Nodes. Journal of Art and Neuroscience is a peer-reviewed scientific journal founded in 2011 by Numero Cromatico, an artist collective, research center, and publishing house composed of researchers from both the humanities and scientific fields.

Issue 21–22 spans 136 pages and was Risograph printed in black and blue on two types of paper: Favini Remake Sky and Favini Shiro Echo.

Tutto il mio amore (“All My Love”) contains a corpus of poems written with the help of I.L.Y. (an acronym for I Love You, 2021), an artificial intelligence trained by Numero Cromatico to write love poems. Tutto il mio amore is part of the Rètina collection and the second volume of a trilogy, made up of Poesie sulla fine (“Poems About the End”) and Il futuro è qui, da qualche parte (“The future is here, somewhere”).

The book measures 13×19.5 cm, runs to 128 pages and is written in Italian. It was Risograph printed on Favini recycled paper.

Following the initial À table ! poster and T-shirt, this project expands the culinary universe into a fully playable card game. À table ! is a reimagined take on the classic Jeu des 7 familles (Happy Families), heavily inspired by the mechanics of Fachorama. The objective is to gather cards from different categories to build complete menus – starters, meat & poultry, seafood, and desserts – while navigating special joker cards designed to spice up the gameplay.

The game is a satirical tribute to the outdated, unappealing, yet completely unironic recipes found in French cookbooks from the 1960s, ’70s, and ’80s, sourced directly from parental cupboards and internet archives. Mirroring the concept of the original poster, the 45-card deck celebrates the bizarre aesthetics and questionable plating of mid-century gastronomy.

Production-wise, the 45 cards were printed using two-color Risography, then finished with a silkscreen varnish to set the ink. Each category features a distinct color profile. The custom templates for the card boxes were also designed from scratch and followed the same artisanal production process.

Special thanks to @bouricooo for the finishing (façonnage) and Sacrés Caractères for the die-cutting of the cards. This project was created during my residency at Atelier Garage in Lyon, from March to June 2026. 35 decks of cards were produced. The typefaces in use are (in alphabetical order) Bookman Swash, ITC Bodoni Ornaments, Cesare, Interlope, Martian Mono, and Zipper. Bon appétit !

The business cards were Riso-printed by Studio Fidèle.

Herbathera is a herbal shop owned by Mathilde Sérézat that opened in 2022 in the 12th arondissement of Paris. Its visual identity contains the logo, cards, packaging designs, and the website.

Designer Magali Brueder on Matorral:

We chose Matorral because the style reminded us of the world of plants, with its blend of softness and sharpness!

Website homepage

From the preface:

Here, a debate between two artificial intelligences is staged: on one side, an AI that resists innovation, fears technocracy, and recalls the importance of tradition; on the other, an AI that embraces progress, looking to the future without fear or limits. The two AIs, however, avoid conflict; they prefer a smooth, rounded language, free of friction. This behavior of artificial intelligence algorithms can be interpreted as appropriate and even necessary, especially in a digital ecosystem often marked by verbal aggression and division.

Un modo per diventare più umano (“A Way to Become More Human”) is the edition linked to the artwork “XXYY”. The work presents a dialogue between two generative artificial intelligences (today’s chatbots) exploring scientific and technological progress from two diametrically opposed perspectives – one technophilic, the other technophobic.
In addition to the conversation between the two AIs, the volume includes a critical essay by project curator Daniela Cotimbo and photographs of the “XXYY” artwork.

Size 10,5×25 cm, 56 pages, Risograph printed on recycled Favini paper

Arcoscenico is the final exhibition of the first phase of Messinscèna, a two-year mapping project of the Roman art scene, with the aim of analysing the art research in the capital. The event also acts as a sounding board of the Roman art scene in the national context, as well as a moment of theoretical confrontation among the artists.

Messinscèna is a one-shot exhibition format. Each appointment was dedicated to a different artist, who exhibited their own work and a written theoretical statement for five hours. The artists were invited to install their projects in a space that is always identical and to identify a particular form of relationship with the user.

