Rizo Masr’s 2026 Ramadan Emsakeya (إمساكية رمضان) is a foldable A3 Riso-printed monthly tracker. It contains prayer timings, duaas, athkar reminders and habit trackers for the Islamic holy month. The foldable format allows the user to use it as both a practical printable and also a visual asset when it opens showcasing photographs of Cairo Ramadan street decorations and lanterns printed in duotone.

Village Green has designed five typographic posters pairing fonts donated from ten different font foundries to raise funds for War Child UK. The posters are available as limited edition screen prints.

The participating foundries are Dinamo, Narrow Type, Newglyph, Maxitype, Tup Wanders, PFA-Typefaces, D0UBLE ZER0, Comicraft, Blambot, and Rellence (prev. Ultra Kuhl).

From The Brand Identity:

The Font Family project pairs two foundries on each B2 poster, creating bold compositions that loosely suggest human figures. It’s a playful concept that works on multiple levels – these typographic ‘people’ become a family of sorts, just as the foundries, printers and designers collaborating on the project form their own creative community. All profits from the screen-printed editions go to War Child UK.

The technical side shaped the creative decisions from the start. Working with Ricky at Mesh & Blade in east London, the team designed specifically for screen printing’s strengths and limitations. The bold, colourful characteristics were perfect for the process, but it meant thinking differently about colour separation and registration. “We were also keen to get away from our desks and have conversations about finishes, stocks and inks,” Fearn explains. “From a technical perspective, we kept things relatively bold and minimal with high contrast and simplified colour layers, which ensured the designs translated cleanly and consistently at scale.” That hands-on approach reflects something larger about the project’s philosophy. In a world where remote work and digital-first thinking dominate, there’s something refreshing about a project that brings people together around physical processes and shared goals.

Telka and Metaballs

Screen printing at Mesh & Blade

Azurio and Alpenkreuzer / Baikal and Zzzap / ABC Gravity and Damn Noisy Kids / 00 Hypertext Mono and Meilen

Simone donne sa langue au chat unfolded as a four-part event series in Châteauvillain (Haute-Marne, France), within the walls of a former boot factory, once called Le Chameau, now reimagined as Simone.

These events invite a shared, participatory reflection on the status of living beings and the space we allow them, at a time when biodiversity is collapsing under human pressure. Bringing together citizens, artists, researchers, and legal thinkers, the event explores how animals might belong within human communities, through questions of place, proximity, and otherness.

The A2 poster consists of four A4 designs, each able to stand alone. Designed in two colors (plus white background) by Fabrication Maison, it was printed by Lézard Graphique.

Para from Rellence was used for the visual identity of Vor dem Knall, a documentary about the 2017 G20 summit in Hamburg. The typeface gives the project a sharp and contemporary tone that fits the film’s focus on political tension and civic atmosphere.

From The Brand Identity:

The film premiered on April 3rd 2018. Designer Maurice Másson [a.k.a. Maurice Schilling] created the visual identity for the film, which includes posters, title sequences and closing credits.

The Irish Face is a performance developed over the last year as the culmination of Frank Wasser’s artist residency at Tate Library and Archive.

Wasser’s research initially asks how national identity, and his own Irishness, has and continues to be mediated through systems of classification and categorisation, and what kinds of alternative evocations can still emerge. Drawing from narratives and subjects such as Derry’s famed Orchard Gallery, Tate Britain’s location on the former site of Millbank Prison – one of the world’s first panopticons – or representations of Ireland as seen in Dublin’s National Gallery, Wasser creates a counter taxonomy of knowledge, speculating where potential blind spots might lie.

The publication presents a series of photographs taken by Wasser over the last year, each key encounters in the making of The Irish Face.

The Irish Face is made possible through funding from the Arts Council of Ireland and is curated by Michele Horrigan, alongside Gina Moxley.

297×210 mm, 4pp cover on 250gsm recycled offset board, 32pp extent on 130gsm gloss coated art paper, printed full colour, saddle stitched. Edition of 250 copies.

Publication designed by Daly & Lyon using Facility by Malte Bentzen, released by Optimo.

