Rizo Masr’s 2026 Ramadan Emsakeya (إمساكية رمضان) is a foldable A3 Riso-printed monthly tracker. It contains prayer timings, duaas, athkar reminders and habit trackers for the Islamic holy month. The foldable format allows the user to use it as both a practical printable and also a visual asset when it opens showcasing photographs of Cairo Ramadan street decorations and lanterns printed in duotone.

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.

Craft paper cover version

I WAY TO ÄL is Äl Jawala’s anniversary album, presenting the essence of 22 years of musical wanderlust.

“The wild mixture of styles from the Freiburg-based band, which includes Balkan beats, African, Arabic, jazz and funk, is bursting with vitality.” — Stereo

[More info on Discogs]

CD digifile white carton inside out

CD digifile white carton inside out

Double vinyl cover white carton

Double vinyl cover white carton

Double vinyl cover white carton

Double vinyl cover white carton

Darden Studio’s Omnes Black is the titling font for Nick Jr.

Nick Jr. is Nickelodeon’s preschool programming block and also the name of a dedicated pay TV channel. It’s best known for shows like PAW Patrol, Dora, Peppa Pig, Dinosaurs in Space, Blaze & The Monster Machines, and Baby Shark’s Big Show.

On the Nick Jr. website, kids can watch full episodes and videos, play games, and interact with their favorite characters. Omnes Black – the boldest weight of the family – is here used for headlines, alongside text in Neue Plak.

The heavyweight with the selectively rounded corners also features on title cards in the video clips themselves, as well as for the names of the Wheel of Games podcast and the Party Adventure video game, among other formats.

Omnes is typically used in all caps, with smaller text in several weights from Neue Plak.

Omnes Black is also used for title cards of video clips.

Omnes Black in all-lowercase letters for Nick Jr. Games

Wheel of Games is a podcast format launched in 2024. The identifier uses Omnes Black with distorted letterforms.

Omnes Black with dancing letters, contour and highlight effect, on the packaging for Nick Jr. Party Adventure, a video game released in 2024.

The exhibition Porodica i domaćinstvo: lepršava svakodnevica Dušana Bekara (“Family and Household: The Fluttery Everyday Life of Dušan Bekar”), staged at the Nikola Tesla Technical Museum in Zagreb in the fall of 2024, presents for the first time numerous pieces from the rich œuvre of graphic designer Dušan Bekar.

Dušan Bekar (1931–2019) was an influential art director and one of the members of the development line of Croatian graphic design in the second half of the twentieth century. Raised on the foundations of international modernism, Bekar began his journey in 1949 at the Ozeha agency as an eighteen-year-old, and over the next five decades he developed a unique vocabulary made up of illustrations, typography, calligraphy, photography and three-dimensional objects.

The idea for the retrospective arose from the lesser-known fact that it was Bekar who created the visual identity of the first international Porodica i domaćinstvo (“Family and Household”) exhibition held in the fall of 1957 in the premises of the Technical Museum on Savska Street as part of the Zagreb Autumn Fair (and again in 1958 and 1960). In July 1957, in a juried competition in Belgrade, Bekar’s conceptual poster design was awarded the first prize”. The winning entry was a “meander-house” drawn in single stroke. It became the trademark of the event and served as a key visual in the promotional materials.

Thematically, the 2024 show relied on the exhibits that formed the backbone of the 1957 revue exhibition, which addressed the organization of family life within then newly created urban units and the general improvement of the quality of life of our citizens. As we can read in the magazine Čovjek i prostor (“Man and space”) from the same year, it dealt with topics such as furnishing and organizing living spaces, with an emphasis on furnishing the kitchen and preparing food, furnishing the bathroom and maintaining hygiene, clothing and maintaining footwear, and equipment for travel and leisure. A children’s fair was held as an integral part of, “oriented to meet the needs of the youngest citizens”.

