Kurt Woerpel, Nejc Prah, and Tracy Ma had used Focal alongside ABC Marist and VCR OSD Mono for the report Inside Youth Basketball published by the Luka Dončić Foundation.

The Foundation uses Focal and Marist also for its branding – which was directly inspired by the design of the report. Focal is paired with different typefaces and illustrated letters to give an expressive and vibrant view on where basketball is with the youth around the world. It also stands a lone in some more somber instances of the report and the foundations branding.

More from the Luka Dončić Foundation:

Basketball changes lives. But today, too many kids are walking away from the sport. Five months of research across two continents revealed why—and how we can change it. Based in Ljubljana and Los Angeles, we're a youth development foundation creating positive change worldwide. Inspired by our founder's journey from Slovenia to Dallas to Los Angeles, we build bridges between cultures to transform young lives through the power of play.

Austin Clarke was one of Ireland’s leading writers. Though he wrote novels, plays, and memoirs and was a cofounder of Belfast’s Lyric Theatre, he’s best known for poems that employ complex patterns of assonance and half rhyme, techniques he drew from his deep knowledge of classical Irish language poetry. An Post issued this stamp to mark the fiftieth anniversary of his death in 1974. Designed by David Pakenham at So Studio using Ballinger Mono; first day cover (not shown) also features An Post Sans, the Irish post office’s proprietary typeface.

Sebastian Vigueras. License: All Rights Reserved.

De Melodías y Colores, 1 February 2026

This post presents a series of concert posters designed for the Orquesta Típica de la Ciudad de México (OTCM) in 2026.

The poster shown above officially inaugurates the 2026 Season 1, presenting a renewed visual structure. The composition centers on La Giganta, the monumental sculpture by José Luis Cuevas, which serves as a powerful iconic element. The design employs a high-contrast photographic style in which the background image engages in a dialogue with a typographic composition of two fonts.

The typographic system is a sophisticated fusion of four distinct voices. The main title, De Melodías y Colores (“Of Melodies and Colors”), creates a rhythmic dialogue between Chicago – a robust, dotted typeface – and Origins, a fluid, handwritten typeface that mimics the expressiveness of a calligrapher’s stroke. This combination reflects the dual nature of the concert: the technical precision of the music and the vitality of the visual arts. Questa – here in the form of Questa Grande – is introduced as the new institutional serif typeface, lending a modern and elegant voice to the orchestra’s name. Finally, Cabin remains the official typeface of the Mexico City government for secondary information, ensuring that details about the guest conductor and soloists remain legible against the monumental background. This design establishes the template for the first season in 2026, prioritizing striking iconography and expressive typographic combinations.

Sebastian Vigueras. License: All Rights Reserved.

Amor en clave de sol, 15 February 2026

The visual narrative for the third poster centers on a dramatic sunset over the facade of the Museo de la Ciudad de México, where the sky's warm gradients are mirrored by the lyrical and romantic theme of the concert, Amor en clave de sol.

The typographic composition introduces a new, sophisticated hierarchy. The main title is set in Mon Nicolette, an expressive typeface by Mexican designer Cristóbal Henestrosa. Its fluid, calligraphic strokes and elegant swashes – integrated here with musical clef and heart motifs – capture the emotional essence of the repertoire.

Sebastian Vigueras. License: All Rights Reserved.

El México de sus compositores, 22 February 2026. This poster was designed together with Vania Rabago.

The fourth poster for the concert at the Alcázar of Chapultepec Castle utilizes a dramatic architectural photograph that emphasizes the perspective of the venue’s iconic checkered floor and classical arches. The deep vanishing point serves as a natural visual anchor, guiding the viewer’s eye through the historic corridor and toward the musical information.

The typographic palette is led by Gelica for the concert title. This choice brings a warm, retro-contemporary charm to the design, with its soft serifs and organic terminals providing a lyrical counterpoint to the rigid geometry of the architecture. The friendly and expressive nature of Gelica perfectly captures the passionate spirit of the repertoire.

Sebastian Vigueras. License: All Rights Reserved.

Mujeres que suenan y transforman, 8 March 2026

The fifth poster for the concert at the Ángela Peralta Open-Air Theater utilizes a striking high-angle photograph that captures the venue’s unique integration with the surrounding greenery of Parque Lincoln. The radial symmetry of the theater’s seating serves as a natural visual anchor, drawing the eye toward the stage and the performers.

