Expo U60 is a publication created for the 60th anniversary of Uldry, designed by Atelier Pol:

Uldry, the famous printer specialising in poster printing, celebrated its 60th anniversary by inviting 60 creatives that they have worked with in the past, to design a unique poster. The posters were then displayed for a short time in the city of Bern and in an exhibition at the Kornhausforum.

The idea of the poster exhibition carries a certain transience. In contrast, our concept for the accompanying publication should document the event in text, images, and posters.
The posters, as objects, were literally folded and included into the publication. Each publication contains fifteen posters, mixed randomly, making every copy unique. This uniqueness is also evident in the open-thread binding of the spine showing ever changing colours.

The graphic design utilises two distinct typefaces: OO Lyga by Samira Schneuwly (released on Outline Online) for the running text and BD Orange by Büro Destruct (released on Typedifferent) for the titling.

100 beste Plakate 23 highlights the year’s most compelling poster designs from Germany, Austria and Switzerland. From bold typography to experimental imagery, these 100 posters capture today’s vibrant pulse of visual communication.

In 2023, it’s Studio Es from Vienna who designed the visual identity of the competition.

For the type, they chose Signs (by Swiss foundry Maxitype) – a chunky, spirited typeface that communicates with clarity whether static or in motion – and combined it with Pantasia by Wei Huang and Times New Roman in order to create contrast and rhythm in the visuals.

Final letterpress printed poster, 89.5×128 cm, 2025

A visual cut-up between a poster of Karl Bickel (Alter/Invalidität, 1925) and Dafi Kühne (Wilkommen, 2018) for an exhibition on a juxtaposition of the two different approaches and contexts.

The cut-up poster has been letterpress printed from etched and hand-cut linoleum to reproduce mainly the complicated Bickel hand – which was originally printed in stone lithography.

Watch the production video for the documentation of the process:

Original poster #1, Alter/Invalidität by Karl Bickel, 89.5×128 cm, stone lithography from 1925

Original poster #2, Welcome! by Dafi Kühne. 64×88cm, letterpress print, 2018

From the Info page of Ebinger Vintage Art Poster:

Ebinger Vintage Art Poster offers a curated selection of original posters reflecting culture and art from the past 70 years. Unless otherwise noted, our posters are in impeccable condition and have been produced using high-quality silkscreen printing. This technique ensures exceptional quality, brilliant colors, and impressive longevity.

The catalog website and e-commerce experience was developed and designed by Tremolo. The fonts in use are from the Semi Condensed range of Sofia Sans.

Letterpress printed Weltformat poster (89.5×128 cm / 35.2×50.4 in) produced in 13 printing passes from hand-cut linoleum and a complicated large format linoleum etching. Watch the video.

The fonts in use are a completely distorted LL Ruder Plakat by Lineto for the three words “Werk-Statt-Schau” and Messina Sans by Luzi Type for the smaller information and the museum logo. Through the etching process, there is not much left from the original Ruder Plakat face… Also the smaller info and the logo in the top left corner are hand-cut linoleum, which is not an absolutely accurate reproduction of the font.

EK Modena is a variable superfamily designed by Erkin Karamemet that consists of a variety of styles in six widths and eight weights. The upright shapes are joined by corresponding italics as well as monospace versions. Numerous OpenType features enable a wide range of stylistic alternates. From compressed headline styles to proper widths for long copy and sturdy shapes, EK Modena’s diverse and colorful design space provides a visual bouquet of applications.

Studio Lindhorst-Emme+Hinrichs was invited to design the CI and the book for the 100 Beste Plakate / 100 Best Posters 22 competition:

The design itself is clear, simple, and uncluttered. The design’s starting point is a book bound in ten different coloured papers, with ever-changing coloured endpapers – the cover as well as the front and back endpapers are never the same colour. The variability of the colours also applies to the typographic design. EK Modena, with its many cuts and weights, was exactly the right choice.

The reduction to these two factors or means in the design was important to us: colour, initially determined by the materiality of the coloured paper, in combination with only one varied but clear typeface. With these means and an emphasis on the number “100,” which is what this is all about, we forged a concept to implement the design for the 100 best posters 2022.

Lucas Manser, 2023, Plakatsammlung Online, silkscreen over offset, 128×89.5 cm.

For the poster series for the launch of the online catalog of the Basel Poster Collection, surplus duplicates from the collection were overprinted using screen printing (black and silver). Dinamo’s Oracle (Bold and Regular with alternate glyphs) was used for this.

