Echoes of Tomorrow is a limited edition book, each copy hand-numbered, created as a special gift for DCarbon’s clients and collaborators. DCarbon is a sustainability consultancy guiding building projects toward environmentally and socially responsible outcomes.

GAMUT is an indie magazine developed during a five days workshop at Politecnico di Milano, held by Jeremy Francis Leslie, founder of magCulture.

The magazine explores the dynamics of relation, from the intimate micro scale of skin-to-skin contact to the macro scale of collective bodies and social systems. At the center lies a simple but radical question: how does touch—or its absence—shape the way we connect?

In its first issue, GAMUT explores how the rituals that surround the exchange of greetings take shape across different cultures, contexts, and subcultures—and how they can express distance or closeness, both physically and emotionally. A greeting represents an intermingling, where feelings and people are mixed up together, a point of contact between strangers and friends alike, unveiling the scope of our connections.

The 2023–24 edition of the RUFA Annual Report, conceived as a collective performance, goes beyond documenting the year’s activities to become a shared design act focused on intention, process, and collaboration.

Inspired by Vilém Flusser’s idea that “everything depends on intention (design)”, the report was created through a 48-hour creative marathon involving 50 selected students alongside designers, visual artists, photographers, copywriters, and faculty members. Working together in an open laboratory, the teams produced content, images, data, and narratives that shaped the final publication.

The volume unfolds through ten keywords defining the Academy’s identity, a photographic selection of undergraduate and postgraduate theses, and an overview of the year’s activities, including events, workshops, talks, and international projects. Data Humanism–inspired infographics, based on interviews and questionnaires with students and faculty, complete the narrative.

A die-cut dust jacket revealing the names of the participants and a concluding photographic report underscore the collective nature of the project. The annual report thus stands as both a document and a method, reflecting the Academy’s growth through shared experience, research, and collaboration.

Four-colour printing plus white and fluorescent yellow Pantone on Favini paper.
Typographic composition in Milligram by Zetafonts.

Design by Guido Lombardo, Davide Luccini and Francesco Paolo Incantalupo at Intorno Design, with illustrations by Francesco Fidani. For a full list of credits, see the RUFA website.

Bottle and label design for the very limited água-pé Pomo de Ouro, made by Juicy.ttf.

Traditionally, água-pé is a very light wine made by adding water to the leftover grape skins, seeds, and stems (bagaço) after regular wine has been pressed, then letting it ferment again. With Pomo de Ouro, that process was made with cider apples.

Art Direction by Francisco Torres and Miguel Mesquita, with design by Mesquita and illustration by José Luis Dias. The chosen typeface is Ramboia by Rui Abreu. Pedro Lopes took the photos.

For more detailed info, check out this Instagram post and feel free to get in touch with the producers.

Ça ne gâche rien is a transcript of the French TV show La Cuisine des Mousquetaires (“The Musketeers' Kitchen”) where Maïté and Micheline elaborate on meals like ostrich steak. Putting it in writing it gives it an interesting depth, using our Matorral font to illustrate the singular vocabulary and equivocal comparisons. The book was conceived by Franco-Belgian artist Gala Colette and published by Les Éditions de l’Épure.

Polish furniture producer Górna Półka asked us strategic questions about its verbal and visual identity. We embarked on this journey developing its brand-new narrative and essential content architecture that will unfold over time. On top of that, we created a complex brand identity system deriving from the modularity of the furniture on offer and the crucial notion of an “upper shelf.” The brand can flexibly apply its variety of elements, and we look forward to seeing how this system develops.

During a residency in 2021, Letizia Romanini decided to walk the 356 km separating her small country (Luxemburg) from France, Belgium and Germany, questioning the closure of borders and the notion of isolation. During this 24-day journey, she photographed and collected elements of the landscape to build up her own library of findings, marking a breach from her usual artistic practice.

Her work highlights the process of creation and the importance of discovery, reflecting an attentive and sensitive approach to her environment. The EVONYME edition extends this adventure through objects borrowed from the territory and transposed into jewelry, offering the possibility of wearing a fragment of the landscape.

In order to welcome those precious jewelries, we, at ramel·luzoir, designed a custom sized box in collaboration with the Alsatian box manufacturer Cartonnages Siegwald, using Fedrigoni's Materica pulp coloured paper and a white printed version of EB Reklame, designed by Clément Le Tulle-Neyret and distributed by Électro-bibliothèque.

The edition was first presented at the occasion of Plus d'épines que de roses, Letizia's solo show at the gallery Reuter Baush in Luxemburg City in October 2024.

Letizia also released 356 as part of this project – a book published by Pétrole Éditions, where Thomas Leblond (Électro-bibliothèque) contributes as member.

