Visual identity and catalog for the exhibition Sempre a mesma lua which featured paintings, prints, drawings, and watercolors by Lasar Segall (1891–1957).

Curated by Patricia Wagner, the exhibition assigns the moon the poetic role of encapsulating, in Segall’s work, the universal horizon of his art—which relates to what is common to the human experience, regardless of time or place.

During the research phase, we came across Segall’s account of moments from his childhood when he would look, through pieces of colored glass, at the sky, people, animals, and other things. This experience left a deep impression on him, influencing the way he would later work with color in his pieces.

With this in mind, we sought to develop the graphic design using materials that possessed transparency and color, such as the acrylic used in the exhibition title or the adhesive used in the wall texts. The gradient, present on the opening wall and in the catalog, alludes to the movements of the moon and the different perceptions of color resulting from these movements.

While in the exhibition the interaction with the works takes place predominantly in space, in the catalog this relationship is influenced by the dimension of time. Based on this premise, we worked with the gradient throughout the pages of the book: from white to gray, with each spread the background receives a slight increase in color, which then decreases again in a cycle from the beginning to the end of the publication. The gradient is also present in the continuous painting applied to the top, sides, and bottom of the book.

The exhibition was shown at Museu Judaico de São Paulo in 2025.

Mathilde Marteau Atelier is a Marseille-based jewelry studio specializing in delicate, hand-crafted filigree pieces, rooted in a precise and time-honored technique.

The visual identity, designed by Studio Dos d'Âne, extends this craftsmanship through a restrained and sensitive approach. It is built around Aujournuit, a contemporary serif typeface by Teo Gaudet, whose elegant contrast and subtle details echo the finesse of filigree work. Used for both the logotype and editorial applications, it establishes a quiet and refined presence. It is paired with Adrian Frutiger’s Avenir and Zilla Slab by Typotheque.

A warm, muted color palette is paired with a mix of analog and digital photography, documenting the gestures, textures, and environment of the atelier. Together, these elements form a cohesive and delicate visual language, reflecting the nature of the pieces.

Na východ od zdravého rozumu (“East of Common Sense”) is a collection of essays by the writer and journalist Peter Bárdy, reflecting on the current state of Slovakia. The book’s designer, Mikina Dimunová, chose Delvard Gradient for the cover and block printing, and Delvard Text for the main text.

This bilingual yearbook showcases contemporary Latvian photographers and significant exhibitions at the Latvian Museum of Photography in Riga. Designer Alexey Murashko selected three typefaces by Nikola Djurek for the book: Diurnal Display for the titles, Nocturno for the main text, and Diurnal for the marginalia. The book is cut horizontally in half, with the lower part containing the English text and the top part containing the Latvian text. This system allows the pages to be flipped independently and creates unexpected compositions.

The deconstructed letter parts in red are from Sandrine Nugue’s Orientation, see the comments.

Zett, the biannual magazine of the Zurich University of the Arts (ZHdK), explores how artists, designers, and thinkers perceive and shape the world around them. It brings together a wide range of stories from the ZHdK cosmos – all beautifully designed and thoughtfully curated.

The magazine’s visual design is by Samuel Marty, who has given Zett its distinctive and contemporary appearance. In the latest issue, he uses Daisy by LudwigType for the title and headlines, and Brenner Sans with Brenner Slab by Typotheque for the text.

Packaging for the vinyl edition of Divlje Zvijeri, an album by alternative rock band Stereotrip. The design features Wallop for titles and Diurnal for supporting text. Alternate glyphs from Wallop are used for letters such as e and o.

Designed by Dejan Zobenica and Boris Pehar. Band photo by Dinko Čvorić.

Tomorrow Elsewhere is a compact, experimental publication posing as a diary from a 20-year-old navigating early-2000s life in a post-Soviet city. Like its predecessor, Fragments, it continues to explore how AI-generated content can fuel narrative experimentation.

Typography here becomes emotional mimicry: each headline echoes the tone of its entry. Sometimes literally, sometimes with naive charm.

The publication features multiple display typefaces from the Typotheque foundry, with the exception of the body text, which is set in Joly Text by Léon Hugues. Given the project’s hands-on, craft-oriented nature, headlines and typographic accents were outlined and embedded as SVGs.

With an inventory of 6,311 words, the Kaiowá-Portuguese bilingual dictionary serves as a repository of the Kaiowá people’s worldview, culture, imagination, and thought. The work has been in development for more than two decades by Professor Dr. Graciela Chamorro (UFGD), in collaboration with dozens of Indigenous and non-Indigenous individuals and researchers. The graphic project combines a rational structure with a range of features that bring the book to life: saturated colors, generously sized typography, and a large number of illustrations and graphic elements placed among the entries. On the cover, corn – a plant of great spiritual and ritual significance to the Kaiowá culture – appears alongside the entry ka’agwa (from the forest, from the woods, wild), encapsulating the work and introducing the reader to its internal lexicographic structure.

