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.

Title design with Solæ typeface for Alex Van Pelt’s album Cabin Fever. Logotype by Gwennina Moigne and album design by Alex Van Pelt, using Neue Helvetica and two yet unidentified typefaces, a serif and a condensed sans (Kazimir Text and Univers Condensed are similar, respectively).

Until May 2026, the Centro Cultural TCU in Brasília is displaying an exhibition exhibition featuring works by Brazilian artist Tarsila do Amaral (1886–1973). The unprecedented show features more than 60 works, thematic curatorial centres and free educational activities.

Graphic designer Luisa Malheiros chose Maroni’s Regular weight and used it for the interior and exterior signage, as title typeface on the poster, as well as for other communication. The accompanying serif on the poster is Suisse Works Bold, and the sans used for exhibition texts appears to be Suisse Int’l.

Poster for the 10th anniversary of Behind This Wall bar in Hackney, London.

Snap* is more than a newspaper—Snap is a poster, a collector’s item, and a platform for experimentation. Snap does not talk about art, but rather from the perspective of those who encounter it: children, young people, visitors, people. We understand mediation as shared storytelling, as a space for resonance, polyphony, and the sharing of perceptions. Snap makes visible what happens in the spaces in between: a quick whisper behind a hand, an embarrassing slip-up, an unexpectedly good thought, a snap of the fingers.

Snap is designed by Thea Kleinhempel and appears at irregular intervals, but several times a year, and can be purchased for €2. A snap of the fingers.

The program is a collaboration between Kolumba Museum Cologne and the Kinder- und Jugendzentrum Meschenich. Snap No. 1, Dec. 2025, “The Gems” is an edition of 500 copies. The concept was developed by Susanne Heincke.

* To snap (English): The sound made when the thumb and finger (usually the middle or index finger) are rubbed together quickly and the finger snaps away jerkily. It is a gesture used to attract attention, signal an idea, or just for fun. In the film Tongs Untied (Marlon Riggs, 1985), it is a powerful, liberating sign of black gay identity—a short, concise sound with multiple meanings.

1988 poster

A poster promoting the Mike Tyson vs. Tony Tubbs world heavyweight championship boxing match on 21 March, 1988 at the then newly-opened Tokyo Dome. It was designed by John C. Jay, with English-language typography by Neville Brody and portraits by Anthony Russo.

The poster features the initial versions of what would later become the fonts FF Tyson, FF World, FF Tokyo and FF Dome. The Japanese text uses Gona.

Official reissue from the collection The 100 Best Posters from Europe and the United States 1945–1990 (1994)

Detail

Detail

A 1993 poster recreating the typography of the 1988 poster for the release of the fonts by FontShop

The News Movement is a social-first newsroom created for a generation that encounters news incidentally rather than intentionally. Founded to serve audiences who care about what’s happening in the world but no longer engage with traditional news formats, TNM sits at the intersection of journalism, culture and platform behaviour.

Rebranded in 2025 by 20Something, the design uses GT Alpina, Brik (Mike Hill) and GT America.

Front

“My Prerogative” is a single from Britney Spears’ similarly-titled album Greatest Hits: My Prerogative, released on September 21, 2004 by Jive Records. The art direction and design is credited to Jackie Murphy and Courtney Walter, with photography by Kathryn Indiek.

The artist’s name uses Anime Pornstar, a free font created by Jason Harlan of Eternal Maelstrom Studios. The single title uses all-caps Compacta, in an angled box similar to the corresponding album. Other text uses Alternate Gothic.

[More info on Discogs]

Inside

Alternate version

Promo for ReSolute’s 18th Year Anniversary party, celebrated in Paris, France.

A defining force in New York’s underground, ReSolute built its reputation through uncompromising curation, unforgettable warehouse nights and marathon sessions that shaped the sound and spirit of an entire community. Few collectives have managed to remain so consistent, independent and influential over nearly two decades – their impact continues to resonate far beyond their hometown.

This promo is designed by Mălin Neamțu and Dreamrec, to emphasize ReSolute’s New York energy for the fans and public in Paris. To do so, the perfect typogarphic combination and layout to shine for this occasion is Segmentor-03 and Volina. This combination sparks raw energy with grace and hi-end glow to underline the event's energy.

See the original promo video below, or watch it on Instagram.

HOMI (Christian Hofer & Lea Nathalie Michel) used James Stencil to design the visual identity for the Gib Stoff! exhibition, including poster, flyers and booklet. Gib Stoff! showcases recent textile works by Swiss designers Stéphanie Baechler, Christoph Hefti and Sonnhild Kestler. The exhibition is on view at the Gewerbemuseum Winterthur. The accompanying sans is the museum’s standard typeface, Messina Sans.

