“Giorni d’Estate” (in English: “Summer Days”) is the theme of the 2026 edition of Estate Fiorentina, the City of Florence’s summer cultural program. The visual identity was designed by Giovanna Cianciarulo, a Graphic Design Master student at IED Florence. Developed with the support of AI-based creative tools and later expanded into a series of animated applications by the Florence-based agency Flod.

The city itself never appears directly. Instead, Florence is suggested through an almost imperceptible presence: its silhouette stretches across the landscape like a gentle shadow; the kind of shade sought and appreciated during the summer months, offering relief without diminishing the light.

A key element of the identity is Crescendo by Zetafonts. Its geometric construction, generous proportions, and open letterforms establish a deliberate dialogue with the artwork. The expansive counters and airy structure of Crescendo visually echo the idea of an open field, helping to create a sense of freedom and accessibility throughout the campaign. In the campaign, Crescendo is paired with an unwarped style of Tilt Warp from Andy Clymer, used for the URL. The “Estate Fiorentina 2026” logo uses stretched caps from a bold weight of Source Code.

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

When the Chief Justice of India compared the unemployed, lazy, chronically online youth who rant against the system to cockroaches (a comment which he retracted later), Boston University graduate student Abhijeet Dipke, with help of anonymous friends and ChatGPT, made a satire political outfit named Cockroach Janta Party.

Within a week it became world’s fastest growing online political movement, gathering hundred thousand signups in website and 20 million followers in Instagram, surpassing India’s ruling Bhartiya Janata Party and main opposition party Indian National Congress combined. Its AI-generated videos and meme content caught the fancy of GenZ of India. Government crackdown in form of blocking its X handle for “threat to national security” also helped in its popularity.

L’appartement. Architectures du collectif is an exhibition presented from April 3 to June 6, 2026, at CAUE92 in Nanterre, France. From the gallery (translated from the French, with added links):

The exhibition highlights a remarkable collection of apartment buildings from the second half of the 20th century in the Hauts-de-Seine department. Underrated, even overlooked, these buildings form the more or less ordinary backdrop of the cities where so many of us have come to live. Yet to preserve and pass them on, we must first come to know them. Delving into the most intimate corners of these homes, the photographic project commissioned from Myr Muratet documents five inhabited buildings by architect Jacques Kalisz in Nanterre, and sensitively portrays an “extraordinary ordinary” that reveals the diversity of interiors and ways of living. In contrast, the refrigerators by Japanese artist Tokuko Ushioda radically condense domestic life in its most commonplace form. Finally, the exhibition launches a documentary, graphic, and digital project with the Atlas of Collective Housing in the Hauts-de-Seine (1945–2000), intended to establish a collection of residential architecture, a resource for all those interested in architecture.

Lyon-based studio Service Local used Install for the typography, supported by Neue Haas Grotesk.

N’de Jos’r is the thesis project of Gabriele Falcinelli (MA in Illustration, ISIA Urbino, March 2026), a work that sits between anthropological analysis, field research, and archival investigation. At its core is the Carnival of Putignano (Italy), observed not as a simple folkloric event but as a complex cultural device, layered and deeply rooted in the social dimension.

The theoretical framework, drawing on Mikhail Bakhtin, Arnold van Gennep, and Victor Turner, does not remain confined to a purely academic level, but translates into a concrete practice of in situ research. Falcinelli literally goes n’de jos’r (i.e. “inside the house” in the Putignano dialect), entering the domestic and private spaces of the festival and adopting an internal point of view that allows him to present carnival as a lived experience rather than a represented one. The result is a research publication that is dense yet accessible, where heterogeneous materials – texts, archival images, interviews, and illustrations – are organized into a solid structure capable of sustaining the complexity of the subject without becoming heavy.

This first artefact is accompanied by the illustrated leporello U Ndond’r (a dialect term evoking a swaying, unstable movement typical of a crowd in a state of collective euphoria), which performs a significant shift: from documentation to staging. Here, carnival is translated into a continuous processional dimension, an allegorical sequence that condenses symbols, rituals, and figures into a single visual narrative. The format itself – expandable and non-linear – becomes a narrative device consistent with the idea of a collective and chaotic flow that characterizes the final ritual of the Carnival.

It is, however, on the typographic level that the project reveals one of its most interesting aspects. In the research publication, the pairing of Forma DJR Text (by David Jonathan Ross) with Graphique Pro (by profonts) establishes a controlled balance between an academic register and a contemporary openness. Forma is used rigorously and consistently as the backbone of the text: a discreet presence that ensures readability and stability throughout the editorial structure. Graphique Pro, on the other hand, introduces a more pronounced variation, helping to define hierarchies and moments of discontinuity. The system works precisely because it maintains a clear distinction between these two levels, avoiding overlaps or ambiguities.