The book measures 15.7×22.7 cm, and has a total of 760 pages. The illustrations were created by Misael Concianza Jorge and Jaciara Marschner.

The Tri-County Metropolitan Transportation District of Oregon, or TriMet, is a transit agency that serves most of the Oregon section of the Portland metropolitan area: Multnomah, Washington, and Clackamas County.

TriMet provides various services, including the TriMet MAX light rail, WES Commuter Rail, and bus services.

TriMet’s third-phase logo, which came out in 2002, features TheMix in a bold weight and all-capital letters. Their slogan and much of their branding use Source Sans. On the website, Source Sans is paired with Zilla Slab for headings.

The TriMet logo on the new MAX car design introduced in 2015. Station signs use TheMix as well.

Timeline of the TriMet story featuring the original logo with hyphen. The website typography pairs Source Sans and Zilla Slab.

Florestal is a restaurant by Bruna Martins, a renowned chef from Belo Horizonte, Brasil. Though not strictly a vegetarian restaurant, the menu puts its emphasis on plant ingredients – and so do the architecture and branding. The restaurant has a cozy “foresty” ambiance, using clay tableware and covering itself with plants both inside and outside.

The visual identity uses a few widths of Ferpa, always in capitals, and paired with Zilla Slab.

Founded in 1982, Haymon Verlag is a literary and non-fiction publishing house in Innsbruck, Austria. For the Spring 2025 preview catalogs, I worked with AG Book Rounded and Nocturno.

Murina is a directorial feature debut by the Croatian director Antoneta Alamat Kusijanović:

The tense relationship between sixteen-year-old Julija and her authoritarian father Ante, begins to unravel when an old family friend arrives at their home on the island. While the father is preoccupied with attempts to strike the deal of his life, the charismatic guest offers Julija increasing freedom and stirs a sense of rebellion against her parents. Over the course of a weekend filled with high expectations, Julija draws her family into a dangerous whirlpool of passion and violence.

The visual identity of the film reinterprets the moray eel jaws emerging from the water, symbolising the forceful and strong behaviour of the teenage protagonist played by Gracija Filipović. The logo for the movie is a customized version of the typeface Ergon by Hrvoje Živčić, inspired by the style and heritage of the city of Dubrovnik and Neretva county — the area where Kusijanović grew up and roughly where the movie takes place. Alongside Ergon, the supporting typefaces again come from a Croatian designer — Nikola Djurek, namely Typonine Sans (incl. its condensed version). The humanistic and functional sans serif nicely contrasts the angular shapes of Ergon and balances the whole design.

Lungomare Art, created as part of Rijeka 2020 – European Capital of Culture, was a cultural and tourist route along which art meets people. As a part of the project, 9 works of art have been planned in nine locations along the Kvarner coast. The visual identity reflects these meeting points (9N = nine works of art), while info boards were literally meeting points of different materials:. they are made from metal and glass in urban surroundings, and wood and glass in natural ones.

For Lungomare Art we really enjoyed co-creating with design studio Mikser and sculptor Tomica Grubiša. For the typography of the signs, Delvard Sans from Typotheque is used for headlines, while longer texts are set in Gräbenbach from Camelot.

Cover of the book Slovenské povesti plné tajomných bytostí (“Slovak legends full of mysterious beings”) designed by Peter Nosáľ using Typotheque’s Nara typeface. The small text is added in Storm Type Foundry’s Anselm Serif. The book was written by Igor Válek, with an illustration by Martin Kellenberger, and published by Fortuna Libri, Bratislava, 2021.

Under the theme of “Imagine Democratic Regeneration”, this yearbook explores a diverse range of artistic visions and interdisciplinary approaches on the future of liberal democracy and the democratic design of a regenerative way of life and economic culture in the age of artificial intelligence. It was published by the Federal Ministry for European and International Affairs – Directorate General for International Cultural Relations, Vienna 2024. The bilingual publication (German and English) is available for download from the Ministry’s website.

The yoga centre on Lake Zurich - our very first client, which we have been supporting designwise for over 20 years. In addition to branding and web design, we have now also expanded into social media and campaigning. We would like to thank Regula Curti for the creative journey of Seeschau, House of Sacred Arts.

Mozaika Bratislavy: skryté dlažby a obklady (“Discovering Bratislava's Hidden Tiles: A Photographic Journey”) is a comprehensive 455-page book (16×23,5×3,5 cm) showcasing a unique collection of tiles from various districts such as the Old Town, Palisády, and Blumentál. The book was published by Čierne diery:

Over three years, the authors gained exclusive access to the typically closed gates of houses, capturing several hundred stunning tiles. Alongside vivid photographs, the book delves into historical narratives, offering insights into the lives of individuals who traversed these pavements a century ago.

The book uses Neureal by Laura Csocsán for headlines. The typeface used for body text is yet to be identified [it’s Murtaugh Condensed, see comments].

