The visual identity of Roma Jazz Festival 2025 was designed by Studio Mistaker, using Elastik designed by Benoît Bodhuin:

For its 2025 edition, Roma Jazz Festival explores spirituality as the core of its visual identity, interpreting jazz as an inner and transcendent journey.
The concept is expressed through the metaphor of the landscape – conceived as an immersive, contemplative space inspired by contemporary environmental art practices.

Poster series for the 15th edition of the Beyond Tellerrand conference, created in TouchDesigner using a deterministic system so each poster is unique to the speaker’s name together with venue posters.

Das Luka-Evangelium was made by Orphea Joanna Heutling as her Bachelor thesis project at HFBK Hamburg. From the author and designer (translated):

Das Luka-Evangelium is an experimental translation of the Bible in which, based on research into the representation of gender diversity in heroic narratives, some of the male characters in the Gospel of Luke have been transformed into women and non-binary people. The original text is 85% male, as the Bible is a book written by men for men.

Das Luka-Evangelium was written for a diverse contemporary audience, just as the four Gospels are each their own version of the story for their respective times and audiences, and often deviate from historical facts. In the spirit of plurality in faith, this translation is intended to complement, not supersede, other translations.

To design this book, Heutling used Muoto (Matthieu Cortat, 205TF) and ABC Marist (Seb McLauchlan, Dinamo).

Sessiz Kutlama (“Silent Celebration”) is a testimonial book by photographer Nurra Yazıcı, conveying her experiences of her son Ali’s heart transplant process through text and photographs.

The book is structured to allow the texts and images to sustain their own pace. Published bilingually in Turkish and English, the work is designed with a reading structure that does not accelerate the narrative but instead creates space for pauses, repetitions, and moments of stillness, stretching the temporal flow.

The third edition of NPATAK’s International Architecture Festival took place in Yerevan from September 9 to 14, 2025.

From Büro Uebele:

From the relatively minor task of designing a poster for an architecture conference there evolved – without the slightest effort on our part – a surprisingly attractive and effective visual identity. Which we make no bones at all about claiming as our own work. Because our Armenian clients adopted elements of our poster (the colourful stripes, the specific typesetting mode), rearranging them for different applications and using them with background images.

The striking Balkenschrift font created by typeface designer Gabriel Richter in collaboration with Andreas Uebele looks like it was drawn with a ruler – making it a good match for the architectural theme. because every product, whether it’s a building or a brand, needs to tell a story and be structurally sound. Only then can you really work with it.

Western Birds. An Audubon Handbook by John Farrand Jr. helps readers identify “the over 460 species of birds regularly found east of the Rockies.” It is a lengthy yet compact softcover of 416 pages, 1,314 photographs, and 100,000 words. Published in 1988 by McGraw-Hill, Western Birds is one of several books Massimo Vignelli designed for the National Audubon Society.

The book’s page layouts are built upon a simple two column grid subdivided into ten modules. All text is flush left. Paragraphs are not indented nor are they separated by an empty line. This creates a sharp, mostly uniform line on the left edge of text columns. Their right edge, in contrast, is particularly ragged due to hyphenation being dispensed with all together. Although the lack of paragraph indents and spacing and of hyphenation is somewhat unusual for such a text-heavy book, it is a hallmark of books designed by Vignelli and many of his modernist peers.

The book was typeset by Dix Type in Century Expanded, one of Vignelli’s preferred typefaces. As Vignelli was wont to do, the italic is used liberally throughout. The title on the title page is kerned in Vignelli’s signature tight-not-touching style. Two subsequent section headings are kerned in the same way but the kerning (or, rather, lack thereof) of the rest of text leaves much to be desired. The spacing between the characters of the body text is much more open than the tight headings – just as one would hope and expect. The problem, however, is that for the rest of the book, in both the body and in headings, many letters have awkward gaps yawning between them.

The tightly kerned title with the author’s unkerned name below.

A rare case in Vignelli’s work where text appears to be evenly spaced between rules. Usually when using rules, Vignelli would set the text closer to the rule above than to the one below, creating the impression that text is hung from the rule above. In his Canon, he mentions this as a “small but important detail.” 

One of 168 black-and-white drawings

On pages where rules are separated by images or multiple lines of text, the text does look as if it is hung from the rule above.

No elements of the layouts for recto and verso pages are mirrored. Instead, each page is uniformly designed as if it was a verso page with the page number always placed on a page’s bottom left.

A quite obvious example of the book’s kerning issues

One of three headings where text is kerned in a manner one would expect from a Vignelli-designed book.

The first page of the Index is numbered but all subsequent pages are not.

Back cover with description in italic. The ISBN is added in OCR-A.

