Visual identity for the second season of La Trinité, the result of a collaboration between Le Concert de l’Hostel Dieu and Superspectives, brought together within the Lyon Trinité Musique association. Together, they inaugurate a new stage dedicated to baroque and irregular music, set within the historic setting of the Chapelle de la Trinité in the heart of Lyon.

This season, nature emerges as a guiding thread. A sensitive presence—by turns flamboyant, silent, untamed, or amorous—a living material that resonates throughout the chapel over the course of the year.

The palette, reduced and saturated, deliberately breaks away from the traditional codes of baroque music, asserting the bold momentum of this first season under a new artistic direction.

The arch, the central motif of the new visual identity, unfolds through its various applications. It embodies La Trinité’s ambition to create a dialogue between early repertoire and contemporary creation.

The team comprised Alain Papazian (art direction & graphic design), Anthony Couret (web), and William Sundfor (photography). The fonts used are EK Roumald with EK Roumald Mono (Erkin Karamemet), AC Modern Gothic (AllCaps), Mercure (Abyme), and Ready Active (Plain Form). Imprimerie Chirat provided the printing.

This is the sixth issue of La petite collection, designed by Bureau Roman Seban. As with every issue, the number is printed on the cover and the colophon on the back cover, typeset in Bertin (variable font), a typeface available from 205TF. The body text is set in Axo by the author, Charles Mazé, available from Abyme.

La petite collection is a series of texts dedicated to writing, typography, and book design, produced entirely by hand (from design to offset printing) within the Association Presse Offset in Paris. Each issue publishes one illustrated text in French. It is available for purchase on Association Presse Offset.

Cover of the 29th issue

Issue N°29 of A Magazine Curated By has been curated by Cecilie Bahnsen.

At its heart, this publication is a celebration of women: their voices, perspectives, and relationships. Throughout the issue, what emerges is a language of shared experience through moments between parents, children, sisters, lovers and friends. A Magazine Curated By N°29 unfolds as a meditation on the beauty of the everyday, the unseen threads between generations and the formative experiences of youth and childhood that continue to shape creativity today.

“It’s filled with the voices of sisters, mothers, collaborators and creatives—a tribute to the strong, inspiring women I’m lucky to have around me.”

OO Theran designed by Laura Csocsán (released on Outline Online) features as one of the main typefaces in use throughout the magazine, selected by the editorial team. It is used equally for bigger titles, credits, as well as longer texts and interviews. On some pages and for a few interviews, it's also combined with the two other typefaces the magazine utilises in this particular issue.

For consistent page numbering, smaller credits and titles, as well as most longer texts and interviews, Mercure roman and italic by Charles Mazé are applied throughout the pages. Released on Abyme, Mercure fits smoothly together with the contemporary grotesque typeface, Monument, designed by Kasper-Florio and released on Dinamo. Monument Grotesk is used in combination with Mercure most of the time, within running text for interviews, for example, or used on its own for a few titles of editorial pages. It can be spotted in very small details throughout as well, for example, in image copyrights or in combination with Mercure for smaller image credits. In some occasions all three typefaces are used in combination with each other within interviews, but in most cases, it's two of them selected and applied together within a spread.

Mercure and Theran in the table of contents

Theran Halo used for the title of the editorial series

Mercure and Theran used throughout an interview

Theran indicating the source of images

All three typefaces used within a page, Mercure noting Cecilie in the conversation, questions set in Monument, and notes on the bottom set in Theran Halo.

Page showing Mercure and its Italic together

Page showing Mecure and Monument used together in this interview

Full page letter set in Theran Halo

Theran Halo applied with OpenType isolated positional (circled) forms for the opening page of the spread

Monument and Mercure Italic used together for titling of images

Theran Halo used for the tile of the editorial series

Monument in used for the tile of the editorial series

Theran Halo used for the tile of the editorial series

All three typefaces used within a page, Mercure in the running text of the conversation and small titles, names set in Theran Halo, and the tile plus image copyright set in Monument.