The typographic palette is led by Instrument Serif for the concert title. This choice brings a classic, scholarly elegance to the design, echoing the operatic and historical legacy of the theater’s namesake. The serif structure of Instrument Serif provides a high level of sophistication that balances the organic textures of the surrounding trees.

Sebastian Vigueras. License: All Rights Reserved.

Natalicio del Benemérito de las Américas, 15 March 2026

This poster for the sixth concert of the 2026 season highlights the presence of the Orquesta Típica de la Ciudad de México (OTCM) in contemporary social spaces. The visual centerpiece is a panoramic photograph of Utopía Tezontli, a modern community center in Iztapalapa. The architectural geometry, with its white structural ribs and circular patterns, creates a rhythmic backdrop that symbolizes the utopian and transformative nature of the place.

The typographic strategy introduces Caligra, a contemporary Gothic typeface used for the main title. This choice creates a tension between the orchestra's historical roots and the modern, urban environment of the venue, while also evoking the complex framework of the building’s roof.

Sebastian Vigueras. License: All Rights Reserved.

Armoniás de primavera, 22 March 2026

The visual composition of the seventh poster is centered on an expansive landscape photograph of Parque Tezozómoc, featuring its iconic artificial lake and the pre-Hispanic-inspired topography. The open, bright blue sky and the reflection of the clouds in the water serve as a natural visual anchor, providing a serene and airy backdrop that reflects the “spring harmonies” theme.

The typographic hierarchy is led by a sophisticated pairing for the title: Amster, with its contemporary and sharp personality, and ATF Garamond, which provides a timeless, academic elegance. This combination creates a refined, editorial feel that contrasts with the organic, open-air nature of the park. The layout effectively utilizes the landscape’s “white space” to allow the intricate typographic layers to breathe, maintaining a balance between historical tradition and the modern urban environment.

Eight years after the first English edition by Basic Books, A.R. Luria’s The Mind of the Mnemonist was reissued by Chicago-based publisher Henry Regnery. Roger Harvey’s jacket design uses Harry Obese, the heaviest weight of Harry, alongside Univers. The layered text snippets in pink and red additionally feature Helvetica, Times New Roman, and Bookman – but those are likely repurposed from existing material.

“The Birthday Cake” is a delicious concept and graphic design for posters (day and night parties), social media, and video to celebrate the first anniversary of the Death Club Tattoo, based in Bassano del Grappa, Italy.

Andy Garvey is a DJ and producer based in Australia, specialized in electronic music. Andy Garvey's sound is resonant and textural. This poster was designed by Studio MIMU for sharing on social media, emulating the sonic qualities through kinetic type and off-kilter details.

ODDA is an international fashion and culture magazine that explores the industry from a creative, thoughtful, and human perspective. Beyond trends, ODDA focuses on people, ideas, and the cultural context that shapes contemporary fashion.

Issue 29, titled “The Way We Are”, highlights culture as a living identity: how we live, the values we uphold, and how the past influences our present. Through figures from film, music, art, and fashion, the magazine reflects on empathy, creativity, and generational change, understanding fashion as a direct mirror of our society.

We updated the design with a bold and rhythmic editorial system that places typography at the forefront, clearly differentiating the sections through distinctive graphic codes that organize, structure, and energize the reading experience.

An editorial language where typographic style, color, and hierarchy build a distinctive voice that articulates multiple contents with clarity and rhythm.

For this, we used typefaces with strong personality for the section openers, such as Aether Mono and Tombstone Blues. We also combined Sita Sans and Sita Serif for body text and for the headers of certain sections. These combinations give the magazine a clear identity and make it instantly recognizable.

“Two motifs merge into one lenticular poster. The image changes depending on where you stand — there is no fixed final image, only perspectives. Cultural belonging exists in relation to context, position, and viewpoint. 400 × 600mm”

Hyperculture is the diploma project of Dabin Kim made at ABK Stuttgart. The project captures the blurring of cultural boundaries, allowing different cultures to coexist in a globalized world in a “both–and” rather than “either–or” way.

Cultural practices in East and West are explored through everyday creations, shared media, and consumption. This shows how trends move between cultures, overlap, and are interpreted differently. The practices are presented through quotes, articles, digital images, and original visuals.

