A Shade Colder is a platform for discussions about and around art in Estonia and beyond, published by the Estonian Centre for Contemporary Art (CCA), designed by Jojo&me Studio (Johanna Ruukholm & Martina Gofman), featuring Aktsidents (WIP), Adieu, and Quadrant Slab Duo for texts; and Slack in the logo. For the most part, A Shade Colder is published online, accompanied by one print issue per year. Thematic issues are published following the seasonal logic of the Estonian and international art calendar.

Launched during the Tokyo Art Book Fair 2025 at the MOT Contemporary Museum of Arts, this book is presented as follows by its designer Black Skew:

This second edition is a creative exploration of the everyday graphics of Tokyo and its surroundings, with a particular focus on the dense network of visual information in the capital’s transport system.

The issue examines the graphic systems that shape how we move through the city: from the micro-typography of subway maps and arrows on asphalt, to pedestrian-level signage, street-side billboards, bus and metro stops, airport signage, tactile paving, and multilingual instructional graphics. From metro signage to roadside warnings, it frames Tokyo not only as a city of buildings, but as a city of signals.

The project moves between visual research and reinvention.

The typefaces used are Lay Grotesk by Massimiliano Vitti (Due Studio), Ufficio Mono, DGM Composta and Ufficio Display by Giulia Boggio (Dogma Studio), as well as Kozuka Gothic for Japanese text and Times New Roman.

It was printed by Lasergraph in Milan, Italy, on Munken Print 90gsm. The book spans 48 pages and is bound with saddle stitch.

Concept Barre is a dance school in Barcelona that offers ballet, functional training and Pilates classes. The website is designed by Codea Studio, a creative agency based in Barcelona. Codea Studio specializes in brand creation, communication and advertising campaigns and works specifically with brands that go against convention. This progressive thinking is also reflected in Concept Barre, which positions itself as an LGBTQIA+ friendly studio – a place where all bodies and genders are welcome.

A central element of the website is the clear communication of the studio’s core beliefs and key messages. Its focus lies on self-confidence, the balance between fitness and leisure and a strong philosophy of inclusivity. These values are not only reflected in the content, but also in the design of the website.

Concept Barre’s modern and minimalist brand aesthetic is particularly evident in the typography. Headings are highlighted with capital letters, while body text is written in simple and accessible language to maximize readability. Two sans serif fonts are used, which are characterized by clarity and legibility.

LL Supreme is a reinterpretation of Paul Renner’s classic geometric typeface, Futura. However, it is not simply a revival, but rather an evolution of the original concept. The typeface was designed by Norwegian Arve Båtevik and released by Swiss foundry Lineto in 2020.

The basic idea of Futura is also embedded in LL Supreme: the possibility of creating a distinctive, fully functional, yet sophisticated typeface using only pure geometry. Thanks to this consistent design, LL Supreme combines clarity, precision, and modern aesthetics.

In addition to the basic weights, there are also graphically accentuated options such as Jumbo and Choupette. The styles have been drawn independently, giving each weight its own identity. Concept Barre uses LL Supreme Display Jumbo.

Lay Grotesk is a modern interpretation of classic grotesque typefaces such as Helvetica a.k.a. Neue Haas Grotesk, with an emphasis on a simple, neutral, and elegant appearance. The designer, Massimiliano Vitti, is part of the Italian graphic design studio Due Studio.

A key aspect of Lay Grotesk is its increased contrast and slightly reduced point width, which improves legibility at small sizes and creates a compact, dense text effect. At larger sizes, its geometric character is more pronounced, with clear, straight terminals.

The mix of soft and rigid elements makes Lay Grotesk versatile – from book design and corporate identity to posters and digital applications. With a total of 791 glyphs and five weights from Regular to Black, it offers a wide range of design possibilities.

Incubated by Flamingo DAO, Fountain is a broker for high-value crypto art specializing in connecting buyers and sellers of exceptional digital collectibles. Offering a wide range of services, including art advisory, portfolio curation, donation consulting, and custody guidance, Fountain is building the brokerage for the art of tomorrow.

The white-glove service, care, and expertise Fountain brings to the world of crypto art led Slope Agency to design a brand system inspired by traditional art galleries. With a minimalist design that uses ample negative space to allow the artworks to take center stage, this homage to institutional galleries underscores the Fountain team’s thoughtful curation and practice.

