Sessiz Kutlama (“Silent Celebration”) is a testimonial book by photographer Nurra Yazıcı, conveying her experiences of her son Ali’s heart transplant process through text and photographs.

The book is structured to allow the texts and images to sustain their own pace. Published bilingually in Turkish and English, the work is designed with a reading structure that does not accelerate the narrative but instead creates space for pauses, repetitions, and moments of stillness, stretching the temporal flow.

CorContainer.nl is a Dutch container rental company operating in a sector where visual identities are often purely functional. The branding was designed to stand out – primarily through typography and color – while remaining appropriate to the construction environment.

The identity is built around GT Flexa, a typeface that balances strength and clarity with a friendly, distinctive character. Headlines are set in GT Flexa Black in uppercase, forming bold, compact typographic statements that function almost as graphic elements. For body copy and supporting text, GT Flexa Regular provides legibility and warmth, offering a subtle counterbalance to the heavy display style.

A vibrant purple – rare within the industry – reinforces recognition and sets the brand apart from the typical blues and reds associated with construction.

Application shifts depending on context. On containers, office units, and site cabins, the branding is deliberately understated, functioning more like a garment label: present but never intrusive. In contrast, promotional materials – posters, cycling jerseys, coffee cups, and other brand touchpoints – allow the typography and color to take center stage, building visibility and recognition.

The result is an identity that is both bold and considerate – distinctive when needed, restrained where appropriate.

Tribute poster for Umm Kulthum, using 29LT Idris Flat. From Wikipedia:

Umm Kulthum (Arabic: أم كلثوم; c. 4 May 1904 – 3 February 1975) was an Egyptian singer and film actress active from the 1920s to the 1970s. She was given the honorific title Kawkab el-Sharq (Arabic: كوكب الشرق, lit. ‘Star of the Orient’). Immensely popular throughout the Middle East and beyond, Umm Kulthum is a national icon in her native Egypt; she has been dubbed “The Voice of Egypt” and “Egypt’s Fourth Pyramid”. In 2023, Rolling Stone ranked Umm Kulthum at number 61 on its list of the 200 Greatest Singers of All Time.

Her funeral in 1975 drew a crowd of over 4 million people, the largest human gathering in Egypt's history, even surpassing that of president Gamal Abdel Nasser.

Leaflet for an exhibition at David Parr House presenting the prints of Tadek Beutlich (1922–2011), one of the most important and experimental textile artists of the post-war era.

The 74th Berlin International Film Festival (Berlinale) took place from 15 to 25 February 2024, and is considered one of the most important film festivals worldwide.

Claudia Schramke was responsible for the visual design of the festival for the fourth time. This time, she devoted her full attention to the Berlin Bear, which she depicted in various poses. “The bear is the symbol of Berlin and of the Berlinale. It is a robust and inquisitive animal, intended to emanate optimism, willpower, and strength on behalf of the international film festival during the challenging times of our world”, writes Schramke on her website.

What makes the bear design special is that she created it entirely by hand using stamps. “It was a great honor and pleasure for me to once again create the posters and graphics for the Berlinale! I put a lot of love and care into the blue bear of this edition; every single hair of the fur was individually placed with self-made stamps.”

GT Flexa by Grilli Type from Switzerland was chosen for the typography; it was designed by Dominik Huber in collaboration with Marc Kappeler. Since its release in 2020, it has been available in an impressive 112 styles.

GT Flexa breaks with the classic understanding of font as a static system. Instead, it sees itself as a dynamic tool that responds to the demands of modern design. This is exactly what Claudia Schramke does in her design by deliberately replacing letters in the expanded family. Also noteworthy is the attention to detail, with the font sometimes colliding with the bears and sometimes blending in with them.

Editorial meets vintage – romantic brand design for Olive & Co, a wedding planner in Calgary.

We created a refined typographic logo that feels both timeless and modern, paired with custom illustrative elements inspired by olive branches. The branding incorporates subtle baroque details, with ornate flourishes and vintage-inspired motifs, nodding to the founder, Elizabeth's love for classical music and European architecture.

The visual identity walks the line between modern editorial design and ornate, vintage-inspired luxury, reflecting Olive & Co.’s signature approach to event design: thoughtful, romantic, and diverse.

The mission of Female Photoclub e.V. is to draw attention to injustices in the photography industry, shape public discourse, and ensure that the perspectives of female photographers are seen. This is because professional photography, especially in the fields of advertising and photojournalism, is still a cis-male-dominated domain. The association has been instrumental in initiating the debate on inequalities in the industry in Germany and wants to drive change. To this end, the FPC offers a safe space for constructive exchange and a broad network of photographers and supporters.

Taking Space – Creating Space: The corporate design of the Female Photoclub stands for attitude, visibility, and the occupation and reclaiming of space by FLINTA* photographers: the graphic elements open up the space, shift it, and reclaim it. The brackets of the word mark are reminiscent of an aperture. They frame, focus, and make visible. At the same time, they separate the word fe*male in a special way: the asterisk and the bracket refer to identities outside binary structures. The gap becomes a stage for self-designation, diversity, and identity. An aperture in the typographical sense: light penetrates through it, creating visibility.