Dabin Kim describes the project as follows:

The publication is read from both sides: one presents an Eastern perspective, the other a Western one. Each examines how the other culture’s practices are adopted, influenced, and often misunderstood in different contexts.

Chapter 1 focuses on Language, Chapter 2 on Food, and Chapter 3 on Industry—each from both perspectives. Chapter 4 concludes with interviews that bring both views together.

The conversations reveal that cultural identity is increasingly hybrid and fluid, shaped through consumption and digital media. While visual cultural boundaries blur, deeper social differences and experiences of belonging persist.

Looking across language, food, and industry, the West often translates cultural elements into simplified, marketable forms, while the East actively transforms and hybridizes global influences.

Hyperculture emerges as both a driver of cultural reduction and a source of creative reconfiguration – simultaneously part of the problem and part of the solution.

Designed with Solæ and OT Neue Montreal Squeezed. 232 pages, 210×297 mm

In graphic design, the focus is rarely on the spontaneous stroke of genius—it’s rather about a process-oriented approach to design. Digital tools, algorithms, and systems increasingly shape not only the final outcome but also the process itself. As a result, the role of the designer is changing: instead of crafting every detail, they increasingly design the framework in which design emerges.

Over more than twenty years of teaching, Heike Grebin has developed an approach centered on this shift. Its main appeal lies in developing dynamic systems that both guide and inspire the design process. Design is generated by a set of specifications whose effects can be explored, varied, and used creatively—this is parametric design.

Play the System demonstrates, through selected examples from design history and academic teaching, how even minimal changes to individual parameters such as size, color, spacing, or movement—driven by input values, chance, or external influences—lead to different outcomes and open up space for variation, experimentation, and surprise.

Conversations with designers, programmers, and researchers such as Luna Maurer, Anja Groten, Frieder Nake, and Tom Bieling address key questions: How do systems foster—or limit—creativity? How do tools influence aesthetic decisions? And how can design respond to the structures of society itself?

As a hybrid publication, Play the System operates systemically itself. The website complements the book with additional content and serves as the central data source for all projects published through an automated web-to-print process.

Play the System is a reader, an introduction, and a richly illustrated archive—all in one. Bringing together theory, education, and practice, it makes system-based and parametric design accessible to readers beyond the design discipline. ISBN: 978-3-948440-97-8.

Title in Seance Graphic; text in Nicola

Document Journal’s Spring/Summer 2023 issue, “Return to the Real”, employs three Commercial Type releases: Nicola as the primary typeface, Seance for section and feature titles, and a cameo appearance of Styrene B for page numbers.

Both styles of Seance are featured; Seance Graphic introduces the numbered chapters and appears (alongside Nicola Display) in article titles in the back portion of the magazine, while Seance Ornate is used for opening spreads in the main feature well. Most of the display type is printed in metallic silver ink to further contrast with the text and captions.

Title in Seance Graphic; text in Nicola. Metallic silver ink is used for display type throughout the issue.

Title in Seance Ornate; text in Nicola

Title in Seance Ornate; text in Nicola

Title in Nicola Display and Seance Graphic; text in Nicola

Title in Nicola Display and Seance Graphic; text in Nicola

Identity for Diario, a Montevideo-based design studio founded by industrial designers Guillermo Salhón and Ana Sosa, working across furniture, objects, custom projects, and interior design.

Designed by Villalba Studio, the identity reflects Diario’s approach to form, material, and function – balancing simplicity with clarity while bridging tradition and contemporary production. The studio’s work focuses on refined, timeless objects shaped through the interplay of geometry, materiality, and process.

The name Diario – a familiar, everyday word – expresses the studio’s intention to integrate design into daily life through objects that are functional, enduring, and quietly expressive.

The identity uses BST Symbol and BST Symbol Mono.

This piece is a reimagining of Hemingway’s The Old Man and the Sea. It’s Japanese bound and has just over 100 pages measuring 420×210 mm, with a 1680 mm foldout typographic marlin at the start and end. The design is guided by the following concept:

In the 21st century, reading has shifted to screens, reducing print to a secondary role. Yet the book remains resilient, offering a tactile, immersive experience digital media cannot replicate. This special edition of The Old Man and the Sea, developed as a hypothetical commission for Éditions B42, uses design to critique digital reading and reposition the book as an active, critical artefact rather than a neutral container for text.

