The book brings together the best annual projects of the Academy. Printed in six-colour offset with the addition of a metallic Pantone, and partially in Risograph (internal insert), it employs hand-crafted movable type for the titles, with manual typesetting combined with black-and-white photography, as well as artist illustrations produced through intaglio and engraving, printed in two colours.

The layout is conceived as a fluid composition: a hybrid system of techniques and visual overlays that positions the book somewhere between graphic design and the artist’s book. While flipping through the pages, readers can access additional audio content related to the various activities.

Some of the typefaces used belong to the Academy’s collection of movable type. This includes a version of Inserat-Grotesk – possibly Fondografica’s Piacenza – and Motor. The names and origins of others are uncertain or undocumented.

The E and P are from an Art Deco typeface that’s similar to Triennale.

The fourth edition of BoCA (Biennial of Contemporary Arts) took place in 2023. Lisbon and Faro were the cities hosting a new and effervescent program from 2 September to 15 October.

Between commissions, world and national premieres by both established and emerging artists, performing in their own language or taking risks to create for other registers, BoCA built its 4th edition on the idea of “Invisible Present”.

Always aware of the current times – cultural/artistic, social and political – artistic director John Romão said he ‘wants to give visibility to living things that are not seen, either because of social, political, cultural, economic, legal or technological conditioning, or because we premeditatedly don't want to recognise the existence of otherness, to validate identities that inhabit the margins’. It is with this desire that the program reflected on issues related to the migrant crisis or gender identity, claiming the physical presence of what is not seen.

BoCA 2023 used two primary colors, gray and yellow, throughout its identity. It used one primary typeface within its permanent, geometric and mutable logo: Neureal by Laura Csocsán (released on ECAL Typefaces) – including for titles and descriptions. LL Replica by Dimitri Bruni and Manuel Krebs (released with Lineto) was used for displaying longer texts within the newsprint pamphlet and for smaller information.

Roma is a selection of Gabriele Basilico’s photographic works curated by Matteo Balduzi, Giovanna Calvenzi and Pier Angelo Cappello, promoted by the Italian Ministry of Culture’s official general department of contemporary art in collaboration with the National Roman Museum, Museo di Fotografia Contemporanea (Museum of Contemporary Photography), and the Basilica Archive. The exhibition and book were designed by Tomo Tomo, with Martina Ciccaglione as project leader.

The typographic choices using DJR’s Megazoid and Lineto’s LL Riforma typefaces reflect Basilico’s work, whose research focused on modern architectural developments in the city of Rome. A historic setting with contemporary appearance is represented with the bold stylized title Roma set in Megazoid, which has letterforms mimicking arches, windows, and doorways often seen in Basilico’s images. Megazoid's geometric shapes are complemented by informational texts composed along a grid, using the geometric sans LL Riforma in its Heavy style to match the boldness of the title. The muted color palette balances against the modern minimalist geometric typography by subtly evoking a reminder of historic Italy and allows the architectural photographs to take center stage.

The catalog comes with Italian and English text and was published as softcover with dust jacket by Electa.

This Portuguese edition of Leo Tolstoy’s The Death of Ivan Ilyich and Other Stories was published in 2018 by Brazilian publisher Martin Claret, featuring a layout by Giovana Gatti Quadrotti with art direction by José Duarte de Castro (to be complete, the editorial production was handled by by Carolina Marani Lima and Mayara Zucheli).

The book caught my eye a while ago for using certain elegant graphic solutions, but making a dubious typographic choice for the body text.

Note that the font used in the body text is Orpheus, which is commonly regarded as a display font. The sans serif – which never appears in uppercase – is LL Replica.

The problem with using Orpheus in body text is that, for example in footnotes, the font becomes very fragile – especially on the intertitle pages, when the color of the page is a not-too-dark orange and the text is in white (see the second headline image). There are two aspects to the folio: on the even-numbered pages, LL Replica is used in a dark color (black); on the odd-numbered pages, the title of the novel in question is the same color as the orange used for the rest of the book, a choice that again does not make the text legible, especially at a small size.