Helsinki-based designer Anna Salmisalo from her design practice By your side created the packaging for Satokausi Rosé wine, boldly using Grand Slang (Nikolas Type) as the main and expressive typographic choice, beautifully accompanying her wonderful and colorful illustration style. Poppins (Indian Type Foundry) is used for the functional type.

A noi della partita non ce ne frega un cazzo (“We don’t give a damn about the game”) is a research-based editorial project developed as a final thesis for the Graphic Design course at IED Milan in 2021.

The book investigates the Italian Ultras movement from the 1960s to the 1980s, analyzing its origins, evolution, and visual language. It is divided into two sections.

The first part presents six key Ultras groups through historical accounts and visual analysis of their emblems, mottos, and iconography. Each chapter contextualizes these symbols within their local, cultural, and sometimes political environments, highlighting how they served as tools of identity and distinction both within and across stadiums.

The second section, titled Grammatica Ultras, explores the scenographic and performative practices of the movement, such as choreographed banners, smoke displays, and massive visual compositions that transformed stadiums into stages of collective expression. This part reveals how Ultras developed a unique aesthetic grammar that evolved alongside shifts in media, technology, and generational codes.

Through extensive archival references, interviews, and critical commentary, the book portrays the Ultras not merely as sports fans, but as a subcultural force with its own symbols, rituals, and resistance to commercialization and mainstream assimilation.

Book design and research by Giorgio Craparo, with editing by Mattia Salvia. The book was
printed by PressPoint, Milan, using CMYK plus white ink, on Fedrigoni Ispira Rosso Passione 290 g/m² and Artic Paper Munken Print White 90 g/m². The publication is in Italian, has 40 pages measuring 21×29.7 cm, and is perfect bound.

The book xylo sheds light on the essential role of deadwood as a habitat for numerous insect and plant species in German forests. Deadwood, which consists of dead trees, forms important ecosystems that provide food, shelter and habitat for many creatures. Despite its ecological importance, deadwood is often perceived as unsightly and disturbs the image of a “well-tended” forest.

From Wikipedia:

The Bell AH-1 Cobra is a single-engined attack helicopter developed and manufactured by the American rotorcraft manufacturer Bell Helicopter. A member of the prolific Huey family, the AH-1 is also referred to as the HueyCobra or Snake.

This model was manufactured from 1967 to 2019 and used by the U.S. Army from 1967 to 2001. The warning on this model uses caps from Lorimer No. 2 Stencil (2011).

The photographic book BREATHE IN: Emotions of the XVIII Chopin Competition by Filip Dowjat offers a unique behind-the-scenes look at the 2021 Chopin Competition.
Filip Dowjat captured the emotions of the participants, from their intense concentration before performances to the anxious moments awaiting results. The project was developed in close collaboration with photo editor Joanna Kinowska, who curated the image selection and sequence, and designer Andrzej Dobosz, who crafted the elegant visual presentation.

BREATHE IN stands out for its elegance and subtlety, complemented by the sharp serif Migra (Pangram Pangram), emphasizing both the prestige and contemporary feel of the publication. The clearly integrated trilingual text (Polish, English, Japanese) allows readers worldwide to immerse themselves in the competition's atmosphere.

A distinctive feature is the photographic index, providing details about the location, date, participant's name, and the Chopin piece performed at each captured moment, enriching the emotional context for readers.

The title “WDECH / BREATHE IN / 胸に息を吸い込んで” symbolizes the silent moment before the first notes are played.

The book was published by the Fryderyk Chopin Institute (NIFC) and co-funded by the Ministry of Culture and National Heritage.

For a concert-lecture titled Danse Macabre at the RSU Anatomy Museum, I created a poster and a small brochure. For this occasion, I found the perfect font to use: Fenul Compressed, which draws inspiration from an anatomy book—specifically the chapter on bones. Fenul was designed by Jana Papierniková. The secondary font in use is Season Mix. Both fonts are available from Displaay Type Foundry.

This concert-lecture merges multiple art forms—music, dance, and visual art—into an interactive experience. I wanted to capture the graphic expressiveness of the skeleton while juxtaposing it with the fluidity of dance, as depicted in the photography by Kristīne Madjāre. The goal was to evoke a connection between medieval and modern perspectives on life and death. The hand-sized program features a flipbook effect, allowing the depicted dancer to “come to life” through movement.

The lecture is designed for a young audience and is supported by the Latvian school program.

German toy company HABA hired Transatlantika to design the new packaging for their Cars product line. The studio selected Disc as the primary typeface, supported by Castledown.

Marzia Migliora – Seven Imaginative Exhibitions is Marzia Migliora’s first monograph, bringing together 115 artworks selected from a body of work spanning more than thirty years, from 1993 to the present. Conceived as a concept book in which the body of works is reinterpreted through seven recurring themes in Marzia Migliora’s practice, the book consists of seven exhibitions on paper, each curated by different curators who envisioned them in emblematic locations within the artist’s biography, thereby configuring a personal emotional geography that spans Italy—from her birthplace of Alessandria to the salt mines of Sicily. The exhibitions are informed by themes such as rurality, the museum as a place of classification, devices for viewing and perceiving reality, community-building, extractivism, patriarchal oppression, and interspecies metamorphoses related to the passage between life and death.

