The exhibition Le Gué : culture sous guerre (“The Ghe: Culture Under War”), curated by Paul Ghiloni and hosted at La Friche la Belle de Mai in Marseille, offers a profound reflection on the role of cultural identity during times of existential threat. At the heart of this showcase is the Cyrillic letter Ґ (Ghe with upturn) – a character that was systematically suppressed during the Soviet era to homogenize the Ukrainian language with Russian. Today, this letter has transcended its linguistic function, evolving into a potent typographic emblem of resilience, sovereignty, and the distinctive “voice” of a nation under fire.

The visual identity of the exhibition, and the broader discourse on contemporary Ukrainian social design, is articulated through a sophisticated pairing of modern typefaces that balance historical weight with a forward-looking aesthetic.

Quinn Display (designed by Diana Ovezea and published by Bold Monday) is utilized for the primary titles. The choice of Quinn Display Bold Italic and Regular Italic provides a sharp, authoritative, yet humanistic presence. Its high contrast and resolute structure mirror the “sincerity and openness” that characterizes the current Ukrainian spirit. The italics, in particular, lend a sense of dynamic movement and urgency, fitting for a culture that refuses to remain static even under the pressure of war.

For the body text, the organizers selected Fixel Text in Medium and Regular weights. Developed by MacPaw in collaboration with the AlfaBravo foundry, Fixel is a “grotesque with a human touch.” It was specifically designed to be an adaptable, workhorse typeface for a new era of Ukrainian digital and print communication. In the context of Le Gué, Fixel’s open apertures and clean lines ensure maximum legibility while subtly reinforcing the project's connection to contemporary tech-forward Ukrainian design.

A notable typographic inclusion is Spaceland (designed by Oleh Lishchuk, Pepper Type), which is employed for narrow, high-impact headlines in Ukrainian. Spaceland’s ultra-condensed proportions are perfect for tight layouts where space is a premium, yet its architectural stability echoes the literal and metaphorical “reconstruction” of the Ukrainian identity.

This typographic hierarchy – from the expressive serifs of Quinn to the functional clarity of Fixel and the structural rigor of Spaceland – serves as more than just a stylistic choice. It is a visual manifestation of what Evgen Sadko describes as the “new Ukrainian typography”: a tool for decolonization and a medium through which a society communicates its defiance and its hope to the world.

Design is for EVERYBODY is a book with five curated essays from Futuress, a non-profit organization based in Basel, Switzerland, translated into Japanese. It was designed by Manami Inoue, who also provided the translation. Yuto Miyamoto did the editing.

Gestura and Tazugane Gothic are used on the front cover. Tazugane Gothic is also used for the text on the back cover, but the Latin characters, numbers, and question mark appear to be set in Founders Grotesk, which they also use in the magazine by publisher Troublemakers. Founders Grotesk Mono appears to be used for the ISBN code.

For the State Library of Western Australia, Block developed a refreshed identity that positions the institution as both a cultural anchor and a contemporary public space. The typographic concept is built around the deliberate pairing of Delphia (sans) and Gestura (serif), often set closely together within the same headline.

Rather than assigning each typeface a distinct functional role, the two coexist in direct dialogue. Gestura brings contrast and historical depth, while Delphia’s clean forms provide structure and modernity. Their interplay—sometimes alternating word by word or line by line—creates a dynamic rhythm that mirrors the Library’s mission: connecting the past with the present.

The system is supported by a flexible layout grid and ample white space, allowing type, image, and color to interact without hierarchy feeling rigid. The result is a visual identity that is literate, lively, and open to interpretation.

This brochure, designed by Una Grants, featuring Margot Lévêque’s Kalice for the main title. The text pages are set in Gestura by Sociotype Foundry. The layout and fold of the publication were inspired by crystal facets, and a majestic paper – Majestic Chameleon Light – for the cover to give it a shimmering, luminous feel to blend it with the Kalice typeface.

Agate Tūna is a photographer and artist. In May 2025 she had a personal exhibition, titled Voltentitāte, or Voltentity in English, held at a small gallery called ASNI in Riga, Latvia. The brochure includes texts by philosopher Ainārs Kamoliņš on energy fields. The title Voltentity is a blend of “volt” (as in voltage) and “entity” (essence). To me, the exhibition evokes a sense of spiritual feminism.