The exhibition posters are based on the “meander-house” key visual which is primarily supplemented by illustrations made especially for the 1957 exhibition, as well as some later illustrations that complement the theme of the lifestyle of the time.

The choice of colors is directly based on the colors of the original billboards, while the typeface choice – Neue Plak – is based on using a modernized version of the fonts used at the time. The handwriting font – Flirt Script – was chosen to resemble as much as possible the calligraphy that Bekar used at that time when creating advertisements and similar materials.

Concept and design by Alira Hrabar Bekar and Dušan Bekar (junior) at BEKAR HAUS. See also the post about the exhibition posters.

The exhibition Porodica i domaćinstvo: lepršava svakodnevica Dušana Bekara (“Family and Household: The Fluttery Everyday Life of Dušan Bekar”), staged at the Nikola Tesla Technical Museum in Zagreb in the fall of 2024, presents for the first time numerous pieces from the rich œuvre of graphic designer Dušan Bekar.

Dušan Bekar (1931–2019) was an influential art director and one of the members of the development line of Croatian graphic design in the second half of the twentieth century. Raised on the foundations of international modernism, Bekar began his journey in 1949 at the Ozeha agency as an eighteen-year-old, and over the next five decades he developed a unique vocabulary made up of illustrations, typography, calligraphy, photography and three-dimensional objects.

The idea for the retrospective arose from the lesser-known fact that it was Bekar who created the visual identity of the first international Porodica i domaćinstvo (“Family and Household”) exhibition held in the fall of 1957 in the premises of the Technical Museum on Savska Street as part of the Zagreb Autumn Fair (and again in 1958 and 1960). In July 1957, in a juried competition in Belgrade, Bekar’s conceptual poster design was awarded the first prize”. The winning entry was a “meander-house” drawn in single stroke. It became the trademark of the event and served as a key visual in the promotional materials.

Thematically, the 2024 show relied on the exhibits that formed the backbone of the 1957 revue exhibition, which addressed the organization of family life within then newly created urban units and the general improvement of the quality of life of our citizens. As we can read in the magazine Čovjek i prostor (“Man and space”) from the same year, it dealt with topics such as furnishing and organizing living spaces, with an emphasis on furnishing the kitchen and preparing food, furnishing the bathroom and maintaining hygiene, clothing and maintaining footwear, and equipment for travel and leisure. A children’s fair was held as an integral part of, “oriented to meet the needs of the youngest citizens”.

The exhibition posters are based on the “meander-house” key visual which is primarily supplemented by illustrations made especially for the 1957 exhibition, as well as some later illustrations that complement the theme of the lifestyle of the time.

The choice of colors is directly based on the colors of the original billboards, while the typeface choice – Neue Plak – is based on using a modernized version of the fonts used at the time. The handwriting font – Flirt Script – was chosen to resemble as much as possible the calligraphy that Bekar used at that time when creating advertisements and similar materials.

Concept and design by Alira Hrabar Bekar and Dušan Bekar (junior) at BEKAR HAUS. See also the post about the exhibition catalog.

Foootnotes issue D front cover

Footnotes is a type design periodical published biennially by La Police. The fourth issue opens with an article on Telefont and the last Dutch telephone book along with all the methodology behind it by Martin Majoor. Sourced from the author’s archive (edition February 1996), an original sample was inserted manually by the editor into each copy.

The second essay dives into Ikarus, a digital tool that describes letterforms, studied in-depth at the University of Reading and beyond by Ferdinand P. Ulrich.

Then, from the One-off series – contextual type projects from graphic designers – Joost Grootens tells us about the genesis of the myriad of symbols that makes Ceremony, one book design at a time.

In the fourth and last text, Pierre-Pané Farré explores the material qualities of 19th century stereotyped poster type.

To conclude, the usual last page entitled "Proofs" showcases in-progress typefaces from the contributors: Film, Exécutif Moderne, HB Items, Waggis, and BALI.