Poster and program flyer for Forum Neues Wetter, a series of talks in Grimma, Saxony, organized by the office for spatial design laufende quadratmeter (lfm2, Christian Göthner) and artist collective Situation Room (Sven Bergelt and Kai-Hendrik Windeler).

DIN A2 (42×59,4 cm), folded to A5, printed with two HKS spot colors.

Custom title lettering combined with the headline typeface Gamuth by Max Esnée and the body typeface Friedl by Camelot Typefaces.

Sutor Basket is the basketball club of Montegranaro, Italy, currently competing in Serie B. Throughout the year, I was responsible for all graphics related to the league season. These included player introductions, fixtures, gameday visuals, score updates, MVP announcements, and more.

In addition to social media communication, a matchday booklet was created for home games. In DIN A4, the booklet included the league table and fixtures of the day, team rosters and upcoming events. It also featured a special interview with a team member.

Cover of the booklet

The publication Parlami d’Amore… is the end result of an anthropologic and ethnographic research on the wedding practices in the beginning of the century. It somehow follows the story of a young girl who is getting ready to get married, describing along the way all the customs and traditions which used to make up the period before and after the ceremony. An in-depth anthropology research has provided both written memories and old photographs coming from a variety of different people, now in their old age, which were collected, studied and eventually published in this small booklet, which was then gifted to all the participants.

For the typography I chose Louise for its resemblance to the handwriting of people in the beginning of the 1900s, with a certain beauty to the trait which was then taught in school. Calvino was then chosen for the entirety of the body text. It's a beautiful font and it reads well. The closed format is A5, printed on uncoated paper by choice. In fact, given that many of the written artifacts collected were on very simple and ready available paper, I felt the need to translate that in the choice of the simplest paper possible.

Contents and prefaces

Poems and pictures

Example of a chapter beginning

Prisme is the graduation project of Laurine Houessou made at ECV Aix-en-Provence. The publication merges scientific research with creative exploration to reinvent our perception of myopia.

The text was written by Houessou and is set using Panama Monospace Regular, with Panama and the White Wild style of Boogy Brut Poster for headings. Images were created experimentally with AI using Midjourney, then refined in Adobe Photoshop.

The main part measures A3+, with A5 green inserts dedicated to the scientific section. Printed on textured off-white + Colorplan Forest papers and bound using Japanese binding.

טראש, or Trash, was created as a central component of Or Shoshani’s final project in the Department of Industrial Design at Bezalel.

The magazine brings together various street actions involving people carrying trash, documentation from an Instagram page, on-site and remote interviews, photographs, reflections, poems, and sketches. In fact, the magazine is the project itself: on one hand, it documents the project and its evolution, and on the other, it disseminates the idea that “there is no such thing as trash,” operating under two distinct roles.

All the content was gathered, edited, and designed into an A4 magazine and printed in 20 copies.

Achinoam Tamar Virt provided artistic guidance and Nitsan Mayost graphic support. Nitsan Mayost, Liron Midani, Yonatan Shoshani, and Yael (a resident of Nachlaot) conducted interviews. The cover image is by Ruth Yarmolinsky. The project was supervised by Maya Ben David and printed at Codaf, Tel Aviv.

(High – Medium – Low Speed)

Produced as a component of the Histoire & Théorie Critique course at the La Cambre Horta Faculty of Architecture, this volume undertakes an exploration of the evolution of the concept of speed in Milanese architecture during the latter half of the twentieth century. The publication comprises three essays that explore pivotal moments in this transformation, beginning with the post-war reconstruction era, characterized by the mass production of standardized buildings, to the protests of 1968, with their radical critique of modernism, and concluding with the 1970s, a period marked by a radical critique of modernism and the use of design as a means of reflecting on and deconstructing consumer society.

The booklet’s central premise – that "we have never been modern" – guides an examination of Milanese architecture's oscillation between the urgency of the present and the search for a lost identity. The concept of speed, understood both as the pace of building production and as a metaphor for progress, emerges as a central theme, shaping and transforming the urban fabric as well as design practices. The result is an original contribution to the history of Italian architecture, offering a nuanced and critical perspective on a period crucial to Milan’s identity and, more broadly, on the role of architecture in contemporary society.

The booklet is printed in folded A4 format and bound with saddle stitching.

