The French Federation of Mountaineering and Climbing (FFME) is the organization responsible for the development, supervision, and promotion of mountain and climbing disciplines in France, from leisure to high-level competition.

This communication was designed ahead of the 2024 Olympic Games in Paris to introduce sport climbing to the general public and to support its promotion in the Olympic context, during an event organized in France. Ginka (from lift type) is an important element of the project, used as the sole font for both title and secondary information, thanks to its versatility.

Visual identity for the Sapristi !! association, active since 1994 in the development of contemporary music in the Ardennes. It organizes concerts and plays an essential role in supporting the local scene. The association provides rehearsal and recording studios, organizes creative residencies, and supports regional artists in their projects. It also pays particular attention to arts education and cultural mediation for young audiences.

The visual identity of the association Sapristi !! revolves around a distinctive element of its name: the two exclamation marks – powerful and universal symbols that embody the joy, energy, and rhythm of live music. Incorporated as recurring graphic elements, they become visual markers that enliven the communication materials.

The wordmark is composed in Funksjon (from Store Norske Skriftkompani) and is accompanied by Ginka (from lift type) for all other text compositions.

Justified Studio crafted the brand identity for Native, a next-generation investment platform designed to empower creators, entrepreneurs, and communities. The branding translates Native’s vision of financial inclusivity and innovation into a bold and distinctive visual language.

Typography plays a crucial role in this identity. Ginka (from Lift Type), with its sharp, expressive forms, is used for impactful statements, reinforcing the brand’s forward-thinking nature. It is complemented by Affairs (from SM Foundry), a refined and elegant serif typeface that adds a sense of trust and editorial clarity. This contrast between experimental and classic typefaces mirrors Native’s balance between disruptive technology and credibility in the financial sector.

The Fondation Bakea, dedicated to artistic and cultural initiatives, required a visual identity that embodies both elegance and modernity. Designed by Pierre Jeanneau, the branding conveys a refined and contemporary aesthetic, using typography as a key design element.

The chosen typeface, Ginka (from Lift Type) plays a central role in shaping the foundation’s identity. Its distinctive letterforms, a balance of organic curves and structured geometry, provide a unique and memorable presence across various applications. The type’s subtle yet expressive nature aligns perfectly with the foundation’s mission of fostering creativity and cultural dialogue.

Studio Boulon created the art direction for the first issue of the Observatoire des Tiers-Lieux (“Observatory of Third Places”), named La revue de l’Observatoire by France Tiers-Lieux (an organization that supports the development, professionalization and sustainability of third places in France).

This project is based on a pair of typefaces: Ginka (from lift-type) and IBM Plex (from IBM), with illustrations by Laurie Agusti Derimay.

Julie Soudanne, the type designer behind Ginka, shares her perspective on the project:

The first issue of the Observatory of Third Places immerses you behind the scenes of third places mobilized for the ecological transition, through portraits of initiatives, interviews, and analyses focused on three main themes: sustainable Experimentation, Food, and Local Production.

Bella triste is a German literary magazine that showcases the work of emerging and established authors. The 65th issue explores the fusion of contemporary literature and minimalist aesthetics and indulges in a fairy-tale theme.

Designed by Handina Murandu and Vivien Sorrentino, the magazine uses Romie Regular and Italic (designed by Margot Lévêque). The title combines the sans serif ABC Monument Grotesk (designed by Larissa Kasper and Rosario Florio) with Dan Rhatigan’s Astloch. In the latter, the S was modified to be more symmetrical.

The issue number on the cover is based on UnifrakturMaguntia, with customized numerals. Inside the magazine, there’s also Spencerio (by Jérémie Hornus and Julie Soudanne), JAF Herb (by Tim Ahrens), as well as more of the other typefaces.

Back cover with the names of the contributing authors

Detail with bevelled golden caps from Romie

Editorial with a headline in Romie and a stray D from UnifrakturMaguntia. The initial is based on Astloch.

All-caps Romie with byline in Spencerio

Running titles (here “Libido Lucid”) are set in Monument Grotesk.

UnifrakturMaguntia and all-caps Spencerio, paired with Romie featuring a nested CI pair.

Outlined JAF Herb overlaps with negatively tracked Spencerio.

A title in Spencerio is combined with Romie and Astloch for the author’s name.

More Romie with interspersed caps from Astloch

Astloch, Romie, JAF Herb, and Monument Grotesk were also used for the merch items, a tote bag and a cap.

