Designed by the Slovenian design studio Ljudje, Indeks is Dacho’s debut album. The cover features a photo of the young rapper and mimics a student record book. Main title is set in Ergon, the stamp uses a custom typeface designed by studio Ljudje, and the artist’s full name is written by hand. There are a few more typefaces making an appearance and extending the typographic palette: Helvetica, Notera and Cactus Jack.

Through hand-drawn branding, Löyly’s visual identity subtly evokes Scandinavian traditions, where nature and serenity are at the heart of relaxation rituals.

Beyond the logo, the collaboration included full artistic direction: creating a wood-engraved icon system for signage, defining the editorial tone, designing both physical and digital atmospheres, and conceiving the storefront adorned with hand-painted letters by C’est par là.

The identity pairs Editorial Old’s refined elegance with Avgarde’s robust, authentic character. Together, they balance sophistication and strength, creating a distinctive and versatile typographic voice.

The identity thus becomes a guiding thread, leading visitors into a warm and immersive atmosphere, true to the spirit of Nordic baths and the unique welcome Löyly aims to offer.

As for our ad campaign we produced a set of some 25 posters, all predominately typographic in nature, all highlighting some aspect of the book. Out of these posters we made larger gallery versions as well as smaller ones for street distribution.

How do you begin to speak to the public about a book dealing with the relationship between religion, science and philosophy?

It’s not an easy task for sure, as the topic is a real minefield, whichever side of the theological fence you happen to stand on.

But despite its inherent difficulty, or perhaps because of it, this was the exact question we were faced with when looking into promoting our latest book called The Gloves Come Off! — the Philosophical Investigations of a Duck.

For those unfamiliar with our oeuvre one thing should be clarified: Mr. Duck is an alter-ego of Christoffer. And in this book he gets to perform an 800-plus page long monologue about topics that have preoccupied his little mind for the past decades.

One way to approach the question would have been to be subtle and unassuming as not to provoke any undue conflict. Our answer? Well no, that sounds boring. We’ll take a distinctly different path!

Thus we chose to go all out with strong typography, witty copywriting, striking photography, and a strict black and white color scheme. Our aim was to make an impression, using a blend of bold graphics and humor. Our goal – to startle people, amuse them, and make them think about the topics presented without providing a definite answer one way or the other.

The fonts chosen for this task were the same ones employed in the book itself (to be featured in an upcoming post). Our picks this time were Knockout by Jonathan Hoefler and Zuzana Licko’s interpretation of Bodoni, Filosofia, and finally Trade Gothic for some of the smaller text.

Our approach was three-pronged – a street campaign consisting of a set of 25 different posters, a social media campaign consisting of cool and at times self-depreciating photography and illustrations, and finally a snail mail campaign for the media with a mix of different things, such as press releases, photos, stickers and an invitation to the publication party.

In our estimation we did well, but as always with matters concerning taste, opinions may vary. Did we pull it off? You decide.

We made three posters in the vein of protest posters. The first is a translation of the opening verse of the Vedanta Sutra, which in transliterated Sanskrit reads as “Athāto brahma jijñāsā”.

The caption on the second poster is lifted from Ludwig Wittgenstein's Tractatus Logico-Philosophicus.

Finally our third protest poster asks the viewer not, it should be noted, necessarily to buy the book, but to read it.

Then one day the streets of Helsinki were flooded by our posters. Note that the posters themselves were done in black and white, and the red was stamped on, as can be seen by the varying positions of the added information.

As we love snail mail we also sent out invitations on paper. They featured, well, obviously, the invitations, our portraits and presentations, as well as a letter of endorsements.

As for our online campaign, we made a set of cool teasers, two of which we’ll share here. Take notice of the pure joy of the proud parents!

T-shirts as well! After all, we had to have something to wear for the party.

Our campaign was quite successful, as is evident from the photos, and we feel confident to state that few books of philosophy and theology have received as warm of a welcome!

Кассандра помиляється раз (“Cassandra Is Wrong Once”) by Ukrainian essayist Oksana Shchur documents the emotional and intellectual landscape of a generation shaped by migration, war, and cultural transformation. Moving between Kyiv, Vienna, Berlin, and Paris, Shchur reflects on identity, exile, and irony in essays that merge documentary precision with literary intimacy.

Published by Choven, the book captures the atmosphere of contemporary Ukrainian non-fiction – sharp, reflective, and self-aware. The cover, designed by Oksana Vaskiv, visualizes themes of movement and dislocation through travel-stamp motifs and transport icons. The combination of deep blue and fluorescent magenta conveys both urgency and distance, echoing the contrast between the inner and outer worlds explored in the text.

Typography reinforces this dialogue: the title is set in Grunt Grotesk, a strong and modern grotesque typeface that suggests clarity and determination. Supporting typography includes Fiorina Title, Vollkorn, and Inerta, balancing expressive serifs with geometric restraint. The mix of typefaces mirrors the book’s interplay between reportage and reflection – between cultural commentary and personal voice.

