Description of the project by Team Thursday, the designers of the book:

We recently made this publication Kunst maakt ruimte for the art collection of the Rijksoverheid. The collection exists for 10 years and the works are installed over all Rijksoverheid buildings in the Netherlands. The publication celebrates the collection and highlights a selection of the artists and designers. It can be folded out twice, which leads to different page/image combinations.

The book uses Rijksoverheid Sans for body text, paired with nono by notyourtypefoundry for the titles, footnotes, and page numbers. The photographs were taken by Mike Bink and the lithography was produced by Studio Marc Gijzen.

Body Matters, Physicality in the Video Art of the 1970s brings together video works from the 1970s that treat the body as a medium – direct, physical, sometimes uncomfortable.

By the late 1960s, video and film had become paradigmatic forms in contemporary art. The Ludwig Forum’s video archive holds some 200 works from the 1960s and 70s, many of them seminal moments from the history of the moving image in art. The 1970s are regarded as the pioneering phase of video art and saw artists experimenting with video and film cameras, consciously distancing themselves both from established art forms and from television, focusing instead on the body, experiences of self and other, feminist critique, meta reflections on the medium itself, and on socio-cultural analyses.

A spatial and graphic framework that holds this tension without adding noise. Reduced, precise, and structured — giving the works room while guiding through the exhibition.

With works by Marina Abramović & Ulay, John Baldessari, Ron Hays, Joan Jonas, Hakudō Kobayashi, Robert Morris, Bruce Nauman, Jacques-Louis Nyst, Ulrike Rosenbach. Curated by Holger Otten.

Werkplaats Walter, named after the great Belgian painter Walter Swennen (R.I.P.), is a work and performance space for experimental and avant-garde music and art in an old industrial building. Located in the center of Brussels, Werkplaats Walter welcomes both local and international visual artists and musicians.

Following the recent acquisition of a second building and an extensive two-year renovation, realised by Lhoas & Lhoas Architects, Werkplaats Walter has grown significantly. The expanded site now offers nearly 3,000 m² of workspace, a professional recording studio, and a wide range of new facilities.

To support this transformation, we built a completely new website. Together with the Werkplaats Walter team, we developed a new information architecture that reflects the organisation’s expanded activities and future ambitions. Building on this foundation, we designed an intuitive user interface that gives dedicated attention to the music programme, artists’ studios, and rental opportunities, while making it easy for visitors to navigate the platform.

At the heart of the music section is an artist web that connects every musician who has performed at Werkplaats Walter since its opening nearly ten years ago, revealing the rich web of collaborations and artistic exchanges that have shaped the organisation over the years. The new website was expertly developed by longtime collaborator Jonas of JustGoe.

Only one typeface is used throughout the site: Neue Haas Unica, in three weights: Heavy, Medium, plus an outlined variant for large headers. We chose Neue Haas Unica for its quiet confidence. Strong and precise, it brings clarity and structure without overpowering the site. Its restrained presence keeps the focus where it belongs: on the content itself.

The visual identity was also refined to create a consistent and recognisable brand presence across all digital and printed media. The original logo and colour palette were deliberately preserved, maintaining continuity with Werkplaats Walter’s established identity while improving coherence across all communication channels.

Werkplaats Walter home

Werkplaats Walter studios

Werkplaats Walter studios

Werkplaats Walter concert detail

Werkplaats Walter artist web

Posters for the exhibition of final year projects by students of Design & Art School Kortrijk (DAS), Belgium, using RM Neue.

The ceramic artwork in the first series is by final year student Nina Dendoncker.

The letter X in the second series uses Connect, a self-made typeface that’s still work in progress.

Arnhemse Nieuwe is an initiative of Ontwerp Platform Arnhem. Each year, a professional Arnhem-based jury has been selecting the best graduates from ArtEZ Academy of Art & Design since 2006. These graduates, the Arnhemse Nieuwen, present themselves to a large audience in September. In a 20×20 format, they discuss their working methods, design vision, and plans for the future.

Designer Jeen Berting used Maroni Regular as the main font for the posters and identity of the 2025 edition, paired with Moore for secondary information, combined with colorful shapes.

Typ Recruitment, stylized as {typ_, had the energy of a misfit collective, but the identity told a far safer story. Behind the company lived curiosity, experimentation, grit, and a very particular kind of humor. None of it reached the surface.

The new identity brings that internal culture forward. Built for people who explore before they read, the system filters through behavior rather than brand language.

At the center sits the {typ_ logo, a small manifesto reflecting the idea that identity is never finished, but always shaped by context and iteration.

Instead of a traditional corporate website, we designed a layered desktop-like environment with terminal interactions, overlapping windows, hidden details, and subtle narrative clues. The visual language draws from tech culture and open-source systems, modular, exploratory, and intentionally imperfect.

“Like to Get to Know You Well” is a 1984 single by English singer Howard Jones. From Wikipedia:

The sleeve carried the motto “Dedicated to the original spirit of the Olympic Games” as the single was released at the start of the 1984 Summer Olympics in Los Angeles. The extended version, subtitled “international remix”, features Jones singing in English, German and French.

