Eugenio Perazza, founder of Magis, has written a book, designed by studio òbelo and published by Rizzoli in Italian and English editions. An intimate and passionate account of design through the episodes that have shaped the author’s personal and professional journey.

With carefully chosen words, Perazza brings us aboard a journey that traces the birth of Magis, the encounters with great designers of the past, the successful projects and those that didn’t work out.

Cineforum Rivista celebrates its first 65 years of editorial activity with Cineframed – The Exhibition, unfolding across two venues: the first at Roma Smistamento, the second at Frab’s Magazines & More.

Cineframed features a gallery of 16 framed works: a selection of the most iconic covers from the Serie Collezione (1961–2020), curated to trace the magazine’s graphic evolution, its changing formats, and the shifting tastes and aesthetic sensibilities of different eras. At the same time, the exhibition offers an invitation to revisit the history of cinema through a sequence of images destined to remain forever part of our collective viewing imagination.

ABC Oracle is one of the typefaces selected for all of the magazine’s texts, as well as for the poster-manifesto and the gallery handout for both exhibitions.

Edwards White Architects hired us to develop a brand identity that better reflected the way they think, design and work. Their practice is grounded in context, collaboration and careful execution, but this depth was not consistently expressed across their existing identity or digital presence. The project called for a clear brand foundation and a system that could scale across all touchpoints, with the website identified early on as one of the most important expressions of the new identity. The core idea underpinning the work was “people places.” This reflects a belief in architecture as more than the admiration of finished objects, focusing instead on how thoughtful design enriches everyday human experience. Our task was to translate this idea into a coherent identity and a digital platform that could communicate both the work and the thinking behind it.

The identity is anchored by a refined wordmark set in Ionic No. 5 Light, supported by Basel Grotesk for long-form clarity and legibility. The typographic system balances precision with subtle expression, reflecting the studio’s architectural approach.

In 2024, the Ministry of Culture of Slovenia issued the Resolution on the National Programme for Culture in Slovenia (Slovenian: Resolucija o nacionalnem programu za kulturo) for the period between 2024 and 2031. It is the main document outlining the program and development goals that the Ministry aims to achieve during this and possible future mandates.

In a Baroque church in the canton of Jura, the artistic duo Boudry/Lorenz has created a rollercoaster that also serves as a sound piece voiced by Colin Self.

The visual communication gives a feeling of psychedelia in reference to the sculpture. The geometry of the kaleidoscope could be a nod to the structure of the luna park ride, or the echo of Self’s lament in the space.

Making full use of the variable capacities of Purple Haze, the design uses several weights and instances overlaid on top of each other, and printed in a restricted set of spot colours, creating additional tones as a result of the transparency of the inks. The supporting typeface is an early version of Display Grotesk, designed by Chi-Long Trieu and set to be released with Dinamo.

When things go down, hopefully they go up straight after.

ARCH+, an iconic architecture magazine that holds a leading position within the German-speaking discourse and beyond, dedicates its 261st issue to the question of urban transformation through the lens of universities. Published under the title Stadtumbau – Schulen der Transformation (“Urban Transformation – Schools of Transformation”), the issue examines how higher education institutions are reconfiguring their spatial, social and political roles in a context shaped by ecological and structural challenges. Long regarded as institutions removed from everyday urban life, universities appear here as active agents capable of influencing societal and spatial change.

Curated by Thorsten Erl, Tobias Hönig and the collective c/o now, the issue brings together essays, analyses and case studies, including one focused on the University of Siegen. The publication highlights how academic spaces can function as testing grounds for new forms of urban organisation and renewed relationships between campus and city.

The issue, designed by Dan Solbach, features a typographic system combining AL Sigla by Alex Lescieux, Futura by Paul Renner, which has been part of the magazine since its very first issue in 1968, and ABC Displayy a.k.a. Display Grotesk by Chi-Long Trieu, to be released by Dinamo. The interplay of these three typefaces creates a visual rhythm that is both distinctive and clear, supporting the variety of contributions assembled in the edition.

From Bureau Strada:

Poster for a heavy metal concert and performance event at Bad Bonn, in collaboration with Nathan Meyer. The aim was to design a poster that was coherent with the event, while subverting common heavy metal clichés. To provide a contrast to the handcrafted feel of the linocut, the Metaballs typeface by Maxitype introduces more geometric forms, subtly referencing the bone motif of the illustration.