2wBOX with silkcreened letters in yellow along with a stamped Y, inside “Cut Up, Random Fragments 1977–1979” by Charles Burns, published in 2012 (2[w] collection, 2wBOX Set Y)

In 1996, two colleagues in Geneva published a fanzine entitled Sûre, one as the author, the other as the publisher. The simply produced comic, a silkscreened cover with xeroxed inside pages, was a success. It sold out prior to the launch party. The team shook hands and parted ways.

A year later, the “dummy” publisher took the opportunity of his visual communication diploma to turn the one-off experience into a fully functional publishing house under the imprint B.ü.L.b comix. Following a thorough economical study of the illustration & comic branch, a pragmatic approach to resources, thus financial means, developed under the influence of hardcore music and DIY (do-it-yourself) spirit. The DIN ISO 216 norm (series A paper formats) and constraints had to be embraced and collections defined systematically, from very small to big: 2[w], 25[w], 40[w], and X[w]. Using a photocopier, five 2[w] mini-comics could be printed on an A3 sheet of paper, 8 pages of a 25[w] book on A4 or 4 pages of a 40[w]. To welcome special editorial projects, such as a skateboard deck, the format of the X[w] was free, or not defined. For bigger-yet-reasonable print runs – allowing covers to stick to silkscreen – offset printing was used.

A light bulb being part of the logotype, watts [w] that usually define the power of light, symbolise sizes in this editorial context. On a historical note, Post tenebras lux is the motto of the city of Geneva in Switzerland.

Typographically speaking, the logotype is also a system. Made of boxes, the two parts can be stacked or horizontally tucked when space is limited, typically on the spine of books. The main typeface used logically from cover to colophon is DIN 1451 Engschrift. Just one weight, no italic. Often the elongated letters were hand-redrawn to give it a craft and lively feeling in tune with the surrounding drawings.

Strangely enough and Gutenberg knows why, Erbar Condensed appears here and there as ISBN and books' reference numbers. Other fonts were featured such as Bryant, FIG Script, Lingua by Eric Olson and released by Process Type Foundry, as well as Nanoscopics Alphabet (turned 3D) by designer Matius Gerardo Grieck, published by T-26. These typefaces are not shown in this post.

Inside the books, illustrators and comic artists, when using words simply drew the letters, ultimately fitting well as a cohesive whole. Worth noting, in 1999 Henning Wagenbreth from Berlin (home of FontFont and -Shop) used one of his digital typefaces, FF Prater Sans, for his 2[w] mini-comic leporello among the 2wBOX Set D.

Over the years B.ü.L.b comix has published 157 books with contributions from 122 authors from 22 countries, often printed in-town, if not, always locally to support the trade.

“Ma rue” by Henning Wagenbreth, published in 1999 (2[w] collection, 2wBOX Set D)

“Invaçion del mar” by Christophe Lambert, published in 1998 (25[w] collection)

“King-Cat collection” by John Porcellino, published in 1998 (40[w] collection)

“catalogue B.ü.L.b comix 1996–2011”, published in 2010 (goodies)

“La librairie furtive de la constellation CX BB LP” poster by Nicolas Robel, Thomas Perrodin, Mathieu Christe, published in 2023 (posters)

This 36-page booklets were designed by French graphic artist Fanette Mellier. From her portfolio page (translated):

In these booklets for the contemporary music ensemble Proxima Centauri, the graphic composition on the cover schematizes the famous constellation, with subtle variations in color scheme.
The photographs are grouped together in a square-format booklet, placed at the head and center of the brochure. The images appear in a subtle shimmer, linked to the metallic pigments in the ink. The play of contrasts, reflections and balance resonates with the artistic approach of the whole.

To compose the text, she used the typeface Album Sans by Thomas Huot-Marchand (205TF).

Swedish studio Bukett Grafik created the identity, signage, and a small catalog for the second round of the exhibition Sopor är bra at Rian designmuseum. In the spirit of the theme, it became a low-tech solution with recycled signage materials and laser prints on colored office papers.

For this project, they used a pairing of Baste (from lift type) for titling and Founders Grotesk Text (from Klim Type Foundry) for text. The Rian designmuseum logo is set in Wigrum (from Production Type).

