Last season, Plac Zabaw nad Wisłą, a vibrant riverside cultural and recreational space in Warsaw, Poland, unveiled a refreshed visual identity.

The concept grew from a simple block of colored paper – playful, inclusive, and DIY in spirit. Color pairings distinguish daytime from evening events, while a set of pictograms organizes information for clarity and intuitive navigation. The system now extends across wayfinding, social media, and the website.

Creative direction and design by Kasia Łubińska of kuna works, using Tor grotesk from Threedotstype. On the website, it’s supported by Apfel Grotezk by Luigi Gorlero. The storytelling and microcopy is by Maria Wanda Dutkiewicz. Sesme Studio did the on-site painted elements.

Chingonas Collective is a community built for Latina entrepreneurs in California’s Bay Area who lead with ambition, culture, and heart. It is a space where members lift each other up, share stories and connections, and come together to celebrate every win.

The identity centers on collective power, capturing the spiciness and empowering energy each member brings while balancing bold expression with warmth and inclusivity. The color palette reflects passion, while the sharpness of the typeface conveys ambition and confidence.

Roger Food is a distributor of Italian culinary excellence, operating in both B2B and B2C markets. Its mission is to bring the best of Italian food to the table: authentic products, carefully selected, that tell stories of regions, traditions, and passion. The name comes from Ruggiero, founder and driving force behind the project, who defines himself as a “Paladin of Freshness” – a reference to both the quality of his products and the efficiency of his deliveries.

The visual identity is built around a red and green palette, evoking Italian heritage as well as the typical colors of many of the products he offers – first and foremost, tomatoes. The overall style is rooted in tradition, with retro accents that recall the legacy of historic Italian food brands. The main typeface is bold and condensed, reflecting Ruggiero’s strong and pragmatic personality, while the use of a script font brings in the warmth of tradition and the handmade.

The symbol is centered on the letter R – the brand’s initial and its visual core. This R is formed by merging a fork, symbol of conviviality and the pleasure of sharing a meal, with a magnifying glass, representing the tireless search for quality ingredients across Italy. The slanted form adds a sense of movement, conveying speed and dynamism – qualities that define every choice, every delivery, every product. It’s an identity that brings together passion, substance, and vision – just like the person who inspired it.

Design by Mattia Finardi with direction from Marco Fogaccia at DilloStudio. Web development by Daniele Capelli.

BergamoScienza is Italy’s leading science festival, transforming the city each year with conferences, exhibitions, and workshops promoted by companies, schools, and institutions. For the 22nd edition, Intelligenze, we created a bold and evocative visual identity to express the dynamic and creative nature of intelligence.

An explosion of radiant beams symbolizes the spread of knowledge – free, fluid, and interconnected. Each configuration is unique, a metaphor for the countless ways knowledge manifests and evolves.

This visual language shaped a scalable system applied across all festival touchpoints: official program, posters, campaigns, merchandising, installations, and digital content. An identity that sets intelligence in motion, opening new paths for discovery.

Bears in the Park (BITP) is an art space that aims to support and develop strategies to the emerging performance scene in Vienna. Through a variety of programs, it creates opportunities, providing art residencies, exhibitions, public events and workshops.

To shape the new identity, we began with the name itself: “Bears in the Park”.
It’s an evocative name that recalls the figure of the bear through a direct, lively, and playful visual language. The idea was to express the personality of these guide-animals through vibrant colors and bold typography.

To emphasize the character of the association, the logo-system plays with three variations, where the name appears on one, two, or three lines. Alongside these variations, the visual identity naturally includes the bears – two of them peeking out from the letters of the logo, creating different scenarios and, above all, a nearly magical interaction between illustration and wordmark.

The logo uses Magiel (designed by Mateusz Machalski), with a customized spacing. The letters link to each other forming solid blocks of color – like trees in the park. The rest of the typography relies on Apfel Grotezk by Luigi Gorlero. Interacting with the pink and the brown, it brings a touch of humor and playfulness.

