Le Grand Livre de la Moto, or “The Big Book of Motorcycles”, is a 2025 anthology by publisher Marabout. From the early days of racing to the rich history of MotoGP, via off-road racing, discover the iconic riders and bikes, the anecdotes and moments of bravery that have forged the legend of this sport.

As often, Atelier AAAAA display a polyphony of typefaces. In this case: NaN Metrify, Based, ITC Barcelona, Chromium One, Core Escher and BRZO are sharing the scene. Their combination provides a range of styles and functions, helping to structure content and create a consistent visual identity throughout the book.

Inside of the book, East of Rome’s Based does most of the legwork for the titles and subheaders, while ITC Barcelona, Chromium One, Core Escher and Brzo are punctually used for chapter headings. NaN Metrify A is used for most long running text as well as in tables and infographics, in many widths.

“Volte/Face de la Peinture” (“About-face of Painting”) is the second issue of Peinture magazine. It explores various aspects of painting, in partnership with different art schools for each issue.

This issue was made in collaboration with EESAB Rennes and explores the theme of portraiture through a rich collection of portfolios and articles.

The layout has therefore evolved to incorporate text in various forms, highlighting the narratives that accompany these numerous works.

The magazine is designed by Mathilde Mary and Louise Bourlon-Tréguier, French graphic designers. We used Mercure for body type, ABC Social Mono for the legend, and Jester (the Moon style) for the title.

The Cohere Merch Store is a selection of branded merchandise by Cohere’s Brand Studio.

At Cohere, we like to celebrate key milestones with special branded merchandise that showcases our culture, spirit, and love of design. Whether it’s for a product launch, new feature, company event, or just to kick off a new season, our unique clothing and accessories give us a chance to mark the moment in a fun and lasting way.

The Cohere Merch Store is actually a living archive; it maintains an ongoing record of all the merch and swag that we’ve produced over the years. Over time, browsing the archive will give you a sense of the evolution of our aesthetic (and a hint of new things to come).

The 2026 Summer Collection includes shirts and stickers incorporating Cohere’s brand fonts – the custom typeface Cohere by NaN and a customized version of LL Unica77 by Lineto – as well as Mosa by Alexandre Créquer, Herbus by Eliott Grunewald, Workbench by Jens Kutílek, and Junicode by Peter S. Baker.

Business cards

Branding and website for SisInBiz, the FINTA network of the Swiss music industry.

Since 2017, SisInBiz has been connecting FINTA individuals in the Swiss music industry. With the founding of the association in 2026, the moment had come to step forward with a clear public presence – and an identity that does justice to the network. The community as a living structure: the way it forms, expands and mutually supports itself becomes tangible as an animated element on the website. The logo mark carries this idea forward as an organic form. The wordmark provides the counterpoint – present, direct, unambiguous. This contrast runs through the entire visual identity: between playful serifs and bold italics, between a reclaimed pink and a powerful bordeaux.

Website

Greeting card

Footer

Plain Text is a printed publication for exploratory type design, edited and designed by Lucas Descroix and Benjamin Dumond, and published by type foundry Plain Form.

From fiction to theory, from mystical analyses to visual works, Plain Text aims at exploring typographic imaginaries, moving beyond a strictly historical and technical framework, with a taste for the unknown and the dormant potential of writing.

The third issue launched in March 2026 and includes contributions by Alex Balgiu, Eugénie Bidaut, Mathis Borel, Gabriele Čepulytė, Lucas Descroix, Johanna Drucker, Benjamin Dumond, Mankun Guo, Hélène Marian, Luther R Marsh, Ariel Martín Pérez, Laurent Mbaah, and Mălin Neamțu.

The texts of this black-and-white, bilingual publication are all set in the unreleased duo Basically Serif for the English and Basically Sans for the French. Additional information is set in Baskemo, also Serif and Sans, an automatically monospaced-and-skelefont’ed companion to Basically.

A number of display typefaces designed by Lucas Descroix and/or Benjamin Dumond are used throughout, for the title of each contribution as well as various emphasis moments. These include: Michaux, Nostra, Paraiso Sans, Jester (in several styles), Ready Active, and an early version of the upcoming Ferro. Some unreleased display typefaces, either old or future, are also used but not shown here in the pictures.

Several typefaces are also showcased as part of contributions by their respective designers (shown here are Bye Bye Binary’s BBB ReadMe and Mălin Neamțu’s Segmentor).

• English and French
• 80 pages, 210×297mm
• offset print on Munken Print White
• 750 copies, March 2026
• ISBN 978-2-9597254-3-2

This third issue of Plain Text was kindly supported by Abyme, Blaze Type, Dinamo, DJR, Klim Type Foundry, Rosetta, The Designers Foundry, and XYZ Type.