A poster with an enlarged version of the magazine cover, in front of the Bella triste office in Hildesheim

At Domaine La Bosque, Olivia and Maxime, passionate winemakers, bottle their craft wine spirits, Limoncello and Gin. Their bottles feature elegant labels, primarily typographic, centered around the Audoux typeface created by and available from Studio Asensò.

Audoux is a vernacular geometric typeface inspired by the recurrent character designs found on the famous facades of cooperative wineries in Languedoc-Roussillon. It is a true revival of the drawings by the architect Roger Audoux, who designed nearly a dozen wineries that are as original as they are rational in their conception, much like the typefacs used on them.

We feel a constant and rising sense of invasion: parasites, notifications, drugs, bodies, catastrophes, aliens. But the line between who invades and who is invaded can be more blurred than we usually think, heavily depending on perspectives.

INTRUSO Magazine challenges readers to step out of their comfort zone and break free from their confining filter bubbles. The magazine gathers investigations, opinions and interviews about topical and divisive issues, to question pre-established boundaries and power dynamics, encouraging dialogue and fostering a deeper appreciation of differing viewpoints.

Each issue of the magazine won’t be limited to a single topic, instead it will be a collection of opinions and essays around every kind of invasion we experience everyday. Issue 3 focuses on lifestyle proposing articles about the #MeToo movement, aesthetic surgery, plants surviving in big cities, and how you can't forget to wear a hat to complete your outfit.

Continuous text and headlines are set in Suisse Int’l by Swiss Typefaces. Inserts are set in Messina Modern by Luzi Type. Navigation, footnotes, credits and tags are set in Suisse Int’l Mono. The “Please, make me beautiful” article combines Suisse Int’l and Spencerio by Indian Type Foundry.

This issue counts 100 pages and measures 23.5×33.5 cm. Printed on Cyclus Offset 90g/m² paper. It was made as a student project at Elisava, Barcelona, in 2023.

Louise Dehaye created a clean and structured visual identity for the 2023/2024 saison of L’Inconnue, a curious and interested music scene. She based the identity on a pair of fonts: Ginka (from lift-type) and Review Mono (from ECAL Typefaces). From Dehaye (translated):

After 35 years under the name Rock & Chanson, Talence’s contemporary music scene is changing its identity to become L’Inconnue. Also, three posters have been specially designed for the season launch party on September 22, and screen-printed by l’Insoleuse.

Studio Double and Julie Soudanne created the artistic direction for Terrains Vagues, a collective exhibition curated by Le Sample in Bagnolet, France, and shown from May 13th to May 27th 2023. The design is based on a pair of typefaces – Soudanne’s own Ginka from lift-type and Thomas Huot-Marchand’s Garaje from 205TF.

From the curators:

Hidden away in their concrete hive high above the revelry of Le Sample, some twenty artists work day and night to bring their creations to fruition. This collective exhibition is the first opportunity for these artists of diverse practices, united by their singular workplace, to come together to celebrate and share the products of their creative biome with the public. The challenges of creating comfortable, thriving studios and shared spaces in a disused building give way to a spirit of exploration and creative inquiry and a rich, organic group dynamic that you are invited to discover in these Terrains Vagues…

Photography by Abel Llavallubach.

Devenir·art is the visual arts network in Centre-Val de Loire (France). It’s an organization that federates in an open way physical and moral persons who work directly in the field of visual arts, and support or are interested in its stakes. Devenir·art is the bearer of a collective word intended to support better consideration of the visual arts in public policies.

This project is set in Ginka, designed by Julie Soudanne and available at Lift Type. The wordmark is custom lettering by Julie Soudanne. It was extended into a custom typeface in three styles, with its square counters set on different angles. Creative direction and graphic design by Studio Double. Risograph printed by Quintal Atelier.

Craft danse&+ is an association founded by choreographer Françoise Tartinville. It was born from the desire to create an art project around contemporary dance and related disciplines with the inhabitants of a specific territory and their heritage. It is the desire to meet and do things together, to introduce contemporary dance by proposing participatory projects and by honoring the living and local heritage.

This project’s typography is set in Ginka, designed by Julie Soudanne and released last month via Lift Type. The wordmark is a custom lettering by Julie Soudanne. Creative direction and graphic design by Jeanne Triboul. Risograph printed by Quintal Atelier.