Stade Saint-Maixentais was a rugby club from Saint-Maixent in the department of Deux-Sèvres in western France. This honorary membership card for Monsieur Defaye, the club’s treasurer general, is part of a calendar issued for the 1923/1924 season. It carries the rubber stamp signature of the club’s president, Charles Teneau, who ran a local hosiery factory.

The wide typeface used in all caps at the top is Fantasques Larges by Deberny & Cie. In 1923, the foundry merged with Peignot & Fils into Deberny & Peignot who continued the design. Fantasques Larges didn’t originate in France, though, but rather at Stephenson Blake in England. There, it was first cast in 1890 and sold under the name Flemish Expanded.

Smaller text is set in Cheltenham. Designed in New York City, this typeface was available in France at the time from Fonderie Caslon. The italic is used with some of its swash caps.

The identity for Poirier Coutansais establishes a dialogue between Art Deco and modern rationalism, between ornament and structure. Designed by eschenlauer sinic, it extends the philosophy of Victor Poirier Coutansais’s practice, where craft meets concept, and sensibility meets precision.

The wordmark follows an architectural approach to letter design. Loosely inspired by the decorative proportions of Gershwin, its construction recalls the spirit of Parisian Art Deco façades, where geometry became ornament. The rigid framework is balanced by more lyrical, almost calligraphic details reminiscent of hand-tooled metal or carved wood from the applied arts of that era.

This is countered by the use of Figure Monospace, whose mechanical logic introduces a contemporary tension – a dialogue between the analog and the digital, the handmade and the systematic.

Around the logotype, a custom visual vocabulary was developed: frames, borders, and star-shaped symbols act as rhythmic markers throughout the system. Echoing the geometric motifs and gilded fillets of the period, these elements bring a sense of controlled fantasy. Each motif serves a functional purpose, merging hierarchy and decoration in the spirit of modernist applied arts, where structure becomes ornament.

The identity finds its balance in a form of inhabited precision, where the rigor of the line becomes a vehicle for emotion.

Graphic Collection: 50 Years of Design in Portugal (1974–2024) was on show earlier this year at the Portugal Pavilion, Expo 2025 Osaka, celebrating five decades of Portuguese graphic design.

Curated by Barbara says…— Design Studio in collaboration with designer José Albergaria, under the joint venture Consórcio Gráfico, the exhibition brings together iconic works donated by designers and studios from across the country.

The typefaces used on the exhibition’s visual identity and other materials are Flecha Brônzea for titles and Basilar for secondary information. Staff XX Condensed also made an appearance on one of the exhibitions kinen stamps. The font(s) used for Japanese text are yet unidentified.

Kinen stamp using Basilar.

Kinen stamp using Staff XX Condensed.

From the About page:

We are Hardcore CDMX Art Book Fair, an art book fair powered by Can Can Press in partnership with LagoAlgo. Our goal is to bring together independent publishers, creatives, designers, and editors from around the world, creating a space to share editions, experiences, and exchange ideas. All of this is driven by the perspective of publishing as a hardcore act—pushing boundaries, breaking conventions, and taking the discipline to its limits.

From Andrej & Andrej:

A new artisan bakery at the bus stop on the main crossroads in the centre of Bratislava – the Subo concept was created comprehensively from the name, visual identity, production and communication method.

A place where once stood a forgettable fast-food chain spot, now smells of fresh focaccias, summer-at-grandma’s evoking pastry and litres of locally roasted specialty coffee. Subo is not just a bakery though, it’s a comprehensive concept that combines a love of good food, a relentless pursuit of an exceptional customer experience, quality architecture and playful communication. That's why several dozen people have worked to make it a reality, us amongst them!

The visual identity is based on the concept of the Subo mascot. The mascot was created from dough, whose basic characteristic is very easy moldability. Therefore, its form is not fixed but changes over time and according to the content it wants to convey. The Bandit font is based on the shapes of wooden plates, which makes it perfectly suited for expressive applications and stamps that we use in our visual identity.

Designed by Chicago artist Turtel Onli, who also published graphic novels, this 1974 album for two jazz greats – Joseph Jarman and Anthony Braxton – has a vibrant cover with hand lettering.

On the rest of the packaging, we see a number of typefaces. The label features Futura Bold, Franklin Gothic, a stamped condensed gothic, and two weights of Metro No. 2. The accompanying one-sheet has a lighter weight of Futura, Sans Serif (Monotype’s copy of Kabel), and an unidentified roman. Modernique is used for “Two Decades of jazz & blues”. The Delmark logo appears to be based on Venus Extended.

[More info on Discogs]

DANSAERT is a Lambic/Gueuze Belgian beer made with mixed and spontaneous fermentation. This sub-brand from Brussels Beer Project takes its name from the brewery location – a neighborhood right in the center of Brussels, alongside de Senne where all the Lambic beers are brewed. The relatively new brand has heritage roots. For fifty years, Brussels waited for DANSAERT to open a new chapter on the wild fermented beer scene.