As with every issue, each article is typeset with the related typeface(s), some in-progress and unreleased, including Reform-Grotesk FSL, Breite fette Information, LL Unica77, Demos Next, and LP Jung. The rich iconography also tries to pleasantly surprise the reader with unpublished material.

Worth noting, this issue marks the beginning of articles from out-of-print issues being published online under "Stories" on La Police.

Footnotes issue D: article 15

Footnotes issue D: article 15. Sourced from Martin Majoor’s archive, an original sample was inserted manually by the editor into each copy.

Footnotes issue D: article 16

Footnotes issue D: article 17

Footnotes issue D: article 18

Footnotes issue D: Proofs. On the left a real offset printing testing space to the authors and previously unseen designs to the readers. On the right, the index to navigate the dense content.

Moving Mountains is the first institutional solo exhibition of Saudi artist Ahaad Alamoudi, held between May and October 2024 at Hayy Jameel, an art center located in Jeddah, Saudi Arabia.

From Hayy Jameel:

This ambitious new work continues Alamoudi’s expansive exploration of rapidly changing social and cultural environments, situating Saudi’s natural and urban landscapes as sites of possibility – punctured by effort and powered by fantasy – where both individual and collective attempts to do the seemingly impossible are imbued with humour, absurdity and, at times, hopefulness.

The exhibition title is set in Michaux (with a few modified letters) for the Latin, and 29LT Okaso for the Arabic. The artist’s name is in Georgia Italic. All other text is set in Greta Text. The color palette or light grey and warm brown reflect the title of the show, with the addition of a subtle, neon green pattern.

Note the modified letters in Michaux: in Bold, the uppercase M is a thickened version of the Regular; in Light, M and n are altered versions of the original glyphs.

Explore the world of houseplants with House Plants: A Simple Guide. This zine showcases ten easy-care plants, with simple tips for watering, sunlight, and propagation. Each plant comes with a delightful illustration that makes caring for it a breeze whether you’re just starting or already have a green thumb! The zine is accompanied by matching plant-themed cards.

The fonts in use are 29LT Okaso, 29LT Zarid Sans and 29LT Zawi, all by 29LT. Design by Maram Al Refaei with illustrations by Rana Samir. Photography by Fatima Hisham. Printed and published by Rizo Masr.

This bilingual Arabic and Spanish poster was printed on the occasion of Hacia aquí, hacia allá, hacia casa / من هون، لهونيك، للبيت (“To here, to there, to home”), a design and typography exhibition presenting the work of Clara Sancho and Pascal Zoghbi. The show was on display at Gráficas Granados (a.k.a. GraGra) in Madrid, Spain, between May and September 2024.

The large Spanish text of the poster was set printed from wood type. The name of this English grotesque is unknown. The credits are in Folio Medium from Neufville. Additionally, the Arabic text was set with a laser-cut version of 29LT Idris Sharp ExtraBold. This new typeface is based on Berthold’s Arabisch Halbfett Nr. 49, a Naksh design produced as metal typeface in Germany in the 1950s.

The poster text provides a concise overview of Clara and Pascal’s personal and professional lives. The exhibition was curated by Andrés Oliva.

The A1 poster was meticulously designed by Christian Granados, the founder of GraGra, together with Clara and Pascal. It was printed on a Stephenson Blake proof press in the GraGra workshop, in two colors and four layers on 120gsm Special Grey from Fenner Paper.

Only 40 limited copies were printed and are now available for purchase from GraGra. See more process images on their Instagram account.