Headline from the intertitle page

On the first page of the first novel, text is set in a larger font size than on the following pages

Website and identity design for Tom Gould, a director from New Zealand, pairing all caps LL Riforma with Items Condensed.

Subsystematics operates on the belief that true care begins with inquiry—a deliberate questioning of what it means to live well and to thrive. Our task at AND ASSOCIATES STUDIO was to reflect this inquiry in the brand’s identity. We understood that this was a system, not merely a brand, and that the identity had to exist as a framework within which customers could explore and evolve. Subsystematics demanded more than a design—it required a philosophical vessel capable of carrying both the material and the immaterial: the evidence-based efficacy of their products alongside a contemplative discourse on wellness and human potential.

The brand operates at the intersection of science and ritual, where skincare becomes a practice of intentional care—both of the self and the mind. This required a design that could embody both precision and tradition, where the philosophy of evidence-based care could be mirrored in every touchpoint. We understood that the core values of Subsystematics—science, simplicity, integrity, and non-conformity—needed to resonate throughout their identity. The brand had to feel premium yet grounded, inspiring yet non-conforming, speaking to an audience that values both the clinical rigor of science and the cultural depth of meditation, exercise, and travel as essential components of self-care.

To create a design language for Subsystematics based off of The Company You Keep’s original findings, was to engage with the very essence of clarity—distilled, thoughtful, and purposeful. We proposed a system that was minimalist not for fashion’s sake but as a strategy to remove excess and allow meaning to surface. The graphic identity had to serve as a kind of visual philosophy, one that invites contemplation, encouraging users to see skincare not as an isolated activity but as part of a broader inquiry into how we care for and understand ourselves. This conceptual framework extended into every detail, including the choice of typography, where the interplay of form and function became a critical element in reinforcing the brand’s ethos.

The typographic choices of pairing Lineto's LL Riforma and Florian Karsten Typefaces’ FK Grotesk emerges from a deliberate inquiry—a synthesis of typographic rigor and behavioral intuition, framed by a need for clarity within complexity. These typefaces, similar in their modernist lineage yet distinct in their nuance, act as components within a greater system, where cohesion is not a given but an orchestrated tension. Their pairing seeks to distill precision and accessibility, creating a typographic dialogue that is both grounded and aspirational.

This dialogue is shaped by shared principles: utilitarian clarity and structural balance, tempered by subtle contrasts. Riforma speaks in measured tones, evoking empirical rigor and intellectual depth, while FK Grotesk broadens the scope with a pragmatic, human touch. Together, they form a framework that transcends aesthetics, becoming a vessel for connection, inquiry, and meaning—greater than the sum of its parts.

BentoML is a software tool intended for writing apps with built-in artificial intelligence. The library features a set of models trained on different types of data, but each developer can upload their own model. BentoML has already been used to develop a voice assistant, an image editor, and an app for analysing x-rays.

Headings on the project website are set in LL Replica from the Lineto collection, while Atlas Grotesk by Commercial Type is used for its subheadings and body text.

Albra Book is used together with LL Replica and Suisse Int’l for the identity of Ecodure.

From Studio South’s website:

Ecodure is an independent house of brands, offering a variety of beautiful, durable, and authentic wood and rigid flooring products.

Ecodure collaborates with interior designers, architects, developers, and homeowners to enhance the aesthetics of homes, offices, and commercial spaces, with their flooring products delivering a modern yet natural tone driven by market-leading innovation.

South worked with the new owners following the acquisition of the company to rebrand and reposition the business in the market. Our strategy was to build a house of brands that felt like a consistent family of flooring products promoting the features and benefits closely associated to its customer's needs and wants. This led to a large brand identity, tooling, content, website, showroom interior design package and more.

Mark By South brought the product to market with a digital marketing strategy creating immediate new brand awareness, and strong lead gen.

Meta Mascot and LL Riforma in use on the cover of Cute Accelerationism, published by Urbanomic:

Involuntarily sucked into the forcefield of Cute, Amy Ireland and Maya B. Kronic decided to let go, give in, let the demon ride them, and make an accelerationism out of it—only to realise that Cute opens a microcosmic gate onto the transcendental process of acceleration itself.

