YAS is a nationally recognised organisation for art in all its forms. We give artists space to think about, make and produce their work, and we open our doors to share, show and sell it. Founded in 1977, Yorkshire Artspace provides high-quality, affordable studios for around 170 artists and makers across two Sheffield city-centre sites — Persistence Works and Exchange Place. Alongside this daily creative life, we run a public programme of exhibitions and events that bring contemporary art and craft into view. We also support artists’ development through residencies, crits and access to subsidised facilities.

Design by local design agency Peter & Paul. From print to website, all typography is set in Daria Cohen’s Onlysans (available from Contemporary Type) and Aurèle Sack’s LL Brown, available from Lineto.

A Shade Colder is a platform for discussions about and around art in Estonia and beyond, published by the Estonian Centre for Contemporary Art (CCA), designed by Jojo&me Studio (Johanna Ruukholm & Martina Gofman), featuring Aktsidents (WIP), Adieu, and Quadrant Slab Duo for texts; and Slack in the logo. For the most part, A Shade Colder is published online, accompanied by one print issue per year. Thematic issues are published following the seasonal logic of the Estonian and international art calendar.

The publication New Contemporaries 2026 was conceived as a continuation of the eponymous exhibition at South London Gallery rather than a record of it. Structured as an A–Z, it brings together 26 entries, one from each artist, forming a shared vocabulary of ideas, concerns, and positions emerging from this generation. Part reference book, part collective artwork.

The design follows this A–Z logic throughout. Two typefaces, Artistik and Zénith, were chosen to embody the span typographically: one expressive and unfamiliar, the other stable and readable. The idea of A–Z is also resolved through colour. The book is printed in registration black, using 100% of each C, M, Y and K plate. For New Contemporaries, where colour is usually prominent, this produces a deliberate shift: all colours present, but resolved into black.

The format sits between A5 and A4, giving the publication a familiar scale while allowing it to feel more substantial than a typical zine. Letters replace page numbers, the contents move onto the cover, and the typography carries the structure across the book.

The result is a publication that functions as index, object, and artwork at once, extending the exhibition while standing on its own.

Mid-career monograph for Leo Villareal published by Phaidon Press (formerly Monacelli).

The choice to lead with Aether Mono came from a quote from Leo about how he approaches his own work: “[It is] about creating one unit and creating a system based on that unit, taking that form and replicating it… manipulating each individual unit but also the system as a whole”.

The rest of the book is typeset by a combination of Suisse Neue and Suisse Int’l Mono which both provide a highly legible reading experience while referencing the backbone of all of Leo’s work: code.

The monograph is Swiss bound with a metallic corduroy textile, screen printed with metallic puffer ink and the cover photo is CMYK printed on iridescent paper.

Vivien Gaumand. License: All Rights Reserved.

In 2021, Feed Studio was commissioned to redesign the visual identity of PHI, a Montreal-based art center founded by Phoebe Greenberg in 2007. For 20 years, the institution has shaped Montréal’s artistic landscape by exhibiting leading contemporary artists, including Yoko Ono and Yayoi Kusama. It has pioneered immersive experiences presented on the international stage, most notably at the Venice Biennale, establishing itself as a forward-thinking cultural hub.

During its first decade, PHI went through significant transformations. It began as PHI Foundation, an avant-garde exhibition space, and expanded five years later with PHI Centre, a multidisciplinary space at the intersection of art, technology, and sound. PHI Studio followed in 2019, focused on creating and distributing immersive experiences.

After thirteen years of growth and evolution, PHI embarked on a rebrand that would bring all its entities together under one cohesive identity.

To meet this intention, Feed Studio established type as the foundation of the visual system. Anouk Pennel and Romain Grucker designed Phi, a clear and versatile bespoke typeface available in three weights with italics, complemented by Phi Caption, an optimized version that improves readability at small sizes. Used across all communication formats, from large-scale wall texts to social media assets, all applications follow a grid system based on the typeface’s proportions.