May 17 — Instagram post 4:5

NUMAcircuit is an annual festival in the Canary Islands, dedicated to artistic experimentation and the exploration of avant-garde forms of creation. Established in 2008, the festival has become a prominent platform for contemporary artists, fostering collaboration and dialogue across multiple disciplines such as music, visual arts, and performance. NUMAcircuit not only offers a diverse program of concerts, installations, and performances but also includes workshops and artist residencies aimed at promoting innovative approaches to art. With a strong emphasis on interdisciplinary interaction, it serves as a meeting point for artists and audiences interested in cutting-edge artistic expression. The 2024 edition marks the 16th anniversary of the festival, which continues to play a key role in energizing the local and national avant-garde art scene, particularly through collaborations with spaces like the Auditorio de Tenerife and TEA (Tenerife Espacio de las Artes).

The visual identity of NUMAcircuit over the last ten years has embraced a blend of minimalist yet futuristic aesthetics, often reflecting the festival’s focus on the intersection of sound, technology, and avant-garde digital art. The graphic design leans heavily on abstract shapes, glitch art, and bold typography, which aligns with its experimental nature. Many of the festival’s posters and digital visuals feature CGI artworks combined with dynamic, flowing elements, often incorporating dark or neutral backgrounds with vibrant accent colors that echo the electronic and immersive music performances.

This visual style takes cues from contemporary digital art, particularly art forms like IDM (Intelligent Dance Music), AI image generation, and glitch, where fragmented visuals mirror the festival’s exploration of real-time sound creation and coding as art. For instance, the use of audioreactive visuals, where the design directly interacts with music, is a key feature of its graphic output.

Additionally, the festival draws inspiration from live coding performances, where code displayed in real-time is projected as part of the visual spectacle. These performances blur the line between visuals and programming, with projections that evolve in sync with the music.

NUMAcircuit 2024 main poster

NUMAcircuit 2024 XL Display

NUMAcircuit 2024 XL Display

May 22–24 — Instagram post 4:5

May 18, Stian Westerhus & Erland Dahlen — Instagram post 4:5

3 Sided Coin solves business problems with play, and our primary typeface, Obviously, reflects that. Goofy, dynamic letters break the mold, mirroring our rule-breaking spirit. Paired with playful graphics, it’s an invitation to join the fun. But we’re not all whimsy. Neue Plak, our body typeface, balances the quirk with professionalism. We are a world-class agency that proves you can be playful and serious.

Fox Pass is 3 Sided Coin’s blog about design, tech, music, agency culture; and everything in-between.

In designing Fox Pass, our goal was to select a typeface that would integrate well with the hero illustration, projecting an atmosphere of fun, relaxation, and a dash of drama. When we came across LL Blankenhorn, it seemed to be an ideal fit. The handwritten quality of Blankenhorn gave it a more personal and casual vibe that aligned perfectly with the “chilling in a quaint Italian town” feel of Fox Pass, while resembling vintage automobile logos. Neue Plak, our body typeface, balances the quirk with professionalism. Fantasque Sans Mono for captions and tags add to the relaxed, cool setting with its wobbly handwritten quality.

Campaign identity designed for the Glenroy Film Festival for Merri-bek City Council, and curated by Melbourne Film Festival. The brief for the campaign was to engage, connect and bring joy to a diverse and multicultural community and to promote a pop up cinema featuring seven films in language over four days.

The Glenroy community is made up of over 50% migrants with the majority speaking Arabic, Urdu, Nepalese, Italian, and English. The solution was a bold graphic approach based on the universal language of film iconography, as well as colour and symbols inspired by the flags of the main cultural groups.

The primary font is 29LT Oskura by 29LT. Designed for both Latin and Arabic, it was was the perfect choice to create a bold, fun, contemporary, accessible result. Cera from TypeMates is used for information.

Monumental Shadows: On museums, memory and the making of history is a 320-pages bilingual publication designed by Madrid-based designer Clara Sancho for Jameel Arts Centre in Dubai. The publication, co-published by Art Jameel Publishing and Kaph Books in 2023, features new essays, commissioned works and a myriad of provocations to think through some of the most pressing debates around material heritage and museums today.