From BOM DIA BOA TARDE BOA NOITE:

With contributions by Adam HajYahia and Haitham Haddad, Deena Abdelwahed, Laila Hida with Amine Lahrach, Mohamed Abdelkarim with Abla elBahrawy, Nadah El Shazly, amongst many others, this cookbook includes recipes chosen and prepared by the artists in an intimate setting, coupled with stories both personal and about their art practice.
Adapted from its namesake online program produced by Mophradat from 2021 to 2023, this book is a celebration of the varied cuisine of the Arab world and its relationship with inherited food practices and the cultures of cooking and talking about food.

The bilingual book (Arabic and English) was edited by Mai Abu ElDahab and Reem Shilleh who also wrote the texts. Yasmine Haj provided the translations. Jenifer Evans, Ahmed Wael, and Yasmine Haj were responsible for proofreading. Cecilia Murgia and Manuel Raeder of Studio Manuel Raeder took care of the design. The publication is bound as soft cover with flaps. It has 288 pages and measures 125×175 mm.

Lentil Space. Recipes from Artists’ Homes was co-published by Mophradat and BOM DIA BOA TARDE BOA NOITE. ISBN: 978-3-96436-084-7.

The lyrics video for “Down in Atlanta” pairs moody nighttime visuals with bold typography set in Sequel Sans Wide Extra Black from OGJ Type. Rendered large and glowing with a neon effect, the letterforms pulse against scenes of downtown Atlanta, echoing the track’s late-night energy. The combination of scale, glow, and motion turns the type itself into part of the rhythm—sharp, heavy, and unmistakably urban.

Knockoff is a zine about bootleg products. It was Risograph printed at the Weißensee Kunsthochschule Berlin in Berlin, in January 2024.

Photo: Florian Hardwig. License: CC BY-SA.

Gates of Fire is a novel by artist, film maker and author Elwyn Chamberlain (1927–2014), originally published by Grove Press in 1978. Shown here is the cover of Heyne’s German paperback edition, translated by Ingeborg F. Meier. I haven’t read this free library find, nor does the cheesy blurb (“Laura’s spiritual and sensual adventures in the land of the gurus”) tempt me to do so.

The cover typography is outstanding, though. The main typeface is ITC Serif Gothic Heavy, with its alternate form for E, and customized glyphs for F, S, and P (the latter being made from a D). The designers of Atelier Heinrichs & Schütz arranged the letterforms on a bouncing baseline, echoing the German title (literally “Jumps of fire”), with the U and Ü in the center of the two lines aligned to each other.

The secondary typeface is the rarely seen Poppl College, or, more precisely, the Bold weight of College 2, which is distinguished from College 1 by swashy caps. It was released by Berthold Fototype in 1981.

Photo: Florian Hardwig. License: CC BY-SA.

Its design – a monolinear italic with rounded terminals – and also the family structure with a second set of caps remind me of Loreley & Loretta. This double family came out a few years earlier, in 1977 (Loreley) and 1979 (Loretta): Georg Salden designed it for the exclusive use by members of the GST-Kreis, a group of phototypesetting studios.

Did Berthold commission College from Friedrich Poppl as a follower of Loreley & Loretta, so that they could offer something similar to their customers as well? Berthold and Salden weren’t on best terms after the Berlin type company messed up the production of Daphne in 1970. Salden later quoted the experience as one of the reasons why he decided to publish his fonts independently.

On the MyFonts page, Monotype (who since 2022 claim the rights to the Berthold library) state that “Poppl College was designed by Friedrich Poppl for Berthold in 1974.” However, period sources like Berthold’s 1982 and 1985 catalogs give a 1981 date. Berthold’s 1988 trademark filing likewise states that Poppl-College was first used in 1981.

Photo: Florian Hardwig. License: CC BY-SA.

A comparison of Loreley with Loreley leicht (top) and Poppl College 2 Bold and Regular (bottom)

Whatever Berthold’s commercial motives were, Poppl’s design is a distinct one and different from Salden’s in several aspects, from the overall narrower and more formal shapes to the round instead of angled entry and exit strokes. In many regards, College is a low-contrast derivative of Poppl-Exquisit from 1970, see a comparison on Identifont.

As a long-awaited rematch to their July 2024 clash, former champion Kazuto Ioka once again stepped into the ring with Fernando Martínez, fighting for the WBA Super Flyweight title. After twelve hard-fought rounds, Ioka fell short, with Martinez securing a unanimous victory and the belt.

We created the key visual and poster design for ABEMA, the major Japanese streaming platform that broadcasted this event. The campaign title, “The Great Revenge,” captured the intensity and anticipation surrounding the showdown between these two world-class fighters.