During the staging, the public was asked to respect the rules of use decided by the artist and not to produce photographic material. During the project, only the video interviews with the artists and the public were disseminated, the works were seen/experienced only by those present. In two years, ten exhibitions, ten interviews with the artists and over 150 interviews with the public were produced.

The catalog was conceived and realised in two editions by Numero Cromatico. The idea was to narrate the contemporary art scene in the capital by mapping some of the most interesting and relevant research. The contributors to the catalog are Numero Cromatico, Dionigi Mattia Gagliardi, Salvatore Gaetano Chiarella, Manuel Focareta. The publication measures 18×28 cm and contains 48 pages, in Italian and English. It was Risograph printed on Favini recycled paper.

From Desisto:

“Tertúlias Gráficas” are informal meetups for enthusiasts in the field, held at our studio in Santa Apolónia, Lisbon. Before we head off for a summer break, we’ve invited [João Queirós] to come by and share a bit about his work and journey.

Desisto is a graphic design studio established in 2013, and based in Lisbon, Portugal. They also operate a Riso printing lab. They have been organizing the “Tertúlias Gráficas” at their studio since July 2019. Porto-based designer João Queirós was invited for the 19th edition, taking place on July 17, 2025.

The type-only banner-like poster was Riso-printed in two colors (brown and gray) and features Plain Form’s Ready Active, together with Helvetica.

On the occasion of the 20th anniversary of the French National Research Agency (ANR), we conceived and designed a publication for the MOJO project – one of six scientific projects honoured during the anniversary evening held at the Bibliothèque nationale de France (BnF). The event celebrated two decades of research funding by giving a platform to the scientists and projects that have shaped the ANR’s history.

The MOJO project is grounded in the research of Alessandro Morbidelli, a planetary scientist at the Observatoire de la Côte d'Azur, at the J.-L. Lagrange Laboratory, and Professor at the Collège de France. Funded by the ANR in 2013, the project investigates the role of giant planets in the formation of planetary systems.

Developed by Yasmine Abouchar, Quentin Dissard, Kevin Forest, and Hélène Trinh, the project explores a visual language inspired by orbital dynamics, gravitational phenomena, and scientific representations of the cosmos. The art direction is built around a precise, rigorous, and calibrated use of typography, centred on Mabrok and Renai Serif – two typefaces distributed by the Babelfont type foundry. Their formal contrasts and editorial discipline structure a graphic system that weaves together, illustrations, diagrams, and pictograms, in order to visually convey the notions of movement, collision, and trajectory inherent to planetary dynamics.

From Daniel Frumhoff:

The research zine Publishing Anecdotes brings together insights and reflections from thirteen practitioners – both individuals and collectives – across the diverse field of artistic and critical publishing. Each contributor was invited to share a short anecdote from their practice, be it a thought, an image, a memory, or anything they felt relevant.

Contributors include Björn Giesecke, Peter Schmidt (Books People Places), Simon Wahlers (Edition Zweifel), Samuel Bänziger, Rosario Florio, Olivier Hug and Larissa Kasper (Jungle Books), Sabrina Fernández Casas & Patricio Gil Flood (Macaco Press), Paul Soulellis (founder of Queer.Archive.Work), Lauria Joan (Pseudopress), Vida Rucli (Robida), Roland Früh, Eléa Rochat, Léa Gallon, Julien Guazzini, Vincent Chanson, Pablo Arnaud, and Camilla Brenni (Sans Soleil), Freek Lomme (Set Margins’), Jonas von Lenthe (Wirklichkeit Books), and Mio Kojima (Futuress).

The publication was initiated, edited, designed, and published by Roman A. Karrer in August 2024 and marked the end of his research residency at ABA Berlin.

It It has 48 pages measuring 138×190 mm and was Riso-printed by Drucken3000 (Alexander Branczyk & Florian Haberstumpf) in an edition of 100 copies, using Medium Blue and Silver Metallic inks on Clairefontaine Tropheé Rose 80g/m² and Metapaper Rough Warmwhite 90g/m².