The book was initiated by Julia Itin and Štefan Cipár, and features texts by Julia Itin, Martin Lipták, Peter Kršák and Jana Švantnerová, and photographs by Štefan Cipár.

In the spring of 2021, student Diana Zinchenko designed a program and playbill for the Obraztsov Puppet Theatre, which was quite diffferent from their existing visual identity. The booklet titles and calendar grid of the bill are set in Karloff Negative and Karloff Neutral by Typotheque.

From Diana’s Behance presentation (auto-translated from Russian):

The number of pages is calculated in such a way that on each page it is possible to place a poster of 1 day, and as a result through the whole book (92 pages) there is a poster of the theater from April to June.

The book includes not only the program for three months, Obraztsov's biography and the history of the theater itself, but also a directory of theatrical terms and addresses of Moscow theaters.

Lying at the head of Van Mijenfjord in the Norwegian archipelago of Svalbard, Sveagruva was one of the largest underground coal mines in Europe. In 2017, after almost 100 years of coal production, Store Norske Spitsbergen Kulkompani embarked on one of the most ambitious environmental projects in Norwegian history. Their goal was to end mining operations, remove all traces of mining activity and return the area to its natural state. In 2022 Artica Svalbard collaborated with LPO Arkitekter and UiT (The Arctic University of Norway, Academy of Arts, landscape architecture programme) to commission four new essays by leading experts from the Nordics to discuss the Svea project and its related issues. This essay collection is part of Artica Writings, a curated series of disparate texts around a central theme. Some relating to the polar regions and their global influence, others looking at climate change, cultural history and personal perspectives.

The book cover is printed using coal from Sveagruva in Svalbard. It was ground down to a particle size below 100μm and mixed with a transparent ink base which was then used to print the covers on a Heidelberg press by The Letterpress Collective in Bristol, UK.

The titles are set in a few layered styles of Q Project and Q Project Mechanic by Typotheque, and aim to represent the recolonisation of industrial matter by natural elements and the transition from an industrial landscape to a natural one. The variable version of Isola – a recent release by Luzi Type – is used throughout for all reading text, partially backslanted as a further nod to things returning, or going back, to how they were before the mine was established. The subtitle on the cover, “The Transformation of a Post-Coal Mining Landscape”, is set in Kommuna 400 by The Temporary State.

The text pages were printed by Taylor Brothers Bristol Ltd in yellow and black plus a Pantone spot color that matched the coal ink used on the covers.

When Željko Knežević and Matko Barun of fledgling distillery High Spirits planned to launch their premium gin, they realized that a superb packaging was needed to make some waves. Luckily they knew whom to turn to: Izvorka Jurić and her studio in Zagreb have repeatedly proven that they are a first class address for design that can make a difference.

Sampé gin is a strong alcoholic drink distilled domestically from the finest Croatian grapes. With its refined combination of herbal aromas that include pine, lemon, and Adriatic salt, it has a strong connection to the sea. Izvorka Jurić (Creative and Art Director) and Jurica Kos (Senior Designer) explored this link for their approach. They comment on the background of the name:

Many countries on the shores of the great sea know the legend of how St. Peter once caught the John Dory fish and left fingerprints on its body; that’s why this sea delicacy is still called by his name: Šanpjer, Sant-Pierre, Sampé. Inspired by an ancient tale, we gave the name Sampé to a premium gin that pays tribute to the Mediterranean – a mythical place where the divine touch permeates nature and its precious gifts.

This theme was then translated to a unique bottle and label design:

The originally designed bottle has the shape of the sea surface on the front. The brand name is mirror printed on the back of the bottle, so on the front, it is visible through sea waves and the gin liquid which gives the impression that the brand name Sampé is in the water. This position deforms the typography and creates exciting shapes and structures that change by turning the bottle in hand or changing the viewing angle. […] The light blue-colored glass and wooden stopper in the conical shape of a sailor’s cap contribute to the overall Mediterranean feel.

For the typography, Jurić and Kos selected Rector “for the ideal combination of monumental and graceful”. The lapidary serif with sharply cut shapes and majestic capitals was designed by Hrvoje Živčić and published by Production Type. On the labels, Rector is contrasted with a sans serif by another Croatian type designer: Nikola Djurek’s Brioni Sans, available from Typotheque.

The hopes of the distillery were fulfilled: Sampé won Gold in the IdejaX Best of Ad-Making Awards and Silver in the Dieline Awards, one of the world’s most prestigious packaging design awards.

Website detail with the origin story of the name

The distorted letterforms of the brand name as seen from the front of the bottle

Bottle neck with the brand name in raised ink

The slogan in caps from Rector Bold …

… and how this setting translates to the raised glass lettering on the bottle

The brand story as shown on the side of the bottle, in English and Croatian, and set in Rector combined with Brioni Sans

The highlighted words in Brioni Sans caps are scaled to match the x-height of Rector.

The wooden stopper features a single S from Rector.

Website detail

The mirrored type on the back of the bottle