De Roma is a historic cultural venue and community hub known for its carefully curated program of live music, film screenings, and social events. Run by a large network of dedicated volunteers supported by a small professional team, the organization has built a reputation for combining cultural quality with strong local engagement. Originally revived in 2003 through the initiative of a small group of cultural organizers and hundreds of volunteers, the venue continues to operate through this strong collective spirit.

In 2024, designer Rob Marcelis developed a complete redesign of De Roma’s logo and visual identity, updating the system to better reflect the venue’s contemporary programming and its increasingly digital communication channels. The venue’s logo itself is based on a modified version of Beatrice Deck, the high-contrast flagship style of the Beatrice superfamily designed by Lucas Sharp with Connor Davenport and released through Sharp Type.

The wider visual identity relies on Trois Mille. First introduced in 2016 as Marc Rouault’s TypeMedia thesis project and later distributed through Sharp Type, Trois Mille quickly attracted attention in a field where innovation often moves slowly. Initially inspired by the work of French typographic master Roger Excoffon, the typeface combines dynamic forms with an expansive construction that helped redefine contemporary display typography. In De Roma’s communications – from posters to event announcements – Trois Mille provides a distinctive, energetic voice that balances expressiveness with clarity, demonstrating how a singular display typeface can anchor an entire cultural identity.

Linda Mai Green is a filmmaker based in San Francisco whose work often explores women’s internal landscapes through surreal visual narratives. Alongside directing music videos, contemporary Indigenous dance films, and Vietnamese American voter turnout ads set to cha-cha-cha rhythms, Green has developed a diverse body of work supported by institutions such as SFFILM—where she was a 2024–2025 Resident—as well as the Mill Valley Film Festival, Eastern Oregon Film Festival, and The Redford Center. In 2025 she premiered her award-winning narrative short Mondegreen, which is currently on the international festival circuit. The film’s poster and title graphics were designed by Mike Tully, a New York–based independent designer, educator, and writer who collaborates with artists, architects, publishers, and cultural institutions on editorial, exhibition, identity, and research-driven design projects.

For the opening titles, Tully chose DOSS, designed by Marc Rouault and distributed through Sharp Type. Specifically, the titles use the Problem Micro style from the DOSS collection, combined with Sharp Earth for supporting typography. Inspired by the logotypes of construction and hi-fi audio brands, the DOSS family also references the aesthetics of ’90s rave culture and ’80s sci-fi. Across its styles—Exaflop, Acid, Plexus, and Problem—it is characterized by exaggerated geometric structures, rounded counterforms, and unicase character sets. Paired with the pragmatic, globally oriented sans serif Sharp Earth, the typography in Mondegreen’s opening sequence balances expressive display forms with functional clarity, demonstrating how contrasting voices from the same type foundry can shape the tone of a cinematic title sequence.

Bizzy Cold Brew is a cold brew coffee company founded in 2013 with an obsession for cold brew and a commitment to organic beans with maximum flavor and strength.

In 2025, Bizzy Cold Brew collaborated with Day Job for an all-new identity from strategy to art direction; emphasizing quality ingredients, intense attention to detail, and sustainable business practices. The new look uses natural tones of brown, green, and tan as well as a visual ethos built around always pursuing perfection. Dayjob chose Tarnac by Marc Rouault, available from Sharp Type, as their main typeface to unify their overall identity that drew from vintage woodcuts and archival references. The supporting sans is Schick Toikka’s Dia Light, and the scripty logo appears to be custom drawn.

From information on the label of every “Ready-To-Drink” bottle and "Brew-It-Yourself" bags to their web layout, Tarnac brought a timeless look that merged historical visuals and modern coffee culture sensibilities.

Located in Brussels' Marolles district, Gimic is a bar and radio station whose mission is to foster the electronic music scene of the city. On their Instagram page, which has amassed over 23k followers as of January 2026, they chose to use DOSS Exaflop from the Doss Collection by Marc Rouault, available at Sharp Type. The typeface was also used for their main wordmark, often paired with an abstract purple icon. Emulating the futuristic soundscape of electronic music and infectious DJ sets, their team uses the typeface for promoting in-person events such as holiday markets, workshops, and new release events.

Gimic’s website, designed by Ozon Studio, also features GT Planar by Dominik Huber, available at Grilli Type.