Corporate design, layout, and web design by studiokwi, with web development by visiert. Photos by Anna Spindelndreier, Jeannette Petri, Ana Maria Sales Prado, Cherie Birkner, Franziska Gilli.

This unique book by Benjamin Rubloff features a stunning body of paintings, each inspired by fragmentary photographs of graffiti, with each piece named after the location where the photo was taken. A short text by the artist accompanies each painting, providing insight into his personal thoughts and experiences. The book concludes with a series of photographs, each labeled with GPS coordinates, marking the location of the original graffiti. A beautiful essay by Duncan Ballantyne-Way provides further context and reflection. Published by Verlag Kettler.

Presenting Attenda. A new name and brand for a technology company helping payments get from A to B, as simply as possible.

The old company, Suresite, are a family technology business supporting the fuel and forecourts world with payments and logistics. But the move away from fossil fuels means the decline of the petrol forecourt, and how we pay is changing with the rise of unattended contactless transactions.

So they are pivoting to being laser-focused on payments facilitation for any industry, positioned firmly as a fintech. This required a new name to signal radical change, alongside a story and brand that would engage new customers without alienating current ones.

The new name, Attenda, alludes to their tech helping along attended and unattended payments, and also attending to customer needs (they are known for great service).

The visual identity by Limber Brands revolves around a simple, memorable symbol based around the movement of money. Payments, when using Attenda, go from buyer to seller as directly as possible. So the symbol combines a straightforward horizontal arrow and the letter A, leaning into the future.

The identity uses Roc Grotesk as the primary typeface, with its horizontal emphasis reflecting the general horizontal-ness elsewhere in the brand. Supporting in contrast is GT Pressura Mono, a nod to monospaced credit card text.

In celebration of the 50th anniversary of Nuremberg’s “Kulturläden”, local design studio Complex Pleasures created a colorful book that brings together stories, images and documents from the rich history of socioculture in the city. The book combines individual anecdotes and interviews in an associative way. In our design, quotes, pictures and comic elements complement each other and ultimately lead to the question of the future of cultural work and participation. The graphic design is playful and collage-like and features illustrations by Alex Mages, free arrangements and classic typesetting, using Grilli Type’s GT Pressura and GT Alpina typefaces.

Saintly is on a mission to lead the world to a cleaner future from behind. They are reimagining the personal care and toilet hygiene space starting with a cleansing foam dispenser that serves as a flushable wipe upgrade. With the cheeky belief that “cleanliness is next to godliness” and a promise to deliver “that new butt feeling, every time,” Saintly redefines the category with a Renaissance-inspired aesthetic that turns the everyday bathroom routine into a ritual of confidence.

From strategy and naming to visual identity, packaging, and web design, the team at Universal Favourite reimagined every detail of the brand, ensuring Saintly’s launch was nothing short of heavenly. Working alongside Doris Dev, we helped bring to life a cleansing foam dispenser that serves as a flushable wipe upgrade— setting a new standard for heavenly bathroom upgrades.

The Saintly typography system builds upon Romie, a contemporary take on a classic serif, featuring elegant glyphs and flourishes that mimic hand-drawn calligraphy. Universal Favourite expanded on this concept through typographic layouts that emphasise graceful, flowing forms, drawing inspiration from the rich history of Renaissance Italian printing presses. The supporting typeface is GT Pressura Mono.

From Maison Sarah Levoine:

“Daring to use color means letting your instinct speak, listening to your emotions and keeping your senses alert.” In her manual dedicated to color, Sarah Poniatowski offers a vibrant chromatic reading of decoration and interior design. Designed to blend into the decor, the book Couleurs Sarah takes up the codes of the House. Namely: a joyful association of signature shades. The 319 pages of the book Couleurs Sarah offer creative associations of shades, the fruit of the reflection of the architect and interior designer.

Design by 34 studio. The gold foil type on the cover is GT Sectra; in the book interior it is paired with Maison Neue and Maison Neue Mono.

Tu peux répéter ? Écrire, parler, expérimenter les langues avec Marianne Mispelaëre is a book published by Paraguay Press following several workshops with children around the question of language, led by the artist Marianne Mispelaëre in Marseille. For the design, Bureau Roman Seban and Claire Mouton used Rillus, Mercure and GT Pressura.

From the publisher’s website (translated):

We all agree that language is a rich resource. But what exactly are we talking about when certain languages are inaudible at school?

This book is an extension of the work carried out by artist Marianne Mispelaëre in a secondary school in Marseille between 2020 and 2022. It explores the different relationships that our languages – read, spoken, understood and surrounding us – have with the French language, with our histories and our identities, at school and in all social exchanges. Multilingual, allophones, born here or elsewhere, the students, in all their diversity, took part in workshops devised by the artist to explore the value of the languages that cross our lives – what a language does to, what a language says about our perception and understanding of the world.

