Malcontenti Studio was invited by Antonio’s Pizza to develop their brand identity—an exercise rooted in heritage and cultural intersection.

The concept pays homage to both Buenos Aires and Naples, drawing from the visual language of traditional pizzerias in each city: bold signage, vernacular typography, and a strong sense of locality shaped by generations.

The typographic system combines various styles from the variable Sharp Grotesk with Joe182, balancing warmth and familiarity with a distinct, expressive edge. Together, they evoke the character of hand-painted signs and historic storefront lettering, reinterpreted through a contemporary lens.

Aneta Moczkowska explains what change is and teaches how to manage it. She supports brands, institutions, initiatives, and individuals.

She runs workshops and consultations with a tailored approach, helping uncover a brand’s full business potential and guiding it through the process of change.

La Malpensante Moda is a special annual print edition of the Colombian magazine El Malpensante, dedicated to exploring the intersection of fashion, architecture, design, and craftsmanship. It is not a fashion brand or a retail platform, but an editorial project.

The first issue of La Malpensante Moda was published in April 2020, during a particularly adverse global moment. Conceived as an editorial experiment with no precedent within the broader corpus of El Malpensante editions, it marked a significant expansion of the magazine’s scope. Five years later, the project remains active and firmly established within the publishing group.

In this first edition, the editorial direction was led by Rocío Arias Hoffman together with Karim Ganem. Art direction was carried out by George Anderson Lozano, with design assistance by Tom Deason.

Headlines are set in Ogg Display by Lucas Sharp, while body text and paratextual elements are composed in Hoefler Text by Jonathan Hoefler.

The edition examines the relationship between design, contemporary aesthetics, and artisanal tradition. It reflects on how individuals “inhabit space” – both their physical environments and their own bodies – through clothing, adornment, and material culture.

Linda Mai Green is a filmmaker based in San Francisco whose work often explores women’s internal landscapes through surreal visual narratives. Alongside directing music videos, contemporary Indigenous dance films, and Vietnamese American voter turnout ads set to cha-cha-cha rhythms, Green has developed a diverse body of work supported by institutions such as SFFILM—where she was a 2024–2025 Resident—as well as the Mill Valley Film Festival, Eastern Oregon Film Festival, and The Redford Center. In 2025 she premiered her award-winning narrative short Mondegreen, which is currently on the international festival circuit. The film’s poster and title graphics were designed by Mike Tully, a New York–based independent designer, educator, and writer who collaborates with artists, architects, publishers, and cultural institutions on editorial, exhibition, identity, and research-driven design projects.

For the opening titles, Tully chose DOSS, designed by Marc Rouault and distributed through Sharp Type. Specifically, the titles use the Problem Micro style from the DOSS collection, combined with Sharp Earth for supporting typography. Inspired by the logotypes of construction and hi-fi audio brands, the DOSS family also references the aesthetics of ’90s rave culture and ’80s sci-fi. Across its styles—Exaflop, Acid, Plexus, and Problem—it is characterized by exaggerated geometric structures, rounded counterforms, and unicase character sets. Paired with the pragmatic, globally oriented sans serif Sharp Earth, the typography in Mondegreen’s opening sequence balances expressive display forms with functional clarity, demonstrating how contrasting voices from the same type foundry can shape the tone of a cinematic title sequence.

Ara of Asa is an interdisciplinary multimedia project that explores the visualization of sound through a collaborative performance and exhibition. The title, derived from native Korean (아침의 파도), translates to “the wave of the morning,” referencing the dual nature of waves as both acoustic vibrations and the rhythmic movement of the ocean. It was presented by Dohoon Kim on November 24, 2024, at Wild Beast, CalArts.

The visual identity is anchored by a dramatic contrast between darkness and light to symbolize the transition from night to morning. This is further expressed through an inverted, mirrored layout where the typography is rotated.

To navigate this split environment, the design uses a rhythmic typographic system featuring Carta Nueva and Ogg Display from Sharp Type. Carta Nueva’s ball terminals serve as a poetic metaphor for musical notes, physically manifesting the rhythm of the soundscape. Across the transition of light and shadow, the typography maintains an organic flow that echoes the fluid qualities found in both water and ambient sound.

