Published since 1994 by Cnap, Graphisme en France is aimed at graphic designers, clients, and students. Each edition explores a theme in graphic design through a variety of perspectives.

This 32nd issue is devoted to the book, a central object in the practice of graphic designers: a source of inspiration, a tool for communication, and a space for experimentation. Through complementary approaches, the collected contributions examine the book in its most minimal forms, its materiality, its modes of circulation, and the uses it inspires.

• Gabriele Čepulytė, researcher and educator, explores the minimal forms of the book and demonstrates how its materiality plays a full role in the production of meaning
• Vincent Tuset-Anrès, graphic designer, publisher, and curator, shares his research on publishing in Japan, spanning production, distribution, and uses
• Jérôme Knebusch, designer, publisher, and lecturer-researcher, reflects on his interest in small-format publications and their power of dissemination

The graphic design for this issue was entrusted to me, Sarah Fenrich , a graduate of the École européenne supérieure d’art de Bretagne (EESAB). In keeping with the theme, I have created a publication that reveals the book’s various sensory dimensions: a perforated, removable cover; a layout that takes into account the diversity of the texts; and a design that is sensitive to both reading and handling.

The typefaces used are Louize, designed by Matthieu Cortat, distributed by 205TF; Venus+ Acier, designed by Jonas A. Renaud, distributed by U+270D; Hiragino Mincho and Hiragino Kaku Gothic by Jiyu-kobo and distributed by Screen Graphic Solutions Co. The cover lettering uses a modified Dot Preschool from Beta Dine.

The book was printed by Média Graphic.

For Glasgow’s TRNSMT 2025, Alias Ano is used for the logotype and Instagram-friendly graphic posters. Ano is also used across the website and social media.

DJ Charlie Hedges

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.

Farta (“plenty”) is an independent, biannual publication that highlights the value of traditional Portuguese food. Positioned between a magazine and an artistic platform, it focuses on everyday recipes deeply rooted in local culture but often overlooked by mainstream media.

Each issue centers around one iconic dish, the first being the francesinha, and explores it through articles, essays, photography, design, and artistic collaborations. The goal is to understand not just the recipe, but the people, rituals, and stories around it.

The publication treats food as a cultural expression, something that unites communities and defines identity. It invites participation, encourages dialogue, and promotes the richness of Portuguese culinary traditions.

Visually, Farta combines bold editorial design with artistic elements: custom illustrations, photography, and objects like ceramics, all crafted to celebrate food in a tangible, aesthetic way. For the logo and title of the publication, they chose TroisMille by Marc Rouault available at Sharp Type, a typeface that’s friendly, visually striking, and instantly recognizable. Inside the publication, the team opted for a thoughtful pairing of two typefaces. Stratos from Production Type, a sans serif with a subtle condensed feeling, thanks to the pill shape of its uppercase letters, and a yet unidentified classic serif that brings a timeless, editorial tone (Sentinel, Sebenta, and CoFo Robert are similar).

Concept by Another Collective / Rafael Tonon. Art direction by Bruno Soares and Eduardo Rodrigues, with design by Eduardo Rodrigues and photographs by Álvaro Martino. Ricardo Barbosa handled the project management.

Faune by Alice Savoie and Knif Mono available at A is for are used for the identity of Giovedì, an Italian-Asian restaurant in Honolulu, Hawaii.

The visual identity was designed by Onward Creative who write:

Located in the historic heart of Honolulu’s Chinatown, Giovedì offers a unique fusion of Italian classics with Asian-inspired flavors. Created by acclaimed chef Bao Tran and partner Jennifer Akiyoshi, this multi-room dining destination features a vibrant central bar, indoor seating, and a charming patio. The name, meaning “Thursday” in Italian, pays homage to the weekly dinner parties the duo hosted in New York on their one night off—where many of the menu's signature dishes were first conceived.

The logotype was meticulously customized from the Holise typeface by Inès Davodeau. Leveraging the natural symmetry of the central V, Onward skewed the O and E to create a dynamic visual balance.

The Chinese typeface used for the stacked letters next to the dragons is yet unidentified.

The Baugewerbliche Berufsschule Zürich (BBZ, “Zurich Construction Vocational School”) trains young people who will plan, draw, construct, and install buildings in the future.

Swiss design studio mdbuero applied Maxeville Bold and Construct throughout the building. The signage reflects the educational program of the training center and finds a creative response. The construction of the lettering was not hidden, but intentionally left visible or staged. The signage elements, in terms of material and color, are in dialectical interaction with the architecture. The lettering elements are made of raw, natural materials and contrast with the support system, which has been refined with a powder coating and colored accents.

The individual letters of the exterior signage are deconstructed and located in individual parts on different levels. This playful solution subtly focuses on the lettering technique without compromising the communication of information.