Leading the visual identity is a custom mark that builds on Fountain’s name, which is a direct nod to Marcel Duchamp’s famous sculpture, Fountain. Drawing on the original form of Duchamp’s piece, Slope crafted a streamlined mark to complement the larger brand system. The mark is versatile, working well balanced beside the bold sans serif wordmark, and as a graphic element itself alongside the modern serif secondary type and palette of neutrals.

Following visual identity work, Slope designed a website for the Fountain team that aligns with the minimalist quality of the brand. Using a structured, understated linear system atop the brand’s neutral palette, we created an ideal base for graphic typography moments and layered displays of current artworks.

The brand typefaces are Selina and Neue Helvetica LT Pro. Lay Grotesk served as the base for the wordmark.

See the full case study on Slope Agency's website.

Everybody's Perfect is a queer movie festival which promotes LGBTQIA+ rights throughout different events: films, performances, exhibitions and lectures.

The Everybody’s Perfect festival kicked off with the pre-event exhibition around Lake Geneva: The Perfect Guests (see the dedicated post). We were asked to design the festival poster as well as the exhibition poster. We had to create an identity that worked together for both events.

To create the festival's identity, we established a connection with the exhibition poster by zooming in on the same photograph of actress Sandra Guldberg Kampp captured by Camilo Agudelo. We also worked with the photographer’s analog film burns.

The text layout is inspired by movie posters, credits, and subtitle aesthetics. We have faded out parts of the dates and titles to make a reference to the moving camera and create a bridge between the photo exhibition and the film festival. We chose a mint Pantone color to contrast with the tone and vibrancy of the photo and to resonate with the location of the exhibition: Lake Geneva (French: Lac Léman).

The 80-pages paper program for the 10 days festival incorporates the graphic elements of the visual identity. We used Grotta, created by Due Studio with a complementary font, Bw Nista Grotesk by Branding with Type. The challenge was to establish a clear typographic hierarchy that would make the program easy to read. Given the need to convey a lot of information, such as film summaries, schedules, language details, style information, and awards, we aimed to create a dynamic, playful and rhythmic design.

The Geneva-based queer film festival, Everybody’s Perfect, organized an exhibition titled The Perfect Guests. This exhibition was displayed on 60 billboards, stretching across 650-meter around Lac Léman, or Lake Geneva. It featured a wide range of filmmakers, actors, artists, and experts, all committed to advocating for positive representation of the LGBTQIA+ community.

The Perfect Guests exhibition took place throughout the month of September 2022. It showcased photographs by Camilo Agudelo, taken during the past four editions of the Everybody's Perfect Festival.

We were commissioned to design the exhibition poster and panel layouts, aligning them with the festival's graphic identity that would take place a few weeks later.

For the poster, we used a photo of Sandra Guldberg Kampp captured by Agudelo during the screening of the film Kød & Blod by Danish director Jeanette Nordahl. The close-up on her eyes engages and challenges the viewer. The text layout draws inspiration from movie posters, credits, and subtitle aesthetics. To create a feeling of motion and connect the photo exhibit with the film festival, parts of the dates and titles were intentionally blurred, akin to the effect of a moving camera. Additionally, we chose a mint Pantone color to contrast with the vibrancy of the photo and harmonize with the exhibition’s location at Lake Geneva.

These initial choices set the foundation for the visual communication, which extends to the overall festival identity happening later during the year (see the dedicated post). We used Grotta, created by Due Studio with a complementary font, Bw Nista Grotesk by Branding with Type.

The Softimage project focuses on bridging digital and analogue elements within the visual arts, based upon the latest (post-)digital innovations across various media. The show revolves around a group of eighteen students actively engaged in the Softimage seminar at the Weißensee School of Art. Their artistic endeavours primarily revolve around the exploration of both analogue and digital practices. Varying from digital-esque paintings on canvas to prints crafted using machinery and 3D programs and extending to virtual object animations, the project ideas reflect a diverse artistic landscape that underscores the perspectives and possibilities arising from the symbiosis of analogue and digital techniques. The exhibition at Lobe Block serves as an inau­gural opportunity to comprehensively present the research and outcomes of the seminar.

Quentin Bodin, Luc de Fouquet and Lucas Meyer, three graphic designers and visual artists, explore a vast range of communication formats: posters, visual identities, installations, digital media, signage and installation. Most of their work is commissioned by cultural institutions in the fields of live performance, music and contemporary art, under the name Super Terrain.

The Saint-Herblain library invited them to a retrospective exhibition of their work. For the poster and identity of the event, Super Terrain created a colorful identity combining Gustavo (from Lift-type) and Slack (from Due Studio).