Community Justice Exchange offers If They Build It: Organizing Lessons & Strategies Against Carceral Infrastructure as a free PDF download in English and Spanish, “for generating abolitionist struggles against the construction and expansion of cages.” With art direction by Mon M, designer Noah Jodice combined his own illustrations, angular shapes, and muted photographs in a simple color palette. The hand-cut and collaged aesthetic of the imagery pairs well with the angular outlines of Cedar for display settings. Extended body text is set in Palatino, with Halyard Micro used for emphasis and callouts, and Halyard Display for negative text.

Noah writes on his site:

As a prison abolitionist, I’m quite proud of this project, both for its scope and its content. The resource is dense with hard-earned lessons from the anti-carceral organizing work of the No New Jails Network. We designed the resource for a breadth of readers and experiences, whether you spend two minutes with the text, two hours, or two weeks.

This second issue of Mushroom People magazine, published by Broccoli, features “astromycologists, academics, architects, pharmacists, foragers, fashion designers, home cooks, shopkeepers, composers, and poets all inspired by the many radical ways of being fungi embody.”

Exploring the topics of “creation, destruction, attraction, and revulsion”, each chapter is printed on a different paper and uses a different set of typefaces.

The nameplate is set in all-caps Bradley DJR, and most body copy is set in ABC Marist and Calibre.

“Habitats for humanity” is set in Charlottenburg.

“Destuct” is set in Respira Black, “Two” uses Michaux and the small type is Calibre.

“Spores” uses ABC Asfalt.

“What” and “Lurks” are both set in typefaces from Dinamo: ABC Laica and ABC Maxi Round.

The text on this page is set in three columns of pink Certeau, with the headline added in Cancellaresca Script, partly arranged on a curve. The drop cap appears to be custom.

Semper Astra is a Paris-based jewelry brand. Founded by Audrey Jean-Baptiste, they specialize in bracelets, rings, earrings, and other bespoke jewelry handcrafted in Paris, Portugal, and Italy.

For much of their print ephemera and website design, creative director Joanna Spadiliero turned to Carta Nueva by My-Lan Thuong and Sharp Serif Text by Connor Davenport, My-Lan Thuong and Léna Le Pommelet, available from Sharp Type. From calligraphic subheadings to general information about their products, their design choices echo sentiments of respecting traditional crafts with a modern twist.

The logo is custom lettering by Spadiliero.

Dragon Reactor is a tabletop role-playing game by Nevyn Holmes and S. Quinn Morris, published by Dinoberry Press. Its gameplay is inspired by mecha media like Gundam and Neon Genesis Evangelion.

The team tasked me with mixing the style of military guides and documents, with elements from mecha anime and medieval manuscripts. The zine seeks to look slightly chaotic and unrefined, as if it was a document that has been photocopied and annotated by the characters. Small decorations lifted from medieval codices were used through out the book, along the black and white illustrations by Emma Harvey.

From the cover (art by Charlotte Laskowski) to the interior, the typography choices are eclectic and (save the title, set in Respira Black) meant to be accessible and free. Jost* was chosen due to the prevalence of Futura in some documents that we used as inspiration.

Slow & Low is Chicago’s largest lowrider festival. This curated community-cultural public sphere exhibition explores and presents Lowrider culture as an original form of American folk and contemporary art. The customized car becomes a way of expressing beauty and self-expression by owners, master craftspeople, and innovative mechanics, through modifications including wire wheel rims with whitewall tires, custom pinstriping and upholstery, airbrush muralism, and other contributing visual aesthetics and material objects.

Lowriding began in the 1940s when Mexican American veterans in southern California used their World War II mechanical training to modify cars, especially Chevys, so they rode “low and slow” rather than “hot and fast.” During the Chicano Movement of the 1970s, lowriders took on political roles through car clubs that offered community services and embraced pro-pueblo imagery like flowers, warriors, and geometric designs drawn from Indigenous Mexican stories. These “mobile canvases” used style as resistance, echoed in the Pachuca/o fashion that emerged as a symbol of rebellion.

That same spirit of crafted expression extends into the Slow and Low festival’s visual identity.

Respira made such an impact on past Slow & Low projects that it became part of the visual language people now associate with the festival. For the 2025 edition, the design team pushed the system forward and leaned even more into Sharp Type, customizing Respira to bring in a warmer, marker-drawn feel for the headlines.