The novel’s narrative of endurance mirrors the struggle of print in the digital age, translated into material form through format, typography and book craft. A wide landscape format echoes holding a fish; an embroidered cover embodies tension and labour. Typographic commentary is embedded within the body text, deliberately interrupting reading to challenge, contextualise and reframe Hemingway's voice, shifting the book from passive vessel into something to be navigated, interpreted and physically engaged with.

The resulting disruptions are intentional, asking readers to move through friction that mirrors both Santiago's struggle and contemporary reading conditions, where texts compete with annotation, critique and noise. The book argues for print as a site of resistance, critical thinking and ongoing design experimentation.

Culture numerique (March 2019), Culture écologique (Feb. 2022), and Culture juridique (Jan. 2025) were published by Presses de Sciences Po in the Petites Humanités (Small Humanities) series.

Designed by Atelier AAAAA, the covers combine Bureau Brut’s Bourrasque and Traulha, paired with OH no Type Co.’s Obviously, Velvetyne’s VG5000, and The Pyte Foundry’s Alcove for “Culture écologique”.

Bourrasque showcases the idea of ever changing life and shapes, the ideas that continue going forward, taking the others with them. As for Traulha, it fits perfectly for the juridical aspect. Round, lapidary and elegant at the same time, it represents the balance of law with its uniqueness.

The book interiors are set in TypeTogether’s Marco, paired with Obviously and the volume’s respective title typeface.

This is the sixth issue of La petite collection, designed by Bureau Roman Seban. As with every issue, the number is printed on the cover and the colophon on the back cover, typeset in Bertin (variable font), a typeface available from 205TF. The body text is set in Axo by the author, Charles Mazé, available from Abyme.

La petite collection is a series of texts dedicated to writing, typography, and book design, produced entirely by hand (from design to offset printing) within the Association Presse Offset in Paris. Each issue publishes one illustrated text in French. It is available for purchase on Association Presse Offset.

In March 1996 TassinariVetta took over the art direction of Casabella, the historic architectural review founded in 1928. From that moment on the magazine has become part of the everyday life of the studio, where it is designed month after month.

Aiming to go beyond the traditional concept of ‘typographic architecture’ – which sees graphic arts subject to the universal compositional rules expressed in architecture – and to offer a new perspective on the world of letters, the 2024-25 cover design sets editorial objectives ahead of graphic ones.

Taking advantage of the constraints inherent in monthly publication in sectoralization and serialization, and enhancing repetitive elements—the masthead, headlines, but above all the sequential number—the project brings editorial content to the cover through the choice of the font used to compose the number, its graphic interpretation, and the explanatory note published on the inside pages, which is an integral part of the project itself.

Faithful to the magazine tradition, issue after issue, the choice of lettering or typeface moves through the 20th century between avant-garde and modernism, with forays into adjacent spaces suggested by unlikely discards or ambiguous analogies, while exploring the development of the industrial means underlying mechanical writing.

With philological respect—using fonts available under license, photographic reproductions of original specimens, or vector redrawing, as appropriate—and with the calibrated use of a color palette consistent with the magazine visual history, the graphic interpretation ultimately aims to bring the historical artifact into the present, contextualizing it in a contemporary and accessible language.

no. 976 – Lettering for the Tomba Veritti (Udine, Italy), Carlo Scarpa, 1951

no. 975 – Univers, Adrian Frutiger, Deberny & Peignot, 1957

no. 974 – Prisma, Rudolf Koch, Klingspor, 1930

no. 973 – LL Le Corbusier, Nico Schweizer (da Le Corbusier), Lineto, 1999

no. 971-972 – Memphis, Rudolf Wolf, Stempel AG, 1929

no. 970 – Ingenieur, Wim Crouwel, 1964, The Foundry Types, 2012

no. 969 – bayer-type, Hebert Bayer, Berthold, 1931

no. 968 – Mexico 68, Lance Wyman, 1966–68

no. 967 – Our Bodoni, Massimo Vignelli, Tom Carnase, WTC (World Typeface Center), 1989

no. 965-966 – Futura Black / Paul Renner / Bauer, 1929

no. 963 – Fat Face, Herb Lubalin, Tom Carnase, ITC International Typeface Corporation, 1970

no. 962 – Kabel, Rudolf Koch, Klingspor, 1927

no. 961 – Stop, Aldo Novarese, Nebiolo, 1970

no 959-960 – New Alphabet, Wim Crouwel, 1967

no. 958 – Frankfurter, Bob Newman, Letraset, 1970

no. 957 – Universal, Herbert Bayer, 1925

no. 956 – Oakland, Zuzana Licko, Emigre, 1985

no. 955 – Aldina (Aldino), Nebiolo, redesign Adalberto Libera, 1938

no. 954 – Kombinationsschrift, Josef Albers, 1926–28

no. 953 – Bifur, A.M. Cassandre, Deberny & Peignot, 1929

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.