The F4 poster was printed in a black only version, and another 50 × 70 cm version is printed in offset silver and black with a matte varnish by Cric Print in Fribourg. The concert was organised by Maxime Barras & Maxime Papaux, under the name Maxi-Maxi.

The book Neue Erschöpfungsgeschichten was published on the occasion of Text Matters. Matters of Text, a festival dedicated to the materiality of language, held annually by the Klingspor Museum and Präposition in Offenbach am Main. Stiftung Buchkunst recognized it as one of the most beautiful German books of 2025 in the General Literature category.

Designed by Daniel Zenker with artwork by Ruth Roxane Eckrich. Typeset in Mimesis by Laucke Siebein/Type, ABC Oracle Triple by Dinamo, and Shinka Mono by Aeiou Tools. Published by Holm-Uwe Burgemann of Präposition. ISBN 978-3-00-080088-7

Fukuoka is the biggest city on the Japanese island of Kyushu, and the capital of the eponymous prefecture. It is home to the communal Fukuoka Art Museum, opened in 1979 and famous for its broad selection from traditional Japanese to European Art. Fukuoka is also the hometown of the artist KYNE [pronounced key-ne, ne like in “never”] who was born there in 1988.

Adaptation, on display at Fukuoka Art Museum from April through June 2024, was KYNE’s first major solo show, gathering 150 artifacts that allowed to trace his path from urban street art to international galleries and 100,000 followers on Instagram. KYNE’s art is rooted in the Japanese pop culture of the 1980s and forward, inspired by record sleeves, manga, anime and at times as well by the kawaii aesthetic. His graphically stylized portraits of cool young women looking at the viewer caught the attention of magazines and fashion brands and earned him national attention. Currently KYNE works predominantly with acrylic painting and silkscreen printing, what connects him to the art of Andy Warhol.

The pictures in this post show the scenography designed by Koichi Futatsumata of CASE-REAL. The key visual and exhibition catalog are the works of the Office for Typography, lead by Chi-Long Trieu and operating from Lausanne, Switzerland, and Osaka, Japan. Born in 1988 – the same year as KYNE – in Fribourg, Switzerland, Trieu studied Visual Communication, specializing in typography and typeface design, at ECAL in Lausanne, where he teaches today. His typeface project Basel earned him a Swiss Culture Award in 2017.

The typeface featured here is a more recent addition to Trieu’s œuvre: the Paramount family, published by Production Type in 2023. Paramount explores the borders between humanistic and geometric concepts for the design of a sans serif, which means that pure geometric rigidity finds itself softened and humanized. The family consists of two basic styles, Paramount and its funkier sibling Paramount Neo that floats out into a futuristic realm. Additionally, both styles offer a variant with rounded stroke endings instead of straight ones. Ranging from Light to Black and including an oblique Italic, the typeface family offers a wide range of stylistic alternates that make them a great starting point for logotypes.

The typography around the Adaptation exhibition works with Paramount Medium and Paramount Black, rendered in dark blue instead of black, a visual reference to the blue tones used by KYNE in a series of paintings. The Latin Paramount is paired with the Japanese TB Gothic for the typesetting of the catalog. In sum we see a firework of minimalism at its best: the graphically reduced style of KYNE’s artworks, the sober scenography by CASE-REAL, and on top of that the compellingly plain visual language of Office for Typography.

Flyer design for ULTRA, a performance by lo.me in Zurich. The event was organised and curated by Perrrformat in collaboration with Gessnerallee and CARAH – Collective for Anti-Racist Art History.

Perrrformat is dedicated to the presentation, mediation and documentation of performative practices in public space.

Designed by Silvan Possa for HOMI, a creative studio based in Basel and Zurich. The typefaces in use are KTF Compact by Kyiv Type Foundry and Oracle Triple by Dinamo.

​Dripping is an annual music and arts festival held in Sparta, New Jersey, that celebrates a diverse array of live performances and DJ sets, encompassing genres from experimental electronic to soulful compositions. Beyond music, Dripping fosters community engagement through workshops, art installations, and communal activities, emphasizing inclusivity and environmental respect. In 2025, Dripping will take place over three nights. Performances will take place indoors and outside. The site is a beautiful 200 acres of forest, wooded paths, and a large private lake.