Special thanks to: Pro Helvetia, ABA Berlin, Emma Affoua Kouassi

Tenderly is an ongoing archive of drawings by Giovanni Spera. The book was typeset in Superness Modulo for both titling and interiors and Risograph printed by Atelier Tatanka in two colors (red and black) with a silkscreen-printed cover.

“Tenderly is a personal mirror of the present, conceived as a continuous struggle between good and evil”

Searching for balance, the subjects of the illustrations are marked by constant shifts: opposites that at times find themselves collapsing into one another and, at others, drift apart almost definitively, becoming part of a broader framework. This persistent tension, shaped by a sense of indeterminacy, allows comforting and reassuring images to coexist with figures of violence and fear, offering a vision of reality that is transitory and fragile.

The perfect-bound publication has 
178 pages measuring 14,5×20,5 cm
, in 100 copies. It was printed in Italy and published by Tatanka Edizioni.

Visual identity and bumper for the first edition of the film festival Farol, held at CineSesc under the theme of “O cinema entre a memória e agora” (“Cinema between memory and the present”).

The exhibition’s visual identity was inspired by the colors of nautical signaling and developed through a combination of analog and digital techniques, seeking to connect with the exhibition’s subtitle by creating dialogs/articulations with the graphic memory of tickets and admissions from street cinemas. We started from the circle as a point of light, which appears in fragments, sometimes revealing, sometimes concealing, sometimes multiplying itself. The graphic system was composed using the Jean-Luc typeface, developed by Atelier Carvalho-Bernau in 2010, inspired by the opening title sequences of the films Made in U.S.A. and 2 ou 3 choses que je sais d’elle, by Jean-Luc Godard.

Two Risograph printed posters for the exhibition On imagine le soleil (”We Imagine the Sun”) by Magali Brueder & atelier Le Bouc, at Quintal Librairie Galerie. “On imagine le soleil” is named after a song written by Pierre Vassiliu in 1970.

Eyes Without a Face is not your classic type specimen. Inspired by traditional horror manga, Sylvania is used for onomatopoeic sound effects, amplifying the gory atmosphere through typography. The manga relies on sound words to guide the readers through a visceral short horror story written by Studio SMS and illustrated with original artworks by Amanda del Valle.

Sylvania is a typeface designed by Samara Keller. The art direction and design of the booklet were done by Studio SMS. It was Riso-printed by Drucken3000 in Berlin in an edition of 200.

Nachglühen (“Afterglow”) is a project about architectural memories. It collects stories, images and documents about grandmothers, omas, nonnas. and their homes.

The typography takes architectural plans and typewriter documents as a source of inspiration and therefore uses only one type size throughout the publication. Typographic hierarchies are implemented through capitalizing, spacing and placement of text.

The publication is Riso-printed on semi-transparent paper that is fragile in its handling, in order to visualize the tactility of the content.

Initiated and edited by Ella Eßlinger and Clara Richard Gostynski, in an edition of 300 copies.

Words by Studio Trames, the designers of the project:

A major project for the studio: the exhibition catalog marking the 20th anniversary of the bookstore L’Échappée Belle. A limited-edition book designed and produced by the studio, featuring 35 works printed using risography. Each work was produced using contemporary risograph printing techniques, with a custom color palette created specifically for it. In total, 16 ink colors were used for the entire project, with up to 6 colors per image. The 35 works can be kept in the book or detached using the perforated lines on each page.

This book is set in Kaio Krilin (from Lift-Type). It was designed and produced to pay homage to the bookstore’s cultural history.

A Designer at the End of the Dream Career is a self-published book reflecting on the non-linear paths designers face as they begin their professional journeys. Developed in the final semester of the Communication Design degree at the Faculty of Fine Arts Lisbon, it explores the symbolic and practical weight of reaching the end of academic life.

The project began with a prompt: “A Designer at the End of…”. Each group completed the phrase in their own way, contributing an eight-page chapter that expressed personal and collective reflections. The task was then to bring them together under a shared theme, The Dream Career: the thrill of starting out, the disillusionment that can follow, and the hope that keeps us moving forward.