Picture this: We sprinkled a burst of colour and a touch of class into the brand identity of the Urban Nature Hotel in St. Peter-Ording. As we delved into this project, it sparked some deep thoughts about the intertwining dance of nature in our daily lives. At this haven, you get to decide on the perfect blend of city buzz and nature's tranquillity. Our mission? Crafting a brand that captures the essence of both worlds – the hustle of the city and the calm embrace of nature. Welcome to a space where urban convenience meets the serenity of the great outdoors.

In crafting the visual identity for this brand, the meticulous selection of typography played a pivotal role, and LL Replica emerged as the cornerstone. This bold sans-serif was chosen not only for its charisma but also for its exceptional style, contributing significantly to the construction of the brand's logo. Replica stands out as a versatile typeface, purposefully crafted for both text setting and large point sizes, making it equally adept for headlines, graphic applications, and sign-writing. The font's construction adheres rigorously to a strict grid, a guiding principle employed meticulously to shape each individual character, ensuring a cohesive and visually striking outcome.

To further enhance the brand style and to harmonize with its duality with natural shapes, we introduced Lenora into the typographic repertoire. Specifically tailored for display typography it seamlessly complements Replica, creating a harmonious interplay between the two. Lenora’s expressive style is most evident in its flamboyant lowercase (see a and g) and other distinctive characters like R, Q, and &. The two defining styles within the Lenora family, – Light and Black – add a nuanced touch, each offering a unique feeling that perfectly blends with the other four styles and even complements many sans-serif grotesques.

Through this deliberate and thoughtful typographic selection, the brand's visual language comes alive, striking a balance between charisma, functionality, and a visual narrative that resonates with the brand identity. The interplay of both typefaces not only adds depth and sophistication to the overall design but also serves as a testament to the brand’s commitment to meticulous detail and a nuanced visual storytelling approach.

Visual identity for photographer Joe Bulawan. Pulling inspiration from roots in fashion and beauty, we developed an unmistakable brand reflective of Joe’s confidence and deep passion for his work. The identity revolves around a bold wordmark, harmonious font pairing, and a grid system built around facial proportions. The identity is versatile in its ability to be bold or restrained, allowing the exceptional photography to do the heavy lifting or for the design to stand on its own. It’s built to emphasize Joe’s impressive range as he continues to expand his body of work.

From Contemporary Calgary:

On Saturday June 11, 2022 the Contemporary Calgary LOOK2022 gala raised nearly $1 million. This record amount will support the significant visual arts destination dedicated to modern and contemporary art and being the place of connection for Calgary’s art community.

The brand identity for this fundraiser was inspired by Andy Warhol and his favourite noightlife venue, Studio 54. The typography uses the client’s brand typeface LL Replica, paired with a custom “22” lettering. In some instances, “22” is set in Mabry.

Source: spin.co.uk SPIN and MUBI. License: All Rights Reserved.

Mubi is a global curated film streaming platform, production company and film distributor. Mubi produces and theatrically distributes films by emerging and established filmmakers, which are exclusively available on its platform. Additionally, it publishes Notebook, a film criticism and news publication, and provides weekly cinema tickets to selected new-release films through Mubi Go.

The identity designed by Spin and used by Mubi's in-house design team features LL Riforma extensively across all different media (sometimes accompanied by custom type from Spin):

Sensual experiments, unofficial histories, dreamlike worlds… cinema can give us things that nothing else can. And in an age where our own tastes and preferences are delivered to us by an algorithm, MUBI offers a different way to experience film: a wide-ranging service with experts who cater for niche interests and curated content that takes the pain out of endless scrolling.

With its consistently sharp-eyed and cultured selection of films, MUBI takes you to cinematic locales that you would never have arrived at of your own volition – and is all the more effective and delightful for it. In addition to its unique streaming service, MUBI is also a production company and distributor for new films, and has expanded its output to include a publication on film culture in print and online (Notebook), English- and Spanish-language podcasts, and a cinema ticket scheme (MUBI GO).

Across our extensive collaboration with MUBI, our ongoing task is to communicate their platform as the best destination for great cinema, online and offline. Their commitment to and undeniable love for cinema as an art form is fundamental to their success and has informed our approach toward creating a rigorous and complex visual language that supports this obsession.