The fall exhibition of the first-year MFA students of the Yale School of Art 2022 was held under the name Blanket Statement. The visual identity and the exhibition were designed by then-students Osvald Landmark in collaboration with M.C. Madrigal, using TWK Everett Regular by Nolan Paparelli throughout. From Osvald Landmark’s website:

The exhibition design uses typography and symmetric lines to populate and transform the transparent surfaces of the gallery and in turn the architecture itself. By masking and de-masking the surfaces, the design areas act not only as screens, but rather as matrices. A matrix is a concept and means of transmission very familiar in graphic design, namely in print processes: A physical surface that can be manipulated to hold ink, which is then transferred to paper through a reversal. Most, though not all, matrices are able to print the same image many times.

Creating matrices are laboursome work which in turn enables very efficient reproduction techniques used in mass communication to this day. Even our LED screens can be seen as matrices of light. They form an illusion of shared orientation; imagine instead if your received texts arrived in reverse. Our perception of the world is that things have an inside and an outside or a front and a back, but how about typography?

With the design we wanted to expand the moment of shared meaning using the contact between subject and matrix as a metaphor for pure and invisible transmission (no one can ever witness it actually take place). Locating moments of mutual non identification can be the first step leading towards communal understanding, as we need to accept that we do not see the same thing even though we are looking at the same thing.

“I have been passing through this building, looking at the shadows, mulling over the absurdness of the imaginary line that sits in-between architecture and graphic design.”

The Hydraulic Heritage Interpretation Center of the Colony “Claritas Iulia Ucubi” – Casa del Agua was created to highlight the historical connection between the town of Espejo and water.

Designed by Revel Studio, the visual identity inspired by the peak period of hydraulic system development: the Roman era. Typography, textures, inscriptions, columns, vaults, and capitals shape a unique and versatile visual universe that adapts seamlessly to different formats while maintaining its identity.

The exhibition is housed in the town’s former water reservoir. The design approach focused on adapting panels and display areas to the circular layout, optimizing the limited space for a balanced, accessible, and easy-to-understand experience.

Typography is set in Romie Regular and Italic (designed by Margot Lévêque).

Loving the typeface used on this residential building, the stencil design adds a bold industrial edge, which is a perfect mix of modern and historic charm.

Britannia Mills is a development project in Manchester’s Castlefield neighbourhood.

Dates Doors Then & More is an art project led by John Fekner and Brad Downey in the autumn of 2022, following an invitation by Lunds konsthall. In this project the artists reactivated some of the artworks created by John Fekner in the 1970s and the 1980s. Most of these artworks are unauthorised street stencil paintings made in the streets of Lund. The book is a rendition of this project, featuring interviews, essays, and a large iconography.

To remain conceptualy close to the project, Matthias Hübner designed the cover as a stencil, using the Constructed version of the typeface Chantier (with its own version of the ampersand). The texts, titles and credits are typeset in Chantier Regular and Italic, supplemented by the monospaced version of Timezone.

From the website of designer James Gulliver Hancock:

Children’s museum exhibit exploring the history and future of transportation. Including touchscreen wall animations and physical interactive play areas. Fully illustrated and built in partnership with the Museum of Sydney.

This educational exhibition uses the Sofia Pro type family for its panels, along with the softer-edged Sofia Soft, designed to appeal to children and raise awareness about transportation.

Linotype Russisch Brot is one of the fonts used alongside Sofia Soft in the exhibit.

Hi Lab is a cannabis brand based in Vevey, Switzerland. In contrast with their natural product, they went for a minimal black-and-white branding and packaging design. The only eccentric details are the tilted baselines of the wordmark and the font used for the whole, NaN Fiasco, a geometric sans with voluntary inconsistencies giving it some vividness.

Every packaging features the mandatory health warning set in Neue Helvetica LT 75 Bold. The font choice is prescribed by the Swiss law:

[…] en caractères Neue Helvetica LT 75 Bold, en minuscules, sauf pour la première lettre du message ou lorsque l’orthographe l’exige

Unofficial English translation:

in the Neue Helvetica LT 75 Bold font, in lowercase, except for the first letter of the message or when the orthography needs it

Everyday Practice designed the Sustainability Management Report 2023 for LG Chem:

The cover, which has a number bar indicating numbers from 100 to ZERO and a title, has an interaction where green rises behind the cutting area through the action of pulling out the protruding insert on the side. Eco-friendly paper was used in line with the theme of the book, which talks about the environment , and chapters were distinguished by utilizing the format and special colors.

Alias AnoStencil is used for cover type. Additional typefaces include Pretendard and Sandoll GothicNeo for Korean and ABC Diatype Mono and Neue Haas Grotesk Text for English text. The full report is available for download from LG Chem.

Ludothèque Saint Nicolas is a game library located in the Centre Commercial Saint Sébastien in Nancy, France. The visual identity and signs were designed by Guillaume Lab.

The typeface Orientation, originally designed for signage, is perfectly used as a stencil. Its geometrical aspect is adapted for this playful place.

Conception and realization of the furniture by Caroline Leloup and Camille Tourneux.