Relationships are stories that are built over time, threads that intertwine in a dance between past and present, between who we were and who we are becoming. Encounters, choices, expectations, goodbyes: each of these experiences marks a transition and connects to the next in an ongoing dialogue with the other.

The Duogramma is an original technique created and designed by Teresa Arcelloni (physician and psychotherapist) and Gloria Ferrero (psychologist and psychotherapist) to give new meanings to couples’ experiences. It is a complex and powerful tool that combines narration and graphic representation to offer a new and dynamic reading of relationships. It is not a test, it is not a diagnosis, it is not a list of events. It takes into account everything that is said, every sign, every plot that takes shape in the story, how each story relates to the previous one or the next one. It is a tool that, in a precise and detailed way, allows the therapist to accompany patients and help them explore the way they live the relationship. To be able to use it in your clinical practice, it is not enough to know it theoretically, you need experience to deal with it effectively. For this reason, Duogramma training courses are interactive and experiential.

Duogramma® is registered as a European and international trademark.

The full team includes Marianna Rossi (visual identity, UX and UI), Chiara Gandolfi (words and narration, Gianluca Rinaldi (coding), Uto Digital and H3 Traducoes (translations to English, Spanish, Portuguese).

The fonts in use are Sofia Pro by Mostardesign, Quinn Text by Bold Monday, and Hauser Multiform by SM Foundry.

Visit the Duogramma website and see the project’s Instagram profile.

Tozi Superfoods is a family-founded, Mexican-American food and beverage company inspired by heritage and the spirit of Toci, the Aztec goddess of health.

Tozi brings ancient wisdom into the modern world. At its core, the identity embraces bold, symmetrical shapes and vibrant colors, echoing the geometric details of Aztec stone carvings and architecture. The logomark, embodying Tozi, is a dynamic element that adapts to highlight key aspects of the brand story—whether through sacred ingredients or symbolic icons. Just as health is multifaceted, so too is Tozi's visual language, weaving together ancient influences with a modern sensibility to create a timeless and contemporary system.

Strategy by If Only Creative, design by Sofia Llaguno.

Cover of #46 with blue paper saddle

Kluger Hans is a unique literature magazine with a rebellious edge that gives beginning talented writers a change to get published. Each issue has a specific theme that drives the selected content and its graphic translation. Issue #46 focuses on “HET DIER” or “The animal”.

“Kluger Hans is named after a horse that was said to be able to do math, so we should do something with a horse, right?” Of course. “What about saddling the magazine?” Of course. Using die cutting and one printing colour, we designed a paper saddle to fold around the magazine, just like a dust jacket. At first glance, you see some kind of rounded dust jacket, but once you open the magazine, the stirrups become visible and you start to understand the shape. Readers can choose to leave the ‘saddle’ around their copy of Kluger Hans, or unsaddle it so it can graze freely in their bookcases.

For the interior, it’s the animals from an art installation by Felipe Muhr that made the magazine come together. They appear here and there between the horizontal lines of the Granblue font, providing some necessary pops of colour and surprise. The complete arrangement of the installation is on the verso of the cover, showing the true scale of the cardboard figures. Muhr's work is combined with tapestries by artist Elen Braga, which are also appearing throughout the magazine.

Title page with logo illustration by Cara Haverbeke. Kluger Hans was the name of a famous horse around 1900 that was known for its counting skills. Here you can see the stirrup that is folded around the paperback.

The back cover. The names of all the authors in the magazine are stitched together in Granblue.

Title in Nonplus on the spine. The names of the authors run over the spine from back to front or front to back.

The paper saddle that covers the magazine. The two stirrups are folded around the paperback cover. On the front and back of the saddle the magazines logo (banana shaped form) was cut out. Granblue was chosen for this magazine because it resembles the stitching around a leather saddle when used in a long string.

The table of contents provided a perfect opportunity to weave all of the artists names together with the Granblue.

Inside the text is set in the GT Alpina. Titles are set in Granblue with a variety of cardboard animals by Felipe Muhr popping out of the font’s horizontal lines.

Art pieces of Elen Braga compliments Felipe Muhr’s work. Here you can see an interview with the artist.