On the 14th of June 2023, bvh type hosted an event at Floréal Belleville in Paris with the entire team to celebrate the launch of our type foundry and the unveiling of our latest major project: the new visual identity for the city of Chaumont, for which we created a complete type family, Dina Chaumont Text and Dina Chaumont Display.

To mark the occasion, we designed a range of goodies, postcards, stickers, tote bags and silkscreen posters using Dina Chaumont Display and BVH BDot. We took possession of the venue by printing type on A4 and A3 and pinning it up everywhere. Every 15 minutes, the text display on the large yellow wall was changed, line by line, as an evolving implementation of the typeface. We also displayed A4 compositions in the window, playing with the pictograms.

In the basement, bvh type showed an animation of Dina Chaumont Display explaining herself. This short film – created by Bettina Comte, with original music by Hugues Sanchez – was followed by the making of the project and an animation showing the evolution of research into the letter a and the A4 mascot.

The new building of the FernUni Schweiz and the Fernfachhochschule Schweiz (FFHS) in Brig receives a wayfinding. Rooms, floors, floor overviews, and parking field labels were labeled bilingually (German and French).

The signage is based on the DIN paper format (basic format A6). Each piece of information has its own space. This principle allows an enlargement or division of the format as well as an addition or reduction of the information carriers, depending on the requirements.

The uniform materialization blends in with the interior design and furnishings. Birch plywood panels were printed over their entire surface in five different colors, with the typeface (Nouvelle Grotesk) left out and mounted on glass, wood, exposed concrete and steel. Training rooms and parking areas were stenciled onto glass or exposed concrete.

(Text by Bonbon and translated into English)

Marcello Jacopo Biffi teamed with Marsèll to produce the exhibition A is A is A to present a selection of his alphabet designs (Alphabet 1–8) at Marsèll Paradise in Milan. For this occasion, he designed a booklet (A4) that unfolded to a double-sided poster (A1) featuring all the letters on show and containing texts and technical drawings printed on loose sheets of paper. He also published a limited edition catalog collecting in an envelope (C4) the booklet and a replica set of the sheets of paper used to build the exhibition. The texts are all set in Praxis Com Semibold designed by the late Gerard Unger.

Marsèll presents A is A is A
A project by Marcello Jacopo Biffi
08.10.2020–22.10.2020
Marsèll Paradise, via Privata Rezia 2, Milan

Exhibition designed by From outer Space, curated by BRACE BRACE, and produced by Marsèll. With Gabriele Donini (Giga), Michele Galluzzo (Fantasia Type), Nicola Pietromarchi & Filippo Castellano, and Olympìque.

See also the post about the exhibition design.

The exhibition poster uses Alphabet 1–8 along with Maison Neue (Marsèll Paradise’s standard font).

Marcello Jacopo Biffi teamed with Marsèll to produce the exhibition A is A is A to present a selection of his alphabet designs (Alphabet 1–8) at Marsèll Paradise in Milan. From outer Space (Anna Paola Buonanno and Piergiorgio Italiano with Anna Sedino) designed a series of displays using semi-finished wood panels to host the letters printed on A4 paper sheets in various sizes by Marcello Jacopo Biffi. They built the displays without cutting or altering the panels, then stapled the paper sheets directly onto them (for a total of 25 screws, 232 A4 and 464 staples). A double grid system—a combination of square units and the ISO 216 standard—guided the positioning of the letters in the page. All the single page artworks have been generated by simply scaling and cropping one bigger artboard.

Marsèll presents A is A is A
A project by Marcello Jacopo Biffi
08.10.2020–22.10.2020
Marsèll Paradise, via Privata Rezia 2, Milan

Exhibition designed by From outer Space, curated by BRACE BRACE, and produced by Marsèll. With Gabriele Donini (Giga), Michele Galluzzo (Fantasia Type), Nicola Pietromarchi & Filippo Castellano, and Olympìque.

See also the post about the exhibition catalog and booklet.

These three storage boxes of copper by refurnished+ are engraved with Lunica Light and Thin Italic. The boxes come in three sizes: box №1, 90×60 mm for business cards, box №2, 215×77 mm for pencils, cutter, etc., and box №3, 215×154 mm for DIN A5 papers.

Since Lunica is a monolinear typeface, it is ideal for all kinds of engravings.