I recently designed and built a website for a business coach who works with managers in the IT outsourcing industry.

I chose TWK Continental because the client’s coaching practice revolves around organizational architecture and systemic coherence for IT management. The typeface’s constructed, mechanical DNA and compact architecture perfectly mirror that focus on structure and system design. It behaves like a quiet, reliable workhorse for functional text blocks while retaining enough sharp, Swiss-inspired precision in display sizes to position the brand as premium, modern, and authoritative.

Ghosts are everywhere – in popular culture, from Hollywood blockbusters like Ghostbusters (1984) to indie films such as All of Us Strangers (2023). They haunt screens, stages, and pages, inhabiting literature, folklore, and myth as restless spirits that refuse to leave us alone. Throughout history, they have also haunted art. As beings of the in-between, ghosts bridge worlds – life and death, horror and humor, good and evil, the visible and the invisible – making every attempt to represent, record, or communicate with them both a cognitive challenge and an emotional experience.

From September 20, 2025, to March 8, 2026, the Kunstmuseum Basel dedicates a major temporary exhibition to these mysterious entities. Featuring over 160 works and objects created over the past 250 years, Ghosts: Tracing the Supernatural explores the rich visual culture that has grown around ghosts in the Western world since the 19th century, fueled by the convergence of science, spiritualism, and popular media.

The exhibition’s identity was designed by Basel-based Studio Moono, using the Leopardo (Alexandre Bassi, 205TF) and Ghost (Nolan Paparelli, Weltkern) typefaces.

The date is added in TWK Continental.

The magazine-like exhibition catalog was published by Christoph Merian Verlag.

Visual identity for a series of lectures about vaccination by Guillaume Besson and Benoît Timothée Ebener, two graphic designers based in Switzerland.

The poster was Riso-printed in black, teal and flash orange, at Le Bureau Culturel, Lausanne.

This poster represents the first use of Besson’s Kepler, a new grotesk that finds its roots in the first researches for Univers by Adrian Frutiger. It is paired with Altiplano’s Millionaire.