It was paired with Cordier Script and Rosalie to amplify the hand-lettered, lowrider-forward voice the curators were aiming for. Together, the combination honored Chicano typographic lineage without imitating it, giving the full civic-scale identity a grounded, expressive backbone.

Design direction and design by Nick Adam at Span, with design and animation by Kevin Moreland and illustration by Alec Hudson. Curatorial work by Lauren M. Pacheco, Peter Kepha, and Edward Magico Calderon. 2025 Day of Photographers: Ferny Ruiz, Alfonso Monroy, Carmen Ordoñez, and Melissa Reyes. Design media photography by Edward Magico Calderon, Max Herman, Nick Lipton, Katrina Nelken, and Mike Pocious

The Gown and the Shipwreck (Dutch: De Jurk en het Scheepswrak) tells the story of a remarkable 17th-century dress discovered in the Palmhoutwrak, or Palmwood shipwreck, off the coast of Texel. The wreck lies in the Burgzand Noord area of the Wadden Sea, where strong currents and low visibility make diving challenging. Since its illegal retrieval in 2014 by amateur divers, the dress has attracted global attention, symbolizing both the allure and the controversy surrounding underwater archaeological treasures.

The project is multi-faceted, including a three-part documentary, a podcast series, and an interactive website where visitors can explore a virtual reconstruction of the wreck. The design of the project draws inspiration from the natural transformations objects undergo underwater, such as erosion and corrosion, which lend them authenticity and a sense of history. Even the variable font used for the project reflects this process of change over time.

To design this project, Superaarde used the typefaces Exposure (Federico Parra Barrios, 205TF) and Sharp Grotesk (Sharp Type).

Trilogy was founded by two sisters from New Zealand who discovered the amazing skin loving benefits of rosehip oil, and took it to the world. Besides the signature rosehip oil, the brand now features a wide range of skincare products that all follow the same conscious approach, to minimize the impact on earth. Trilogy is Toitū carbon neutral certified, NATRUE and BioGro certified natural and organic. They do not test on animals and use PEFC certified cartons and recyclable or PCR materials wherever possible.

The logotype uses Grand Slang (Nikolas Type). In 2022, Trilogy commissioned Nikolas Type to create a custom version of Grand Slang’s lowercase g which is in use since then.

The branding is completed by Attila Sans (Kometa) Ogg Text (Sharp Type) and National 2 Compressed (Klim Type Foundry).

Halyard is the display typeface used for the website about Strasbourg’s term as World Book Capital.

Established in 2001, the World Book Capital is an initiative of UNESCO which recognises cities for promoting book culture and fostering literacy. For 2024/2025, the French city of Strasbourg was awarded this title. Under the theme of “Lire notre monde” (“Read our World”), it celebrated books and reading through more than 1,000 events and activities.

The dedicated website was designed by local agency Thuria, using Halyard Text (Darden Studio) and GT Walsheim (Grilli Type).

Strasbourg’s 5 strategic areas of focus are presented in Halyard Text Bold.

The program included a weekly challenge, announced on the website.

Detail from the French language version

Detail from the English language version

Detail from the German language version

Some parts of the website are adorned with illustrations by Frédéric Bellier.

Karuta is a traditional Japanese card game where players listen to short descriptions read aloud from a reader’s card. Each turn, players race to grab the matching card with the corresponding picture or text, and the player with the most cards at the end wins.

Font Karuta is a variation designed for typography enthusiasts. Instead of pictures, the reader announces the font name and description on the reader’s card, and players compete to pick up the card displaying that font. The player who collects the most cards wins the game.

This edition is the “extension package” featuring only blackletter designs.

From top left to bottom right: Respira Black, FF Brokenscript, a couple letters from Breitkopf-Fraktur, Blackmoor, Claudius, an e and an exclamation mark from Old English, Wallau, Amador, Fakir, San Marco, American Text, Caslon-Gotisch, Engravers Old English, Marian Black, Fette Fraktur, Lucida Blackletter, JAF Herb, Gutenberg Textura, Alte Schwabacher, Goudy Text, Fette Kanzlei, and a tiny bit of Fette Gotisch. Featured in the game but not shown in the images are Deutsche Schrift and Wedding Text.