The leporello U Ndond’r features, on its front side, a screen-printed illustration of a procession in which the various symbols of the Carnival parade: from the arrival of the relics of Saint Stephen, through the Carnival Thursdays, the parade of floats, and the final rites, interspersed with iconic characters and events, including the many interpretations of the Farinella mask.

On the reverse, a text provides further insight into the history, rituals, and key figures of the Carnival of Putignano. This is accompanied by archival images reworked from those represented on the front. The project is thus structured on a double level, where visual synthesis and documentary depth coexist without overlapping.

Within this framework, Sole Sans and Sole Serif (by CAST) support the informational layer with a measured use, ensuring clarity and continuity without competing with the illustrative component, which remains the primary narrative focus.

In the confetti packaging, Falcinelli uses AM Assab (from the Alfabeti Modernisti collection) based on a direct association between typographic form and object: the character’s simple, geometric shapes echo the small, serial nature of confetti, establishing an immediate visual correspondence.

On the cover, a custom lettering designed by the designer appears, explicitly inspired by the one created by Mario Cresci in 1976 for the book Isabella Morra e la società meridionale del Cinquecento by Giovanni Caserta (Edizioni Meta).

Overall, the thesis project demonstrates a solid methodological awareness and the ability to hold together research, narrative, and design. The typographic choices fit coherently within this framework, avoiding obvious solutions and contributing to the definition of a layered yet controlled visual language.

The cover for Isabella Morra e la società meridionale del Cinquecento by Giovanni Caserta (Edizioni Meta) was a reference for Falcinelli’s lettering.

Ngon is a strategic and culinary agency based in Paris. Their website pairs Gaya (in roman and italic) with Bricolage Grotesque. From the About page:

At Ngon, we cook ideas like recipes—mixing strategy, creativity, and care to serve brands that leave a lasting taste.

In Vietnamese, “ngon” means delicious, but it is also about anything that feels good and sparks pleasure.

Say “It’s ngon!” or “C’est ngon!” and you’re not just talking taste. You mean it’s a feast for the eyes, a hug for the senses, and a moment you want to replay over and over.

At Ngon, we bring that same dynamism into our work while seasoning it with intention, flavor, and authentic sensory detail — because every project should satisfy like a perfect bite.

Visual identity for the second season of La Trinité, the result of a collaboration between Le Concert de l’Hostel Dieu and Superspectives, brought together within the Lyon Trinité Musique association. Together, they inaugurate a new stage dedicated to baroque and irregular music, set within the historic setting of the Chapelle de la Trinité in the heart of Lyon.

This season, nature emerges as a guiding thread. A sensitive presence—by turns flamboyant, silent, untamed, or amorous—a living material that resonates throughout the chapel over the course of the year.

The palette, reduced and saturated, deliberately breaks away from the traditional codes of baroque music, asserting the bold momentum of this first season under a new artistic direction.

The arch, the central motif of the new visual identity, unfolds through its various applications. It embodies La Trinité’s ambition to create a dialogue between early repertoire and contemporary creation.

The team comprised Alain Papazian (art direction & graphic design), Anthony Couret (web), and William Sundfor (photography). The fonts used are EK Roumald with EK Roumald Mono (Erkin Karamemet), AC Modern Gothic (AllCaps), Mercure (Abyme), and Ready Active (Plain Form). Imprimerie Chirat provided the printing.

Campaign graphics for Oatly’s Bar Ista campaign, with art direction and design by Codea Studio.

The visuals channel DIY rave–flyer energy: high-contrast neons, stacked type and chaotic layering. The logo lettering uses Offset TM by Type Mania alongside Sloop Script by Richard Lipton and ITC Garamond. The result sits somewhere between corner-shop signage, underground club poster and contemporary FMCG branding.

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.

Stéphanie Desjeunes is responsible for the visual identity and artistic direction of the 2025 edition of Départ d’Incendies, a performing arts festival in Paris, featuring theater, dance, and contemporary circus.

The visual system is based on a series of illustrations and Tartuffo (from Lift Type) and its ligature system.

To accompany the creation of the Établissement public national du Mont-Saint-Michel, Graphéine designed a visual identity intended to give a clear and lasting form to a previously fragmented governance. The challenge was to move beyond the saturated “postcard” imagery of the Mont while preserving immediate legibility for a site welcoming over 2.5 million visitors each year. Rather than adding another figurative symbol, the project is built around a typographic logotype conceived as an image in itself, where the name becomes the place. This choice places typography at the very heart of the identity, not as a simple graphic layer but as a true narrative foundation.

Within this framework, Blaze Type was commissioned to develop an original typeface based on the drawing of the logotype. Its references draw on the medieval scripts found at the Mont – Carolingian and Gothic – reinterpreted through a resolutely contemporary language. The verticality of the letters echoes the upward thrust of the abbey, while certain forms subtly recall ancient manuscripts without ever slipping into decorative quotation. Blaze Type’s work thus seeks a balance between historical heritage and modern efficiency, resulting in a typeface that is expressive, readable, and capable of structuring the entire identity.