This international aspect carried over to the single’s sleeve design, where the uncredited designer depicts the title in a variety of (badly translated) languages and fonts. The artist name as well as English and French titles use Berling Bold. The Dutch title uses News Gothic Extra Condensed and the Spanish one Americana Extra Bold. The German is in Beton Bold Condensed, while the Japanese is in Gothic MB101. Italian is Futura Demibold. The Greek is in Eurostile Extended Black, with alterations made to create some faux-Greek glyphs. Finally, the Swedish uses Plantin.

[More info on Discogs]

“Bounce Right Back” on the back cover uses Berling as well.

A later release of the single replaced the badly translated Japanese with a slightly less bad translation, and replaced the Swedish at the bottom with “12″ International Remix” in Helvetica Bold.

Dutch sticker from around 1980, advertising “Stabil Oil for active motors”, using Letraset’s adaptation of Dynamo (1930). The letter I was sliced, turning its semi-seriffed top into a dot.

See All This is an Amsterdam-based art magazine and online platform, with the website designed by Studio Airport and developed by September Digital. The site brings the magazine’s editorial universe online, combining stories and guides with an integrated shop and subscription flow, while keeping the tone calm and image-led.

Typography pairs Store Norske Gangster from Skriftkompani with ABC Monument Grotesk from Dinamo for a contemporary editorial voice that balances warmth with a more direct, modern structure.

Karen Polder used LTR Principia for Thuis bij Jan Steen / At home with Jan Steen, an exhibition at Museum De Lakenhal in Leiden, the Netherlands. Polder opted for a bold and colorful spatial design for a painter known for his bawdy, chaotic domestic scenes.

From Karen Polder (translated from the Dutch):

The partition walls divide the museum halls into spaces that, size-wise, mirror the domestic interiors Steen frequently depicted. Details from his work are displayed on the outer surfaces of these walls, whilst his paintings can be viewed in peace and quiet in the interior spaces. All the modular walls have been borrowed, and the display case comes from a previous exhibition at the museum. All spatial objects are reused, as the starting point was to create an exhibition design that was specific whilst using as little new materials as possible.

De Roma is a historic cultural venue and community hub known for its carefully curated program of live music, film screenings, and social events. Run by a large network of dedicated volunteers supported by a small professional team, the organization has built a reputation for combining cultural quality with strong local engagement. Originally revived in 2003 through the initiative of a small group of cultural organizers and hundreds of volunteers, the venue continues to operate through this strong collective spirit.

In 2024, designer Rob Marcelis developed a complete redesign of De Roma’s logo and visual identity, updating the system to better reflect the venue’s contemporary programming and its increasingly digital communication channels. The venue’s logo itself is based on a modified version of Beatrice Deck, the high-contrast flagship style of the Beatrice superfamily designed by Lucas Sharp with Connor Davenport and released through Sharp Type.

The wider visual identity relies on Trois Mille. First introduced in 2016 as Marc Rouault’s TypeMedia thesis project and later distributed through Sharp Type, Trois Mille quickly attracted attention in a field where innovation often moves slowly. Initially inspired by the work of French typographic master Roger Excoffon, the typeface combines dynamic forms with an expansive construction that helped redefine contemporary display typography. In De Roma’s communications – from posters to event announcements – Trois Mille provides a distinctive, energetic voice that balances expressiveness with clarity, demonstrating how a singular display typeface can anchor an entire cultural identity.

Victor Verhelst and Corbin Mahieu collaborated on a bold new identity for Kunsthal Mechelen. The designers were inspired by the ironwork in archival photos of the garage and developed a font for Kunsthal Mechelen, based on the existing KTF Labyrinth by Kyiv Type Foundry. Times New Roman Bold Condensed is used on the website and posters.

Kunsthal Mechelen is a generous house for contemporary art that extends across several locations in Mechelen, both indoors and in public spaces.

A newspaper of 24 pages designed for DenkBeeld. An advocacy group for the visual and audiovisual arts domain in part-time arts education, DenkBeeld represents and supports the academies by collecting, developing, and sharing expertise and knowledge. D’Academie is their annual magazine, and a timeless document of the art education in Flanders, Belgium. Issue no. 11 uses Sequel 100 Wide.

FH Lecturis Rounded and Area are the fonts used by Designpunt:

Designpunt is the hub for contemporary design culture in Flanders. We are a landscape-enhancing player that focuses on the artistic and cultural value of design. Through our program, we drive the development of the contemporary design sector in terms of content. In addition, we are a knowledge center that actively maps and shares expertise. In this way, we stimulate a vibrant and diverse design culture.

JT Picolo (Edward Dżułaj) and Kompas (Hanna Boslau) are the fonts used for Platform Pudding. From the magazine’s website:

Platform Pudding is a reflective platform on design – from graphic design to fashion and architecture, from Senseo coffee machines to Marcel Breuer’s S-32 dining chair. Design is about the tools that play a role in our daily lives. Pudding aims to foster a cross-pollination between theory and practice within design. Pudding explores the impact design has on society through diverse perspectives and various writing formats.