For the 2025 poster lineup, designed by M.C. Madrigal, they used Ceraph, distributed by Sharp Type, and the artist names were set in full caps, using all the discretionary ligatures Emma Piercy designed for this typeface. They also chose to activate the stylistic set of the swash capitals on the R and the N. The name DRIPPING uses the stylistic No. 2 of the font: the diamond capital I. Additional info is set in the two brand typefaces of Dripping: DM Mono by Colophon, and Basel Grotesk by Chi-Long Trieu.

The exhibition bloom – Absolvent:innen 2024 showcases the works of graduates from the summer semester at the TH Nürnberg, Faculty of Design. In the catalog, each graduate was allocated a double-page spread with a transparency overlay for their work. The catalog highlights the diversity of the university's eleven different classes.

Concept, design and layout by Nele Linsmaier and Philip Förster. We chose a combination of ABC Oracle Triple by Dinamo and TWK Lausanne by Weltkern. The pages are numbered with hand-drawn lettering.

Gaya, reinterpreted by Taktika. The studio drew extra black letters to design this exhibition poster for Galerija Vartai. They describe this design exhibition as follows:

A poster from the past exhibition at Galerij Vartai, depicting the balance between resilience and fragility. The two creatives Ruta Palionyte & Ieva Baranauskaite raise questions about the potential impact of a soft-solid strategy on contemporary design and consumer behaviour. We were inspired by the designers’ processes of using wax as a regenerative material in combination with other solid materials.

Information is set in Vartai’s stalwart typeface, Basel Grotesk.

Creech have designed a new visual identity for Seremoni Fish. Typefaces used are Basel Grotesk from Optimo, and Store Norske Gangster from Skriftkompani. The logo is based on the Latin part of Hina Mincho, with a fishtail added to the O.

Creech write in their Instagram post:

Why is the fish at your favorite sushi bar so delicious? It starts with how the fish was processed. Most fish in Japan are harvested using the ike jime method. An artisan technique developed hundreds of years ago that humanely processes fish at the moment of catch and results in remarkable flavor and texture. Almost none of the fish we eat in America, even at high end fishmongers, is handled this way. The result is that fish start to develop fishy flavors while they’re on the boat. Up to a third of potentially saleable fish never make it to the plate. Seremoni is a company with a deep reverence for Nature and a goal to help independent American fishermen make the most of their catch while reducing waste. They’ve created a technologically advanced method of ike jime that will introduce more of us to truly exceptional seafood that doesn’t come with an extractive mindset.

Further credits:
Photographer and Director: Lucia Bell-Epstein and Laird and Good Company
DP: Andrew L. Price
Fish footage: Geoffrey Knott
Food stylist: Pearl Jones
Prop stylist: Sophia Eleni Pappas
Illustration: Fried Cactus Studio

Poster for the open call (landscape)

“Clervaux—Cité de l’image” organizes events all around the medium photography in the city of Clervaux, Luxembourg. The focus is on temporary exhibitions in public space. For the second time, the Prix de la Photography was organized in collaboration with the CAL—Cercle Artistique de Luxembourg and resulted in an exhibition of 14 artists in May 2024.

The Prize aims to reward the work of photographers and their recent contemporary photographic works emphasizing research, innovation, and originality. The jury prize is endowed with 10,000 euros, and the audience prize is endowed with 2,500 euros.

Materials for the open call and the exhibition are using various visual elements of (analog) photography:

The open call makes use of different viewfinder layouts and plays with focus and blurring. The used images are examples of photographic genres: portrait, landscape and architecture. The promotion of the open call relied heavily on social media, Łukasz Matuszewski did animated versions of the poster.

The graphics for the exhibition then take the idea further: after a motif is chosen, the development process starts and is referenced with the use of graphic elements of negatives. Again Łukasz Matuszewski worked on the animation.

A catalog showing the works of the selected artists was published on the day of the opening to accompany the exhibition. Printed on 90g/m2 Speed Gloss and 300g/m2 Munken Print White 1,5 for the cover, featuring Ota binding. All texts are in german and french.

All material is designed entirely using Dinamo’s Oracle and Oracle Triple. Oracle Triple is used for headlines and leaves a technical but “clumsy” impression which can be understood as a complement to photography, which is by nature both a technical and an artistic medium.

Johannes Breyer’s systematic but unusual construction of letters breaks up words with unexpected spaces and thus leaves gaps in words which leave room for interpretation.
Body copy or text in smaller sizes works with the non-mono Oracle.

