For Toronto Tech Week 2026, Cohere transformed a Toronto event space into a celebration of design and technology, through an event crafted in collaboration with Offhours.

The identity stretches and squishes Cohere’s brand font, a customized version of Lineto’s LL Unica77 (with round dots), and pairs it with Canora by R-Typography. Signage and ephemera at the party also use Mosa by Alexandre Créquer and Megazoid by DJR.

The celebration extends beyond visuals, offering guests exclusive merch from Cohere’s Merch Store (see the previous contribution on Fonts in Use).

Graphic design of the third album by Musée des Arts Décoratifs de Paris, published on the occasion of the exhibition Exposition universelle de 1900: des décors aquarellés retrouvés (“1900 World’s Fair: Rediscovered Watercolor Scenes”), held from November 1 to 13, 2022.

The titles are typeset in a working version of EB Hymne, published in 2025 by Électro-bibliothèque, while the main text is in LL Unica77 by Lineto.

Written in French, the album comprises 32 pages and features 28 colour images. Produced in a 210×280 mm format with loop stitching, it was printed in an edition of 400 copies and published by Musée des Arts décoratifs de Paris.

The Cohere Merch Store is a selection of branded merchandise by Cohere’s Brand Studio.

At Cohere, we like to celebrate key milestones with special branded merchandise that showcases our culture, spirit, and love of design. Whether it’s for a product launch, new feature, company event, or just to kick off a new season, our unique clothing and accessories give us a chance to mark the moment in a fun and lasting way.

The Cohere Merch Store is actually a living archive; it maintains an ongoing record of all the merch and swag that we’ve produced over the years. Over time, browsing the archive will give you a sense of the evolution of our aesthetic (and a hint of new things to come).

The 2026 Summer Collection includes shirts and stickers incorporating Cohere’s brand fonts – the custom typeface Cohere by NaN and a customized version of LL Unica77 by Lineto – as well as Mosa by Alexandre Créquer, Herbus by Eliott Grunewald, Workbench by Jens Kutílek, and Junicode by Peter S. Baker.

Strategy, visual identity, storytelling, art direction and website for Hannun, a leading voice in conscious furniture.

In an industry shaped by disposable consumption, Hannun’s answer focuses on value and respect – for materials, and for local craftsmanship. Its renewed positioning balances product and mission across the entire journey: design, production and delivery.

The brand narrative connects each piece to its origin, tracing stories of collaboration and dialogue shaped by design. The tone of voice, like its products, is grounded in care, honesty, sensibility and respect. The visual identity finds an editorial balance between form and function, connecting with nature beyond the obvious.

Good design is an exercise in coherence. And a place only becomes a home when it reflects the way you see the world.

Since its inception, photography has captured defining historical moments, serving as either a tool or a document of protest. Flashpoint! explores the diverse roles and varying aesthetics that photography in print undertakes in its support of protest and resistance.

Ruder Plakat and a custom version of Luca Pellegrini’s Electa were used throughout the book. Ruder Plakat, based on Emil Ruder’s poster type which was developed with students at Allgemeine Gewerbeschule Basel (AGS), served as the perfect display font for a project about civil resistance. Electa, in turn, was used for all body text as well as meta data, captions and references. Being the result of Luca’s obsessive study of an Olivetti typewriter, its historic charm with strict sophistication performed in pretty much every setting we put it in.

The book was edited by Russet Lederman and Olga Yatskevich and published by 10×10 Photobooks:

Flashpoint!, an anthology focusing on protest photography in print, presents a global selection of photobooks, zines, posters, pamphlets, independent journals and alternative newspapers that address protest and resistance from the 1950s to the present.

Graphic design of the ninth album for Musée des Arts décoratifs de Paris, published at the occasion of La Maison pour tous (“The House for all”) exhibition, shown from 8th November 2023 to 28th January 2024, and curated by Sébastien Quéquet.

This booklet is typeset in LL Unica77 and Antique Legacy. While LL Unica77 was chosen as a sanserif typeface for the collection principle, Antique Legacy was used here in its semibold weight to compose titles and quotations, very tightly, to match with the photographs contrast.