Ingranaggi is a cultural festival organized by Radio Sonora and Filmeeting that brings music and art into the companies of the Bassa Romagna region. It features stages immersed in workplaces and performances that transform production spaces into artistic settings.

For the 10th edition of the festival, we took care of the new visual identity and all online and offline communication. Through social media and print materials, we gave visual form to the soul of the festival, creating an identity that blends industry and creativity.

Titles and credits design for RQCALACS's awareness video on sexual violence, produced by Club Sexu. The RQCALACS (Quebec Coalition of Sexual Assault Help Centers) is a non-profit feminist organization that brings together sexual assault help centers across Quebec.

Giulia Julss is an aesthetician who decided to open her own beauty salon in 2023. Her dream has always been to create a place where people can feel at home, take care of their bodies, and relax. This is how Giuly Julss – Un momento per te (“A Moment for You”) was born. The project was conceived by combining visual elements in a way that might seem inconsistent at first glance; in fact, the real goal was to create a cohesive style suited to a local, personal business without disrupting the surrounding context.

We used a combination of four fonts— Apfel Grotezk, Park Lane, Pinyon Script, and Molle—to further enhance this balance. Specifically, we chose a refined aesthetic (cooler colors, more formal fonts) for the first customer touchpoints, such as gift vouchers and business cards, while opting for a warmer, more informal, and spontaneous style (warmer colors, friendlier fonts) for touchpoints experienced within the salon itself. The logo is custom drawn.

Park Lane with swash alternates

Was there design before DTP? How did one work without computers?

Layout for an interview with Étienne Robial, a graphic designer and art director who has been active since 1970. The book was made as a student project at the École de Communication Visuelle of Lille, supervised by Matthieu Becker. The text and images used were sourced from an interview conducted by Élise Gay and Kévin Donnot in Paris, on May 4th 2016, and published by Back Office. The English version was translated from the French by Simon Pleasance and Fronza Woods.

The Best 90 Days Ever is a vibrant and supportive daily marketing membership designed for small business owners who want to effectively promote their businesses in just 10 minutes a day. Created by Hannah Isted, the membership and accompanying book provide structured, manageable marketing prompts.

The branding embodies the spirit of encouragement and positivity, reflecting the supportive and celebratory nature of the membership. The design elements are crafted to inspire and motivate, making marketing feel accessible and fun rather than overwhelming.

Design and photography by Tom Collins, using Moret from The Designers Foundry, Shelby by Laura Worthington Design and Apfel Grotezk from Collletttivo.

Kaviar trifft Currywurscht (“Caviar meets Curry Sausage”) is a theatrical play performed at Hefter-Kultur Saal in Grassau. I made a fictional poster for it as part of a workshop by Peter Bankov.

The events of the comedy unfold in a confusing manner, which is reflected in the intricate structure of the poster. To reflect both the common roots of the main characters and the difference that has formed over the course of their lives, the choice fell on the typeface Rezak (designed by Anya Danilova and available from TypeTogether), with its incised and pattern-filled letters. Luigi Gorlero’s Apfel Grotezk acts as an auxiliary typeface, helping to decipher dense descriptions and transmitting technical information about the event.

Partnered with Wen Xin Oh for the branding of After\Hours, a new concept by SPRMRKT. The overall branding was inspired by a calendar of events that happens in the evenings at SPRMRKT, with offerings that includes social spaces, guest chef appearances, art exhibitions, live music, experiential setups and natural wine tasting events.

Drawing from the shadows of a setting sun, we came up with a unique branding using the backslash (\) to mark different offerings at SPRMRKT during the evenings.

The challenge? Balancing the existing SPRMRKT brand with a fresh look for After/Hours. We stuck to a classic black and white logo but added a twist with a new range of colors that transition from SPRMRKT’s daytime vibe to a cozy nighttime feel.