Page showing running text and titles set in Mercure and its Italic

Theran Halo used to show time stamps within the spread, while page numbering is set in Mercure

Time stamp set in Theran

Time stamp set in Theran, titles set in Mercure

Editorial detail of Theran Halo up close from a page where it's used in running text, in an ASCII image of an apple, as well as in titles with OpenType automatic positional (circled) forms applied.

Shanghai-based designer Nagisa Chen of notadesign was the first to use Lava CJK in an editorial project published by Ventura / Guangxi Normal University Press, designing a series of nonfiction translations by Friedrich Nietzsche, Sigmund Freud, and André Gide. With his careful type choices and refined layouts, Nagisa set out to evoke timelessness and elegance—deliberately contrasting with the historical weight of the texts themselves. Lava is used for Chinese, combined with Mercure, designed by Charles Mazé, a digital revivals of Louis Perrin’s type, for the Latin texts and numerals.

Smash Kitchen is a new line of all-organic condiments launched nationwide at Walmart, co-founded by actor Glen Powell. The visual identity, messaging, and packaging were developed by Creech. The logo is set in Marlfield (OTT), paired with Druk (Commercial Type) and Mercure (Abyme), forming a modern yet distinctly American system that emphasizes product quality without feeling niche or elitist.

CIA GD is the Graphic Design BFA program at Cleveland Institute of Art. Its dedicated website was designed by CIA GD associate professor Adam Swift Lucas. Information about the course is colorfully set over a single page in Charles Mazé’s Axo (Abyme, 2024).

Footnotes issue E front cover

Footnotes is a type design periodical published biennially by La Police. The fifth issue opens with an article by Florian Hardwig on Permanent drawn by Karlgeorg Hoefer, a seemingly-forgotten German Grotesk that designers worldwide have studied-by-drawing off-grid.

Thanks to Sébastien Morlighem, we're now well aware that Pierre-Louis Vafflard cut types for the Didot dynasty, beautiful ones.

The third essay, from the One-off series – contextual type projects from graphic designers – sheds some light on the Belgian figure of Fernand Baudin through a digital re-enactment of his many (hand)writings by Coline Sunier & Charles Mazé.

The last contribution overlaps theory with practise, past with present. A designer’s journey, from the educational binder of Swiss teacher Walter Käch full of lessons to digital redrawings of his template letterforms by Dinamo and Omnigroup (ABC Walter Neue and ABC Walter Alte).

To conclude, the traditional last page entitled Proofs showcases in-progress typefaces from the contributors: Mercator (Laurenz Brunner), Zero, Ninety, Linus (Charles Mazé), LP Jung, Olympia Manuscript No. 4 (Mathieu Christe), Walter Compressed, Slab, Mono (Dinamo, Omnigroup), and Didot Vafflard and Vafflard (Dávid Molnár).

As with every issue, each article is typeset with the related typeface(s), some in-progress and unreleased. The generous iconography also tries to pleasantly surprise the reader with unpublished material.

Footnotes issue E: article 19

Footnotes issue E: article 19: This spread showcases six digital versions of Permanent drawn by (from left to right): Laurenz Brunner, Fabian Harb, Mathieu Christe, Lorenzo Mason, Connor Davenport, Alberto Malossi.

Footnotes issue E: article 20

Footnotes issue E: article 21

Footnotes issue E: article 22

Footnotes issue E: 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.

People Love War Data & Travels is the first monograph on the internationally acclaimed French Algerian artist Neïl Beloufa. Love, hatred, war, technology, social unrest, bodies and words in crisis: this is the material of which Beloufa’s work is made. His films, sculptures and multimedia installations audaciously explore how art can address today’s issues, challenging contemporary representations of social relationships, power games, and political and economic structures. An artist favouring collaborations over authorship, and responsive strategies over predetermined intentions, Beloufa has invented his own work methods, and a particular approach to the studio.

The book presents the artist’s projects over the past 12 years, including recent experiments with online platforms and NFTs, taking as its starting point Beloufa’s solo show, Digital Mourning, at Pirelli HangarBicocca in Milan, and offers a non-conformist take on the genre of the monograph, thanks to its playful and inventive book design (After 8 Books).