Feed Studio. License: All Rights Reserved.

PHI's brand guide

But how do you differentiate the entities if they all share the same typeface and grid? Studio Feed introduced subtle variations, beginning with a set of symbols for the logos: a circle for the Centre, a square for the Foundation, and a star for the Studio.

The system extends beyond these visual cues, featuring custom alternate characters. The Centre features circled O, Q, dot-based punctuation and diacritics, while the Foundation adopts squared O, U, o and u. As for the Studio, it relies exclusively on the standard alphabet set, since it has no need for promotional materials.

Feed Studio. License: All Rights Reserved.

PHI's brand guide

With these sets of alternate characters, Feed Studio built a solid visual identity that reflects PHI’s ecosystem. It orchestrates all entities into a harmonious system, while allowing each to play its own voice.

Following the delivery of the 142-page brand guide, art director Michel Ouellette and graphic designer Juliette Duhé became the guardians of PHI’s visual identity. They implemented the design across all formats and entities, maintaining cohesion throughout the system.

Photo: Juliette Duhé. License: All Rights Reserved.

Social media assets for the PHI Foundation

PHI. License: All Rights Reserved.

Rirkrit Tiravanija: Jouez/Play, PHI Foundation, Montreal, 2024

PHI. License: All Rights Reserved.

Rirkrit Tiravanija: Jouez/Play, PHI Foundation, Montreal, 2024

PHI. License: All Rights Reserved.

Rirkrit Tiravanija: Jouez/Play, PHI Foundation, Montreal, 2024

PHI. License: All Rights Reserved.

Rirkrit Tiravanija: Jouez/Play, PHI Foundation, Montreal, 2024

Photo: Juliette Duhé. License: All Rights Reserved.

Social media assets for the PHI Foundation

Adil Boukind. License: All Rights Reserved.

Horizons VR, PHI Centre, Montreal, 2023

Adil Boukind. License: All Rights Reserved.

Horizons VR, PHI Centre, Montreal, 2023

Adil Boukind. License: All Rights Reserved.

Horizons VR, PHI Centre, Montreal, 2023

In 2025, PHI Foundation and PHI Centre unify under a single entity and sign their first exhibition under the name of PHI, with the mission of becoming a centre for artistic creation and innovation. The typeface remains unchanged, preserving the visual continuity of the identity, and simplifying the system by removing the alternate characters.

PHI. License: All Rights Reserved.

Nico Williams: Bingo, PHI, Montreal, 2025. For this exhibition, the title adopts a new typographic variation: letters adorned with colored fingertips, reminiscent of the pearls the artist uses in his artworks.

Over the past 20 years, PHI has continually evolved, relying on a solid identity system to ensure consistency throughout transformations. Today, it is stepping into its next chapter with the PHI Contemporary, set to open in 2029. With a revised name and mission, the visual system enters a stage poised to stretch, reshape, and spark unexpected synergies.

Exhibition catalog for Transmergence #04, held at FRAC Alsace, France (translated by the contributor):

Transmergence#04 is an exhibition format developed by FRAC Alsace, which showcases the regional and cross-border art scene while questioning its definition in the face of a globalised world with increased mobility, where time takes the place of geographical distance.

For the fourth consecutive year, FRAC Alsace’s Transmergence format is part of La Regionale, a unique cross-border project bringing together 18 institutions from three countries (Switzerland, Germany and France).

For Transmergence #04, the curators have selected artistic proposals that create a dialogue between art and craftsmanship. The exhibition presents works and new productions by artists of diverse origins who now live or work in the cross-border region.

The catalog is bilingual (French/German) and is printed in four colors with a spot color. French text is printed in black while German text is printed in a Pantone silver.
Thomas Leblond and Audrey Ohlman did the graphic design with EB Ackerhof ​​​​​​ from Électro-bibliothèque. Transmergence #04 was published by Pétrole and FRAC Alsace.