The design duo Image Format, based in the south of France, created the visual identity and the 2024–2025 season programme for Théâtre des Salins – Scène nationale de Martigues. They developed a strong artistic direction applied across all printed and digital communication materials, including posters, the season programme, and signage. To strengthen the project’s typographic identity, Image Format used the typeface Trois Mille, designed by Marc Rouault and available from Sharp Type, a contemporary type family with a wide range of styles and widths, bringing character and visual presence to the theatre’s communications.

Tisse is a Marseille-based kombucha brand. Their workshop is both a place of production and a laboratory of experimentation, where they imagine drinks with singular flavors and original aromatic profiles that reflect the region that inspires them. With ingredients sourced as locally and organically as possible, Tisse offers kombucha that is naturally low in sugar, unpasteurized, and delivered sustainably across Marseille.

For the redesign of their brand, Tisse collaborated with Image Format to express both the craft and the contemporary energy that defines Tisse. The visual identity balances grounded qualities with a bold, modern edge, capturing the dual character of kombucha: rooted in tradition yet alive and fresh.

To achieve this, they turned to two typefaces by Marc Rouault available at Sharp Type. Trois Mille, with its high contrast and striking presence, gives the brand a contemporary voice. Tarnac Sans, a slab serif with a historic feel, anchors that energy with authenticity and craft.

Photography by Diane Rigou-Chemin.

Farta (“plenty”) is an independent, biannual publication that highlights the value of traditional Portuguese food. Positioned between a magazine and an artistic platform, it focuses on everyday recipes deeply rooted in local culture but often overlooked by mainstream media.

Each issue centers around one iconic dish, the first being the francesinha, and explores it through articles, essays, photography, design, and artistic collaborations. The goal is to understand not just the recipe, but the people, rituals, and stories around it.

The publication treats food as a cultural expression, something that unites communities and defines identity. It invites participation, encourages dialogue, and promotes the richness of Portuguese culinary traditions.

Visually, Farta combines bold editorial design with artistic elements: custom illustrations, photography, and objects like ceramics, all crafted to celebrate food in a tangible, aesthetic way. For the logo and title of the publication, they chose TroisMille by Marc Rouault available at Sharp Type, a typeface that’s friendly, visually striking, and instantly recognizable. Inside the publication, the team opted for a thoughtful pairing of two typefaces. Stratos from Production Type, a sans serif with a subtle condensed feeling, thanks to the pill shape of its uppercase letters, and a yet unidentified classic serif that brings a timeless, editorial tone (Sentinel, Sebenta, and CoFo Robert are similar).

Concept by Another Collective / Rafael Tonon. Art direction by Bruno Soares and Eduardo Rodrigues, with design by Eduardo Rodrigues and photographs by Álvaro Martino. Ricardo Barbosa handled the project management.

The futuristic DOSS Exaflop by Marc Rouault was seen on a can at this year’s Wire Festival. PURE° X-TRACT is a sparkling water brand designed for culturally aware, intentional consumers—particularly those drawn to nightlife settings but not necessarily to alcohol. With a focus on globally inspired, sophisticated flavors, PURE blends clean design with sensory depth. The drink comes in three flavors: Pure, Pandan, and Calamansi. All variants are sugar-free and have zero calories, emphasizing purity and taste without additives.

DOSS Exaflop is paired with a yet unidentified monospaced sans [edit: it’s ABC ROM Mono, see comments] on the cans and with Syne on the website.

Photography by Tyler Mariano

The first issue of Powertrip Worldwide, “Play”, is dedicated to the worlds of jiu-jitsu, judo, and wrestling. Through striking visuals, in-depth stories, and a raw, unfiltered perspective, the fanzine explores the culture, history, and techniques of grappling. Inside the Riso printed pages you can expect a mix of insightful interviews, personal accounts, and bold design that captures the spirit of combat sports. This inaugural issue explores play as a mode and motivation for our training. It is limited to 335 copies in its original colorway and comes with a large poster.

The publisher choose Sharp Earth for paragraph text and played with Emma Piercy’s latest release Ceraph and members of Marc Rouault’s Doss collection: Exaflop, Acid, and Problem. They also used Vertigo, an unreleased typeface by My-Lan Thuong.