People Love War Data & Travels was published by After 8 Books (2021) and designed by Olivier Lebrun. It is set in Mercure (Abyme, 2021) and Vevey (Clemens Piontek, 2018).

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.

Tu peux répéter ? Écrire, parler, expérimenter les langues avec Marianne Mispelaëre is a book published by Paraguay Press following several workshops with children around the question of language, led by the artist Marianne Mispelaëre in Marseille. For the design, Bureau Roman Seban and Claire Mouton used Rillus, Mercure and GT Pressura.

From the publisher’s website (translated):

We all agree that language is a rich resource. But what exactly are we talking about when certain languages are inaudible at school?

This book is an extension of the work carried out by artist Marianne Mispelaëre in a secondary school in Marseille between 2020 and 2022. It explores the different relationships that our languages – read, spoken, understood and surrounding us – have with the French language, with our histories and our identities, at school and in all social exchanges. Multilingual, allophones, born here or elsewhere, the students, in all their diversity, took part in workshops devised by the artist to explore the value of the languages that cross our lives – what a language does to, what a language says about our perception and understanding of the world.

Parents Must Unite + Fight (or Hackney Flashers: Agitprop, Work, and Socialist Feminism in England) accompanies Camille Richert’s ongoing research on the Hackney Flashers collective, a group of nine activist women who engaged in agitprop from 1974 to 1980 in the working class neighbourhood of Hackney, East London. A book as a tool, part placard, part board, in reference to the activist, artistic and educational practices of the Hackney Flashers. A book to hold and wave, a support for action and learning.

Published by Tombolo Presses, the book was designed by Coline Sunier and Charles Mazé and typeset in Mazé’s Axo (Abyme, 2024).

These posters were designed by French studio Image Format for the fourth edition of the music festival Les Trois Beaux Days that took place in July 2024 in Montmartre, Paris.

Design and development (in collaboration with Alain Papazian) of the visual identity for the first season of La Trinité, a new stage dedicated to baroque and irregular music, housed in the heritage setting of the Chapelle de la Trinité, in the heart of Lyon.

The arch, a recurring motif in the chapel’s architecture, becomes the central element of the visual identity. As a metaphor for transition, it illustrates La Trinité’s mission to bridge early and contemporary music, repertoire, and creation.

The website was developed by Studio Antho, the photography by Studio Picabel, the video recording by Sequence Sdp, and the printing by Imprimerie Chirat.

Each year, the Centre National des Arts Plastiques ( Cnap) collaborates with a different French graphic design studio in order to create its activity report. Cnap hands the contents to the studio, which then has complete freedom to chose format, paper, printer, organization, and, above all, how to create the design and especially the data visualization part.

For the 2023 edition, Roman Seban used his own typeface Bertin (205TF) for all the data representations in this report — screens, bullets, patterns. For some information, he also worked with the typeface Axo designed by Charles Mazé (Abyme).

The report can be downloaded as a PDF from the Cnap website.

Groovin’ with the Soulful Strings, Cadet LPS-796, 1967. Photography by Don S. Bronstein. [More info on Discogs]

From Wikipedia:

The Soulful Strings were an American soul-jazz instrumental group formed in Chicago in 1966. Predominantly a studio band, the project was created and led by Richard Evans, a staff producer and musical arranger with the Chess Records subsidiary Cadet Records. […] Between 1966 and 1971, the Soulful Strings released six studio albums, all recorded at Chess’s Ter Mar Studios, and one live album.

With the excption of the 1966 debut, Paint It Black, and the last album from 1970, The Soulful Strings Play Gamble-Huff, all albums feature Bulletin Script Two for the cover typography in one form or another. The left-leaning, bottom-heavy script is used in all caps, with various amounts of stretching. In most cases, the secondary typeface is News Gothic (see the captions for exceptions). Jerry Griffith is credited with the design of all shown covers.

Another Exposure, Cadet LPS-805, 1968. Photography by Ruyell Ho. [More info on Discogs]

The Magic of Christmas, Cadet LPS-814, 1968. Photography by Ray Klein. [More info on Discogs] The song names are set in News Gothic Extended.