From Kaide:

KAIDE is a creative studio dedicated to transforming the Finnish societal communications space towards a more imaginative version of itself. We specialize in sound branding, motion graphics and commercial videography productions. Our clients include some of the most prominent societally relevant actors in Finland, including NGO's, private companies and municipalities.

Their website, showcasing a variety of work, from promotional videos to music and podcasts, uses Lay Grotesk throughout. The sans-serif is paired with both contrasting styles of Nostra (Sett and Stream), mostly used as singular characters (including emojis). Note the unusual hover effect on the menu, that changes discreet Lay Grotesk into chunky Nostra Sett!

History and art through the eyes of one of the most iconic Spanish pop artist.

After several years designing #VersionaThyssen, we had the chance to take part in a very cool project together with the Museo Nacional Thyssen-Bornemisza. They wanted to promote several pieces of their collection through the figure of Alaska, one of the most iconic artists of La Movida. The videos show Alaska’s visual universe with a modern touch and a bold style; referring to pieces that range from Carpaccio’s details to the Russian vanguards and how they inspire music and literature.

Our graphic proposal creates a coherent system for the four videos and at the same time, allows each one to have their own personality depending on the picture showing. We achieved this combining different typefaces that conceptually and formally matched with the era and aesthetic of each painting.

As we said, each video has its own typeface related to the painting’s era and aesthetic. On Carpaccio’s Joven caballero en un paisaje, we chose Faglia Serif by Natalia Timea because of the serifs’ resemblance to knight’s aesthetics. A similar choice for Thomas Cole’s Expulsión. Luna y luz de fuego. Here we chose Faust by Bouk Ra for its gothic aesthetic, height and the serifs that looked like flames.

With Pollock, we used Pilowlava from Velvetyne. The dripping style, typical in Pollock’s work inspired us to pick up this font with similar details to its paintings. And lastly, for the Russian vanguards, we chose Due Studio’s Nodo, a geometric typeface with rational aesthetics that reminds the shapes of the paintings of the Russian movement.

In April 2022, the 26-year-old Ostkreuz photographer Sebastian Wells travelled to Kyiv because he no longer wanted to work on art projects as Russia invaded Ukraine. “I didn’t know what I wanted to do there either … And so I just went there, without any aim or goal …”. Two days after his arrival, he met 21-year-old Vsevolod Kazarin, who had just made a name for himself in fashion photography. “He was now practically unemployed and didn’t know what to do with himself either,” recalled Wells. They spontaneously decided to start a project with and about young people in Ukraine and so the foundation was laid for an extraordinary art magazine called Soлomiya (Ukrainian for ‘peace’).

On the 103rd day of the Russian invasion of Ukraine, work began on Soлomiya. With the premiere edition, Kazarin and Wells wanted to show what there is to defend in Ukraine: Young people with hope and courage, who grew up in an independent country and who are not ready to give up their freedom.

The first issue was printed by Pinguin Druck Berlin and is entitled “War but Art”. Designed by Anne-Lene Proff and Peter Bünnagel from the Berlin design studio Kollektiv Scrollan in cooperation with the Akademie der Künste, it contains photographs, collages, texts and illustrations and features work by well-known Ukrainian artists, such as Sasha Kurmaz and Mykola Ridny, as well as new and emerging talent.

The logo and editorial are set in Jan Fromm’s typeface Nice, which is published by Fontwerk. Apart from Nice Micro, all optical sizes are used: The logotype with a custom-л was created by Jan Fromm using Nice Poster, inside the magazine both Nice Headline and Nice Text are being used. Other typefaces in the issue include the extraordinary Habitas by Tightype and Grotta by Due Studio, which underlines Soлomiya’s typographic claim.

This weekly diary for the year 2020 was created for Hoppípolla Edizioni. It is conceived as the visual connection between digital and analog, sounds and words. The diary is split in four parts; every season has a spread made from a kinetic typographic video with sounds designed by Tommaso Marconi and a Spotify playlist with seasonal music by Italian designers and musicians. Furthermore the diary includes an infographic section where users can collect data and organize and plan jobs or group projects.

Find more information about this project on our website studiomistaker.com or Behance.

Sound design: Tommaso Marconi
Playlists curated by: Splendore (Spring), Beat Soup (Summer), Francesca Pignataro (Winter)
Typeface: Grotta Semibold by Due Collective
Paper: Fedrigoni Arcoset, Fedrigoni Sirio Ultra Black
Offset printing: Printaly.com, using Pantone 802U and holographic paint