A unifying visual identity was created to connect all contributions, drawing from diagrams, maps, and charts as a nod to the soul-searching that shapes every designer's path.

Physically, the publication itself is divided into three interwoven chapters, inviting readers to choose their own entry point—mirroring the unpredictable nature of creative careers. Printed with the faculty’s Risograph machine and fully produced by hand—folded, stapled, and trimmed in the design lab—it was released in a limited run of 100 copies, each with a distinct, tactile quality.

The editorial series Sinapsi (“synapses”) collects texts published in the journal Nodes since its foundation, as well as unpublished content. It delivers different writing forms: essays, interviews, scientific articles and of wide circulation. The intention is to make accessible to readers, on the one hand, contents that are no longer available and, on the other hand, topics and writing never published before.

Volume 6 is titled La ricerca sulla sinestesia. Un contributo tra neuroscienze e design. This text retraces the main stages that have marked the research on synesthesia and detects two barely addressed issues: the history of synesthaesia and its future prospects. First, the role and historical importance of Italian scholars (physiologists, aestheticians, historians, linguists) in identifying the synaesthetic phenomenon will be outlined, given how they are too often left out from the scientific production. Second, some applicative prospects drawing from the neuroscientific knowledge on synesthesia in the field of design for content accessibility and the design for health and well-being will be further explored.

Size: 12.5×18 cm / 24 pages, Italian / Risograph print on recycled Favini paper

Marie Priour. License: All Rights Reserved.

La Renverse is a café-bookstore in Saint-Suliac (Bretagne), located on the ground floor of the community space Le Grand Banc.

The space consists of three rooms: one for displaying books for sale, another serving as a café where visitors can eat or have a coffee, and a third for children.

For the brand identity, designer Marie Priour paired Maroni Regular for the logo and headings with Compagnon (with its cursive Bold) for smaller text and informational content.

Riso-printed illustrations and hand-painted signs bring to life the various printed materials that make up the brand identity.

Source: www.instagram.com Marie Priour / Magma éditions. License: All Rights Reserved.

Marie Priour / Arthur Calame. License: All Rights Reserved.

Marie Priour / Arthur Calame. License: All Rights Reserved.

Source: www.instagram.com Marie Priour / La Renverse. License: All Rights Reserved.

Source: www.instagram.com Marie Priour / La Renverse. License: All Rights Reserved.

Source: www.instagram.com Marie Priour / La Renverse. License: All Rights Reserved.

Marie Priour / Arthur Calame. License: All Rights Reserved.

Source: www.instagram.com Marie Priour / Magma éditions. License: All Rights Reserved.

Nodes. Journal of Art and Neuroscience is a peer-reviewed scientific journal founded in 2011 by Numero Cromatico, an artist collective, research center, and publishing house composed of researchers from both the humanities and scientific fields. The journal aims to explore and disseminate the intersection between art and neuroscience, a topic that has gained significant prominence in recent years thanks to the emergence of neuroaesthetics.

The visual identity of Nodes issue 26 is conceived as a visual soundscape, where music and rhythm take shape. Sound cones synthesized into gradients and circles of varying sizes evoke movement, depth, and resonance.

The visual language, inspired by experimental cinema, alternates between sharpness and blur in a continuous dialogue with typography: Blacker Mono, a contemporary monospaced serif typeface designed by Zetafonts, which becomes a form of musical notation. Within the space of the page and the flow of content, typography and graphic elements transform into rhythm, movement, and sonic memory. The typefaces in use furthermore include Blacker Mono’s proportional sibling Blacker, two type families from Atipo – Basier Mono and Geomanist – Ronzino from Collletttivo, Tinos by Steve Matteson and Monotype Baskerville.

For this issue, Dionigi Mattia Gagliardi was editor-in-chief and art director, with graphic design by Licia Masi. Printed in Rome by Risoma and Tipografare on two paper stocks: Favini Shiro Echo 120 g/m² (interior) and Favini Shiro Echo Raw Blue 250 g/m² (cover).