The Soulful Strings in Concert, Cadet LPS-820, 1969. Photography by Jerry Griffith. [More info on Discogs] The small type again uses News Gothic Extended.

String Fever, Cadet LPS-834, 1969. Photography by Jerry Griffith. [More info on Discogs] The second line (in purple) is in Mercator Cursief, the italic style of Mercator. Amsterdam Continental integrated this typeface into the Standard series – the export name of Akzidenz-Grotesk – and sold it in the US as Standard Italic. See this post on FontID.co for more information.

Season booklet

New identity, posters and booklet (pdf) for the 24–25 season of Le Préau, a theater in Vire-Normandie, France. Photographs by Éléonore Lubna.

Season booklet

Posters

Season booklet

Season booklet

Poster

The art biennale Anozero’21—22: Meia-Noite was curated by Elfi Turpin and Filipa Oliveira in Coimbra, Portugal. Coline Sunier and Charles Mazé’s visual identity is based on the combination of two symbols, ○ and /, extracted from Anozero’s existing graphic identity to create a continuity with previous editions. In the designers’ hands, ○ becomes a moon ? and its fluctuations ???????? and / becomes the night ////////// and ////////// its ////////// troubles and uncertainties //////////, evoking the biennale’s curatorial project. From abstraction to narrative: from a circle to the moon (or a disco ball?), from shading to twilight.

All communication materials are set in Charles Mazé’s Mercure (Abyme, 2021), Regular, Italic and Transcript. The choice of a serif typeface gives a literary and scientific aspect to the communication – an echo to the Joanina library in Coimbra and its incarnation of western knowledge – and differentiate the design from the past visual identities of Anozero.

Dead Minutes is a storytelling game by Tom K. Kemp about systemic change in an undesirable afterlife. You, the players, will decide what this hell, underworld or land of the dead is like, what its problems are, how change happens there, and what the complications might be when altering something so big, involving so many dead people, over so much time. It’s a game about impossible seeming actions at impossible seeming scales, making difficult choices, and dealing with unexpected outcomes.

As the players, you will act both as authors of this story, making zoomed-out, informed decisions about what happens next to the potentially billions of people in the afterlife, and also as point-of-view characters within the story, who are being impacted by these decisions and respond to them as individuals. The game will tell you when to make these switches in perspective.

You will all be working together to tell this story coherently, but will also be critical about the events that you create together, attempting to bring tension, gravity and stakes to the narrative. Throughout the game, you will all take on different responsibilities in order to help you do this.

By the end of the game, together you will have told a complex story about the afterlife, why it was bad, what dead people did to change things there, and how some of them feel about it long, long after.

This book contains the instructions you need to play the game, an essay by artist and theorist Patricia Reed, and a series of invented afterlives by writers Chris Beckett, Habib William Kherbek, Samuel Clarice Mui Shen Ern and Selma Selman.

Commissioned by STRP Eindhoven. Risograph printed and bound by no kiss? on EOS 100g/m² and EOS 120g/m² paper in black colour. Edition of 200, 36 pages.

“La Peinture en Jeu” (Painting in Play) is the first issue of a new magazine called Peinture. It explores various aspects of painting, in partnership with different art schools for each issue.

For this n°0, two school projects led by isdaT (fine art school of Toulouse) and ESADMM (fine art school of Marseille) are narrated thanks to a lot of images and texts provided by teachers and students.

The magazine is designed by Mathilde Mary & 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.

Bibliothèque Kandinsky’s Summer University is a cultural programme organised by the Centre Pompidou in Paris. It is built around the source material of modern and contemporary art: archives, written documentation, photographs, films, etc. It gathers young researchers, historians, anthropologists, sociologists, critics, curators, who work together on this material. The Summer University includes writing workshops and archive visits. The result of this research is gathered into a journal, which each year is produced by a different designer.

Issue 8, “Show/Search” (2022) was designed by Olivier Lebrun. It is set in Axo Narrow (Abyme, released 2024), alongside a bespoke version of Lineto’s Biff with Script 12 Pitch and Univers Next.