Lucas Manser, 2023, Plakatsammlung Online, silkscreen over offset, 128×89.5 cm.

Lucas Manser, 2023, Plakatsammlung Online, silkscreen over offset, 128×89.5 cm.

Based in Geneva, Le Fesses-tival (“the f-ass-tival”) offers, defends and promotes a positive, inclusive and non-binary vision of sexualities.

For the fifth anniversary of Le Fesses-tival in 2022, we imagined a colorful and vibrant identity. We used a fluid typeface, Wriggle by Vani Jain, and we played with the number 5 to create a dynamic background. The rest of the communication is set in Freizeit by Polytype.

The festival kicked off with a Fesses-market, followed by performances, films, concerts, discussions, and workshops.

To celebrate its fifth year, Le Fesses-tival organized a Fesses aux trésors (”treasure h-ass”) in the city of Geneva: participants had to find five stickers from various locations associated with the Fesses-tival and paste them on the poster.

The poster was designed as a leaflet that provided game rules and sticker collection spaces on the back

The creatives of Studio Terhedebrügge Terhedebrügge, Studio Sara Cristina Moser, studio mado klümper, Bureau Sarah Baumann, Sunnyi Löhmann, and In Chae collaborated on Thoughts are Liquid (website, Instagram), a project they describe in their own words as follows:

Thoughts are Liquid is a one-year artistic experiment with 1,000 questions answered by six designers in 216 posters. The decisive factor was the desire to counteract distance and passivity in a time marked by change and uncertainty. A domino game of ideas, exchange, and change of perspective was triggered: as the main role the medium poster between art, design, and new ways of working. The results of this process are shown in the form of a poster exhibition.

Thoughts are Liquid was born from the idea to walk together and question the artistic process of design. Can we find an interface between art and design and can we open up a space between free design and art? What is the goal of a poster without a commission? How much freedom does the creative process need? Is design democratic or does design democratize communication? Can we construct ways of working that together we can wear each other out and at the same time develop further? Can we open up to each other and thus move the process forward? Possible answers and further questions can be found in the posters of this experiment. Through a variable rotation system in which each poster was worked on by each designer, a total of 216 posters (6 × 6 × 6 = 216 posters) were created within six rounds (one round consisting of six poster series, with six posters per series). Thoughts are Liquid. is a poster exhibition by six friends and designers Sara Cristina Moser, Mado Klümper, Sarah Baumann, In Chae, Sunnyi Löhmann, and Antonia Terhedebrügge. Virtual meetings around poster design were established, creating a platform for regular discourse and dialog. The goal of the exhibition is to share the creative democratic process and the resulting insights and interfaces, and to continue the conversation together.

The visual identity of Thoughts are Liquid uses Hofmann by Nguyen Gobber for the wordmark, titles, signage, and caps as well as Everett Mono by Nolan Paparelli for all further typography. The typefaces were used in variety of ways including exhibition design, poster, flyer, social media, website, and caps.

To design the book Faire une affiche (Making a poster) written by graphic designers Damien Gautier and Florence Roller, published by Éditions 205, Bureau 205 used the typefaces Cosimo and Yorick, both designed by Matthieu Cortat and available from 205TF.

From Éditions 205 (translated):

Posters are one of the graphic designer’s favorite media because of their high visibility in the public space. With more than 250 images, this manual proposes a study that is both historical and contemporary, conceptual and practical, in order to provide the essential tools to approach this subject with discernment, ambition and desire.

The book was published as the first volume of M.A.X, a series of manuals devoted to graphic design, aimed at students and teachers, practitioners and their sponsors.

Not so long ago, my solo posters exhibition took place in Batumi, Georgia, and it seemed that there was nothing more logical than to create a poster for a poster exhibition.

To emphasize that the exhibition will feature contemporary typographic works, I decided to contact Alex Slobzheninov, the type designer and author of contemporary and impressive fonts.

The choice fell on a super-early-release of his Diaform (v0.1 demo) – a play between strict geometry and lively flourishes, which are hidden in stylistic alternatives. Moreover, in order to move away from the usual format, non-display alternates are brought to the foreground when display lively alternates have moved to the back.

The poster measuers 70×100cm and was digitally printed on a matte self-adhesive vinyl.

HUMANITY: poster series for Gwangju Design Biennale (GDB) 2019 - 광주디자인비엔날레, International Invitational Poster Exhibition, held at the Asia Culture Center (ACC), Gwangju, South Korea, 2019.