Each issue starts with a few spreads showing a condensed, somewhat chaotic trip through the whole content of the publication (each contribution is represented by its title and an image, in order of appearance). It’s like wetting your neck before diving.

The title set in squeezed Michaux Bold.

The left page shows BBB ReadMe (Eugénie Bidaut, Ludi Loiseau & Clara Sambot) with its inclusive ligatures. The right page shows Eugénie Bidaut working on preparatory drawings.

This spread showcases the typeface Segmentor (Mălin Neamțu), together with hand-drawn sketches by the designer.

The title set in Paraiso Sans and Michaux Regular. Illustration by Anne Zeum.

The title set in heavily squeezed Ferro Mono. The image is taken from Émile Javal’s research.

Both titles are set in Jester, stretched and blurred on the left page, squeezed and outlined on the right page.

The title set in Ferro Black, with additional ‘organic’ letters based on Michaux.

The title on the right page is set both in Paraiso Sans (black) and Ready Active (white).

The left page shows the work of Mankun Guo. The title on the right page is set in Nostra Stream (with a bunch of blur and grain effects), with a little Grandmaster cameo for “and”. Subheads use Michaux Light.

The title set in various versions of Ferro Mono. The book cover is the one for Missing sign, another printed publication from Plain Form.

Snapsounds is an audiovisual project by composer Domas Strupinskas, cinematographer Narvydas Naujalis, and sound engineer Tomas Verbaitis. Over a decade, they produced 25 music videos, each bringing a unique approach to the collaboration. This vinyl anthology marks the project’s end.

In filmmaking, black separates segments and creates a sense of pause; fades out the movie. It acts as a signal to the audience that the main feature is over and it’s time to leave the theatre. For Snapsounds, black is used symbolically to mark the end of the project. It provides a space for reflecting on what has been achieved and pays tribute to everyone who contributed. The two lines that create a notional black screen on the cover shift to the inner sleeve and act as a timeline displaying the whole sequence of the project.

The typography references archival logotypes no longer in use within the project. Angular and diagonal shapes defined them, so Tokyto A Black (by Benoît Bodhuin) served as a visual successor, a refined, contemporary version of what came before. For body text, Karrik (by Jean-Baptiste Morizot, Lucas Le Bihan) was chosen for its legibility and subtle quirkiness, pairing well with Tokyto.

This project was created in collaboration with Augustinas Paukštė. The vinyl was sponsored by Deverium. Photos by Martyna Jovaišaitė-Paukštė.

[More info on Discogs]

Civa describes itself as follows:

The Civa media art festival highlights the interplay between contemporary technologies, realities, and experiences across digital, physical, and hybrid spaces. This year’s festival and exhibition, |indeterminate⟩⟨apparatus|, focuses on the realm of quantum physics. […] The artists engage with quantum concepts through poetic gestures, multi-layered embodied experiences, and playful abstraction. The festival is hosted by Belvedere 21.

Designer Manuel Radde took care of the exhibition design with Gerald Moser, and of the catalog design with Philipp Doringer. They chose NaN Display in Text and Display styles together with the newer NaN Tragedy Display Mono for the scenography, the website and the catalog. The use of pipes and chevrons in the exhibition name seems to insist on its scientific / technical theme.

The all-caps titles of the book, with their dynamic left-and-right alignments look like a missed opportunity to align characters between all lines on the rigid grid of the monospaced font.

A scanned picture of a book with a photographic picture of an exhibition showing the exhibition's scenography on the further wall in the picture. We need to go deeper.

Plain Text is a printed publication for exploratory type design, edited and designed by Lucas Descroix and Benjamin Dumond, and published by type foundry Plain Form. The second issue launched in July 2025.

From Plain Form:

From fiction to theory, from mystical analyses to visual works, Plain Text aims at exploring typographic imaginaries, moving beyond a strictly historical and technical framework, with a taste for the unknown and the dormant potential of writing.

This second issue includes contributions by Hervé Aracil, Tim Brookes (Endangered Alphabets), Aliona Ciobanu, Lucas Descroix, Benjamin Dumond, Mardi Forestier, Inscript festival, Elenor Kopka, Marcus Leis Allion, Pierre Pané-Farré (with HAW Hamburg students), Simon Renaud and Alec Vivier-Reynaud.

The texts of this black-and-white, bilingual publication are all set in the unreleased duo Basically Serif for the English and Basically Sans for the French. Additional information is set in Baskemo, also Serif and Sans, an automatically monospaced-and-skelefont’ed companion to Basically.

A number of display typefaces designed by Lucas Descroix and/or Benjamin Dumond are used throughout, for the title of each contribution as well as various emphasis moments. These include: Michaux, Grandmaster, Disc, Jester (in several styles), Ready Active and Clouded and an early version of the upcoming Ferro. Some unreleased display typefaces, either old or future, are also used but not shown here in the pictures.