Wrapping up this journey in seven exhibitions are the opening and closing notebooks that have always accompanied Migliora’s practice, preserving the traces of ideas and research that have inspired existing works and that compose a conceptual and methodological resource to draw upon for future projects.

The seven exhibitions flow through the book on a continuous level, with a consistent layout, even in its variants. Technical information and a brief description of the work, necessary for understanding it, are included in the band at the bottom of the page. In addition to the works, each exhibition brings together reprinted texts, each with a custom-made layout, arranged in a grid reminiscent of a catalogue card, part of an archive.

The curatorial text for each of the seven exhibitions is printed on grey Fedrigoni Woodstock paper, a reference to the paper of Migliora's working notebooks. It is enhanced by the use of metallic Pantone. The images that accompany the text, tinted in metallic Pantone, are backstage material, illustrations, concepts of works that the artist has carefully selected, sometimes playing with irony or contrasts. They are placed in dialogue with the text. The cover, silk-screened in white on Favini Tokyo Rust paper, features a work by the artist (“L’anello forte”, 2019) reproduced in a pattern of fixed-size dots. The research for the printing materials focused on elements that recall the artist’s practice: the earth (in the materiality and colour of the cover), the paper of the notebooks (the seven 8-page inserts containing the curatorial texts), the flexibility and softness of the volume as part of a creative process that is constantly open and moving.

The book, curated by Anna Cestelli Guidi and Matteo Lucchetti, gathers over thirty years of the artist’s production. It includes texts and exhibitions curated by: Diana Campbell, Anna Cestelli Guidi, Francesca Comisso and Nicoletta Leonardi, Maja and Reuben Fowkes, Matteo Lucchetti, Adrian Piper, and Andrea Viliani; and contributions by Eva Brioschi, Emanuele Coccia, Marzia Migliora, Elena Pugliese, Davide Quadrio, and Vandana Shiva. Printed on Favini Tokyo (cover) Sappi GalerieArt Volume + Fedrigoni Woodstock (inside).

The typography uses ABC Arizona Mix, often with its alternate monocular a, and ABC Diatype Mono, both from Dinamo.

Inspired by the space and featuring poignant leading questions and successful alumni, this limited edition book aimed to capture the crossover of entrepreneurial spirit and technological wonder on display at The Garage.

The prospectus featured four unique laser-cut outer layers, digitally printed in white and applied to the bound book body. These were produced onsite at The Garage and affixed during the print run at Graphic Arts Studio. Short sheets featuring photography of successful alumni were inserted throughout adding depth and dimension to the format and information.

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.

Catalog to the exhibition Constructed Geographies: Paulo Mendes da Rocha, celebrating the Brazilian architect Paulo Mendes da Rocha (1928–2021) at Casa da Arquitectura, Matosinhos, Portugal. The publication brings together critical essays by distinguished scholars from Brazil, Europe, and North America, along with insightful texts on the twelve projects that formed the heart of the exhibition. Opening with a dialog between Eduardo Souto de Moura and the exhibition’s curators, the catalog stands as a lasting representation of the exhibition and the remarkable Paulo Mendes da Rocha collection, which was donated to Casa da Arquitectura in 2019.

Designed by design studio R2, the catalog extends the visual identity of the exhibition into print. The cover combines the original version of the Atica typeface from R-Typography with a custom version, Atica PMR. The book uses Atica in titles and small captions with Antwerp by A2-TYPE for the main text.

See also the post about the exhibition design.

Publication accompanying the Microtopies festival in the French city of Lille and participating municipalities, organized by the WAAO Center for Architecture and Urban Planning.

From WAAO (translated):

We invite you to discover unique installations: cabins imagined by groups of architects, landscape planners and designers. These construction sites are an invitation to participate in the construction of these unique cabins and to discover the creative processes live. Each site will host activities and events. These architectural and ephemeral "micro-interventions" are designed to reconsider the place of imagination and reuse in our urban and rural landscapes. Made from recycled materials, the cabins will be the central point of activities, tours, workshops and exhibitions throughout the summer.

Designed by Julien Lelievre, the publication features two typefaces: Hauser by SM Foundry for titles and Signal by Production Type for body text.

Ola Procak designed the cover art for Early Zeros, an EP by Pankoff & DJ Varius Trax that pays homage to the high-energy and progressive trance sounds of the early 2000s.

The design uses Croco Tears by Roman Zakharenko and TC Kalkulator by Type Colony. Procak used “glossy silver material for the stickers, screenprinted with white for a premium trancey look”.

[More info on Discogs]