Bernd and Hilla Becher were an artist duo who did conceptual photography back in the 1960s and 1970s. In the spring of 2025, HSE School of Design student Nastya Progatskaya created a calendar featuring the Bechers’ work, replicating the composition of their photos with a calendar grid. Taler by Denis Serebryakov is in charge of the project’s typography.

Chai Kings is an Indian quick-service and delivery restaurant chain that specialises in tea (“chai” in Hindi), coffee, and snacks. Its brand identity was created by Chennai-based studio Social Tribes and uses Appetite by Denis Serebryakov for its logo and collaterals. The logo and slogan use the Medium Italic weight; the Bold weight is occasionally also used.

The logo and slogan on cups and a single-use flask

The banner has text in Appetite Bold in addition to the logo and slogan.

Game publisher Social Quantum releases games of all kinds: their portfolio includes both the narrative Lost Future about the world after a zombie apocalypse and the casual Wild West: New Frontier, where you can endlessly build and manage your farm in the Wild West. Nekst by Denis Serebryakov and Inter by Rasmus Andersson cater typography on the publisher’s website.

Scott Boms published a second expanded edition of I Take Full Responsibility, a small book produced and assembled by hand. From his description of the project:

I Take Full Responsibility collects fourteen of the most significant communications from technology company CEOs since November 2022, who, during that time, have reduced their employee bases by huge swathes. Accompanied by a personal introduction, photos, and artwork from more than ten years in tech, it’s intended to be a time capsule circumventing Silicon Valley’s short-term memory and a clear statement of fact that work will not love you back.

Risograph printed in black, bright red, sunflower, and metallic gold inks on 5 different paper stocks, its urgent message arrives enclosed within a redesigned and screen-printed closed-spine format along with laser-cut accessory prints delivered in a personalized Inter-office envelope.

Scott shared also some notes about the typography by email:

I chose Bennet Text 2 as the main typeface used throughout the book for practical reasons, such as its character set, which includes small caps and a solid range of figures. It’s also one I’ve used before with the Riso and has proven to work well with that process. As I started setting the text, I experimented with other options but kept coming back to Bennet because of its solid, authoritative feel and consistently even color. It’s made for editorial uses like this but also works well at larger sizes where its subtle details become more apparent.

Gridlite PE was originally only going to be used for the “Approved” stamp on the pink slip card because it could look authoritative while also solving a practical need when run on the laser cutter. As the design of the cover evolved and I added the original acetate layer in the first edition, it became an obvious choice as it worked really well against the other imagery and helped then connect the various pieces together.

When I was designing the pink slip and Tech CEO Bingo cards, Aglet Mono just felt right. I was going for something that wouldn't feel out of place on a business form but could also hold its own visually and pair well with type used elsewhere in the book.

The monospace form of both Gridlite PE and Aglet just seemed to make sense. I believe an early version of the cover was set in Aglet which led to me to try Gridlite PE, which ultimately stuck in the end.

The book also includes appearances by Knockout, Champion Gothic, Fern Micro, Rhody, and San Francisco. The accompanying prints add to the eclectic mix with Displace Cut and an early use of Regrets.

Cover detail

The title page, set in Bennet Text.

Pink slip and Tech CEO Bingo card, primarily set in Aglet Mono, with die cut in Gridlite, small text in Fern Micro, and heading in Champion Gothic.

Pink slip detail

An interior spread (with the first edition’s staple binding)

Interior excerpts (San Francisco used for the email text)

Interior excerpts (Rhody featured on the first page)

Bonus print, featuring Regrets and Displace Cut

Bonus print, featuring Champion Gothic. (The Risolute Press logo is Banque Gothique.)

From Maria Rudakova, the designer of Vot-Vot Agency’s website (via type.today):

Vot-Vot agency started as a company of friends who gave tours and just discussed art and one day, sitting in the kitchen, decided to do something together. That’s how they came up with tours and educational programmes for Cosmoscow fair, Shchusev Museum of Architecture, Strelka Institute for Media, Architecture and Design, and many others.

The team is made up of art historians, culture experts, museum workers, scientists, experts in inclusion and cultural programming.

The website is something in between a virtual show of contemporary art and a portrait gallery. Change of focus on the photos reflects the key principle of the agency: a subjective perspective lies at the heart of any artwork’s perception.