Sissi Club brings together five artists (HaYoung, Lou Masduraud, Madison Bycroft, Neïla Czermak Ichti, Tarek Lakhrissi) closely connected to the gallery in Marseille. Through video, sculpture and drawing, their works approach the body as an open structure – scar, orifice, fluid, cavity – shaped by myths, gazes, infrastructures and projections. I (as in instinct) is shown from March 7th to April 11th, 2026.

The exhibition proposes the “I” not as a fixed identity but as a point of tension – a state of transformation, where the fissure becomes a condition for recomposition.

Poster design by Studio Veyre – Aurélien Potier and Claude Eigan – using Bastardo Rounded and Garabosse Parangon.

White Fungus is an art magazine and project based in Taichung City, Taiwan.

Founded by brothers Ron and Mark Hanson in Wellington, New Zealand, in 2004, as a quasi-political manifesto, copies of the first issue were produced on a photocopier, wrapped in Christmas paper and hurled anonymously through the entrances of businesses throughout the city. Now a magazine featuring interviews, writing on art, new music, history and politics, White Fungus takes a dialogical approach to the work it covers. The name of the publication comes from a can of “white fungus” the Hansons found in their local supermarket in the industrial zone of Taichung City. Each cover of White Fungus is derived from a scan of the can.

The 18th issue of White Fungus features an 80-page interview with New York poet and novelist Eileen Myles. The conversation traces several chapters of their life, including becoming a poet in 1970s New York, reading at CBGB, and writing the cult classic Chelsea Girls. Myles discusses their mainstream crossover in 2015, their involvement in the hit television show Transparent, overcoming alcoholism, their writing process, and many other topics.

The issue also includes an epic feature on Hilma af Klint and the suppressed occult roots of modernist art. Taipei artist Yao Jui-Chung contributes a photo essay documenting animatronic depictions of the Chinese concept of hell, as seen in Daoist temples in Taiwan and Singapore. Yan Jun reflects on the life of Taiwanese noise music pioneer Dino (Liao Ming-He), who passed away in 2022. Also featured is an interview with artist Pavel Pepperstein on the influence of children’s literature and hallucinogenics in conjuring his surreal futuristic landscapes—a style he calls “psychedelic realism.”

Table of contents, set in Söhne, Sometimes Times and Athelas

Opening spread for an interview with Eileen Myles, set in Bell and Letter Gothic

Slightly modified Corinthia introduces the word “Hell”. The title of the artwork is set in the lower left corner in tiny DF Kai SB.

Opening spread for “Through the Prism of the Looking Glass”, pairing Lo-Res with Snell Roundhand.

This is a fine art catalog on the works of Marina Apollonio, one of the most representative artists of international optical and kinetic art. It was published by Marsilio Arte on the occasion of the retrospective of the same name: Marina Apollonio. Beyond the Circle, shown at the Peggy Guggenheim Collection in Venice, curated by art historian Marianna Gelussi.

All titles and opening pages of the book were set in Octothorpe (Iván Moreno, PampaType), the ideal visual complement for the occasion given its sense of optical exploration and generative art possibilities. The text typeface is LL Circular (Laurenz Brunner, Lineto).

An Inventory of Shimmers: Objects of Intimacy in Contemporary Art uses Mallory by Frere-Jones Type in both title and text. Edited by Henriette Huldisch and published by Prestel/ DelMonico Books in association with the MIT List Visual Arts Center on the occasion of the exhibition of the same title, compiling the work of fifteen international artists, this generously illustrated book provides a multi-faceted lens through which to explore ideas of affect and intimacy. Affect is an essentially indefinable, largely non-conscious quality that correlates to the experience of diverse emotional and physiological states. This exciting book examines the idea of affect in art.

Drawing from an international cadre of contemporary artists working in a variety of media, this book addresses the question of how bodies are affected by intimate relationships with and through objects. The book investigates the kinds of intimate relationships we form with art; explores how art acts as a vehicle for affective engagement or transactions of desire; what role gender plays in affect; and how we experience this force in works of art.

