Display is a space for digital practice located in the heart of Frankfurt am Main, Germany, initiated and run by Node Forum. Conceived as a storefront, meeting point, intergenerational community hub and interdisciplinary experimental platform, it fosters creative, critical and hands-on engagement with technology. Through workshops, talks and community-driven initiatives, Display connects local digital projects while promoting accessible knowledge around digital culture and the creative, socially oriented use of technology.

The visual identity, designed by Marcel Backscheider, places G2 Airdancer by Gruppo Due at its center. Used as the primary display typeface, G2 Airdancer introduces movement and character to the system, reflecting the experimental and open-ended nature of the space. Its distinctive forms create a strong visual presence while remaining flexible enough to support a wide range of formats and contexts.

UN-11 by Source Type complements the identity as a functional counterpart. With its clear structure and pragmatic tone, it provides balance across informational materials, ensuring readability and consistency within a dynamic visual language. Together, the two typefaces establish a typographic framework that aligns with Display’s mission to bridge experimentation, accessibility and community engagement.

TITLES is a creative platform that combines AI and blockchain to let artists train and monetize custom models. It prioritizes on-chain attribution, revenue sharing, and artist control. ffforum was tasked to reimagine the TITLES identity, emphasizing refinement and forward-thinking through a sharp typographic system and a simplified mark that conveys luxury and clarity. The idea of the white cube is flipped on its head: the black box becomes an open system for exchange and authorship, where movement and transparency replace rigid ways of making.

ffforum developed three motion systems – Circularity, Multiplicity, and Openness – to anchor TITLES visual identity to its core values. Each system is adjustable to support the seamless promotion of artists, models, and user creations on the platform. These systems extend into simplified static layouts for quicker bursts of promo. By guiding and incentivising the cultivation of relationships with reputable artists, ffforum aimed to elevate the standard of the platform, making it easier to generate high-quality work. This initiative is extended by a spotlight series for visiting prompt artists, that push the artist models to its limits.

This is a fine art catalog on the works of Marina Apollonio, one of the most representative artists of international optical and kinetic art. It was published by Marsilio Arte on the occasion of the retrospective of the same name: Marina Apollonio. Beyond the Circle, shown at the Peggy Guggenheim Collection in Venice, curated by art historian Marianna Gelussi.

All titles and opening pages of the book were set in Octothorpe (Iván Moreno, PampaType), the ideal visual complement for the occasion given its sense of optical exploration and generative art possibilities. The text typeface is LL Circular (Laurenz Brunner, Lineto).

In March 1996 TassinariVetta took over the art direction of Casabella, the historic architectural review founded in 1928. From that moment on the magazine has become part of the everyday life of the studio, where it is designed month after month.

Aiming to go beyond the traditional concept of ‘typographic architecture’ – which sees graphic arts subject to the universal compositional rules expressed in architecture – and to offer a new perspective on the world of letters, the 2024-25 cover design sets editorial objectives ahead of graphic ones.

Taking advantage of the constraints inherent in monthly publication in sectoralization and serialization, and enhancing repetitive elements—the masthead, headlines, but above all the sequential number—the project brings editorial content to the cover through the choice of the font used to compose the number, its graphic interpretation, and the explanatory note published on the inside pages, which is an integral part of the project itself.

Faithful to the magazine tradition, issue after issue, the choice of lettering or typeface moves through the 20th century between avant-garde and modernism, with forays into adjacent spaces suggested by unlikely discards or ambiguous analogies, while exploring the development of the industrial means underlying mechanical writing.

With philological respect—using fonts available under license, photographic reproductions of original specimens, or vector redrawing, as appropriate—and with the calibrated use of a color palette consistent with the magazine visual history, the graphic interpretation ultimately aims to bring the historical artifact into the present, contextualizing it in a contemporary and accessible language.

no. 976 – Lettering for the Tomba Veritti (Udine, Italy), Carlo Scarpa, 1951

no. 975 – Univers, Adrian Frutiger, Deberny & Peignot, 1957

no. 974 – Prisma, Rudolf Koch, Klingspor, 1930

no. 973 – LL Le Corbusier, Nico Schweizer (da Le Corbusier), Lineto, 1999

no. 971-972 – Memphis, Rudolf Wolf, Stempel AG, 1929

no. 970 – Ingenieur, Wim Crouwel, 1964, The Foundry Types, 2012

no. 969 – bayer-type, Hebert Bayer, Berthold, 1931

no. 968 – Mexico 68, Lance Wyman, 1966–68

no. 967 – Our Bodoni, Massimo Vignelli, Tom Carnase, WTC (World Typeface Center), 1989

no. 965-966 – Futura Black / Paul Renner / Bauer, 1929

no. 963 – Fat Face, Herb Lubalin, Tom Carnase, ITC International Typeface Corporation, 1970