Beyond its design, this typeface plays a central role throughout the visual system. Deployed in several weights and conceived to stretch vertically, it extends into use what makes the logotype distinctive: a form of writing designed to rise, to converse with the architecture, and to open the gaze toward the landscape of the bay. Typography thus becomes far more than a functional tool: it sets the tone, establishes a restrained elegance, and connects the heritage of Mont-Saint-Michel with a contemporary graphic vision. A collaboration that aptly illustrates the strategic role a foundry like Blaze Type can play today in shaping public identities.

The typeface’s scope with five weights and three widths, or heights

Glyph set with stylistic alternates

Emcee Studios – stylized as emcee – is a lifestyle and fashion platform built for discovery. Their mission statement is “social commerce powered by people”. The branding was designed with Richard Turley and Echo Wu of FOOD. Focal Maxi was originally commissioned as the workhorse typeface in their new brand system, across web and app and some in store. Focal Maxi works along a custom headline typeface based off the logo that is sparsely used. 

Design for the portfolio website of Joe Garner, a multidisciplinary web designer from California.

The website is set in Right Grotesk and Right Didone by Alex Slobzheninov, and Playground​​​​​​​ by Francesca Bolognini and Mat Desjardins, all distributed by Pangram Pangram.

Posters for the 2025 Awards Gala of the Quebec Writer’s Federation (QWF). The edition’s theme was “Literary Greats”.

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

Visual system and communication elements designed by ESIETE, for the 2025 Fitness Festival campaign on the occasion of the Mercè festivities. Under the slogan “Uneix-te al Flow” (“Join the Flow”) the campaign revolves around a dynamic flow of colors that symbolizes energy, movement, and unity, running through all graphic pieces and conveying the vitality and collective spirit of the event.

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

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

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

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

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

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

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

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

Improv Regular, contoured and set on a curve, for a touch-and-feel book by Tom Arma, “the most published baby photographer in the world”:

Look who’s all dressed up for their very first Halloween: a baby jack-o’-lantern with a satiny costume, a pint-sized sheriff with a shiny star badge, a queen with a velvet robe, and a ballerina with a lacy tutu!

Studio Asensò chose the typeface Retiro for Vivre à Valras-Plage, a free magazine about tourism, food, wine and culture. With its different variants, ligatures, and raised letters, Retiro strengthens the notion of the Mediterranean terroir specific to this region.

The text typefaces are Adobe Garamond and Gotham. Section headers use Selfie, and Reina features for some headlines. The title and number on the cover are in TT Bluescreens.

Cover for no. 06, 2016

Spread from no. 06, 2016

Spread from no. 06, 2016

A pocket-size publication designed by Claire Huss for Le Stresa, an Italian restaurant in Paris, showing a selection of messages carefully chosen from the restaurant’s guestbook between 1989 and 1996.

Festes de Vallcarca is a returning food and drinks festival in Vallcarca, a Barcelona neighbourhood in the Gràcia District. It is organised by the bar La Dolors. Both bar and festival use Sisters as their brand typeface.

Since 2019, the Domaine de Roueïre has hosted exhibitions as part of the Sud-Hérault cultural season. In June 2025, following major renovations, it became Roueïre, Centre d’Arts & du Patrimoine – a space where historical heritage and contemporary art meet.

The name Roueïre, derived from rouvre (“oak”), reflects the Hérault roots. The unique spelling and rolled R emphasize its strong local identity. Roueïre is a vibrant hub for reflection, exchange, and creativity. By linking past and present, it promotes regional heritage while showcasing the cultural richness of Sud-Hérault.

Created by French graphic design Studio Asensò, Roueïre’s graphic identity aims to embody the place, both in its history and its future. It is based on a strong logo, inspired by the diaeresis in the word “Roueïre”, which has become a narrative and symbolic sign, evoking barrels, a watchful eye, and a link to be woven. This living, plural identity links heritage and contemporary creation.

The stencil version of Halvar echoes the history of winegrowing and human traces. Its openings symbolise the bridges between generations, nature and culture.

The signage trail begins near Roueïre, at the main road and parking lot, continues along the dirt track, guiding visitors up the stairs to the main entrance leading to the sign, and ends inside the Centre d’Arts, where typography and pictograms take shape.

The guidance system is also based on Halvar Stencil and the use of stencils, a tool that can be adapted to both traditional techniques (such as painting) and more recent processes (adhesives, printing). The regular Halvar is used as supporting text typeface.

Text via Studio Ansensò, see their series of Instagram posts.

Studio Asensò created a Normograph-like lettering guide for Halvar Stencil as well as stencils so that they could reuse it as tools.