Selleb is a resale platform that connects second-hand fashion with culture, storytelling, and status. Its visual identity, developed in-house, revolves around a bold and unconventional use of the typeface Bull‑5.

Bull‑5 Mono is used prominently in brand elements such as the logo and product markings, where its monospaced rigidity communicates structure and presence. In contrast, across the website and other content platforms, Selleb uses a custom hybrid version that blends Bull‑5 Mono with Bull‑5 Typewriter – often mixing styles within the same headline or paragraph. This results in a lively, tactile typographic texture that reinforces the platform’s emphasis on individuality, surprise, and curated imperfection.

The brand’s typographic voice is raw yet intentional: expressive, irregular, and entirely unique. Supporting styles include Bull‑5 Regular for longer text and Unica77 for fine print or metadata, ensuring a balance between character and clarity.

For a detailed look at the brand identity system, see the full guidelines.

Brnjsmin returns with his long-awaited second album on Verydeeprecords, blending leftfield electronic(a) with bass-driven ambient and not not jazz. A tripping brain dance with a wink for fans of dreamy synths and early Four Tet.

For the artwork and release campaign, Nuremberg-based design studio Complex Pleasures combined line drawings by the artist himself with found images, typographic elements and glossy 3D graphics, creating a unique visual world reflecting the playful approach of the music.

The text is mostly set in Samara Keller’s Tempos Mono. In addition, some glyphs from ABC Maxi Round and LL Fiat77 can be found and the back cover features some customized bits and pieces from CirrusCumulus and GT Alpina.

[More info on Discogs]

Front of the album cover

OSiR is a trio of friends from Warsaw who grew up on Polish rap and British electronic music. Dygnitarz 808 and breakjanek are part of the 666VOLVO collective, while Frano Dead was one half of the duo Frano Bebun.

Tired of shallow lyrics and repetitive beats, they decided to create an album filled with bitter reflections and analog synthesizers. The album features 14 tracks, with guest appearances from DJ Cutahead, Stopatentów, Bebun, and Jakub Jan Bryndal.

The graphic design of OSiR’s self-titled album visually reflects the so-called “spirit” of the record and its lyrics. The overall aesthetic draws inspiration from the late communist era in Poland (late PRL) and the early 2000s, in line with the album’s name and its full meaning.

The concept was driven by research into the typography of that period and the deliberate use of a “dirty” or “lo-fi” visual layer to give the cover a sense of authenticity.

The author – Marcel Kaczmarek, began his research by looking for real-life examples of sports center signage, often visually awkward. He found a fittingly ironic case in Grodzisk Mazowiecki, where the name was clumsily set in a 1974 typeface – New Zelek by renowned Polish designer Bronisław Zelek. It perfectly captured the sharp, gritty aesthetic he was after.

New Zelek has been digitized and extended in 2013 by Polish type design studio Threedotstype. Marcel used this typeface for the album title on the cover and LL Unica77 by Lineto for the tracklist and small text.

[More info on Discogs]

Design of the album booklet

Back of the album cover featuring the tracklist

Possible vinyl cover (unrealized)

Possible vinyl cover (unrealized)

In 2024, Austria—particularly Upper Austria—celebrated the 200th anniversary of organ virtuoso and visionary composer Anton Bruckner. To mark this occasion, the Nordico Stadtmuseum Linz presented It’s me, Toni! Eine Suche nach der Identität Anton Bruckners, an exhibition that challenges conventional clichés. The exhibition design offers a contemporary, fresh perspective on Anton Bruckner’s legacy.

A distinctive color scheme structures the exhibition space into two thematic zones: deep green represents Bruckner’s biography, while vibrant purple emphasizes contemporary interpretations of his work. Neon yellow serves as a striking accent color, primarily marking interactive stations where visitors can actively engage with Bruckner’s world.

The interplay of music, art, and contemporary design extends into the exhibition’s architecture. The scenography features open, permeable grid structures, evoking the atmosphere of a study hall or classroom in the exhibition’s first section—a nod to Bruckner’s early career as a teacher and organist.