The box front features the title in Amador, with Clairvaux for the list of included typefaces. The Japanese font appears to be DNP Shuei ShogoMincho. The Font Karuta logo is in Akko.

The German-language game instructions are set in Gutenberg Textura with a headline in Blackmoor, in caps of alternating colors.

Dazed Maxx is a special new edition of Dazed magazine, created in collaboration with Nike to spotlight the vibrant subcultures of sport across the United States. Edited by athletes Sunny Choi, Bijan Robinson, and Tobey McIntosh, it explores emerging communities in New York, Los Angeles, and Atlanta through interviews, storytelling, and Nike’s AirImagination platform. The issue dives deep into how local sports scenes shape cultural identities, featuring conversations with community leaders and original articles from young local writers. Dazed Maxx is not just about sports but about how creativity, identity, and community intersect through athletic expression.

To celebrate the launch, Dazed is hosting simultaneous drop events in the three cities, offering limited-edition copies, custom merchandise, and immersive experiences that bring the magazine’s stories to life. They use three different typefaces to differentiate the cites: Los Angeles has Respira Black by Sharp Type, a robust yet elegant Rotunda, New York was illustrated with what appears to be ER Univers, and finally Atlanta used Louize Display by 205TF. Blending sport, subculture, and innovation, Dazed Maxx reflects a bold new era of community-driven storytelling and marks the first-ever US edition of Dazed.

Additional fonts in use include Compacta Black (Letraset/Linotype) for the logo and various members of Dinamo’s ABC Diatype for smaller text.

Asana is a web-based project management platform that helps teams organize, track, and manage their work. It offers tools to plan projects, assign tasks, set deadlines, and collaborate easily, all in one place. Designed to improve productivity and transparency, Asana is widely used by businesses of all sizes to streamline workflows and ensure teams stay aligned. Their website is using a combination of Ghost by Sharp Type for titles and Lausanne by Weltkern for body text.

“Theatrical – discover through music” was the title of the second edition of the THEATRICAL format, created by se fèmm (an initiative born in Como to make young people discover new local realities and participate in the city's life) in collaboration with the Teatro Sociale di Como. The event made available to Como artists and realities some of the normally closed-off rooms of the theater, offering guided activities based on different musical genres.

The event poster unfolds within a dark space, representative of the dim light inside the theater, in the center of which is the 3D model of a human ear in magenta and cyan tones, representative of the main sense that will guide the experience of the evening.
The main font is Ogg, here modified by increasing the height of the individual glyphs, which gives the event's identity a sense of authority and mystery. The secondary font is Helvetica Neue, used mainly for practical information.

Black Girl (La Noire de…) is a 1966 Senegalese film by Ousmane Sembène. It is based on a short story from Sembène’s 1962 collection Voltaique, which was inspired by a real incident. Black Girl stars Mbissine Thérèse Diop as Diouana, a young woman who moves from Dakar, Senegal, to Antibes, France, to work for a French couple. In France, she is subjected to hard work and humiliating objectification. This seminal masterpiece of postcolonial cinema was recently restored and finally had its Swedish premiere. The poster is designed by Malmsten Hellberg with Halyard Text by Joshua Darden and Madimi One by Taurai Valerie Mtake.

The same old brand, with a renewed essence. Santis, present on Peruvian tables since 1969, evolves to continue being a protagonist in the country’s cuisine.

Quality preserves, legumes, grains, and spices: essential ingredients now presented with a modern, authentic, and vibrant visual identity, without losing their heritage.

The challenge: to leave behind a generic aesthetic. The opportunity: to build a flexible, relatable, and visually powerful brand.

We created a structural S as our emblem, chose fonts that balance elegance and modernity, and came up with a visual system that celebrates nature. The traditional red remains as a seal of origin, and the new packaging segments by category to make choosing easier.

The result: an identity that honors its history, adapts to changing times, and reinforces its place at the heart of Peruvian cuisine.

Wherever is the title of a solo exhibition by Tokyo-based painter Mana Konishi 小西真奈 shown from December 14, 2024, to February 24, 2025, at Fuchu Art Museum.

FH Lecturis is the headline typeface used for the exhibition graphics, including for the poster and the bilingual (Japanese and English) catalog published by the museum. For the accompanying typefaces, see the comments.