NN Nouvelle Grotesk is the typeface used by the YBCA. The logo uses GT Pressura.

From the About page:

Opened to the public in 1993, YBCA was founded as the cultural anchor of San Francisco’s Yerba Buena Gardens neighborhood. Our work spans the realms of contemporary art, performance, film, civic engagement, and public life. Centering artists as essential to social and cultural movement, YBCA is reimagining the role an arts institution can play in the community it serves.

Centre to Periphery is a long-term design and research project that investigates discarding and the role of landfills, as an antiquated disposal method and their entrenchment within contemporary waste management. Constructed ever further on the periphery, landfills have become a “geospatial other” – a sacrificed zone – destined to receive the residues of hazardous waste streams, waste incineration and recycling streams, which to this day enables the centre to flourish and thus necessitates the landfills’ existence.

The project consists of several chapters and includes field research, interviews, visual journalism and documentation of various sites across the Netherlands, Switzerland, Belgium and Scotland.

Unwittingly, the language invented to describe the processes of managing waste has likely contributed to obscuring their implications and realities.

Likewise myths arose that suggest sense of control and the problem of surplus matter being resolved, such as recycling. All the while, it appears as if landfills are to stay with us for lack of scaleable alternatives such as zero waste. Might the deconstruction of these myths and language aid a different reading and hence engagement with landbodies built on the globalised fiction of carbon modernity?

The GeoVisions Landbodies Glossary tries to dissect language to bring audiences nearer to the reality of contemporary waste streams.

Risograph-printed in silver by Herr & Frau Rio, Munich.

Someone & Others used ABC Diatype Rounded (Dinamo) and GT Pressura Mono (Grilli Type) as main fonts for the identity of skin care brand Starface. The logo is based on Haley Fiege’s Sniglet, with custom star-shaped counters.

From Margaret Andersen’s article for Wix Studio:

Starface […] takes a worldbuilding approach to brand development, and it’s become wildly popular among teens for its colorful star-shaped acne patches. Someone & Others, which developed the brand’s identity (as well as for other notable beauty brands, like Kosas and Good Weird), grounded the Starface branding with a bright yellow color palette, Y2K design elements, and an adorable, starry-eyed, smiley face character called Big Yellow that, like the Futurewise slug, serves as the main persona for brand storytelling.

Big Yellow anthropomorphizes the brand’s packaging: riding roller coasters, running a book club, buying a bouncy house on TikTok (to which one of the brand’s two million followers commented, “this is so random I’m obsessed”), and commenting on brand posts from its own account. (All things one hypothetically might do with the loud confidence provided by a Starface pimple patch.)

In 2024, the Uldry printing company has its 60th anniversary. This is being celebrated with an exhibition: 60 artist friends, studios and companions have each designed a poster. This one is my entry. The poster was made with GT Flexa in Cinema 4D.

This project was inspired by the literary work of José Luís Peixoto and the locations in Abrantes, Constância, and Sardoal linked to the writer. It was developed to create a literary urban experience, materialized in a series of concrete blocks that evoke the pages of a book, allowing the texts to occupy and transform the public space. Each block represents a ‘page’, exploiting a distinctive typographic design that emphasizes the depth of the textual content.

The structure of the text supports was conceived from a parallelepiped with displaced vertices to create organic and asymmetrical pieces. This modular solution allows for a versatile arrangement of the blocks: on the floor, on walls, vertically or horizontally, adapting to different spatial contexts. The graphic layout of the texts refers directly to the aesthetics of a book page, reinforcing the concept of literature as a visual intervention in urban space. The texts are stenciled using GT Sectra, which adds a contemporary touch and contributes to the work’s cohesive visual identity.

The book Storie Spaziali per Maschi del Futuro is a collection of 12 fairy tales written by Francesca Cavallo and illustrated by Luis San Vicente. The book design by Francesca Zucchi features Marcus from MA-MA Type in combination with GT Sectra by Grilli Type.

From Amazon:

The 12 fairy tales take place on 12 imaginary planets. Each one deals with the formation of male identity: from the relationship with the father figure to the management of power imbalances, from the recognition of emotions beyond anger to the courageous exploration of one's own identity, from the discovery of a romance that does not require heroes to the importance of knowing how to take a step back and repair what has been broken, inside and outside of oneself.

Tapage is an eco-responsible wine bar in Nantes, France. The concept is simple: to offer local drinks in bulk, packaged in stainless steel barrels and served on tap. The visual identity is inspired by industrial aesthetics and technical design, in homage to the post-industrial atmosphere of the district where this "proto-cave bar" is located.

The brand image is based on a limited colour palette accompanied by Harber by Benoît Bodhuin of bb-bureau. The second typeface is GT Pressura designed by Dominik Huber and Marc Kappeler (Moiré) with Grilli Type. GT Pressura is inspired by the history of metal type printing and the technical letters stamped on shipping boxes. It uses the visual gesture of ink spreading under pressure as a figure of speech, offering an alternative to the typefaces of the digital age. The Tapage logo is custom.