The fiction work by Mardi Forestier is set in Exposure by Federico Parra Barrios. Imagined together with the author, the layout is an attempt at using an experimental typeface to underline and augment narration, its variations manifesting the idea of breath.

• English and French
• 80 pages, 210×297mm
• offset print on Munken Print White
• 1000 copies, July 2025
• ISBN 978-2-9597254-1-8

This second issue of Plain Text was kindly supported by Commercial Type, CSTM Fonts, Dinamo, Future Fonts, XYZ Type, and 205TF.

Title is set in Disc Heavy, while subheads use Michaux Light.

Left page shows works from Aliona Ciobanu (image in the center is a collaboration with designer Stefaniia Bodnia). Right page shows the work of Alec Vivier-Reynaud (featuring mushroom-printed ABC Camera).

Title is set in a early version of Ferro Fraktur IV. Images show works from Bettina Comte, Rüdiger Schlömer and Jonathan Mak.

Title set in Jester Fool (squeezed, tracked and slightly blurred).

Title set in Ready Active Regular (condensed and thinned).

Title set in Grandmaster Thin. The right page shows both designs and inspirations from Simon Renaud.

Left page shows designs and inspirations from Simon Renaud. Right page’s title is set in generously stretched Exposure.

A piece of fiction by Mardi Forestier, making use of Federico Parra Barrios’s typeface Exposure to manifest breath.

Title on the right page is set in heavily warped Jester Judgment (in black) and Jester Sun (in white).

Left page features Ohno’s Swear. Right page features Bureau Brut’s Totentanz.

Title set in Michaux Bold, for a conversation with French professor Hervé Aracil.

Left page shows student projects from HAW Hamburg, done under the direction of Pierre Pané-Farré (here the collective typeface Octagon Variable and A Type of Image by Fabian Stenzel). Right page’s title is set in Ready Clouded Bold.

Wer Bringt Den Kuchen? Who Brings The Cake? was a series of art events (talks, screenings, workshops) happening during the year 2024 in Kunstbunker Nürnberg. Designer duo Lucia Schmuk and Elisabeth Thoma created a poster for each talk, keeping the overall same layout but changing the colour duo and the titling font each time. The poster series was selected among the 100 beste Plakate 2024.

The font used for the series title and the name of the place on each poster is Lÿno Stan by Radim Peško, while smaller text is set in Suisse Int’l by Swiss Typefaces. Then are used Gulax, Terminal Grotesque, Gap Sans and the free weight of NaN Holo as unique titling fonts for each poster. The condensed sans used for “The End of the End of Selling Out” is yet unidentified.

Apart from Lÿno and Suisse Int’l, almost all of the selected fonts – if not all – are free to use or open-sourced.

Turnpike is a brand base in the Netherlands focused on selling barbecue tangent products: sauces, spice mixes, charcoal, etc. Agency Nattevingerwerk rebranded Turnpike mid 2025 and created a cohesive identity for their product line.

The logo is set in the textured brush script font Edo, echoing craft / grunge notes that are also present in the set of pig illustrations that serve as the backbone of the brand visual language. Then the whole languages uses the duo NaN Rage Poly and NaN Rage Slab in different weights and widths for all texts.

I have included a generative AI image created by the agency for their portfolio for the sake of documenting and archiving this use in the graphic design field today. Which leads to another question: are the pig illustrations maybe also generative AI?

Generative AI image created for the agency portfolio. Note the hallucinated brush script on the left character bra.

Ukrainian urban design agency Urban Reform organizes workshops and citizen consultations to shape the becoming of Ukrainian cities. One of those, which took place in Summer 2025 was centered around the city of Oleksandriia, in Kirovohrad Oblast, the central region of the country.

Urban Reform used graphic design as a mean of mediation before, during and after the event. The identity deployed mixes gradients using colours borrowed from the city and the region’s flag with black and white naive illustration and typography.

The font used for the project is NaN Metrify B, here seen for the first time in a primarily Cyrillic context. NaN Metrify B is a more restrained version of NaN Metrify A. This restrained, quasi geometric persona and the composition making a generous use of diagonals and circles could be recalling East-European constructivism.

Flyer for a gig with Tennger and Strates, November 26, 2025, at le Dalidaark in Toulouse, France.

“Cuisines Cultes”, or “Cult Cuisine“ in English, is the fifth issue of the book-like magazine by French publisher Les Belles Lettres. It is dedicated to the rituals associated with food, from the prehistoric age to the future. It is filled with articles, recipes, photographies, short stories, and so on.

