O’Keeffe, an artist renowned for her mythic and uninhabited landscape masterpieces. Channeling her distinctive palette, the visuals employ earthly and lively hues hinting at images beyond human senses – a mystical entrancement in O’Keeffe’s landscapes or the liquid interconnectedness of (non)beings.

In An American Place, 1941, remarking on the sensuously intimate and familial act of noticing nature, Giorgia O’Keeffe wrote: “in a way – nobody sees a flower – really – it is so small – we haven’t time – and to see takes time like to have a friend takes time.”

The typographic gesture assumes the roles of observer, chronicler, and perpetual traveler, traversing the linear notes of monospaced typography. Intertwined with the typography, asemic writing plays the role of silent companions. These signs defy conventional decryption methods, evading semantic clarity. Instead, they beckon us to embrace subjective, inquisitive interpretations, inviting us to delve into uncharted territories of understanding.

The visual identity combines the open-source typeface Geist, used for title typography, with CMM Coda in Proportional, Proportional Normalized and Mono Serif cuts, used for body copy and small print.

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.

Les Aventurier.e.s is a production and artistic support bureau founded in 2010. The association is primarily dedicated to the production, creation, and dissemination of live performances. It is committed to questioning conventions and performance spaces while developing cultural, educational, and social initiatives.

For their visual identity, Les Aventurier.e.s collaborated with French graphic designer Pierre Jeanneau. He crafted the design using Louize Display and Muoto, two typefaces designed by Matthieu Cortat and distributed by 205TF.

The cover depicts Germania holding a torch in her right hand and a shield with a double-headed eagle in her left. The silver text uses Preciosa with its decorated capitals.

Bauer was a German type foundry established by Friedrich W. Bauer and Karl Rupprecht in Stuttgart in 1880. It’s not to be confused with the Bauer (or Bauersche) foundry in Frankfurt am Main, which was started in 1837 by Friedrich’s father, Johann Christian Bauer. Bauer jr. left the company in 1887, but the established Bauer & Co. name was continued. Rupprecht added a branch in Düsseldorf in 1892. On 9 November 1897, Bauer & Co. was acquired by the H. Berthold AG in Berlin.

This is their 1895 type specimen book titled Neue Gesammt-Probe (“New comprehensive specimen”). Stiftung Deutsches Technikmuseum Berlin digitized a copy from their Günter Gerhard Lange Collection. Shown here are the cover, the title pages, the foreword, and the opening pages for the four sections.

The main typefaces used for the book design are Preciosa and Carmen, two typefaces that were released by Bauer & Co. shortly before.

In 2022, I made a digital interpretation of Carmen named Amabilis Veneriana. It covers the two original weights plus an open Hollow style. I found the base character set in the third edition of Ludwig Petzendorfer’s Schriften-Atlas from 1898.

The half-title page features Carmen in regular and bold.

The ornate title page combines Preciosa and Carmen. The small type at the top is set in the English cut of Mediäval-Antiqua, with oldstyle figures. “Neue Ausgabe 1895” uses the corresponding Kursiv.

Page with room for a dedication. The company name at the top is in Carmen again. The text integrated in the sign held by the girl on the stairs is set in Gutenberg-Gotisch, “gewidmet” is in Triumph-Schreibschrift, and “Anmerkung” in Mercantil-Kursiv.

Foreword with a headline in Carmen and text in Mediäval-Antiqua with halbfett. The initial D is taken from Preciosa.

Title page for the first section with Werkschriften (“work[horse] typefaces”) and Zeitungsschriften (“newspaper typefaces”), in Fraktur and Antiqua styles. The typography pairs Enge verzierte Altdeutsch and Altdeutsch. The latter is Bauer & Co.’s recutting of Caxton Black. The small text uses their Schwabacher.

Title page of the second section with Auszeichnungsschriften (“typefaces for emphasis”, i.e, display type) and Accidenzschriften (“jobbing typefaces”), with more Mediäval-Antiqua and Preciosa

The third section comprises Kursivschriften (“italic typefaces”), Rund- und Schreibschriften (“typefaces for circulars and script typefaces”), Zeichen (“symbols”), Initialen (“initials”) and Verschiedenes (“misc.”). The featured typefaces include Triumph-Schreibschrift, Mediäval-Kursiv, and Mercantil-Kursiv.

The fourth and final section deals with Polytypen (″polytypes”), Einfassungen (“borders”), Vignetten (“vignettes”) and Zierat (“ornaments”).

Berlin’s Poesiefestival 2024 took place from July 4th to July 21st, 2024, at silent green Kulturquartier in Berlin-Wedding, as well as other secondary locations throughout the city. AG Grafik (Philip Jursch and Lennart Lofink) created the visual identity for the festival’s organizer Haus für Poesie, typeset in HAL Timezone by HAL Typefaces.

Concept text by the designers:

In the design of the 25th anniversary edition of the poesiefestival berlin, the AG Grafik focused on the essentials: A classic Antiqua font combined with hand-drawn lines, punched dots and typesetting errors are reminiscent of the manual process of writing. The color space is as reduced as possible: black text on a white background stands for the relevance of the written word. The visual concept is irritating, not always legible and explores the possibilities of presenting poetry through design.

The BBF | Research Library for the History of Education at DIPF | Leibniz Institute for Research and Information in Education commissioned us to create a website for the knowledge transfer of the joint research project “Bildungsmythen über die DDR – eine Diktatur und ihr Nachleben” (Educational myths about the GDR – a dictatorship and its afterlife). The research projects of BBF and three universities are investigating and questioning six myths about the GDR’s education system.

One of the concepts mentioned during the first workshop was the rhizome, a non-hierarchical organization that allows to discover the many facets of the different myths and research projects in a playful and intuitive way. We developed a system of cards on the home page that appear randomly each time the page is reloaded, which we called "the cloud". You can move the cards around the page or click on them to access the content of the page. It is also possible to call up a list view, which is also loaded randomly and without a defined hierarchical system. Each of the six myths on which the research projects were carried out is assigned a color, which structures the information and distinguishes the elements of the cloud from one another.

Using the menu, users can navigate the site in the traditional way and find all the cards of the clouds, organized according to the associated myths and research projects.

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.