Surgir, jeux graphiques is a collective and participatory exhibition of the graphic design biennial Aperçu that took place in Boredeaux in May 2026. Éva Offredo is exhibiting TOUPIE UTOPIE, the result of her creative residency at Maison du Père Castor.

The Gikit typeface by Benoît Bodhuin accompanies the illustrations. There are a couple of secondary fonts in use. One of them is Chantier by Lucas Le Bihan.

The visual identity for PolyFutures was designed by Import/Export, using Politip by Benoît Bodhuin. The project is described as follows:

PolyFutures is an invitation to explore how participatory, creative, future-oriented and actionable approaches can inspire better policymaking. Over two days, participants will exchange ideas, share experiences and reflect on how foresight and design approaches are used to inform and transform policymaking.

The visual identity of Roma Jazz Festival 2025 was designed by Studio Mistaker, using Elastik designed by Benoît Bodhuin:

For its 2025 edition, Roma Jazz Festival explores spirituality as the core of its visual identity, interpreting jazz as an inner and transcendent journey.
The concept is expressed through the metaphor of the landscape – conceived as an immersive, contemplative space inspired by contemporary environmental art practices.

Snapsounds is an audiovisual project by composer Domas Strupinskas, cinematographer Narvydas Naujalis, and sound engineer Tomas Verbaitis. Over a decade, they produced 25 music videos, each bringing a unique approach to the collaboration. This vinyl anthology marks the project’s end.

In filmmaking, black separates segments and creates a sense of pause; fades out the movie. It acts as a signal to the audience that the main feature is over and it’s time to leave the theatre. For Snapsounds, black is used symbolically to mark the end of the project. It provides a space for reflecting on what has been achieved and pays tribute to everyone who contributed. The two lines that create a notional black screen on the cover shift to the inner sleeve and act as a timeline displaying the whole sequence of the project.

The typography references archival logotypes no longer in use within the project. Angular and diagonal shapes defined them, so Tokyto A Black (by Benoît Bodhuin) served as a visual successor, a refined, contemporary version of what came before. For body text, Karrik (by Jean-Baptiste Morizot, Lucas Le Bihan) was chosen for its legibility and subtle quirkiness, pairing well with Tokyto.

This project was created in collaboration with Augustinas Paukštė. The vinyl was sponsored by Deverium. Photos by Martyna Jovaišaitė-Paukštė.

[More info on Discogs]

Posters for il Canterino, an event at La Cantera in Cesena, Italy. The typography pairs Gikit with GroteskRemix.

In 2025, Swiss hotel group Capsule Hotel commissioned Odd Forms Studio to redesign its visual identity. The studio translated the core qualities of this experience into graphic form: economy of means, clarity, intimacy, modular repetition and a sense of enclosure. The identity unfolds through a restrained and structured visual system, designed to work across printed matter, signage, communication and digital uses.

The design uses BallPill by Benoît Bodhuin, T-Star by Binnenland and TWK Everett​​​​​​​ by Weltkern.

I made this cover for Istotne Nagr., a Polish DIY label releasing funny electronic music.

Après Skweee is a compilation of a micro-genre called skweee, a slow tempo electronic music made of funky rhythms and chiptune sounds that emerged in the late 2000s in Sweden and Finland. This release is the proof that the genre is still active today in 2025.

I mixed here two display fonts that match the texture and shape of the illustrations. LL Biff is used for titling and Zigzag for the secondary information.

Published to accompany the 2023 exhibition at MASP (São Paulo Museum of Art), this book is the first monograph on the Huni Kuin Artists’ Movement (MAHKU). Founded in 2013, the group began its work by translating traditional songs of the Huni Kuin people into figurative drawings, developed in Indigenous teaching degree courses at the Federal University of Acre (UFAC). The group’s paintings derive both from these translations and recordings of songs, myths, and ancestral stories, as well as from the visual experiences generated by the nixi pae rituals—which involve the ingestion of ayahuasca and are referred to as mirações (“visions”), the title of the project.

The bilingual book (Portuguese/English) also features transcriptions of Huni Kuin songs and myths, along with essays on the history and meaning of the collective’s practices and representations, complemented by reproductions of much of their visual production.

Graphic motifs inspired by the skin of the boa constrictor—a central theme in the group’s songs, paintings, and drawings—run throughout many of the works and were adapted into a geometric pattern framing every page of the book. The title on the cover is printed in glossy screen printing, using the geometric typeface Tokyto. This font’s design, also used for the artwork titles and section openings, is composed exclusively of diagonals and steps, without curves, referencing the graphic motifs presented throughout the catalog.

The poster screams in red. Not politely. Not tastefully. Red as in warning. Red as in neon that refuses to blink.

Whole Theater Pulse! (WTP) sits there like a sign you were not supposed to see but you cannot ignore. The letters stretch, melt, insist. Almost a logo. Almost a threat.

Brand identity and environmental graphics for Bottega, the mom-and-pop Italian café based in Crown Heights, Brooklyn. Pentagram partner Andrea Trabucco-Campos and team developed a new visual identity and signs with an inviting, dynamic, yet elegant attitude. Even in static form, the identity conveys an active space, constantly moving and changing, much like the diverse Crown Heights community that Bottega is now a part of.

The design uses Harber by Benoît Bodhuin, paired with Montiac by Fabiola Mejía.

Description of the project by designer Chezarit Mattie:

I spent a year documenting the same spot from my balcony. One day I went out onto the balcony and took a picture of the garden across the street. There was something about that image that compelled me to repeat it. That image became a habit. The habit, a record. In those twelve months, I understood that looking is an almost poetic discipline; a sustained practice of attention and time, of understanding cycles, listening to intuition, and giving patience space to do its work.