Art and direction by Yego BJJ.
Contributors: Joe Staples, Kenny Florian, Joe Hannan, Scott Sievewright, Blake Kasemeier, Uday Malhotra, Jimmy Jolliff, Andy Kennedy-Derkay, Margot Ciccarelli, Surfight, Mark Patrick Harrington, Violet Xanthe Bennett Isaac Sanders Bryant, Luke Abiol.

The poster uses Cooper Black for “FIGHT” and an unidentified sans for “POWERTRIP”.

Mon nom est Billy des nuages by Éva Offredo is a beautifully illustrated children's book about Billy, a young boy expected to become a cowboy. However, he dreams of exploring the world and embarks on a journey through diverse landscapes like the taiga, fjords, and mangroves. The book is divided into three parts: an adventure story, a travel journal with sketches and observations, and a documentary-style section about nature. A complementary soundtrack by Artuan de Lierrée enhances the reading experience. The book is a poetic and educational ode to exploration and wonder.

Published by Maison Georges, the book uses Tarnac, a typeface designed by Marc Rouault. He describes his design as a particularly French style of slanted Égyptienne. Its wonky proportions and flat-interior bowl shapes are an intractable aesthetic element of French culture and even the French countryside itself – as featured in many of the Panneaux Michelin road signs. The typography also features the monospaced Pachinko Italic by French designer Émilie Rigaud.

The Gentlewoman is a magazine aimed at modern women of style and purpose. It focuses on personal or even idiosyncratic style how women actually look, think and dress, and on those women the magazine considers to be inspirational. The Autumn/Winter 2024 issue stars musician and performance artist Kembra Pfahler, shot by Jamie Hawkesworth and interviewed inside by Cristina Ruiz.

For this issue, art director Merel van den Berg paired HB Set, an upcoming typeface from the Honolulu type foundry HB Type, with Tarnac, designed by Marc Rouault and distributed by Sharp Type. The logo of The Gentlewoman uses Futura.

HB Set was used in a customized version with numerals that reference Times a little more closely.

Bureau Borsche rebranded the French music company Grand Musique (Lomepal, Kiddy Smile, Eddy de Pretto, Jabberwocky etc…). Logo, website, business card, scarf, tote bag – they designed this new identity with a strong color palette: red, black/grey, and white. The typefaces had to follow this robust color choice: the name is set with the lastest release of Marc Rouault, Exaflop Wide from the DOSS collection. Apparat, designed by Michael Clasen and Marcel Saidov, was selected for the running text.

The origin of the DOSS collection, the Exaflop family was inspired by a logo found on the side of a construction company vehicle. With its geometric structure and machine-made outlines, Exaflop defines the loose construction rules behind this bundle of fonts. Arguably the most sci-fi-esque of the DOSS collection, Exaflop feels technical on the wide side of the spectrum and playful when it gets narrower.

Grand Musique is an artist management and label service boutique agency, established in Paris in 2013. The main goal of their team is to provide services in music business, with a wide range of expertise, building a tailor-made business set up for artists, musicians and creative people.

Collectif.huge worked on the branding of a new hotel in Angers, France – the Suzane Hôtel & Café. They chose the style Black 20 of TroisMille, a typeface by Marc Rouault, for “Suzanne”. To contrast and create a nice pair, they paired it with Black Signature.

On the website, Hanson stands in for TroisMille. It’s combined with Manrope for text.

Photography by Side Social Media with Mathilde Metairie, Victor Perez Pinaud and Collectif.huge.

Span and the Emmy Award-winning performance collective Manual Cinema co-created a short film and original theatrical work entitled Countdown that combines handmade shadow puppetry, live actors, music performance, and Span’s digital animation.

Countdown follows an unnamed protagonist as she attempts to escape from numbers that frantically shift around her. Beginning with the handmade sets and projected cinematic techniques by Manual Cinema, the piece visually evolves into a 3D digital world created and animated by Span.

Countdown was conceived by partner John Pobojewski who led the art direction, design, and animation for Span’s digital landscapes together with Zach Minnich and Valeria Bernal. Manual Cinema’s Sarah Fornace, Drew Dir, and Julia Miller led the story development and puppetry performance. Music and sound was composed by Ben Kauffman and Kyle Vegter.