Letterpress printed poster for Typographic Printing Program 2026. Printed from hand-cut linoleum (LL Ruder Plakat), the first letter of the first line starts in its original shape and gradually morphs into the last letter of the last line, which is totally deformed.

The larger white information is set in Helvetica bold 72pt, from traditional metal type. Since the interweaving lines on the smaller size (24pt) are very labour-intensive to set in hand-set metal type, these blocks have been cast from Ludlow's Record Gothic bold in 24pt.

Record Gothic has often been referred by old printers as Ludlow Helvetica because of their similarities. In this case, since there is no capital R and no numbers on the small copy of this poster, it is really hard to tell the difference between the two faces. This made the production much easier than setting the smaller blocks from hand-set type.

“On the Uses of Absence” is the title of Soapbox, issue 6.0:

Can we speak of a turn to absence? Across the contemporary academic conjuncture, theory is reapproaching the absent in its varying figurative and fleshly forms – revalorising the presence of absence as a critical matter. Whether in queer theory, trans studies, Black studies, Eastern European studies, or literary studies, enduring scholarly investments in re-presenting and re-presencing the absented body have become supplemented by an affirmative interest in staying with absence as such. This scholarship locates absence at the heart of myriad resistances against exploitation, appropriation, undoing, and normativity. For its seventh issue, Soapbox: Journal for Cultural Analysis has invited scholars and artists alike to submit work on the uses of absence in and outside of theory today. As an object of study, a critical figure, and rhetorical tool, absence is given a shape, meaning, form; it is put in writing, where it has a function, a flavour, and a politics. Absence, in other words, fails every time to be purely nothing. How, then, to think the contradiction and the provocation of a contemporary aesthetics of absence?

The graphic design was made by Alice Machado and Paolo Barbieri. They used Adriane Text by Marconi Lima, Harber by Benoît Bodhuin and Superness Modulo – a digitization by Alessio D’Ellena and Alberto Malossi of Nebiolo’s Modulo.

Five Leaves Left is the first studio album by English musician Nick Drake. It was recorded at Sound Techniques Studio in London and released in 1969 by Island Records.

The picture was taken by Keith Morris. There are no credits for the graphic design or layout [edit: it’s by Diogenic Attempts, see comments].

Filmotype Zither is used for the artist's name, accompanied by Gill Sans in all caps (and with questionable kerning) for the album’s title.

[More info on Discogs]

Postlife is an independent magazine exploring how technology, community, and the human condition intersect, sometimes merging seamlessly, sometimes colliding in unexpected ways. Through essays and storytelling, the magazine invites readers to reflect on how technologies, or their absence, shape our identities, our relationship to nature, and even our understanding of death.

This second issue continues Postlife’s critical and poetic approach to current culture. Mixing digital aesthetics with organic imperfection, it visualizes technology meeting the human condition: structured yet messy, artificial yet alive. The logo captures this duality. It isprocedurally generated rather than being hand-drawn, forming, shifting shapes that feel both biological and digital. Typography and materials echo the same contrast. Machine inspired lettering balances order and warmth, while justified text and loose letter spacing introduce tension. Uncoated paper roots the magazine in the tangible, while a metallic overprint adds a futuristic sheen.Postlife stands as a reflective object in itself, not just a magazine, but an experiment in how editorial design can capture the instability and curiosity of our time.

Photo by Dick Polak

“Wonderful World, Beautiful People” is a single by Jimmy Cliff, released in October 1969. It became a #6 hit in the UK. The sleeve for the French market – where it failed to chart – uses letterforms from two alphabets designed by Walter Haettenschweiler and reproduced in the Swiss Lettera source books: Gaité from Lettera 2 (1961) and Roaring Twenties from Lettera 3 (1968).

The unknown sleeve designer created a double M ligature for the latter, and made some adjustments to the former, too: Gaité’s D was rotated 180 degrees. Maybe they deemed the slightly descending bottom serif inadequate for a D? The rotated glyph now serves as a de facto lowercase d (the alphabet did include actual lowercase letters). I was flipped as well, as one can tell from the different serif direction compared to T and F. Gaité could have shone brighter with more generous and balanced spacing. On the other hand: props for the attempt to build custom quote marks and a comma from the furcated serifs.

The title of the B-side is added in Univers 83.

[More info on Discogs]

Maison de l’Architecture et de la Ville is a non-profit organization that aims to raise public awareness of architectural and urban issues, by organizing exhibitions, conferences and other events.

The new identity introduces a coherent and distinctive visual language that adapts fluidly to a wide variety of contexts and content. Versatile and dynamic, the system accommodates multiple formats and brings graphic elements to life.