Diktgymnasiet is an artist and writer based in Stockholm. Working primarily from bed due to chronic illness (M.E., myalgic encephalomyelitis), they use language as their main material, exploring self-care, chronic illness, and disability justice. The artist remains anonymous as part of a long-term stress-management strategy.

Portrait is an artist book by Diktgymnasiet, designed by Konst & Teknik. The work references (copies) one of the most accessable, familiar and relatable printed matter there is; a simple spiral bound notebook.

The typography combines ABC Walter Alte with Arial Monospaced and OpenDyslexic, thus mixing free and more exclusive typefaces to reflect questions of access, value, and distribution within publishing. They also just look great together.

LifeInOneRoom.com is a digital publication where the artist continuously shares fragments of their practice online, piece by piece, according to daily capacity and energy. The title refers to the apartment the artist is rarely able to leave. Accessibility is central to the site’s design: texts can be read aloud through an auto-reading function using randomly generated voices, the platform is RSS compatible, and it uses the typeface OpenDyslexic, developed specifically to support readers with dyslexia.

Both works are part of CRIP, a project that investigates how art institutions can sustainably collaborate with chronically ill and disabled artists while developing care-based production methods.

As part of the launch and Diktgymnasiet’s exhibition at Konstfrämjandet in Stockholm, T-shirts and a campaign for SoMe was launched, mixing the fonts used into a tour T-shirt with the three launch stops in 2025.

I've just found this magazine from Peru in Budapest, only God knows why.

Textual is the journal of the Peruvian National Institute of Culture. Concerned with literature, humanities, and arts, it was published between 1971 and 1975. CEDOC (Centro de Documentación de la Biblioteca Central UNMSM) has digitizations of all ten issues. The logo is based on Amelia, in lowercase letters and with filled-in counters.

Number 9 is dedicated to philosopher, educator and journalist Augusto Salazar Bondy (1925–1974). Display typefaces used in this issue include Michel, Thalia, and Ludlow Garamond. Body text is set in Helvetica and Permanent, with drop caps from Neo Script.

Thalia with enlarged and descending caps

Colophon (left) and a black-and-white version of Salazar Bondy’s portrait as seen on the cover (right)

All-caps Michel and Thalia in mixed case

More Michel caps combined with pre-Columbian symbols

Text in Helvetica is printed on top of the title in reversed caps from Michel

A mix of caps and lowercase letters from Thalia for “Educación”

This creature apparently is a raptorial bird as depicted by members of the Chavín culture

Spread with drop caps from Neo Script

Detail from the colophon, with text set in two weights of Permanent

Rotated Ludlow Garamond for “Bibliografía”

Booklet and communication for the end-of-the-year exhibition of the Typography and Type Design department at Bauhaus-Universität Weimar:

What happens when order is disrupted and decoded? Constantly shifting between control and uncertainty. Join us in the lab and carefully move among tools, lists and handmade code. Here design becomes an act of survival, the showcased works being the traces left behind.

Design and concept by Anni Welz, Lea Sailer, Mona Kerntke, and Yasmina Khalil. The typeface in use is Ufficio Mono.

La Société Bleue feels like an afternoon on the Riviera. The name sets the tone: French, clear, elegant. Blue as a mood, a color, and a symbol. In the branding of the Stuttgart-based brand of cashmere pullovers, this translates into a finely tuned color system based on different shades of blue complemented by gold accents. The colors elegantly convey depth and character.

The logo itself combines maritime lightness with a touch of vintage using Maroni in its Regular weight. It’s complemented by the teckel symbol – abstracted, stylized, as a figure. It appears on labels, clothing, and accessories; as a mascot, key signet, and well-thought-out element in the visual system. The accompanying typefaces are Carta Nueva and Sign Maker JNL.