The magazine title appears to mix parts of Times New Roman and Helvetica.

See All This is a quarterly print magazine made in Amsterdam, exploring new ways of living through the lens of beauty, art, and nature. The magazine’s art direction is led by Sabine Verschueren, and issues are published season by season in both Dutch and English, often with guest curators.

Since issue no. 39 (fall 2025), the typography pairs Store Norske Gangster from Skriftkompani with ABC Monument Grotesk from Dinamo, combining a literary, editorial feel with a sturdier grotesque for headings and navigational elements.

Oogwereld – Campagne Januari 2026 is a campaign for Oogwereld, the group of high-end opticians in the Netherlands and Belgium. Designed by Studio Busser, the campaign uses close-up eyewear photography, cropped portraits and warm-toned social media graphics to promote up to 50% off selected frames.

Typography pairs Store Norske Skandia from Skriftkompani with Martina Plantijn from Klim Type Foundry. The sans-serif and serif combination gives the campaign both clarity and softness, balancing promotional messaging with a more fashion-led tone.

Neerlandistiek is an online journal for Dutch language and literature. It was first called Neder-L and has existed under the name Neerlandistiek from 2016 on. It was also in that year that their logo was introduced. The initial version had a colour gradient that extended over both the icon and the letters. The version shown above has been in use since March 2021.

I don’t really remember noticing the initial version of the logo. But ever since they have switched to the new version, in which the letters are more clearly readable due to the absence of a gradient on them, I have been wondering about the typeface that was used to create it. Judging by the fact that it took me so long to finally solve that riddle, I was apparently not that intrigued after all – but I did not forget about it either.

I tried using various font identification services (such as WhatFontIs or the font identifier by Identifont), but they only produced a partial match: Alwyn New by Chris Dickinson. Some letters matched well, some matched poorly, others did not match at all. I think that I settled for ‘Maybe they modified the letters for the logo’ when I first tried to identify the typeface, and then I adjourned the case for another year or two.

It was only very recently that I picked up on the second part of the typeface name that was the result of my first attempt at identification: New. If there is Alwyn New, there must be Alwyn (Old), too, right? Well, yes, there is.

Alwyn was the first version of a typeface that was released in 2007 by the Identikal Foundry. Here is the archived FontShop listing of the font family. Apart from that, not too many digital traces of it remain: There are one, two, three, four, five, six pictures on Flickr, uploaded by Chris Dickinson, that show the font in use as the (former) corporate typeface of a housing corporation in Amsterdam, which came into existence in 2008.

And when you compare the letters of Alwyn to those in the logo of Neerlandistiek, they match perfectly. Mystery unraveled – eventually, after almost five years.

As of 2026, the fonts used on the website are Bitter and Roboto.

License: All Rights Reserved.

Viktoriya Grabowska’s Gamay family spans no less than six widths. For their recent rebrand, Living Stone indulged in the most spacious one: the primary font is Gamay Wide’s Medium weight.

It’s used for all larger text elements, including headlines and quotes, and also provided the basis for the wordmark. The extended sans with its diagonal terminals makes for a cool appearance. For running text, Gamay Wide is supported by a more economical sibling, Gamay Regular Light. The high-precision look is loosened by a dash of FF Market for claims.

Living Stone is a B2B marketing agency with a focus on healthcare, IT, and engineering, based in Gentbrugge, Belgium.

Gamay is available from Darden Studio. You can also sync it from Adobe, as static and variable fonts.

Source: www.instagram.com License: All Rights Reserved.

Source: www.instagram.com License: All Rights Reserved.

Source: www.instagram.com License: All Rights Reserved.

Source: www.instagram.com License: All Rights Reserved.

Source: www.instagram.com License: All Rights Reserved.

Source: www.livingstone.eu License: All Rights Reserved.

Source: www.livingstone.eu License: All Rights Reserved.

CorContainer.nl is a Dutch container rental company operating in a sector where visual identities are often purely functional. The branding was designed to stand out – primarily through typography and color – while remaining appropriate to the construction environment.

The identity is built around GT Flexa, a typeface that balances strength and clarity with a friendly, distinctive character. Headlines are set in GT Flexa Black in uppercase, forming bold, compact typographic statements that function almost as graphic elements. For body copy and supporting text, GT Flexa Regular provides legibility and warmth, offering a subtle counterbalance to the heavy display style.

A vibrant purple – rare within the industry – reinforces recognition and sets the brand apart from the typical blues and reds associated with construction.

Application shifts depending on context. On containers, office units, and site cabins, the branding is deliberately understated, functioning more like a garment label: present but never intrusive. In contrast, promotional materials – posters, cycling jerseys, coffee cups, and other brand touchpoints – allow the typography and color to take center stage, building visibility and recognition.

The result is an identity that is both bold and considerate – distinctive when needed, restrained where appropriate.