no. 962 – Kabel, Rudolf Koch, Klingspor, 1927

no. 961 – Stop, Aldo Novarese, Nebiolo, 1970

no 959-960 – New Alphabet, Wim Crouwel, 1967

no. 958 – Frankfurter, Bob Newman, Letraset, 1970

no. 957 – Universal, Herbert Bayer, 1925

no. 956 – Oakland, Zuzana Licko, Emigre, 1985

no. 955 – Aldina (Aldino), Nebiolo, redesign Adalberto Libera, 1938

no. 954 – Kombinationsschrift, Josef Albers, 1926–28

no. 953 – Bifur, A.M. Cassandre, Deberny & Peignot, 1929

What if Duchamp had played Go instead of chess? This speculative idea, developed by Marc Buchy, is the starting point for a project that unfolds across art, fiction, and social space – from an intervention in a Brussels bar (co-produced by Botanique and Komplot, autumn 2024) to this newly published book by Les Éditions Extensibles.

As described by Marc Buchy in Art Même, the work opens a “zone of grey art” – a real bar hosting a fake-yet-real Go club under the imagined memory of the Go player Marcel Duchamp never was. A true space for sociability, play, exchange, and learning – all central themes in Buchy’s practice.

The book measures 21×29.7 cm, spans 144 pages, and was printed in a limited edition of 500 copies. It was designed by Atelier Choque Le Goff, using Tiny, Tor grotesk, and LL Bradford. It’s not clear if the smaller letters made of dots are from a typeface or custom made.

Franco Pepe. Pizza Chef is a book published by Phaidon, available to pre-order since June 2025:

The story, ideology, and recipes of master pizzaiolo Franco Pepe, founder of the world-famous Pizzeria Pepe in Grani.

The cover and some chapter headlines use James Stencil from OTT. The rest of the text and the titles are set in LL Bradford from Lineto.

Initiated by the Danish Agency for Higher Education and Science, the Into Change Award honours outstanding European research groups whose work delivers scientific breakthroughs, has great societal impact, and reflects core research values such as curiosity, collaboration, responsibility, respect, and openness.

The first-ever Into Change Awards were presented on 15 December 2025 at the Royal Opera House in Copenhagen. The project branding was designed by e-Types using Noir No1, available from Playtype, plus Lineto’s LL Prisma Fatline for “CHANGE”.

60 Years of Experience, 30 Years of Youth – School of Computer Science MFF UK is a commemorative print in celebration of the 30th anniversary of the founding of the School of Computer Science in the Faculty of Mathematics and Physics of Charles University, Prague, Czech Republic.

The book’s chapters cover the history and the current form of the school. The book can be read from both sides – one side in Czech, the other (after turning the book over) in English.

UN-11 is the typeface used for the visual identity of the architecture agency Radio architectes.

The mini-website designed by WA75 showcases a selection of project of the agency. By moving the cursor, the user can reveal images of the projects hidden behind the text.

UN-11 is a strong component of the identity. The shape of the letters looks familiar, as it is adapted from the iconic Univers, but the sentences and paragraphs highlight its Selectric typewriter character.

MiMAKi is a premium food brand that reimagines umeboshi, the traditional Japanese preserved plum, through a contemporary lens. The brand carefully sources plums from a region in Japan celebrated for their exceptional quality, selecting each with care and processing them with meticulous attention. Once regarded primarily as a traditional food for older generations, umeboshi is now thoughtfully reinterpreted by MiMAKi to captivate younger audiences and health-conscious consumers around the world.

What emerged from market research was a clear trend: many umeboshi products rely heavily on traditional “Japanese” visuals, such as brush calligraphy, ink paintings, and classical decorative motifs. While these visuals honor tradition, they can also be perceived by younger or international consumers as old-fashioned or culturally distant. At MiMAKi, the brand deliberately avoids these conventional visual cues, instead embracing abstract and graphic expressions to give the packaging a sense of freshness and approachability.

The visual identity, including the logo, mark, and labels, are designed in harmony with the packaging. Starting from the round shape that symbolizes the umeboshi, abstract elements were created for each of the three flavors, all with variations in color and form. The labels, applied directly to the jars, serve as the product’s “face,” making the product approachable and accessible. By balancing visual distinction with functionality, this design creates a new approach to traditional food packaging.

Since its launch, the brand has steadily gained support from younger audiences through social media, and in recent years, it has also captured the attention of health-conscious consumers abroad. Its visual charm, regarded as cute and modern, has been widely praised, helping MiMAKi build momentum that now extends to major international cities, such as Los Angeles and New York.

MiMAKi is a project that demonstrates the power of design to carry traditional foods forward to the next generation, while bridging time and culture. By combining cultural heritage with innovation and a global perspective, this initiative aims to serve as a model for local design reaching from Asia to the world.