The logotype’s structure is inspired by one of the meanings of the Russian adverb ‘vot-vot’ — ‘any minute’. The letters are balancing on each other, almost breaking apart, but the site’s greed keeps them from falling. The space is designed as concisely as possible, with one style, so as not to divert from the centrepiece — agency’s logo. However, the distinctive personality of Nekst is enough to make Vot-Vot’s aesthetics very catchy.

Read the whole article on the type.today website.

The brand for the churrasqueira (Portuguese chicken grill-house) Cucurico was designed by Pacifica. The logo uses Rozza, with a cock’s tail in place of the i dot. Rozza comes with a number of unusual ligatures. The ur ligature featured here is a custom addition, though. The architecture and space design for the location in the LxFactory complex in Alcântara, Lisbon was developed by DC.AD.

Brand design: This is Pacifica
Architecture: Duarte Caldas
Project Manager: Catarina Mascarenhas
Engineering: Acribia
Photography: Francisco Nogueira

Легенды Менску (“Legends of Minsk”) is a limited edition series of three beers from the Krynitsa brewery. The new design coincided with the 950th anniversary of Minsk. The client asked to implement the concept of the city’s most famous urban legends, resulting in “Artifacts” as a design concept, which determined the future creative boundaries.

For greater persuasiveness of the idea and what was said in the legends, reference was made to classical monumental inscriptions. Epos was designed as a custom typeface for this project to achieve greater artistic expressiveness and individuality of the product as a whole. The typeface has become the binding material of the entire composition.

Illustrations: Andrey Yaroshevich.
The full case study (in Russian) can be found on design.by.

So as to tell my story, I built a series of posters containing parts of myself. As I wanted to make them fun, I picked up some funny stuff and moments. The story is being told in three parts. My life in Pau Baixo, my address in Goiânia and the moving to São Paulo. Get to know my work. All posters are part of my personal project.

Show image photograph by Jack Davison

Poster used to promote National Theatre’s production of Macbeth which is broadcast to cinemas in the UK and internationally.

The ruined aftermath of a bloody civil war. Ruthlessly fighting to survive, the Macbeths are propelled towards the crown by forces of elemental darkness.

Shakespeare’s most intense and terrifying tragedy, directed by Rufus Norris (The Threepenny Opera, London Road), sees Rory Kinnear (Othello) and Anne-Marie Duff (Suffragette) play Macbeth and Lady Macbeth.

I’m usually not a big fan of ATypI’s graphic identity, but for this year’s conference in Montréal, Julien Hébert is doing an incredible job using a bunch of fresh and amazing typefaces!

Julien Hébert says he chose Guillon as the principal typeface for this year’s conference because it was developed in Montréal by the very talented Feed Studio and Coppers and Brasses. As we celebrate the 50th anniversary of Montréal’s Expo 67, Guillon pays homage to the mid-century modernist grotesque, and is perfectly suited to the very heteroclite applications to come.

Julien Hébert: “The A17Mtl mark was created from scratch and meant to reflect this year’s theme: Atypique (atypical in French). I had fun with ink traps, making the mark look good at all sizes, as well as geometry, creating very satisfying alignments and fitting the mark in a perfect square.”

Joe182 is “a script face based on the authentic traces left by a thick chisel-tip marker”.

Here I should thanks Florian Hardwig who is your man when you need some ID help:

“The condensed broken script looks like Gandur Neue, with the ‘e’ taken from the small caps.”

[Correction: It’s simply Gandur Alte in all caps, see the comments.]

The call for early bird registration is enforced by the use of Minotaur Beef.

Triade is another local typeface, by Montréal-based foundry Coppers and Brasses. See its peculiar Backslant style in action here.

Rozza: “On the one hand prickly and dangerous, and on the other — pulsating beauty and passion.”

“Frauen Roman and Script share a common weight, x-height, and nib angle, and when used together behave as if the same unabash­edly German calligrapher penned them both in the same sitting.” — Sharp Type

Lettering done by Julien Hébert.

According to its designers, “Pareto is not even halfway finished with its time travel from Italo Western to Computed Type!”

More lettering by Julien Hébert.

The ring bound program cover feature one more lettering by Julien

Some spreads from the program, displaying typefaces already featured above and new additions by The Pyte Foundry: Umbra, Octango and Symptom (not visible here).

The Mini Schedule and the whole signage on the actual location were set in various styles of Sharp Grotesk.

Two great type scholars (Luc Devroye left, Stephen Coles right) in front of some of the posters Julien designed with its own letterings, at ATypI 2017 closing party.