From The Modernist Collection on Facebook:

In the early days of commercial air travel, individual airlines had their own storefront ticket offices in large cities. In 1971, Air France opened this location on Fifth Avenue in Midtown Manhattan, designed by interior architect Pierre Gautier-Delaye. The dimensional signage is carved into the stone facade – if you look closely you can see thin support rods holding up parts of the letterforms. Inside the front door is a model of the faster-than-sound Concorde, which had just begun test flights in 1969.

While the office was designed by Gautier-Delaye, Air France’s visual identity was developed by Roger Excoffon, who served as the airline’s art director since 1956. The wordmark that was used until 2009 is based on his Antique Olive Nord.

Description of the project by designer Stephen Barrett:

Identity, graphic design and wayfinding for West Quay, a placemaking and public art project in Poole, Dorset, in collaboration with architects Dallas—Pierce—Quintero.

The visual identity draws upon the local area’s history of manufacturing, from ship building, ironmongery and beer brewing, to pottery, tiles and pharmaceuticals. The typeface Rauschen [A and B] by Out of the Dark was used throughout with the logotype and headings set in Rauschen Max. The typeface's machined aesthetic and assortment of abstract characters evoke the visual qualities of workshops, machinery, tooling and metalwork.

Working closely with DPQ, we designed a series of information boards using a modular system of printed ceramic tiles, allowing for a variety of configurations of images and text.

Photography: Jamie James
Client: Dallas—Pierce—Quintero, BCP Council

Provocações Criativas (“Creative Provocations”), written by Diego Piovesan Medeiros, is a book filled with inquiries, restlessness, and pathways, aiming to make life even more inspiring and creative. The purpose of this book is to incite creativity, generating restlessness and questions, leading the reader to reflect, question themselves, take notes, and then resume reading, progressing chapter by chapter.

The cover features a cutout finish on the letters that make up the word "creative." As a result, the background of the book's front flap creates an effect, and each book can be customized with sheets inserted into this space. The postcards accompanying the book have one side multicolored and the other displaying the names of over 220 individuals and companies that contributed to the book's creation.

The book was entirely printed using two spot colors (purple and green). This choice allowed for the presence of colors on every page while staying within the budget. This graphic limitation also influenced the style adopted for the illustrations that introduce the chapters.

The layout of the content was designed to provide a dynamic reading journey, featuring titles, subtitles, highlighted phrases, and prominent quotes. The single-column text grid offers margins that afford the reader a comfortable holding experience and the opportunity to make notes.

To highlight and promote Brazilian type design, all the typefaces used in the book were created by Brazilian designers: Noka by Blackletra; Redonda from Plau; and Lembra, designed by Fabio Haag Type.

Each chapter starts with a provocation and a collage-style illustration, a visual technique that mirrors the creative process itself, composed of combining references from a repertoire. At the beginning of each chapter, a question is posed to encourage the reader to introspect even before the proposed inquiries of the chapter. It concludes with several provocations, offering exercises, tools, and queries to cultivate creative habits.

For the 2022 ADCC Awards, the Advertising & Design Club of Canada approached Baillat Studio to brand their call for entries. Visually, the concept materializes in a galaxy of interlinked dots that represent the Canadian creative community. “Connecting the Dots” also forms the basis of creativity: the ability to connect different elements in order to generate new ideas.

A dot is a singular entity in space that becomes stronger when linked and connected to others. The dots become a form, a shape, a complex entity, a society. Dots then form a line which gives direction and purpose. The French and English text composed for the occasion is generated from the simple search engine query “Connecting the dots…”.

For the typefaces, Monument Grotesk and Camera from the ABC Dinamo foundry and Tiny from the Velvetyne foundry are used for the campaign.

The Future is Analog by David Sax was published November 2022 by PublicAffairs. From Goodreads:

In The Future Is Analog, David Sax points out that the onset of the pandemic instantly gave us the digital universe we’d spent so long anticipating. Instant communication, online shopping, virtual everything.

In chapters exploring work, school, religion, and more, this book asks pointed questions: Is our future inevitably digital? Can we reject the downsides of digital technology without rejecting change? Can we innovate not for the sake of productivity but for the good of our social and cultural lives? Can we build a future that serves us as humans, first and foremost?

This cover concept had designer Pete Garceau set the title in DIN Next Bold Condensed, and then partly cut the letters out of the paper and gradually fold them open to reveal a gradient color background. Handlettering completes the mostly analog effect.

The Willow Pond area, newly added to the North Carolina Arboretum in Asheville, has its own visual system, established by sheets of weathering steel pierced with nature patterns and a distinct typographic palette.

We never expected to see Cortado made into a stencil! Here the designer added bridges for structural integrity, taking great care to respond to the curves and shapes of the brushstrokes. For extended text on a pavilion donor wall, Anita Semi-square casually bridges the gap between the flowing shapes of script type and the cold metal structures.