The poster design leaned heavily on Big Caslon but also incorporates STIX for the date (12.31) as deliberate cohesive accent . A customized Sloop Script for “The” introduces contrast while simultaneously tying the composition together, giving our work a distinct and artistic, yet unified, design.

The masthead in Honda debuted in Issue 27 (vol. IV, no. 1). The secondary typeface is ITC Souvenir.

Debuting in 1976 as The Dragon, the magazine was variously also known as Dragon Magazine and Dragon. It was (or became) TSR’s monthly magazine in support of the immensely successful table top role-playing game Dungeons & Dragons in its various editions and successors, as well as other RPGs (published by TSR and others).

Dragon launched with hand-drawn lettering for its masthead (and a very zine feel), but from issue 27 (July 1979) onwards the masthead for The Dragon was set in ITC Honda. Honda, or lettering based on it, was used for the masthead until issue 274 (published in 2000). A redesign that starts with Issue 181 recreates the masthead with a stretched lettering, still base on Honda. Another redesign based on Honda again begins with issue 225 (see below).

Issue 204 has the surtitle “American gothic humor in gaming”, a dropped D in Dragon, and an airbrushed cover that is a pastiche of Grant Wood’s American Gothic. The man is wielding the traditional pitchfork (a trident), but now both figures are wearing merchandise tee-shirts: TSR (the owners of Dungeons & Dragons) for the man and Dragon for the woman (in, of course, Honda). The woman offers the traditional stern look and a set of polyhedral dice.

Issue 225 (January 1996) marks another redesign of the masthead, but still based on the Honda font: modelling the lettering in 3D and on a curve. This issue also introduces what I might be tempted to call “1990s DTP style”; that is, many fonts and colours and angles brought together with exuberance. I have peeked into the covers of the next few issues and can report that this style continues. The font choices, or at least the ones I can identify, for issue 225 also have a very 1990s vibe: stretched and rotated Helvetica Black Oblique for “Building a Better PC”, stretched Lithos with a shadow for “I’m OK, You’re One Dimensional”, Tekton with an offset shadow effect for “Back In The Saddle (Again)”, Omnia (with a scaled “the”) for “the greyhawk grimoires”, and stretched Charme for “Campaign Classics”. Issue 273 from July 2000 was the last to feature a logo based on Honda.

Issue 37 ft. a logo with flat fill and thin contour

Honda also used for the secondary text here, with the flying frogs aka Awful Green Things, in their own box, so the text is over a flat background.

The colour of the masthead changes from issue to issue, often to suit the artwork. Here picking out the Dragon’s eye and the harpist’s highlights. Secondary type is in Baskerville AI.

“Dragon” in outline only, over the artwork, for a sort of transparency effect. Secondary type is in ITC Zapf Book.

Starting with Issue 128, the word “Magazine” was added to the logo, shown in tracked-out caps from Eurostile Bold Extended.

Since Issue 181 the Dragon masthead is stretched into custom lettering, but still based on Honda. A gradient fill and a shadow also become part of the masthead. Illustrated here in Issue 204, about which I’ve said more in the text. Secondary type is in Antique Olive.

Flashy redesign debuts in Issue 225. The stretched “Dragon” masthead is back to more conventional Honda, but modelled in 3D.

Nagle, ostatniego lata is the Polish title of Suddenly Last Summer, a play by Tennessee Williams. Under the direction of Michał Borczuch, it was performed at the Nowy Teatr in Warsaw. The first performance was on June 6, 2025.

The photograph of the poster is by Zuza Krajewska.

La Place des Femmes (“The Role of Women”) is an event organised by MESHS (Maison européenne des sciences de l’homme et de la société) in the north of France during the “Spring of Human and Social Sciences”. This event features conferences and panel discussions on topics within the human and social sciences. For this edition, the visual questions the invisibility of women in society through a play on transparency, achieved by spot varnish.

A forty-page, large format algorithmic broadsheet publication to mark twenty-five years of brendandawes.com.

Since 2000 brendandawes.com has been my corner of the web where I share my work, code, process and observations to the outside world. It’s a place of 
experimentation and place which I own and control without the external 
interference of corporate algorithms or the pressures of social media.

 This publication is a celebration of that space, hi-lighting some of the work I’ve 
created over the years. 



This forty-page broadsheet publication features algorithmically made “sculptures” which act as visual souvenirs of some of my projects over the years. Rendered over the top in the Warbler typeface are haikus, made by feeding the project text into a locally running large language model. The compositions are created in TouchDesigner.

I use both Warbler and Lab DJR on my site and love them equally. There's something about Warbler which seems to speak of a softer, calmer time.

A poster using Signal Compressed by Production Type to combine EXPO and Parade. The exhibition will present the graduation projects made at Design & Art School Kortrijk (DAS). Other text is in RM by Mash Creative. The photo is by Nataliia Martynova, a student at DAS.