This bilingual yearbook showcases contemporary Latvian photographers and significant exhibitions at the Latvian Museum of Photography in Riga. Designer Alexey Murashko selected three typefaces by Nikola Djurek for the book: Diurnal Display for the titles, Nocturno for the main text, and Diurnal for the marginalia. The book is cut horizontally in half, with the lower part containing the English text and the top part containing the Latvian text. This system allows the pages to be flipped independently and creates unexpected compositions.

The deconstructed letter parts in red are from Sandrine Nugue’s Orientation, see the comments.

Art direction and design of the new visual identity for the Parisian gallery Pavec by Juliette Bailly. Solæ is used together with Neue Helvetica across print and digital materials, like social media, press kits, invitations, certificates of authenticity, website, etc.

The Entrelacs cross-residency is being coordinated by the small troglodytic village of Villaine-les-Rochers in Touraine, France. This annual residency aims to draw a reflection on the new uses and know-hows of basketry. It hosts artists and craft practitioners who collaborate on contemporary creations. The main goal is to protect the local basketry production and to raise awareness about the art of basketry in France.

The poster, journal and brochure produced for each residency were created with modesty, efficiency and lightness. The intention was to put the work of the residents at the center of each piece of communication. The identity is carried through the sturdy and organic Droulers typeface and the kraft ribbon, acting like a wicker twig to intertwine the many communication devices.

This first edition sheds light on Clemence Althabegoity and Catherine Romand (from Romand’art Basketry), winners of the 2024 Liliane Bettencourt prize for l’Intelligence de la Main (“Intelligence of the Hand”) with their wicker shade structure Tresser l’Ombre (“Weaving the Shade”).

Renata Motyka has designed the visual identity for the exhibition Planetary Consciousness. Ecosystems of Care at the School of Digital Art, Manchester Metropolitan University. It was curated by Eliza Urwanowicz-Rojecka and Jakub Wróblewski.

It is another project designed to promote Polish and Ukrainian contemporary digital art, co-delivered by the Arsenal Gallery in Białystok and the 3D and Virtual Occurrences II Studio, Faculty of Media Art at the Academy of Fine Arts in Warsaw.

The project has been inspired by the concept of planetary consciousness, in reference to a theory by sociologist and globalisation theorist Roland Robertson, who introduced the notion of global consciousness (Robertson 1992, 2014). Thus termed by Robertson, the shift towards the world-universe relationship already assumed that the global perspective would transcend into the planetary.

The exhibition was presented from November 4th to December 2nd 2025 at the School of Digital Arts (SODA), Manchester Metropolitan University 14 Higher Chatham St, Manchester M15 6ED.

Plaster is an independent art magazine covering visual culture and offbeat stories from the contemporary art world. Founded in 2020 as a poster zine and relaunched in 2023 as a print and digital publication, the magazine positions itself as “the art magazine that won’t hurt your head.”

The logotype is based on the sharp, zeitgeisty serif Cirka – informal and connected, yet structurally tight. It sets the tone for a brand that resists academic rigidity while staying firmly rooted in graphic design culture.

Three typefaces define the magazine’s typographic system. Brubeck, a condensed display typeface with loud, expressive forms, is used for headlines, section openers, and large typographic moments that demand attention. Its compressed rhythm and distinctive counters give the magazine an edge in web and social media applications.

For body copy and general content, Brut Grotesque provides contrast and readability. Its pragmatic, slightly awkward geometry lends the layouts a human, non-neutral tone – consistent with the magazine’s editorial voice. Boogy Brut, used for subheads and pull quotes, adds an informal punch with its compact proportions and gestural details. Rather than creating a strict hierarchy, the three fonts interact dynamically, creating shifting layers of tone and emphasis.