Headlines set in BallPill by Benoît Bodhuin, paired with Helvetica or similar for text.

“On the Uses of Absence” is the title of Soapbox, issue 6.0:

Can we speak of a turn to absence? Across the contemporary academic conjuncture, theory is reapproaching the absent in its varying figurative and fleshly forms – revalorising the presence of absence as a critical matter. Whether in queer theory, trans studies, Black studies, Eastern European studies, or literary studies, enduring scholarly investments in re-presenting and re-presencing the absented body have become supplemented by an affirmative interest in staying with absence as such. This scholarship locates absence at the heart of myriad resistances against exploitation, appropriation, undoing, and normativity. For its seventh issue, Soapbox: Journal for Cultural Analysis has invited scholars and artists alike to submit work on the uses of absence in and outside of theory today. As an object of study, a critical figure, and rhetorical tool, absence is given a shape, meaning, form; it is put in writing, where it has a function, a flavour, and a politics. Absence, in other words, fails every time to be purely nothing. How, then, to think the contradiction and the provocation of a contemporary aesthetics of absence?

The graphic design was made by Alice Machado and Paolo Barbieri. They used Adriane Text by Marconi Lima, Harber by Benoît Bodhuin and Superness Modulo – a digitization by Alessio D’Ellena and Alberto Malossi of Nebiolo’s Modulo.

Old Habits, New Beginnings (Alte Gewohnheiten – neue Anfänge / Stare Nawyki, Nowe Początki) is a solo publication by Anna Raczyńska – a 200+ page, dual-sided Polish–German catalog with two covers and a central English section – reflecting the transdisciplinary nature of the artist’s practice from the past ten years.

Featuring 178 photographs from projects across Europe, with essays by Michalina Sablik and Sophia Scherer, and graphic design by Karolina Pietrzyk and Tobias Wenig, the publication functions as both documentation and a point of departure for future work. The typeface used throughout the book is Elastik designed by Benoît Bodhuin.

In 2024, as Portugal commemorates the 50th anniversary of its liberation from dictatorship, MAM (Maia Architecture Month) turns its gaze to the idea of freedom. Under the central question, “What is a freedom space?”, the exhibition brings together 50 architects, thinkers, and visual artists to explore the complex, often elusive nature of this concept.

The catalog was designed by Pedro Meireis with Nilza Lello, using Haber by Benoît Bodhuin and Neue Haas Grotesk by Christian Schwartz. The exhibition was curated by Ana Resende and Nuno Melo Sousa.

Mille Cent Jours (“One Thousand and One Hundred Days”) is an artistic residency program conducted over three years in schools across the Île-de-France region, aiming to make schools places for experimentation, creation, and encounters. Led by the DRAC Île-de-France (Regional Directorate of Cultural Affairs), it brings together artists, students, and teachers to transform schools into vibrant spaces for culture and civic engagement.

The leaflet (pdf) was designed by Antonin Faurel using GroteskRemix by Benoît Bodhuin as display typeface. Text is set in Courier and Neue Helvetica. It was offset printed by Média Graphic, Rennes, in black plus three colors.

Design, illustrations and much more for Trädgården, Stockholm, season 2025.

These posters, T-shirts, and bags are all part of the identity designed by André Cruz for Turno da Noite (“Night Shift”), a conference on night culture and its economy held at Porto’s Maus Habitos in July 2025. The text is set in Tokyto by Benoît Bodhuin, paired with what appears to be Neue Haas Grotesk.

Posters designed by Hani Wibowo for the design talks with Golnar Kat Rahmani and Sarah Fricke & Lea Sievertsen of Distaff Studio at UdK Berlin’s Klasse Kampagnen.

Printed at the art school’s in-house screen printing workshop. The fonts in use are Ready Bygone by Plain Form and Elastik by Benoît Bodhuin.

Source: studiolekko.com Studio Lekko. License: All Rights Reserved.

Visual language, identity, color scheme, font pairing and a website for Foundations for Ukraine – a global network of philanthropic organizations united in their commitment to supporting Ukraine. Through strategic collaboration, knowledge sharing, and advocacy, members strengthen their collective impact in addressing Ukraine’s immediate needs and contributing to its long-term recovery.

Source: studiolekko.com Studio Lekko. License: All Rights Reserved.

Source: studiolekko.com Studio Lekko. License: All Rights Reserved.

Source: studiolekko.com Studio Lekko. License: All Rights Reserved.

Source: studiolekko.com Studio Lekko. License: All Rights Reserved.

Source: studiolekko.com Studio Lekko. License: All Rights Reserved.

Kolemhlíny is an interdisciplinary creative platform focused on the use of clay materials in architecture with an emphasis on sustainability and regenerative design.

Designing the identity for kolemhlíny required capturing the tactile essence of clay while ensuring clarity across digital and print applications. Our challenge was to translate the granular, layered quality of rammed earth into a coherent visual system. It needed to feel raw yet intentional—expressing materiality, craft, and the interdisciplinary, experimental nature of the platform without appearing chaotic or overly decorative.

The final logotype is set to evoke the density and texture of clay particles. Its modular, grain-like rhythm mirrors the layered process of rammed earth construction, creating a strong link to the project’s material focus. A bold orange palette and dynamic composition amplify this connection, while a supporting typographic system ensures versatility, giving kolemhlíny a distinctive identity rooted in craft and contemporary design.