Le Ciel is a cultural space in Grenoble, France, dedicated to music (radio, concerts, recording studios, …). Each month, they produce a new visual to communicate on social media, using two colors and a display typeface. They are designed by Fanny Laulaigne and Denis Carrier, with illustrations by DramaQueens – and credited as Nuages. The main visual is then used as a base to announce each event of the month and the illustration is replaced with corresponding photos.

Between September and December of 2023, the stage was given to various members of Plain Form’s Ready family: first the lombardic-inspired Ready Bygone, followed by blackletter Ready Clouded. The name of the month is displayed as a central block, broken into three or four lines. Details about each event are set in Apfel Grotesk, sometimes slightly squeezed, arranged in tables.

kkie is an indie/artisan fragrance brand established by Frankie, a self-taught perfumer. By offering an array of olfactory palettes, kkie invites you to embark on a personal journey of scent exploration, allowing you to curate a unique world of fragrance that resonates with your individuality. With a strong emphasis on quality, kkie formulates its fragrances using carefully curated ingredients; including naturals and safe synthetics from Givaudan, Firmenich and more.

The first mini album from kkie is ‘BASE’, it is dedicated to all the quiet moments as every track from this EP is transparent, skin-like and muted. This debut collection includes six fragrances centered around ingredients typically used as base notes in perfumery: sandalwood, cedarwood, white musks, oakmoss, oud and vetiver. I wanted to create something uncomplicated yet still intriguing and enjoyable. They can be worn on their own or as a primer for layering. This olfactory palette is all yours.

Art director: Phong Anh/Frankie
Cinematographer and photographer: The Inner Cheese Studio, Vy Lam, Bánh
3D: Nam Anh Lê
Graphic designer: Phong Anh/Frankie
Editor: Phong Anh/Frankie
Model: Hưng Bùi
Hair stylist/make-up artist: Nolan
Stylist: Mio
Assistant: Trâm Lê

Cover photography by Magali Polverino (001), Magali Polverino (002), Sebastian Lopez Brach (003); design by Max Wilson

Launched in Argentina at the beginning of 2021, Anchoa started first as an annual print magazine, of which there have been three issues so far, and now includes a digital platform for exclusive members' content as well as a podcast. Anchoa explores gastronomy through ecology, food production systems, history and culture.

The mainstays of the project are Ribes Black and Objektiv. Issue one used Acme Gothic, but that was dropped for issue two in favour of more Objektiv. Since launching the podcast and membership platform Gopher was added to support and complement Ribes. The variety of weights available with Gopher makes it more flexible across the brand. The logo uses Ribes Black, which is from Collletttivo and designed by Luigi Gorlero.

The idea with Anchoa was to have something that looks familiar in the market of independent magazines but not too samey, not too trendy. We wanted the magazine to stand out in the international market, where there are a hundred other independent food magazines, but also not look too out of place in Argentina, where there are relatively very few independent magazines.

We didn't want to do that thing where it looks like you took something from one market and cloned it for another – but at the same time, we didn't want to go off and accidentally make something too difficult to decode for the Argentine and wider Latin American market.

It’s common to see reverse contrast lettering on storefronts for small businesses around Buenos Aires, anything from a classic neighbourhood lavandería to a new opening coffee shop – likely the Italian influence on the city. Ribes Black feels at home in Argentina. Gopher is a nice reserve-stress companion to Ribes, it carries a similar style but is a little easier on the eye for some of the small text settings and it’s nice to have the option of different weights to use around the brand. Objektiv is the workhorse of the brand. We liked the 1930s feel to Objektiv, reminiscent of a golden era in Argentina, a really exciting time in the life of the city. Objektiv was created by Brazilian type designer Bruno Mello, a final South American detail behind the choices.

Another big consideration was the economy. The specifics of the market, the situation with the Argentine currency and inflation. Buying a typeface from, say, a Canadian company, would incur an extra tax of around 50%. These problems are everywhere when you start working with software and services all charging in dollars or euros. A web platform like Squarespace plus a couple of premium fonts can total more than a decent month’s salary. Thankfully, Adobe has found a way to charge a fairer local rate than a straight conversion of their US price.