Wama Foundation is Australia’s first environmental art precinct, grounded in the Gariwerd/Grampians landscape at Halls Gap. A customised brand treatment was developed as a display face for branded elements and key titles. Utilising Antarctica as the framework for the customisation, and as the supporting copy. The solution draws from the region’s mountainous topography, weathered sandstone and new botanical growth, creating a grounded, textural visual language that reflects both Gariwerd/Grampians and broader Australian ecology. Delivering an identity that could flexibly and distinctively express the precinct's vision as a cultural destination connecting art, ecology and landscape.

Designed by Miko McGinty with Mallory by Frere-Jones Type, After Darkness: Southeast Asian Art in the Wake of History, edited by Boon Hui Tan and published by the Asia Society, accompanied the exhibition of the same title at the Asia Society Museum from September 8, 2017, to January 21, 2018.

From the Asia Society:

After Darkness: Southeast Asian Art in the Wake of History explores the development of contemporary art movements and the artistic repercussions of political ruptures through the work of seven contemporary artists and one artist group from Indonesia, Myanmar, and Vietnam […] Featured artists: FX Harsono, Angki Purbandono, Tintin Wulia, Htein Lin, Nge Lay, Dinh Q. Lê, The Propeller Group, Nguyen Thi Thanh Mai.

The fourth edition of BoCA (Biennial of Contemporary Arts) took place in 2023. Lisbon and Faro were the cities hosting a new and effervescent program from 2 September to 15 October.

Between commissions, world and national premieres by both established and emerging artists, performing in their own language or taking risks to create for other registers, BoCA built its 4th edition on the idea of “Invisible Present”.

Always aware of the current times – cultural/artistic, social and political – artistic director John Romão said he ‘wants to give visibility to living things that are not seen, either because of social, political, cultural, economic, legal or technological conditioning, or because we premeditatedly don't want to recognise the existence of otherness, to validate identities that inhabit the margins’. It is with this desire that the program reflected on issues related to the migrant crisis or gender identity, claiming the physical presence of what is not seen.

BoCA 2023 used two primary colors, gray and yellow, throughout its identity. It used one primary typeface within its permanent, geometric and mutable logo: Neureal by Laura Csocsán (released on ECAL Typefaces) – including for titles and descriptions. LL Replica by Dimitri Bruni and Manuel Krebs (released with Lineto) was used for displaying longer texts within the newsprint pamphlet and for smaller information.

Mallory by Frere-Jones Type is the typeface used for Yayoi Kusama: Infinity Mirrors, designed by Miko McGinty. Published by the Smithsonian’s Hirshhorn Museum and Sculpture Garden and DelMonico Books, this is the first publication to focus on Yayoi Kusama’s Infinity Mirror Rooms.

Yayoi Kusama: Infinity Mirrors was the companion guide to the Hirshhorn Museum and Sculpture Garden’s exhibition which celebrated the legendary Japanese artist’s 65-year career and was one of 2017’s essential art experiences.

From DelMonico Books:

World-renowned Japanese artist Yayoi Kusama has worked in a variety of media, including painting, sculpture, performance art, and installation. Kusama’s iconic Infinity Mirror Rooms, which originated with Phalli’s Field in 1965, situate viewers in kaleidoscopic spaces filled with multicolored lights or whimsical forms. These mirror-lined installations reflect endlessly, distorting rooms to project the illusion of infinite space. Over the years, the works have come to symbolize different modalities within the various contexts they have inhabited, from Kusama’s “self-obliteration” in the Vietnam War era to her more harmonious aspirations in the present. By examining her early unsettling installations alongside her more recent ethereal atmospheres, this volume aims to historicize the body of work amidst the resurgence of experiential practices within the global landscape of contemporary art. Generously illustrated, this publication invites readers to examine the series’ impact over the course of the artist’s career. Accompanying essays, an interview with the artist, and a scholarly chronology round out the book.

Comme un parfum d’aventure is the catalog of the eponymous exhibition held in the Lyon Contemporary Art Museum in 2021. The artworks revolve around the theme of displacement, whether it is refrained or compelled, voluntary or induced, individual or collective. Léa Audouze designed the catalog using Self Modern Regular and Italic.