Poster for the open call (portrait)

Poster for the open call (architecture)

Exhibition poster

Invitation

Catalog

Cargo for Cargo: a flawless LTypI, spotted by Edgar Walthert in Neuchâtel, Switzerland.

This year, the local Museum of Ethnography (MEN) presents an exhibition titled Cargo Cults Unlimited. From the museum’s website:

Cargo Cults Unlimited explores the complex theme of the globalized economy. Highly material, to the point of threatening to exhaust the earth’s resources, the economy is also composed of ethereal abstractions, prophetic discourses, mimetic behavior and bureaucratic protocols. The exhibition invites visitors to explore this complexity by drawing on images associated with the notion of the “cargo cult”.

The term refers to a set of millenarian rituals that appeared in Melanesia with colonization in the 19th century. Guided by charismatic leaders, followers imitate selected forms of Western behavior – arranging cut flowers, conducting military parades or constructing bamboo harbors and airstrips – with the apparent aim of capturing the wealth produced overseas and imported by boat or plane. As anthropologists have shown, the popularity of this term testifies above all to the ethnocentrism and paternalism of the colonizers faced with practices they deemed naïve or irrational.

Reversing the perspective, the exhibition questions whether the magical thinking once attributed to distant savages might not better characterize contemporary relationships with the globalized economy. Do we not find echoes of cargo cults in the fetishization of brands and external signs of wealth? In the more-or-less deliberate ignorance of the places and conditions under which clothes, food and electronics are produced? In the mimetic behavior observed on financial markets? In faith in a caste of experts who speak on behalf of supernatural entities known as growth or the market?

Gavillet & Rust’s Cargo (Optimo, 2003) is used on the exhibition poster, together with Chi-Long Trieu’s Basel Grotesk and Ian Party’s Antarctica. It also appears inside the exhibition, alongside other fonts. Cargo Cults Unlimited was designed by Curious Space. The scenography is by Anna Jones, Elfyn Round, and Raphaël von Allmen. Graziella Paiano worked on the graphics.

Arkanum Pictures is an association of producers and film makers:

The core of our vision is to create a space for creatives where we can grow, learn and work together. We want creative work to be a true collaborative process that makes it possible to make films and series that are fresh, bold and magical. ARKANUM stands for the secret that we seek in our craft and that is hidden in every story we tell.

D-a-m-k has redesigned Arkanum’s website using Oracle from Dinamo, and Store Norske Leif from Skriftkompani.

Unreleased Display Grotesk Extended by Chi-Long Trieu in use with my own MG Grotesk on the artwork and marketing collateral for the Honest EP by Toronto-based artist anders in 2021.

Cierah is an art gallery in New York operated by Cierah Sargent and Samson Stilwell.

The gallery's identity and printed matter was designed by HSO, around the motifs already present in the Cierah's ground level space. The street-facing windows, visible from anywhere in the gallery, frame the door, defining the light and tone of the space. Cierah's "floret" mark is a digitization of the ornament on the wrought iron bars on the gallery's windows. And the UV printed vinyl in the brochure evokes the windows themselves.

Cierah's logo and custom lettered wordmark are supported by a trio of grotesks — Gerstner-Programm FSL, Normal-Grotesk FSL and ABC Oracle Triple. Each of these typefaces strikes a distinct tone and all three are used throughout Cierah's printed matter. Gerstner-Programm FSL largely does the heavy lifting of running text, while the other two appear as needed to play the part of headline, highlight or subtitle.

From ZAINA:

Anchored in the heart of Barcelona, art gallery Mayoral unveils a new space dedicated to contemporary art with an exhibition entitled “Mater”. Featuring works by Pia Camil, Carolina Caycedo, Catalina León, Cinthia Marcelle, and Marga Ximenez, the exhibition explores the subversion of materials and traditional methods to open new horizons. With this new space, Mayoral aims to keep contributing to the city’s artistic proposal by promoting the dissemination of contemporary art.

The typography for “Mater” is inspired by the experimental character of the artworks presented in the exhibition. Similarly, the detailed texture used in print and digital communication forms an intricate graphic composition that brings together all the artists’ works on display.

Note that the title, set in Plain Form's Ready Active, features a modified E.
Text and information are set in Feature (Commercial Type) and ABC Oracle (Dinamo).