With the membership platform continuing to grow and the podcast continuing to develop, we’ll see, but hopefully the latest round of changes to the brand typography will be the last for a while. Did we hit the brief? Let’s admit for a second there wasn’t really a brief, just a few guiding thoughts. There isn’t a huge market for indie mags in Argentina, compared to, say, the US, where there are hundreds of examples. There was some tension between wanting the magazine to look new and exciting, cool, or even edgy in its presentation and design, but also for it to present as a serious, quality product to a broad audience. We found a balance, eventually.

“He may not look like he knows what he’s doing but this layout system was put together by somebody who does” – this was feedback received on the design of issue one, from a legend of the print industry in Argentina, a man with a great sense of humour, some seventy-plus years experience in the publishing industry and numerous magazines to his name. Issue three is dedicated to Alberto Fontevecchia.

Photography (in the feature, 'Caá-mate') by Toya Sarno Jordan.

Illustration (in the screen) by Milagros Pico.

The second issue of Fotografia Roma, a foldable map by Panzoo. This free pocket guide is intended to reach galleries, museums, bookstores, and photography schools in Rome.

The data visualization representing the state of the photographic scene in Rome inside the booklet is reused on the cover as a data-driven artwork.

The first issue of Fotografia Roma, a foldable map by Panzoo. This free pocket guide is intended to reach galleries, museums, bookstores, and photography schools in Rome.

The data visualization representing the state of the photographic scene in Rome inside the booklet is reused on the cover as a data-driven artwork.

The exhibition Todo lo demás (“Everything Else”) presents the work of 20 independent spaces for visual arts based in Madrid.

Working closely with the curatorial team, we developed a visual identity for the exhibition that focuses on minimal typographic principles and a palette of colours intentionally degraded that represents the six conceptual axes around which this exhibition is articulated (to care, to publish, to exhibit, to learn, to produce and to situate). The exhibition title is in Lab Grotesque. Headlines use Apfel Grotezk Regular, with running text set in Work Sans. The page numbers in the booklet are set in Apfel Grotezk Brukt.

The exhibition was curated by Amelie Aranguren (CAR-Centro de Acercamiento a lo rural), Andrea Pacheco González (FelipaManuela), Flavia Introzzi (Planta Alta), Ramón Mateos (Nadie Nunca Nada No).

Participants: Alimentación 30, Aparador Monteleón, CAR-Centro de Acercamiento a lo Rural, Casa Banchel, Espacio Afro, Espacio de Todo, #Ey!Studio, FelipaManuela, Institute for Postnatural Studies, Centro Cultural de Experimentación y Documentación Artística La Parcería (CCEDA), La Juan Gallery, marcablanca, Museo La Neomudéjar, Nadie Nunca Nada No, Omnívoros, Planta Alta, Proa, Salón, Storm And Drunk, Zapadores Ciudad del Arte

Photography by Lukasz Michalak (exhibition) and Raúl Silva (brochure)

Bygdepride is a local Norwegian pride festival:

Bygdepride is a movement and a membership organisation that started in Ørsta and Volda in 2017. The festival was organised for the first time in may 2018.

What started as a small idea for a local pride festival soon turned out to have a more national appeal – and to be an expression of feelings that even more people had.

Their website was designed by Amsterdam based design studio noko. Text is set in Ribes Black and Store Norske Magi.

I designed the packaging for the Tri-Bhew skin care series by The New Sanctuaries, a hand cream inspired by the signs of the zodiac. Not only will the sleek packaging automatically give away that you’re polished and put together, but after further glancing, your horoscope sign will tell all.

The simple typography – a combination of Mazius Display and Hoefler Text – paired with the original holographic-inspired color-coding system overlaid on a black packaging system creates a luxurious aesthetic for this product.