More than a logo, the identity is conceived as a modular and flexible visual system, allowing internal teams to easily make it their own. The framework enables dynamic compositions and evolving structures, echoing the nature of architectural practice: a discipline built on assembly, repetition and transformation, responsive to shifting contexts and functions.

Under the name “PM24” (Paris Marathon 2024), Nike Paris ran an internal campaign during the Paris 2024 Olympic Games in Paris.

The “Marathon pour Tous” at the Olympic Games marked a novelty in the history of sport: amateurs and professionals shared the same course for the first time. Among them was Nike employee Romain Pivétal, who embarked on this adventure. For six months, we followed his preparations, capturing his vision of sport and his commitment right up to D-Day.

The aim of this immersion was simple: to tell an authentic story, the story of a passionate man preparing to take on a unique challenge. It's a campaign designed for Nike's internal communications, highlighting a powerful idea: performance doesn't just belong to the elite, but to all those who commit themselves fully.

Art direction by Victor Carboni
Design studio: Midi:Quinze
Creative direction: Jérémie Boeglin
Direction by Maxime Azzegagh
Photography by Lucas Du Bois
Commercial direction by Morgane Andréa

This is the shop front of Βασιλάκης (Vasilakis), a home goods store in Heraklion, Crete. The company was founded in 1981 according to its website. Its current logo, found also on its website, does not reflect its sign, which uses a tweaked version of Futura Black.

Toronto Tech Week is a decentralized collection of events celebrating of the technologists of Toronto. Hosted by Daybreak Studio, it took place in May 2024. The typography uses Volksans, supported by DM Mono.

Keep Up Running Club is a Stockholm-based elite running team. Their apparel was designed by Adam Nyström Zirke, who chose BST Ritma. The new design was first seen at the Stockholm Marathon 2024, worn by club founder and competitive runner Kristofer Låås.

The Society for Media Studies (Gesellschaft für Medienwissenschaft, GfM) held its annual conference at the Johannes Gutenberg University Mainz from September 25 to 28, 2024. This year’s theme was “assembling” (versammeln), focused on media, orders, forms and critical practices of gathering. The concept encompassed images, data and bodies as well as political collectives, archives, architecture, and infrastructure.

Katharina Koch and Marcel Backscheider were responsible of the design, which included posters, tote bags, T-shirts, badges, and social media content. It was set in HAL Four Grotesk (HAL Typefaces) and Director (Velvetyne Type Foundry), designed by May Jolivet and Justine Herbel as part of the Reviving Ange Degheest project at EESAB Rennes.

Letterpress-printed poster, 70×100cm

Letterpress-printed poster for this year’s Handpressenmesse (“hand press fair”) in Frauenfeld, Switzerland. Typeset with plastic poster type of Didot Plakat a.k.a. Plakatschrift Didot—the analog predecessor of Lineto’s Ruder Plakat—distributed by the type foundry Neue Didot from Muttenz, Switzerland.

Metal type signature uses Ludlow Condensed Gothic in 6pt.

Watch the production video:

Physical composition of Didot Plakat in 6 Cicero and 10 Cicero. The light brown characters are laser-cut replacements from MDF, the white em-dash is cut from white plastic.

Starting with issue 33 (A/W 2023), Uncommon redesigned Port magazine. The ambitious redesign includes the photographed cover stars hand-writing their own version of the Port logo on their respective covers to add individuality to each of their split run cover. Uncommon say they “wanted to ensure each cover design felt unique and reflective of the person’s character.”

The typography changes throughout the issue and features two typeface families, Triptych Roman with Italick and Grotesque from The Pyte Foundry which, in the words of Uncommon, “is unsentimental, stubborn, robust and hard-working.” The second one, Affairs in Regular, Italic, and Mono from SM Foundry, is “slightly more aesthetically pleasing. Bringing two reduced typefaces together creates an awkward and interesting tension throughout the redesign.”

The typographic palette for issue 33 additionally includes Serial D from Dum Dum Studio and “an extended wide type to contrast with the serifs – creating a type where a single number sits across a spread – called UNCle.”

Urtina Hoxha has designed the promotion for the City Film Days Prishtina titled Të fala nga Prishtina (“Greetings from Pristina”), a film program showcasing experimental, fictional, and non-fictional works related to Kosovo’s capital. The films were screened at Kino Moviemento in Berlin, on the 19th and 20th of October 2024.

Curated by Blerta Haziraj, the selection presents a 12-film portrayal of the city and its surroundings through a cinematic reflection on social, political, and historical themes, as well as intimate and personal stories.

Hoxha used the Book and Book Italic cuts of Store Norske Nord from Skriftkompani.