We refined and progressed their identity, which is built around a logo-mark – which we developed to give it a more positive, active character – plus a strong but flexible supporting typographic structure. This foundation, plus a responsive colour palette which offers a range of emotive options, allows myriad opportunities for creative expression. We also used abstract circular forms and distinctive gradations of colour to create an extensive and artful visual language.

Source: spin.co.uk SPIN and MUBI. License: All Rights Reserved.

Source: spin.co.uk SPIN and MUBI. License: All Rights Reserved.

Source: spin.co.uk SPIN and MUBI. License: All Rights Reserved.

Source: www.youtube.com MUBI. License: All Rights Reserved.

Source: spin.co.uk SPIN and MUBI. License: All Rights Reserved.

Source: www.youtube.com Peter Tscherkassky and MUBI. License: All Rights Reserved.

MUBI ident by Peter Tscherkassky (2019, 10s, 16mm, B&W, sound).

Source: spin.co.uk SPIN and MUBI. License: All Rights Reserved.

Source: mubi.com MUBI. License: All Rights Reserved.

Source: mubi.com MUBI. License: All Rights Reserved.

Source: mubi.com MUBI. License: All Rights Reserved.

Source: mubi.com MUBI. License: All Rights Reserved.

Source: spin.co.uk SPIN and MUBI. License: All Rights Reserved.

Source: spin.co.uk SPIN and MUBI. License: All Rights Reserved.

Felix Streuli, Franziska Burkhardt and Markus Rottmann conceive, develop and produce books for special collectors and their collections as a book series named “Extraordinary Books for Extraordinary Collections”. Things They Do With Ashes And Sand is the second book on the series, commissioned by Ray Bär Salisbury for his collection of glass objects. The book design, in charge of Franziska Burkhardt, is typeset in LL Riforma and has been awarded as one of the Most Beautiful Swiss Book 2021.

Most Beautiful Swiss Book 2021’s jury about the book:

This very thin, hard book with a high-gloss aesthetic serves as the perfect showcase for a private collection of coloured glass objects. Luxuriously produced with a film-embossed title page and various papers, it presents 36 hyperrealistic photographs, each featuring one object or group of objects, mostly in front of mirrors. The staging is almost overdone, but it does justice to the glass art objects, with their sparkling and reflective surfaces. Much of the design work lies in the exceptional image editing and lithography.

The pages have been cut in such a way that the start of a second large photo can be seen next to each one, making the collection appear as a continuum. This takes away something of the objects’ valuable uniqueness and invites comparisons. The page numbers also serve as picture numbers, their subtle placement helping to create the impression that the objects are standing next to each other on a large table, allowing viewers to look in any direction they wish. A didactic image index on the light-pink endpaper provides readers with a handy overview of the collection.

The-Art-Form is a small-scale publication about art and artists. All the artists featured in the publication have completed a form, each artist answering questions on the form in their own unique way, giving an insight into their work and practice. For issue 04, French artist Invader is featured on the cover, printed in two versions.

Founder and creative director Andrew Townsend chose Euclid Flex as the titling typeface for this issue, using many of its various geometric alternates. The body copy font is Simple, used for every issue of the magazine.

Euclid Flex is part of the Euclid typeface, available from Swiss Typefaces.

Dimitri Jeannottat, a Biel-based senior designer of Studio Joost Grootens developed a series of posters for the 2018 edition of the Lausanne Underground Film & Music Festival (LUFF).

The goal was to develop a visual langage that follows the same experimental path as most of the artists invited to perform or screen at LUFF. The design therefore reflects on the festival approach itself. The process is adventurous, open for accidents, and becomes as important as the end result.

The series comprises about 40 different visuals that were designed by Dimitri Jeannottat, using images by Tiphaine Allemann and generated with a software developed by Pierre Charmillot.

LL Riforma is used throughout.

Festival booklet.