Typography plays a central role in shaping the exhibition’s visual identity. The serif typeface Gramercy was selected for its subtle references to classical music notation, visually echoing Bruckner’s musical heritage. With its distinctive alternate letterforms, Gramercy incorporates elements reminiscent of musical notation, bridging the gap between music and typography.

Complementing this, the exhibition features LL Unica77, the museum’s house typeface. Its clean, modern design—contemporary and highly legible—creates a dynamic contrast to the expressive Gramercy. This balance of tradition and modernity enriches the exhibition’s typographic concept, seamlessly connecting music and design.

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.

Charli XCX’s music video for her single “360” features Lineto's LL Unica77 on both titles and end credits designed by Special Offer, Inc.

The music video, directed by Aidan Zamiri, follows the quest to find a “new, popular internet it girl”. It features appearances from Chloë Sevigny, Julia Fox, Rachel Sennott, Emma Chamberlain, Gabbriette, Alex Consani, A. G. Cook, Chloe Cherry, Isamaya Ffrench, Salem Mitchell, Hari Nef, Richie Shazam, among others.

In an interview with The Roxy Theatre, Charli said:

360, was very much inspired by the energy of daisies. Just this idea of the world being shit so just be a brat. I love that concept. Obviously in daisies it’s coming from a much more political angle but there’s a punk ethos that still runs through the video. And I knew Aiden zamiri would be perfect for this because I just love how his work looks and he’s funny and understands humor in cinema. He understands why it’s great for me to be on a wobbling work out machine in no bra pouring red wine over myself… he just gets it.

Source: store.uk.charlixcx.com 

Brat is the sixth studio album of pop star Charli XCX. The cover font – Arial – is stretched and of low resolution. ABC ROM Mono is found on the vertical labels. Text on the inner sleeves is in LL Unica77, and “charli xcx” on the back cover is in a yet unidentified sans [edit: probably ITC Avant Garde Gothic, see comments].

From Wikipedia:

The cover, a low resolution lime green square with the title disproportionately imposed on it, was met with criticism. In a cover story interview for Vogue Singapore, she told Chandreyee Ray that the criticism led her to question why fans feel “ownership over female artists” so much so that they demand their photograph be on all of their work; she had previously dubbed it “mysoginistic [sic] and boring” on Twitter. She further explained the album cover and particularly the colour choice, deeming green heavily oversaturated in the media and fashion “as of late”: “I wanted to go with an offensive, off-trend shade of green to trigger the idea of something being wrong. I’d like for us to question our expectations of pop culture—why are some things considered good and acceptable, and some things deemed bad? I'm interested in the narratives behind that and I want to provoke people. I'm not doing things to be nice.” People’s Sadie Bell linked the album cover with the nature of the album, which Charli XCX dubbed “confrontational”.

Designed by Brent David Freaney at Special Offer, Inc., with art direction from Imogene Strauss and Charli XCX.

[More info on Discogs]

Source: www.instagram.com Terrence O’Connor.

Photography by Terrence O’Connor, styling by Chris Horan.

Source: store.uk.charlixcx.com 

Source: www.instagram.com Special Offer, Inc.

Source: www.instagram.com 

Source: www.instagram.com 

Source: www.instagram.com Special Offer, Inc.

Source: www.instagram.com 

Source: www.instagram.com Special Offer, Inc.

Source: www.instagram.com Special Offer, Inc.

Source: www.instagram.com 

Source: www.instagram.com 

Source: store.uk.charlixcx.com 

Source: store.uk.charlixcx.com 

Source: store.uk.charlixcx.com 

Source: www.instagram.com 

Source: www.instagram.com Henry Redcliffe.

Stage graphics at a concert. Creative direction and scenic design by Imogene Strauss. Drape design by Special Offer, Inc.. Photo by Henry Redcliffe.

The collective exhibition Objets trouvés was held in 2023 at Cité de l'Architecture et du Patrimoine in Paris, curated by Barrault Pressacco.