Metropolis M is an independent bimonthly magazine on contemporary art. Issue no. 4 from August/September 2024 was designed by Elisabeth Klement and Benjamin McMillan.

From the magazine’s website (translated from the Dutch):

How do you want to live? By competing with each other (Competing), or by helping and supporting each other (Composting)? Metropolis M Number 4 is about competition. How do artists deal with it? Do they go along with it or do they resist it, and if so: how

The typefaces in use are commonSans (notyourtypefoundry), JL Pirelli (JungLee Type Foundry), Equitan Sans (Indian Type Foundry), and Eurocat (Maxitype).

This poetry book, designed by Una Grants and featuring feminine themes, showcases the title Mīļākā melleņu mētra (“Favorite blueberry mint”) on the cover in Romie Italic and Regular (designed by Margot Lévêque), perfectly suited for the occasion. Authored by Zane Zusta, this marks her thirteenth book. The chosen color palette reflects the various stages of blueberry growth, offering a warm and inviting visual experience for readers. We've also included a charming feature: a personal handwritten note from the author for readers. The text pages are set in Gestura (designed by Sociotype Foundry) alongside Zane's handwriting for the personal note to the reader.

The movie title uses Zangezi Condensed.

This was probably one of my most fun projects in 2023. Artist and filmmaker Josefin Arnell approached me for the credits for her new zombie/vampire movie BUURTHUIS II. The story revolves around the infamous community center in Amsterdam Wittenburg that was the crime scene of a mistargeted deadly shooting in 2018.

Director Arnell worked with the community in script writing workshops and included them as actors in her submission for the Prix de Rome 2023. The result is an absurdist political horror movie that deals with gentrification and blood sucking capitalism.

After she approached me, I researched classic horror typefaces that are used in John Carpenter’s movies or other 1980s classics. Typefaces like ITC Quorum, Albertus, Flange or Romic. (ITC Benguiat had to stay home, due to overuse after being prominently featured in Stranger Things). But I included some fresh Future Fonts typefaces by three female type designers I admire. Messer by Inga Plönnigs, Silverspoon by Diana Ovezea and Zangezi by Daria Cohen (f.k.a. Daria Petrova). These fonts were also used by Josefin Arnell in her design for the movie posters, and paired with Zombie Monster by Rayvaldo Rizki Pratama Augusta.

For the subtitles, editor Lukas Heistinger contacted me, asking for a recommendation that is well readable on screen yet able to compete with the exciting typeface in the credits. From several recommendations the freely available closed source typeface Author, designed by Satya Rajpurohit and published at his Fontshare, was the the final choice.

The movie was presented at Prix de Rome 2023 at Stedelijk Museum Amsterdam. More context on the show and BUURTHUIS II can be read at Tangents.art

Movie posters, designed by Josefin Arnell, using Zangezi (stretched), Silverspoon Italic and Zombie Monster.

Credits using both upright and italic styles of Zangezi

Captions by editor Lukas Heistinger, set in Author

The YaleWomen community has received a new logotype designed by Oddity Studio. The visual identity of YaleWomen draws inspiration from the concept of connection.

This theme is represented through the interconnected letters of the logotype, the overarching swash of Romie Italic’s W, the patterns, and the underline style of titles and connecting lines.

The logotype combines Romie Italic’s swash W (designed by Margot Lévêque) with the serif Gestura Display by Sociotype Foundry, and Work Sans by Wei Huang.

Schweigman& transports its audience into a poetic twilight zone devoid of words, where the imagination is free to run riot. Each performance is a richly immersive experience for the body and the senses.

The team of Hoax captures the range of phenomena that Schweigman& explores in a single primary form, thereby emphasising the centrality of sensory experience.

The result is a distinctive and expressive identity that signals the experimental and investigative nature of the group. Every performance and phenomenon explored offers a new experience, and for each they design an iconic and intriguing image that captures the public’s imagination while keeping them guessing.

Orientation is the main typeface used for the identity, accompanied by either Neue Haas Grotesk or Buitenplaats Sans.

Granblue is the main typeface used on this set of Zodiac-themed birthday cards by Illustrator and graphic designer Kevin Story Mintern. Initially made available from Vintage Fantasy, the cards can now be ordered directly from the designer.