The offset printed and gold stamped publication features Self Modern in Regular, Book and Italic for the titles and texts, along with Almanach for the captions, and Karrik on the backcover.

The Chinese text “民以食為天” appears to be set in Hiragino Kaku Gothic.

The typeface used for Greek text is yet unidentified.

Kugel und Niere is a podcast production company that operates from Munich, Germany, since 2017.

Studio Veh led the 2025 (re)branding of the company, with a highly typographic approach. From the case study:

With words being the brand’s most important asset, Studio Veh delivered a typographic solution: a flexible type system using a wide typeface that not only emphasises the larger-than-life stories, but also the impact of the podcasts’ conversations.

For the logo and titles, Veh went with Druk Wide. Then, contrasting in weight as well as structure and width, we have NaN Rage Beau Condensed Thin (mostly). NaN Rage Beau is used for secondary titles and contrast, when needed. On Kugel und Niere’s website, Neue Haas Unica is used for all body copy and sub-headings too, while NaN Rage is curiously absent.

Visual identity for Project Space Festival Juárez 2025, Operaciones aleatorias (“Random Operations”), at Museo de Arte de Ciudad Juárez.

For the fourth anniversary of their CGI practice Contramateria, Rolando Luther hired Sabbath to create a new visual identity for the studio. The roll-out – mostly on Instagram – takes the shape of a series of 3D renders of imaginary objects featuring the identity, as a kind of mise en abyme where the communication about the identity and the identity itself are indistinguishable. Funnily enough, no clear logo can be distinguished.

It features NaN Serf Display Light as the main font carrying the identity, accompanied by NaN Metrify A Compressed Black and General Grotesque Mono Light in places. The sleek, sharp and geometric style of NaN Serf echoes the vert digital undertones of Contraforma's CGI renders. General Grotesque Mono is used for fictional UI elements, as a coding font with a twist.

Nouvelle idée has crafted a striking new brand identity and website for Le Braquet, a specialist in technical cycling clothing. This visual transformation is designed to support Le Braquet’s international growth and assert its role as a benchmark for high-performance cycling apparel.

Typography plays a pivotal role in the new identity and the pairing of Store Norske Geita and Karrik creates a distinctive visual language. Karrik brings naive charm and personality, though its quirky, irregular letterforms make it best suited for expressive accents rather than extended text. To balance Karrik’s playful spirit, Store Norske Geita steps in as the workhorse—reliable, structured, and trustworthy, yet still carrying an approachable, charming character. Together, these typefaces reflect the duality at the heart of Le Braquet: technical expertise paired with bold, inviting design.

Quang San Art Museum is the first private art museum in Ho Chi Minh City dedicated exclusively to Vietnamese fine arts. With a growing collection of over 1,600 historically and culturally significant works, the museum offers a rare lens into the evolution of Vietnam’s artistic identity – from the beginning days of Indochine aesthetics to the dawn of contemporary expression.

M — N Associates, based in Ho Chi Minh City too, created the new identity of the museum in 2025. Their concept, “Layers of Contemplation”, draws inspiration from the structure of a painting itself – where canvas, frame, and gesture form a unified whole. For the purpose of the identity, they created a custom typeface, MN QSAM, a sans serif inspired by the museum’s signature architecture – where sharp structure meets quiet elegance. It features an extended set of alternates for its capital, showing interrupted strokes remembering of a painter brush strokes.

On top of their custom font, the identity features the type system NaN Serf Sans (primarily) and NaN Serf (more sporadically). The humanistic sans NaN Serf Sans, with its open counters and high legibility complements MN QSAM perfectly for all running texts, small signs, the website UI… This project shows M — N Associates coming back once more to NaN for fonts with a good support for the Vietnamese language out of the box.

The website orakel-session.de introduces a playful coaching method and describes the entire process in a very comprehensible manner. Meanwhile it makes exclusively use of NaN Rage Soft (in ExtraLight, Medium, ExtraBold and Black) – a typeface that seems perfectly suited for the lovely hodgepodge.

Summer of Seum (seum is “anger” / “frustration” in French slang) is a micro music festival taking place in the summer of 2025 in Paris and its suburbs. It focuses on “evil songs, incontralble electronic musics, outsiders black metal, evil popstars, decaying post-punk…”.

Atelier AAAAA, also co-organisers of the event with their label Croux Records, designed electric posters featuring the faux-Asian font Chinese Dragon for the main title and for the first letter of most words, as a kind of funky capitalization. The rest of the text is set in the cousins NaN Rage Zipp and NaN Rage Poly. The pointiness of Zipp makes it a logical companion for the sharpness of Chinese Dragon, reminiscent of fictitious brush strokes. Fluo colours, glow effects, spiky fonts, the posters are a clear reflection of the aggressive and troubling nature of the musics played during the festival.