The poster series combines the classic forms and vertical axis with sharp pointy serifs in Cirka, the boasting monospace/geometric features and the apparently contemporary ink traps in Neue Machina, with the broken curves and the strong contrast between thick & thin lines in Blocus with its Gothic manuscript style. Masked by the illustration, bits of Nostra Stream can be spotted on the right hand of the designs.

HUMANITY, the combination of HUMAN+COMMUNITY, extends its concept from an individual to a community level by co-existing and considering the surrounding environment and people around “me.” Usually our human-centered thinking forces us to neglect the meaning of being humans, social thinkers and adaptive creatures, to alter ourselves or overcome the peer pressure. The purpose here is to express the current scene of HUMANITY, also it could be used as a documentation for an upcoming NON-HUMAN civilization, who knows?!

Together, all posters form a backdrop at the biennial. My posters can be seen at the sixth banner from the right.

Dentro offers posters to turn blank spaces into endless opportunities of expression. The brand typography combines the seriffed Domaine Display (Klim) with the geometric sans serif Averta (Intelligent Design/TDF). This pairing is used on the cardboard tubes, the website, and elsewhere.

The project is built around personal expression, in communicating feelings that express one’s true self. These messages are conveyed through exquisite, beautiful and meaningful design. Dentro takes time to find and use the finest materials, and print with the highest quality digital printing systems currently available. Keeping their carbon footprint as small as possible all posters are printed onto paper upcycled from disposable coffee cups, breathing new life into a disregarded product.

Friends of the studio, The National, hit us up to design everything for their 2018 festival, There’s No Leaving New York. Inspired by the layered wheatpaste tapestry of New York, we pitched them a flexible typographic design system, that looked rad on everything from festival swag, to animations and (of course) wheatpasted posters. They dug it, and we blanked the city with these. The posters were actually so cool, that many of them were stolen off the streets (we might have taken one or two ourselves).

All typography uses all caps Druk and Druk Condensed.

Pierre Pané-Farré. License: All Rights Reserved.

Soirée Fantastique is a captivating visual journey into the 19th century, to the early days of both posters and photography. Conceived and designed by Pierre Pané-Farré, the book won the Gold Medal in the competition Best Book Design from all over the World and also was awarded at the Walter Tiemann Prize 2018.

Pierre Pané-Farré. License: All Rights Reserved.

Stacks of posters from Oskar Leiner’s print shop.

Pierre Pané-Farré. License: All Rights Reserved.

In the mid 1800s, posters began to be mass-produced. It was the first time that typographic letters became visible in the urban space on a bigger scale. The basis for this book is a bundle of 330 posters from this period, which Pané-Farré unearthed in the archives of Leipzig’s city museum. They all originated at a single print shop, the Buchdruckerei Oskar Leiner, and date from 1847 to 1876. Most of them are letterpress-printed, sometimes combined with lithography, and show an increasing diversity of type styles and sizes. This – together with the use of woodcut illustrations, colored ink and paper, as well as larger paper sizes – suggests an intensified competition for attention in the streets. A selection of 64 posters are reproduced in color and presented in stacks, allowing the reader to reenact the experience in the museum’s archive and leaf through the broadsheets. They are interspersed with twelve poster details shown at actual size. These fragments are letterpress-printed from stereotypes in a single color.

Pierre Pané-Farré. License: All Rights Reserved.

City photographs by Alexander Seitz (left), letterpress-printed reproduction of a poster fragment (right).

The inclusion of 58 historical photographs form an ingenious counterpart to the posters. Taken by Alexander Seitz between 1860 and 1885, they depict Leipzig’s urban space in the period when the city grew into a metropolis, and became the center of ­German book printing. These are the same streets and squares where the posters once were posted and viewed, and some pictures actually show the venues where the advertised attractions like circus and variety shows took place.

Pierre Pané-Farré. License: All Rights Reserved.

The photographs are reproduced from the five-volume album Das alte und neue Leipzig. The original captions and image sequence were retained.

Photo: Florian Hardwig. License: CC BY-NC-ND.

Detail of the title page.

For the book typography, Pané-Farré combined three typefaces. FF Balance Regular (Evert Bloemsma, 1993) is used for the short accompanying text (bilingual; English and German), the index, and the captions to the photographs. On the cover and the title page, it’s paired with caps in the No. 71 style from Knockout (Jonathan Hoefler, 1990), a gothic series inspired by 19th century wood types. In contrast, Balance is an intentionally contemporary choice. According to Pané-Farré, it was partly chosen for its inktraps. With this feature, Balance promised crisp results when being letterpress-printed from photopolymer plates.