Oxa, formerly known as Oxbotica, specializes in developing self-driving software, essentially serving as the operating system for autonomous vehicles across various industries. The London-based design studio, Solv, was commissioned to create a premium brand identity for this innovative spinout from Oxford University. Their efforts were aimed at supporting Oxa's ambition to revolutionize transportation and facilitate its expansion into North America.

The deliverables from Studio Solv included brand guidelines, a brand book, and vehicle designs for both the existing fleet and new partner vehicles. They also provided environmental graphics for the Oxford and Toronto offices, as well as for a test site at Culham. Collaborating with other agencies, Studio Solv played a key role in the creative direction of Oxa's new website and the production of two brand films. The rebranding effort culminated in a launch event hosted at Google HQ.

For the brand’s typography, Solv selected Duplet Open and Duplet Rounded, two related font families from Indian Type Foundry (ITF).

Paris-based designer and illustrator Antoine Desfilis used Granblue on a book cover. It pairs beautifully with the illustrations on the cover of this French translation of The Cater Street Hangman, issued by Editions 10/18. The thriller by author Anne Perry was first published in 1979.

The book contains a reproduction of the marriage dossier of Rosalía de Castro and Manuel Murguía, two significant figures in Galician history and literature. The dossier was discovered by the researcher Sagrario Abelleira in February 2021. The publication starts with a short essay and reproduces 43 handwritten sheets, dated from 1851 to 1858, along with their transcriptions.

The typography pairs Quinn Text with Job Clarendon.

Kolt is a local newspaper for the Olten region of Switzerland, located between Zürich and Bern. Launched as a culture magazine, Kolt now serves the residents with a unique, reader-supported approach to local journalism. The printed edition ceased publication in 2022.

To design the newspaper and the website, graphic design studio Bureau Neue used the typefaces Muoto by Matthieu Cortat and distributed by 205TF and Passenger Serif by Diana Ovezea and Samo Ačko (Indian Type Foundry).

Last year my youngest son was in a circus class. I am normally happy to volunteer for anything as long as it is not graphic design. This time, to my surprise, I heard myself casually offering to design the poster of the annual final performance, named Droomwandelaar (“dreamwalker”).

The lack of a clear briefing, storyline or professional photos was easily made up for by infectious enthusiasm and besides: designing the poster offered a chance to finally play around with some fonts that had been sitting on my computer for ages, patiently waiting to be put to use.

The fonts of The Pyte Foundry's one-release-a-week year (2016) generally had a compact character set, but often enough the fonts included an extra surprise. In the all-caps Dosage, for example, the uppercase characters are of a bolder weight than the ones found in the lowercase. It also includes a funky manicule, but the stylish pointing hand on this poster can be found in Alcove, Mortar, Galore, Plakat, and Prhyme. The frames behind “Ticket Sales” are from QFWFQ. A ready-made boxed font like Granblue is harder to fit on a curve than I thought; the pre-existent logo is set in Rosewood Fill.

Hype Type Studio developed a cohesive brand identity and visual language for StockX, the dynamic live marketplace of current culture, exclusive sneakers, premium apparel, luxury handbags, and timepieces. Our strategic approach ensured that StockX’s unique offerings are seamlessly communicated, effectively engaging the discerning audience who seek the finest in contemporary fashion and accessories.

Gestura Text Regular (by Sociotype) has been used for headlines and sub-brands, and Suisse Int'l Medium (by Swiss Typefaces) has been used for secondary text. The logo appears to be custom drawn.

Surfacing the Unspoken. Mental illness can be masked. Patients may say they’re fine, but Kintsugi listens between the lines. From short clips of speech, Kintsugi picks up on what’s not being said, so more people can get the support they need.

Tapping into the vocal waveform, the logo we developed is inherently both technical and human. The color palette is inspired by the art of Kintsugi, with yellow, rose, and green varieties of gold. The typography provides a balance of science and technology with human warmth. The illustration system is flexible, able to convey a range of topics from technological to emotive ideas. All of these elements, meticulously combined around plenty of white space, create a comfortable yet assertive space for one of the most innovative companies in the landscape today (our words, not theirs).