The accompanying catalogue and poster, published by New Moon, invite readers to think collectively about the subjects of reuse and repurposing of materials in order to add a necessary cultural and disciplinary dimension. This project brings together forty-two international practices to speculate on the transformation of a series of objects, and builds new, indulgent and poetic views with the material heritage that surrounds us.

Designed by République Studio and typeset in LL Unica77 and Simon Mono. The publication (104 pages, 230×305 mm) was printed by Chirat on Fedrigoni Arena White Rough.

Words from Regular Practice:

Having faced an academic year like no other, the Royal College of Art’s fashion department made sure to close off the graduating term in a similarly unforgettable and unconventional style. The result was Voyager.

Voyager was not simply just a documentation of the year’s work, but also of the year itself, collating all of the now-digital workshops, projects, lectures and events that would have previously been in-person. It was the role of Voyager to translate these experiences in a way akin to the tone of the year; manifesting the precious work of the students in an unpolished, unintimidating and accessible form that is also, in its own way, experiential.

Voyager became reminiscent of a sketchbook, taking a dual form referencial to both a working object and a serial document. Both commodity and tool. Expressing the individuality of each student, each book is likewise unique, using its own off-cuts to construct the page of its contents, as well as the book’s external wrapping; thereby using the process of its creation as its own artistic expression.

LL Heymland is used for cover type. The book interior is mostly set in LL Unica77. You can flip through the nearly 1,000 pages and download the entire publication on Issuu.

Spread featuring ABC Favorit Expanded.

Redesign and identity for The Wire, the world’s leading independent music magazine by Guillaume Chuard from Studio Ard.

The studio developed a brand new logo and custom cut of LL Unica77 in collaboration with Lineto which restores the definitive article to the magazine’s masthead. The new layout is functional, simple yet distinctive, foregrounding the text while leaving enough space for the original photographs we commission for each issue. The new masthead embodies this radical simplicity: The Wire is The Wire; the name speaking for itself. The Wire about their new typography:

For those of you interested in the technical details, the redesign includes a new grid system that actually increases the overall type area; a new font, a version of Unica77 that was customised in collaboration with Swiss type foundry Lineto; a new navigation scheme based on clear visual identities for each section; and a typographic treatment for the headlines which will evolve from issue to issue. Oh yes, and a new logo that finally restores the definitive article to the magazine's masthead.

The exhibition 1997. Fashion Big Bang was held at Palais Galliera, Museum of Fashion, from March 7 to July 16, 2023. Curation: Alexandre Samson. The accompanying catalog was published by Paris Musées. Design by Clément Le Tulle-Neyret (with intern Romain Laurent), using LL Unica77 (designed by Christian Mengelt and Team’77/Lineto).

236×315 mm, 192 pages
Offset printed (CMYK + 1 spot color)
ISBN: 978-2-7596-0547-7

A1 poster

Letterpress printed poster for an architecture conference on the topic of “Daylight”. Printed in two versions (A1 and A0 format) with laser-cut MDF and hand-set metal and wood type.

And if you’re a production nerd like me: check out the gradients in the video and how they’re printed against the printing direction! They’re made in two steps: inking in the roller direction, then printing in a 90° rotation. Yes yes, we know all the magic!

Gradients on the laser-cut LL Atomgrad letters

Helvetica Bold (photopolymer plate)

Helvetica Plakat (wood type)

Salon Antiqua, hand-set 4P. metal type,

Centre for R&D is an event that will take place at Spanners, South London, on June 14th, 2023. Promoted by odyXxey, it will include live performances by Varnrable and Florence Sinclair as well as DJ sets by mea0u and Virgina Waters.

The Monnaie de Paris (Paris Mint) is a government-owned institution responsible for producing France’s coins. In 2022, it devoted an exhibition to the infinite variety of shapes, textures and uses of coin called Monnaies & Merveilles, or Currencies & Wonders.

The bilingual catalog was designed by Paper! Tiger! and published by SilvanaEditoriale. It has 192 pages and measures 165×240 mm. The title and headlines are set in Voyage (VJ-Type). Text is set in Cardinal Classic Short (Production Type) and LL Unica77 (Lineto).

See more images on the websites of the design studio and the publisher.