In 2017, Trampoline designed the visual identity for the Exchange. This project was a year-long research-based partnership between LendLease and RMIT University, exploring “the concept of community and new ways of understanding the shared urban environment through a curated series of public workshops, exhibitions, forums and community events.” It was housed at Knowledge Market in Victoria Harbour, Melbourne, and represented the next phase in the evolution of this innovation space. From Trampoline:

This living lab sees a team of RMIT designers, social scientists and students embedded in the site, leading a series of design studios, research projects and public engagement activities that explore the concept of community and new ways of understanding the shared urban environment.

The identity is built around a range of graphic symbols which seem to signify topics like exchange, connections, gathering, locality. They are paired with typography in LL Replica. This typeface by Norm is basically another grotesk in the Swiss-German tradition – with a small twist. In a presentation at TGA Raabs 2008, Manuel Krebs and Dimitri Bruni claimed they were annoyed of software settings that seemed to restrict their design space to scanty 1,000 units per em square. In their Replica, they embraced this perceived limitation and restricted themselves to an even coarser grid of only 100 UPM (or 70 units for the cap height). This led to the typeface’s characteristic trimmed diagonals.

In the window design for the Exchange, this feature nicely emphasizes the grid-like arrangement of the lettering, with one (straight-sided) letterform per line on each of the individual vertical segments. Replica was also used for the project website (not shown here).

On 11 June 2021 Sean Hogan, director of Trampoline, will present the Poetics of Typography project at Typographics 2021. Fonts In Use is proud to be a media partner of the conference. See more work by speakers of the 2021 edition.

Poster series with various symbols. Replica with its implied verticality also lends itself to being used in stacked glyphs, without being a monospaced design.

To mark its 125th anniversary, German printed floor-covering manufacturer Vorwerk asked Ulf Moritz to create of a commemorative book. He approached us to collaborate with him in designing the book. The result, Zeit/Time Raum/Space, was published in limited German/English and German/French editions for Vorwerk’s customers and business associates.

In designing the book, we were given the freedom to play with the theme of time and space. We used Adrien Frutiger’s Univers (the Vorwerk identity typeface) in combination with LL Simple (designed by Norm). We worked with printer robstolk® and chose to use different paper for each chapter. In combination with special printing techniques like high-gloss spot UV and braille embossing. On the front of the cover we used a lenticular foil to print the jubilee design that Tord Boontje made for Vorwerk and the words ‘Zeit/Time, Raum/Space’.

A multidimensional company history book and business memoir

At Plantain, we craft bespoke family and company history books.

Charlotte Elias entrusted us with helping her father, Emile Elias, honour the 50th company anniversary of a group he founded, and that today includes the number one indigenous construction company in the Caribbean (NH).

This story starts with Emile’s parents who, like many other migrants searching for someplace better, left their home in Lebanon in the 1920s, with little more than their stuffed cardboard suitcases and a will to re-create their life an ocean away.

This book captures the intertwined narrative of key players and the historical events that shaped Emile and, by extension, the company. It also looks to the future and sets out the unique culture and values that will help the company strategize for the next 5 decades (especially important for incoming employees and future generations). Finally, the book and its story will help humanise the company, and the stories collected during the process will be utilized to help it connect authentically with the public.

After hundreds of hours of writing, developmental editing, research, and design, our team developed a story that had been over 50 years in the making.

Our work also informed the backbone to a corporate film, web content, the company anniversary celebrations and speeches.

1,500 copies of this book were printed on Accent Opaque Text White Smooth paper (148gsm), allowing for a super smooth finish for near matte print fidelity.

This book was also part of a wider company rebranding, and the following fonts were settled upon: LL Replica and Freight Text.

You can learn more about the project on plantain.me.

Proprietary construction site monitoring technology Pillar pods alert users of the potentially hazardous and costly disasters that all construction developments face. Ranging from fire hazards to frozen pipes, Pillar connects people in real time to all facets of their construction sites.

Communicating the stability and durability of the Pillar pods, we created a logo that references the formal structure of the pods themselves, while also functioning as a flexible graphic device that frames brand messaging.

The broader design system consists of custom-drawn iconography, graphic patterning that references scaffolding and digital networks, as well as strategic use of the Pillar Yellow as an activation color.

The logo is built off of a modified version of Replica. The brand typefaces are Replica and Replica Mono.