The combination of various fonts from 29Letters references the mix of contents of the book (from visual contributions and interviews to fiction and essays) and their provocative nature. In addition, the format, colours and design of the cover (hardcover, dark aubergine, content list on the cover) echoes in an subtle way the aesthetics of museum publications while the interior is a dynamic mix of different typographic styles, layouts and papers.

Edited by Art Jameel curators Nora Razian and Lucas Morin, with an intro by Antonia Carver

Contributions by: Pio Abad, Basel Abbas and Ruanne Abou-Rahme, Rand Abdul Jabbar, Nora Al-Badri, Anahi Alviso-Marino , Noah Angell, Haytham El Wardany, Faustin Linyekula, Omar Berrada, Jumana Manna, Bonaventure Soh Bejeng Ndikung, Marian Pastor Roces, Gala Porras-Kim, Michael Rakowitz, Uzma Z Rizvi, Alya Sebti, Dima Srouji, Akram Zaatari

The Last of Us is a HBO TV show based on the eponymous cult game released by Sony in 2013. It tells the story of a hardened survivor and teenage girl after a global pandemic destroys civilization.

Title sequences were created by American studio Elastic. The official font of the show and game is Press Gothic by Canada Type. From their website:

Press Gothic Pro is a retooling and major expansion of Aldo Novarese's Metropol typeface, released by Nebiolo in 1967 as a competitor to Stephenson Blake's Impact (designed by Geoffrey Lee). Though Metropol enjoyed a few short months of popularity and use in Italy, Germany and France, Impact won the technological outlasting battle by moving on to film type then to computer outlines bundled with mainstream software, while Metropol never made it past the metal state until now. Too bad really, since this is one of the few faces that could have played well with all the horrendous stretch’n’squeezing of the 1970s.

Press Gothic is paired with various other sans serifs. In the poster shown above, it’s Jay Gothic and HBO Max’s standard Gilroy. The poster shown below has Helvetica Inserat and Neue Plak Compressed for the date. The titles feature Tungsten with Avenir.

Book cover for Mi libro madre, mi libro monstruo, the Spanish edition of The Book of Mutter, written by Kate Zambreno, translated by Carlos Bueno Vera and Violeta Gil, and published by La Uña Rota.

The typeface is the Latin part of 29LT Okaso, designed by Linda Hintz and available from 29LT. It’s here used in a customized form with hyper-extended glyphs.

Exhibition graphics for Pacita Abad: I Thought the Streets Were Paved With Gold, the Middle East’s first solo exhibition by the late Filipina artist Pacita Abad at Jameel Arts Centre. The exhibition was brought together by Nora Razian in collaboration with the Pacita Abad Art Estate and artist Pio Abad.

Images courtesy of Jameel Arts Centre. Photography by Daniella Baptista.

Method is a restaurant, bar and event space in the heart of Moscow, Russia. Built on the site of an old ceramic factory, it carries the spirit of Russian constructivist traditions.

Working with interior designers, we came up with a warm yet sharp identity, which marries the flexibility of ceramics, and rigidity of Russian modernist design aesthetics: think black square. The black plaques on the restaurant walls stretch, modify and attach to letters in the identity. Typography is flexible and clay-like - it flows and bends just like pottery.

The visual language of this – not yet rolled out – new visual identity is built on sharp typography. The capitals of Neue Plak (paired with Neue Helvetica for copy) are applied across materials and assets: merchandize, coasters and glasses, interior spaces, event brochures, website, posters and menus.

The international summer festival of Kampnagel takes place annually in August for three weeks at Kampnagel and at selected locations in Hamburg. Since its founding in the mid-1980s, it has been one of the major European festivals for contemporary performative arts from around the world. András Siebold has been the artistic director of the festival since 2013. With his program, he puts a special focus on the entanglement of pop culture and avant-garde and on the interdisciplinary expansion of genre boundaries.

The festival logo and most collateral use capitalized Neue Plak Condensed. For the promotional video and poster, Neue Plak is paired with Zephyr.