The undisputed cover star is Schmale Egyptienne No.12, a digital revival of Eduard Haenel’s Schmale Egyptienne 28 Cicero (c. 1838–41), made by the book designer himself. The condensed slab serif was later released as part of the Affichen-Schriften series by Forgotten Shapes. It here is used with the high i dot and the compact Q, two forms that ended up in the font as alternates. Forgotten Shapes is a new type label that was launched by Pané-Farré together with Reymund Schröder and Stephan Müller in 2018. It’s committed to publishing “digital reconstructions of typefaces that have somehow vanished”.

Soirée Fantastique was published by the Institut für Buchkunst Leipzig in spring 2017 in an edition of 500 copies. Unsurprisingly, the book is out of print. If you still want to get your hands on some Soirée Fantastique goodness, rejoice: As a complement to the book, Pané-Farré printed a limited edition of letterpress posters. There are a few copies left both of the official color version as well as of the “bootleg” version, i.e. hand proofs printed in black.

Source: panefarre.com Pierre Pané-Farré. License: All Rights Reserved.

The accompanying poster was letterpress-printed in iridescent colors. The fonts in use are various wood, brass, and metal types from the poster type collection of the HGB’s printmaking workshop. Most of them stem from roughly the same era when Leiner printed his posters. This was before typefaces had proper names; they go under generic designations like “Egyptienne” etc. We haven’t tracked down and listed them here, since the focus of this article lies on the book. If you’re really curious, we might consider a follow-up post.

Source: panefarre.com Pierre Pané-Farré. License: All Rights Reserved.

The forme used for printing the posters.

Pierre Pané-Farré studied at the HGB Leipzig in the class for type design of Stephan Müller and Fred Smeijers and graduated in 2012. From 2013 to 2016 he was a master student with Smeijers. Soirée Fantastique was Pané-Farre’s final project at the HGB. In 2014 he co-curated Vom Buch auf die Straße, an exhibition at the Printing Museum Leipzig about large letterforms of all kinds. His research on early 19th-century poster typefaces was published on the Forgotten Shapes website, see Affichen-Schriften.

Full disclosure: The author of this article is a board member of the society that organizes the Walter Tiemann Prize. In 2018, he had the honor to serve on the jury for the Best Book Design from all over the World. Florian provided the English translation of the articles by Forgotten Shapes.

Part personal history, part design philosophy, and part advocacy, this volume showcases the arresting work of Oliver Munday. Employing humor and menace in equal measure, Munday wields graphic design as a tool of empowerment, activism, and resistance. Drawing from the history and utility of twentieth-century agitprop, from Russian Constructivism to the Black Panthers, Munday updates a timeless medium for the social media age with his stark and often unsettling imagery. — Rizzoli publishers

In 2010–12, Terry Posters (collector and dealer) and Pavel Rajčan curated the Konfrontace [Confrontation] exhibition, comparing Czechoslovak and Polish film posters side by side. The poster and catalog were designed by Jan Havel of Belavenir Design Studio in Prague. Appropriately, the main typefaces come from Czech designer Tomáš Brousil: Corpulent and Nudista.

In 2017, photographers and graphic designers from Germany and Switzerland get together for an artistic exchange. The Soirée graphique encourages the dialogue between photography and graphic design. In the exhibition all the related artworks are presented next to each other for the first time in public. The Soirée graphique has been organised by KOMET since 2008, promoting good graphic design and good photography. The magazine accompanying the Soirée Nº10 documents the artworks of the 2017 exhibition on paper.

BRRR is part of the LAB collection, available from Swiss Typefaces.

Combo Combo No. 1 is a festival mixing a series of exhibitions and the sale of exclusive posters by eight invited individual graphic designers or studios from France and abroad. These events took place around the city of Lille (France) in April and May 2018.

Sarah Boris designed her poster using only the Mars Extended typeface to set the famous motto from Dumas’ Three Musketeers: “Un pour tous, tous pour un” (“One for all, all for one”).

The limited run of screen printed posters is available for sale on the festival website. All profits made go to covering printing costs and to the next Combo Combo festival.

Alternative versions, using only one layer from this poster combined with the one from an other poster from the exhibition have also been produced.

Best Hundred Arabic Posters is the first poster design competition honoring the best 100 poster designs in the Arab world.

The non-profit organisation based in Cairo wants to recognise, to promote and expand the Arabic graphic design scene by establishing the competition of the best 100 posters produced in the region.

Graphic Design/Visual Communication: Darius Gondor, Salma Khaled Abou-Aisha