The main logo is a customized version of Akkurat, with the Japanese copy in S Mincho Soft.

Golden PMS and embossed typeface for the Visages exhibition, a group show by Almine Rech.

Visages as shown in Gstaad

Graphic campaign designed by ESIETE for the conference and debate cycle La Imagen Construida, whose first edition took place at La Virreina Centre de la Imatge. The event explores the intersection of architecture, design, and visual communication through dialogues between photographers and architects.

Central to ESIETE’s concept is a generative grid system that produces dynamic compositions. Words and images are built and deconstructed in real-time, reinforcing notions of spatiality and structure — key architectural and design concepts – to create an identity aligned with the event's spirit.

The campaign encompasses posters, projections, and digital content for social media, developed by ESIETE for a professional and specialized audience.

London-based studio Anagram has redesigned Transfapay, a money transfer service founded in Sierra Leone,. The new brand, Jaudi, now facilitates the worldwide transfer of goods, assets, and funds. Despite a competitive market, Jaudi aimed to stand out by showcasing its expanded offerings and its West African heritage.

Anagram on the new strategic orientation:

We revealed that many transactions were driven by powerful emotions, not just financial needs. Stories emerged of children supporting families back home from new countries, and charities and businesses investing in their local communities. To capture these narratives, we developed the concept of ‘Changing Money.’ This phrase cleverly references the business’s origins in money transfers while highlighting the human benefits and transformative impact of its services.

The branding and typography reflect this positive vision. The three weights of Easy Grotesk used throughout the branding and UI embody warmth and clarity, mirroring Jaudi’s commitment to transformation and empowerment. Alongside, Akkurat Mono is used for minor text and navigation, providing a balanced technical flair.

Home to Australia's most sought-after brands, James Street is a lifestyle destination filled with boutique stores, world-class dining and one of Australia’s best hotels.

The previous website struggled to support the large tenant base, had mobile responsiveness issues and felt dated, making it difficult for visitors to discover what James Street offers.

The final solution enhanced the brand's visual identity, refined the UI/UX to support the growing tenant base and stripped back visual noise to emphasise the content within the website.

Website dev by Carl.

The brochure Anleitung für den Austausch (“Guide to Studying Abroad”) is intended for students of the Zurich University of the Arts (ZHdK) who are planning a semester abroad or an international internship. It offers hands-on guidance and helps clarify key questions: What options are available to me? In which semester can I go abroad? How do I secure a place? Am I eligible for a scholarship?

The brochure is complemented by an essay by Nils Röller titled Being Smart, Being There. In addition, students share personal insights into their exchange experiences in Marseille, Hong Kong, Stuttgart, New York, and Buenos Aires.

The German company FORTIS Real Estate Investment AG uses TA Modern Times and LL Akkurat on its website. The former is featured in the logo, headlines, and selected text elements.

Its clean, modern, and trustworthy appearance perfectly reflects FORTIS’s professional and human-centered approach. TA Modern Times once again proves to be an ideal solution for corporate visual identity.

L’aiguille & la plume, Jules Gay, Désirée Véret, 1807–1897, written by Thomas Bouchet, is a book designed by French graphic design studio Helmo.

A quick description of the book from Éditions Anamosa (translated by the contributor):

A leading specialist of the tumultuous 19th century, historian Thomas Bouchet revisits and questions biographical writing in this masterful book. He offers a “pas de deux” that brings us closer than ever to his “characters” (the needleworker Désirée Véret and the publisher Jules Gay), to their political and social commitments, and to the “shifting landscapes” that deeply color lives – theirs, and ours.

The Crocs website uses TT Crocs, a custom version of our bestseller TT Norms Pro in which some letters are replaced by round-tailed versions – see for example l and y. As of 2025, headlines are in Karl ST.

Crocs is an iconic American casual footwear brand known worldwide for its lightweight and comfortable clogs made of its signature Croslite material. Founded in 2002, the brand has become a symbol of comfort and self-expression, conquering not only everyday fashion but also the hearts of designers, celebrities, and creative communities. Crocs actively collaborates with artists and fashion houses, releasing bright collaborations emphasizing its bold and ironic character.

Wellness by Design is a book that showcases a collection of well-being spaces from around the world. The publication features a variety of projects that reveal the charm and beauty behind the architecture of these restorative and self-reflective environments. For this project, HAVN saunas asked us to lead the editorial design, developing a contemporary layout and graphic expression that are both functional and visually engaging.

Although the publication was approached as a “coffee table book”, it doesn’t lack rich textual content. In fact, special attention was given to the introduction of each text—both in the copy and in its typographic expression. We typeset the book in Ivar Display and Text, a warm and eloquent typeface series, paired with LL Circular, a clean and geometric companion. The overall look of the book conveys a delicate, yet clear and direct tone, expressed through minimal gestures.

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