The numerals set throughout the piece include custom typography drawn by Valeria Bernal and Nick Adam, as well as the most amount of typefaces we’ve ever used, including: Adieu, HWT Aetna, Bodoni, Camera, Central Avenue, Dirk, Eklips, Empire Fold, Geometric, Gravity, Hoefler Text, Inline, HWT Konop, Megavolt, Sharp Grotesk, Trois Mille, United Sans and WTF Empire.

Manual Cinema use “vintage overhead projectors, multiple screens, puppets, actors, live feed cameras, multi-channel sound design, and a live music ensemble to transform the experience of attending the cinema and imbue it with liveness, ingenuity, and theatricality.” They have received national recognition by the New York Times and were featured in the 2021 film remake of Candyman directed by Nia DaCosta and produced by Jordan Peele.

One way / 9th Avenue, set in Central Avenue

Custom drawn numerals 4 and 3

Weather forecast, featuring HWT Konop, ABC Gravity and Sharp Grotesk

Running past the number 8, set in United Sans

From left to right: Dirk (4); Bodoni (23) and a yet unidentified typeface used for the number 24

Door number set in HWT Aetna

Tumbling numbers 9. Visible here are Adieu, United Sans and Hoefler Text

Trois Mille in use for the number 60, the ultracondensed numbers 40 on the right use ABC Gravity

Trois Mille, a typeface designed by Marc Rouault and distributed by Sharp Type, was used for the exhibition named Giants at the Brooklyn Museum in New York. Swizz Beatz (Kasseem Dean) and Alicia Keys presented a selection of art pieces from their collection, that critique society and celebrate Blackness. The title and the artists names are paired with the text typeface Simula Italic, drawn by Justin Sloane and published at Sharp Type, too, plus Dinamo’s ABC Diatype. The identity of this exhibition plays with the size of each element, Trois Mille set in Black 15 and in a very large size emphasized the names of the artists. The color palette of flashy yellow and red bordeaux highlights the rich colors of the paintings in the background.

Description of the exhibition by the Brooklyn Museum:

The Brooklyn Museum’s presentation spotlights works by Black diasporic artists, part of our ongoing efforts to expand the art-historical narrative. “Giants” refers to several aspects of the Dean Collection: the renown of legendary artists, the impact of canon-expanding contemporary artists, and the monumental works by such creators as Derrick Adams, Arthur Jafa, and Meleko Mokgosi. Immense pieces—including the largest ever by Mokgosi—are paired with standouts such as Parks’s seminal photographs, Wiley’s revolutionary portraits, and Esther Mahlangu’s globe-bridging canvases.

Launched in 2021, Bobine is an independent media enterprise that celebrates French terroirs and their know-how through a print magazine, a podcast, immersive articles, and a newsletter. Behind Bobine, there is Justine, committed photographer, founder of Studio Payol, and trained artistic director, who likes to celebrate the beauty and poetry of the moment through images. And also François, editor and producer of podcasts, who travels across France with his bike and his microphone to meet the reels of the French regions.

They describe their magazine as follows: “We love timeless stories. Those that stick in your mind years later. When they have grain, relief and a beautiful audio and visual signature. Sharing stories, highlighting know-how or even telling the invisible, Studio Bobine takes the side of Beauty.” Three issues were published so far, no. 1, “Héritage”; no. 2, “Résistance”; and no. 3, “Périphérie”.

This magazine is using many different typefaces, to illustrate the variety and creativity of the content. The all-lowercase logo features Paul Eslage’s Sombra Poster. To typeset the body text, they choose Mercury, a robust serif typeface, designed especially for newspaper articles and available at Hoefler&Co.

For the titles, subtitles, quotes, names and captions Bobine is using Tarnac Sans, a typeface drawn by Marc Rouault and distributed by Sharp Type. The Tarnac family is directly inspired by the hand-painted Michelin road signs made in the sixties. Marc designed the Égyptienne (slab-serif) version first and the Sans version in a second time. Tarnac Sans keeps the same wonky proportions and flat-interior bowl shapes as Tarnac – which are a French aesthetic signature. This use, in a French magazine promoting heritage, is a perfect match for Tarnac!

Other typefaces used for Bobine but not shown in the images include Laima, Prachar, Scarlet Script, and Temeraire Italienne,

Inner flaps with the contents, featuring Ayer Poster Angular, Lisbeth Display, and Salvaje Display.

