Milk Magazine is a cultural and fashion publication focused on kids, and families in general. It also features in-depth interior design reports of cultural figures’ apartments or houses. The Milk Magazine website was updated by FCINQ, followed by its print version, designed by Claire Aupois under the artistic direction of Karel Balas. It features Karl by Source Type and Self Modern by the Bretagne type foundry. The sans used for the English slogan at the bottom of the cover is Aperçu. The logotype remains unchanged.

Surgir, jeux graphiques is a collective and participatory exhibition of the graphic design biennial Aperçu that took place in Boredeaux in May 2026. Éva Offredo is exhibiting TOUPIE UTOPIE, the result of her creative residency at Maison du Père Castor.

The Gikit typeface by Benoît Bodhuin accompanies the illustrations. There are a couple of secondary fonts in use. One of them is Chantier by Lucas Le Bihan.

The new branding for Museum H’ART (formerly the Hermitage Amsterdam), designed by Studio Berry Slok, features Good Sans by Good Type Foundry and Self Modern by Bretagne. The identity draws around a blurred circle used as a symbol, for animation transitions, backgrounds, etc.

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]

Book design project developed for Soraia Gomes Teixeira’s doctoral thesis in Contemporary Aesthetics, presented at the Centro Universitario de Diseño y Arte de Barcelona (EINA). From design studio Common Forms (translated from the Portuguese):

The project started from a set of formal academic constraints that were assumed as formal and conceptual restrictions. The requirement of a standard A4 format determined the scale of the object and its proportion from the beginning, influencing decisions regarding composition, rhythm, and organization of the graphic layout.

The publication includes a significant number of images intended to document the research process, which required the definition of multiple compositional solutions capable of accommodating different scales and relationships between text and image. In parallel, the textual hierarchy proved particularly demanding, with various types of entries and reading levels that implied an unconventional organization and a clear system of typographical differentiation.

Later, regarding the choice of materials, there was greater freedom. Nevertheless, a solid and contained volume was chosen, using white paper for both the text block and the cover, differentiated only by the finish. This choice reinforces the unity of the object, while simultaneously introducing a subtle distinction in terms of materials.

The binding process was simplified, using only the folding of the signatures and the binding of the pages with an elastic band. This solution, in addition to addressing the limitations of graphic production, suggests a slower and more deliberate way of browsing, emphasizing the act of browsing through the book.

In 2025, Julien Gosselin took charge of the prestigious Parisian Odéon Théâtre de l’Europe, previously known as Théâtre de l’Odéon. Atelier Choque Le Goff was commissioned to design a new visual identity for the theater. Playing with words, they used big type and expressive layouts, mixing letters and illustrations by Martin Groch on colorful backgrounds. The cast for the new identity is as follows: Insitu, Exposure, and Neue Haas Grotesk.

Wilkinson & Rivera is a London-based duo, formed by Grant Wilkinson and Teresa Rivera in 2020. Their collaboration extends to fine art, design, and furniture making. They strive to build long lasting pieces with a high level of craftmanship. The communication matters, designed by Thoughtful Standard, are set in Self Modern and Messina Sans, along with a logotype that’s either custom drawn or in an unidentified typeface.

The exhibition Available Light was shown in late 2025 at Chelsea Space, a public gallery at Chelsea College of Arts. It presented the work of artist Morgan Quaintance. The theme revolves around the shared realities of worldwide contemporary city life, taking the example of Japan. A small, untitled publication written by the artist was designed by Matthew Appleton of Modern Activity to accompany the exhibition. The signage of the show as well as the booklet are set in Self Modern Regular and Italic.

The colorful new branding for the Austrian ice cream manufacturer Purkarthofer Eis, designed by Rawty, features Cucina Nera and Neretta along with Brondi Condensed for the headlines.

Comme un parfum d’aventure is the catalog of the eponymous exhibition held in the Lyon Contemporary Art Museum in 2021. The artworks revolve around the theme of displacement, whether it is refrained or compelled, voluntary or induced, individual or collective. Léa Audouze designed the catalog using Self Modern Regular and Italic.

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.

Focal in use by NODE Berlin Oslo for Co-Creating Futures by Kristin Werner and Antje Nestler and published by CollActive Materials and Matters of Activity.

Description from the design studio:

Co-Creating Futures — How can public engagement foster creative exchange between science and society? Matters of Activity Science Communicator Antje Nestler and former CollActive Materials Coordinator Kristin Werner explore science communication through collaborative speculation. From foundational concepts to practical workshop tools and worksheets, this guide for public engagement practitioners and curious researchers offers tested methods for bringing together academic research, design, and society in co-creating pathways into a sustainable future.

You can download a pdf of the whole guide from HU Berlin.

The monospaced font is IBM Plex Mono.

The faceted serif is Avara.

The Internet era has deeply reshaped how we produce, consume and communicate. But despite living in an increasingly connected society the astounding amount of information we meet online can quickly overwhelm us.

Delving into these issues, my thesis project Turning Clicks into Pages explores the relationship between analog and digital media in the contemporary landscape. The work deconstructs Twitter’s navigation system into tangible matter, proposing a hybrid experience between material and immaterial space-time. What happens when information that was never meant to become physical is saved as something permanent? Detached from its original context, does the reading experience remain the same?

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.

Rialto is a platform and commerce tool for dealers and galleries in art, design, antiques and furniture. The studio Alexis Mark designed Rialto’s visual identity (creative direction is by Kristen de La Vallière) using Insitu for the logo and the titles, and GT America Mono for text and captions.

Happening each year in Saint-Briac-sur-Mer (France, Brittany) the Rendez-vous à Saint-Briac is a fair showcasing contemporary works of art and artists' publications, mainly from Brittany-based galleries and institutions. For this edition, Paul Dagorne and Lucas Le Bihan worked on a reset of the fair’s identity. We used the symbol of the city (the bridge between Saint-Briac and Lancieux) as the main visual along with three illustrations of clichéd Saint-Briac’s landscapes and a single typeface – Scenery – throughout the whole communication.

Goldi is an Australian olive oil company. They sell several kind of oils in the trendy squeeze bottle format as well as in larger tin cans. After a few changes all packaging designs are now typeset in Cucina along with what appears to be custom hand-drawn lettering and illustrations made by Morten Kantsø. The Goldi logotype is set in Gaya Italic.

The irregular sans used for “Smooth” and “Punchy” probably is custom. Maryhoid is similar.

Published on the occasion of Dana Schutz’s 2023 exhibition at David Zwirner, New York, Dana Schutz: Jupiter’s Lottery features images of the artists’s work as well as a long-form essay by Jarrett Earnest, who chronicles Schutz’s artistic process as she creates her most ambitious sculpture to date, Sea Group.

The catalog was designed by Javas Lehn Studio using Kernevel and Styrene B.

Poc Se’n Parla (“Little is said about it”) is a TV program aired on the Catalonian television channel VOTV. It aims to promote the cultural diversity of this territory through interviews, reports, etc. Its visual identity, designed by Gerard Arderius in collaboration with Guillem Arderius, features Self Modern as the brand typeface and is inspired by traditional and popular medias such as printed papers. The abstract illustrations accompany the blend of classical and contemporary cultures on screen.