The custom logotype, based on DR-Ivory, is reminsicient of the golden era of design advertising. The packaging embraces an artisanal approach with screen printing on the bottles and handcrafted labels. The brand expresses a sense of place, authenticity and innovation. Other text on the labels is set in a yet unidentified sans.

Verso Vino is a wine cellar and delicatessen based in Hossegor in south-west France, founded in 2023 by Sarah Bouteille. Surf culture is very much alive in this part of France near the ocean. This explains the brand mark: three bottles sharing a wave.

Secondo's awaited return comes in the form of Unlikely Companions – a growling, alien rhythm from the warmer tropics of technofunk. Marco Passarani’s wild take flips the mood with some skittering Aphex-style darkness, primed for the late, after-hours dancefloor.

Designer Laurent Benner used Adriano Etc for the cover art of the LP. The logo of London-based record label What About Never is set in LL Moderne.

Melbourne based branding studio Both was engaged to create an identity for Napa, a new eatery located in the bustling heart of Glen Iris. Rather than relying on the obvious visual tropes associated with the venture’s namesake, Napa Valley in California, Both focused on capturing the experiential qualities of the region – its sense of space, rich soils, and expansive blue skies. The resulting design is centered around an understated and uncluttered visual language, supported by a textural palette that reflects the warmth and relaxed pace of Napa Valley.

Collaborating closely with the team to ensure a seamless integration of interior and identity concepts, Both developed a pattern inspired by the tiling within the space. This was further enhanced by the use of characteristic dual line weights in the logotype.

A pale blue highlight was introduced to visually distinguish the takeaway section from the rest of the space, enabling patrons to navigate more intuitively. The signage incorporates subtle curves that echo shapes found in the interior, fabricated from powder-coated metal to provide a smooth contrast to the various textures present throughout the eatery.

Boogie School Sans Middle 4th from Or Type was used for the logotype and as a headline font. The secondary typeface is Founders Grotesk Mono from Klim Type.

Les Burgers de Colette is a hamburger restaurant franchise that emerged in 2019 in the city of Bordeaux, France. To revamp its identity, Studio OUAM took on the project, breathing life into a complete renovation. This involved the creation of innovative graphic elements, ranging from new typefaces to captivating illustrations. Furthermore, they worked on an updated menu and a graphic style that exudes a cozier and more familiar atmosphere.

On their portfolio website, the creative studio describes the new proposition as follows:

Colette's burgers is the story of a family at heart. A family united around your favorite Auntie, Colette, who is madly in love with burgers, good products and simple pleasures.

The typography features four different typeface families. For headlines, Ginto Nord Ultra Condensed (Dinamo), Gig Thin (Franziska Weitgruber), and Rosso Alt Regular (W Foundry) are used. Beatrice Regular (Sharp Type) complements them for body text.

Logotype and visual identity for Kubuś Piekarenka in Warsaw, by Grzegorz Sołowiński. The brand typeface is AL Werner, a display typeface designed by Alex Lescieux, based on the lettering on a poster made by Werner Zryd in 1959. It’s available on request as of 2023. It is paired with Neue Helvetica, used for information.

On her blog, Nakarmiona Starecka describes Kubuś (translated from Polish) as follows:

There’s an incredibly good energy emanating from this place at 19 Marszałkowska Street. I’m not sure if it’s thanks to Kubuś’ decor, its luminosity, and fairy-tale charm, or the exceptionally friendly staff working in this open-to-look bakery. Kubuś timidly made its debut on Fat Thursday with a softly boiled egg-filled doughnut. (…) Kubuś is making quite a splash, and you can already sense that a spectacular success is in the making.

Glücksbohne – German for “lucky bean” is a coffee shop and roastery in Bremen, Germany. For the logo, visual design and packaging, I used Opposit, paired with Inknut Antiqua.

TT Trailers is signature typeface of Monkeys Restaurant.

Situated on the central beach of Varna, Bulgaria, Monkeys restaurant introduces the idea of exploring good food and enjoying a nice and welcoming atmosphere, allowing visitors to discover something new and not so traditional.

The identity is based on the visual representation of the lost jungle, hand in hand with the feeling of a modern, funky and dynamic brand.

In the menu, TT Trailers is paired with Intro. The type on a curve in the logo is yet to be identified.

Café Bravo is a café and wine bar created by Bravo Musique, a music label from Montreal.

Their visual identity was designed by Demande Spéciale, using a customised version of Herbus Bold – see for example the shortened E, and the more conventional shapes of S and D. Herbus is paired with Suisse Int’l. On one of their retail products, an outline version of GT Maru Mega makes a guest appearance.

Jana Keppens designed and Thomas Driesen photographed the birth announcement of their own child, Pablo Joseph Driesen, using Kalice by Margot Lévêque and a yet unidentified sans serif.