Tarnac Sans and Mercury

“Cercle Saint-Maurice” is set in Alexandra Korolkova’s PT Mono.

Spread from no. 2, featuring Ayer Poster by Miguel Reyes

The headline is set in Florian Fecher’s Lektorat.

Daniel Sabino’s Gandur New paired with Sombra

Spread from no. 2 with the article title in Inga Plönnigs’ Picket

The names of the flowers and herbs are rendered in Frode Helland’s Erika Hand.

Numbers is a new London-based wine producer that aims to deliver quality small-batch low-intervention wines. The brand identity and design is by Studio Omelette, a London-based independent creative studio founded by Cécile Dumetier. The studio chose Marc Rouault’s dynamic Trois Mille, published by Sharp Type, as the primary typeface for the bottle branding, while ABC Marfa and ABC Marfa Mono, published by Dinamo, are used throughout the identity for the secondary information.

Their first party launch in November of 2023 celebrated the release of two wines, both made in the nouveau style. The first one, “23 London New” (200 bottles), is made from 100% organic Pinot Noir and is notably the first red wine grown and made in London since 1750. The second one, “23 New River Blend” (400 bottles), is a celebration of freshness and diversity, made from organic London Pinot Noir; Italian Merlot, Sangiovese, and Montelpuciano. The impactful logo, set large in Trois Mille on the label, emphasizes the vintage of the grapes. Additionally, each bottle was sealed with a wax stamp using the same numerals.

For the occasion, the team at Numbers also produced a capsule collection of branded swag: warm merino knits, a silk scarf, sporty socks, and melton wool caps. In 2022, they produced a sparkling piquette named “crazy water”, and two red wines: “House Red” and “LND FLD BLEND”. Those bottles were the first ones to be labeled with the new Numbers Identity.

Original letterpress cards created in by Lyon-based Super Marché noir, the studio founded by Julien Saniel, who printed the series in his letterpress workshop. The “Punch” series comprises four cards, each set in French with unique words—“Encore”, “Bref”, “Grave”, and “Super”—all set in Marc Rouault’s Trois Mille, an ultra-expansive typeface published through Sharp Type.

Hardback edition by Avid Reader Press, an imprint of Simon & Schuster. The white words in Salter appear to be embossed.

Salter (2021) is the second release in Sharp Type’s ongoing series of explorations of 20th century book jacket calligraphy. Just like Ogg Display (2013, 2019), it’s informed by designs by Oscar Ogg (1909–1971). As its name suggests, it additionally takes cues from another big gun active in the same period, George Salter (1897–1967). Salter’s influence is particularly notable in the lowercase Italic construction. You can read more about the typeface design and the lettering that inspired it on Sharp Type’s website.

For Vladimir, the debut novel by Julia May Jonas, Rodrigo Corral used Salter Italic (with its oversized descending caps) for the title, and paired it with the Roman for the author’s name. Salter’s carefully crafted curves are contrasted with barely legible handwriting for “A Novel”. It’s satisfying to see a typeface with roots in book jacket calligraphy from New York come full circle on a book jacket design from New York!

Art direction by Alison Forner.

Trade paperback edition, Pan Macmillan

Advance Reader’s Edition, August 2021

LiveWire is an American electric motorcycle manufacturer originally launched in July 2021 as the dedicated electric vehicle division for Harley Davidson. They launched its first model, the LiveWire ONE with comprehensive brand identity provided by San Francisco-based studio Manual. In late September of 2022, the company spun-off from its parent company and became the first publicly traded electric motorcycle company in the United States. A second model, the S2 Del Mar, debuted at the same time, offering a more compact bike geared towards the city-dweller.

Manual decided to use Marc Rouault’s Trois Mille as the main typeface for LiveWire's branding system. Their goal was to steer the brand away from the negative connotations of the “e-bike” and instead use the brand's Harley Davidson parentage to highlight uniquely American ideals: the joyride, escape, and the best of “Made in the USA” engineering.

Trois Mille, published by Sharp Type is the brand typeface. Its large style and width system means the application possibilities are endless, which Manual Creative used to great effect throughout LiveWire’s branding system. TroisMille is paired with Aeonik from CoType and Signal Mono from Production Type.