White Fungus is an art magazine and project based in Taichung City, Taiwan.

Founded by brothers Ron and Mark Hanson in Wellington, New Zealand, in 2004, as a quasi-political manifesto, copies of the first issue were produced on a photocopier, wrapped in Christmas paper and hurled anonymously through the entrances of businesses throughout the city. Now a magazine featuring interviews, writing on art, new music, history and politics, White Fungus takes a dialogical approach to the work it covers. The name of the publication comes from a can of “white fungus” the Hansons found in their local supermarket in the industrial zone of Taichung City. Each cover of White Fungus is derived from a scan of the can.

The 18th issue of White Fungus features an 80-page interview with New York poet and novelist Eileen Myles. The conversation traces several chapters of their life, including becoming a poet in 1970s New York, reading at CBGB, and writing the cult classic Chelsea Girls. Myles discusses their mainstream crossover in 2015, their involvement in the hit television show Transparent, overcoming alcoholism, their writing process, and many other topics.

The issue also includes an epic feature on Hilma af Klint and the suppressed occult roots of modernist art. Taipei artist Yao Jui-Chung contributes a photo essay documenting animatronic depictions of the Chinese concept of hell, as seen in Daoist temples in Taiwan and Singapore. Yan Jun reflects on the life of Taiwanese noise music pioneer Dino (Liao Ming-He), who passed away in 2022. Also featured is an interview with artist Pavel Pepperstein on the influence of children’s literature and hallucinogenics in conjuring his surreal futuristic landscapes—a style he calls “psychedelic realism.”

Table of contents, set in Söhne, Sometimes Times and Athelas

Opening spread for an interview with Eileen Myles, set in Bell and Letter Gothic

Slightly modified Corinthia introduces the word “Hell”. The title of the artwork is set in the lower left corner in tiny DF Kai SB.

Opening spread for “Through the Prism of the Looking Glass”, pairing Lo-Res with Snell Roundhand.

Protest Grotesk is the typeface used by Seasonal Fruit for Wir wollen baden! (“We want to go swimming!”), published by Neckarinsel Stuttgart in collaboration with Prima Publikationen. Additional display typefaces used in the book include Sometimes Times and Blocus.

From the publisher (translated):

This water guide is a handy companion for getting into cool waters on hot days. Even in the Stuttgart metropolitan area, temperatures are rising. At the same time, Stuttgart and the surrounding region aren’t exactly known for nearby lakes for swimming. That’s why we went searching for you—and we found them: from river swimming spots to hidden waterfalls and refreshing forest baths, here are the islands for cooling off.

On 14 tours through the region, we give you insights into the many ways to swim and cool down, sprinkled with information and facts about the waters, because water is much more than just fun in the pool: it’s our drinking water, wastewater, a habitat for flora and fauna, and even a means of transport. Easily accessible by public transport, the tours invite you to stroll, walk, hike, cycle, or paddle—alone or with friends and family.

And the best part: each tour comes with a postcard as a keepsake, to send, or to share, featuring scenes from your swimming adventure.

Shortlisted for the Most Beautiful German Books 2025.

Postcard with all-caps Blocus on the back

Spread featuring all-caps Sometimes Times, rotated and with overlapping glyphs

Telka by Rellence and Office Times Sharp by BoulevardLAB were used for the rebrand of Market Art Fair, the Nordic region’s leading contemporary art marketplace. The logo features Droulers Clarendon by Bureau Brut.

From 25AH:

Market Art Fair is the leading marketplace for contemporary art in the Nordic region. Founded in 2006, it brings together top galleries, collectors, institutions, and enthusiasts from across the Nordics and beyond.

The identity centers around an elegant wordmark in a bespoke serif typeface. A tilted, centered “R” introduces a touch of artistic imperfection — symbolizing creativity at the heart of the fair. A monochrome palette of black and white is refreshed annually with curated accent colors, keeping the identity dynamic and contemporary.

A graphic pattern was developed from close-up sections of the logo, symbolizing the endless perspectives viewers can have when experiencing different works of art. The broad typographic palette combines accessibility with a sense of exclusivity, allowing the visual language to adapt across different platforms and expressions.

In September 2025, Brian Saffer, Art Director at FT Weekend Magazine, reached out to me about the possibilities of using my typeface Sonic Waves. He was working on the cover design for an issue about a misophonia, a hatred of particular noises. Brian Saffer created an uppercase D and added a dot below the question mark, to increase readability.

At the release date of October 11th, an e-mail by a FT reader reached me, pointing out how a typeface I made for the love of music is now used for the opposite purpose. That is not unusual in type design, since we develop tools that are not finished products but will be applied for various purposes by their users.

Sonic Waves was created in 2008 for the online and offline exhibition Into Infinity organised by dublab. As an occasional DJ and designer for the web radio station, I took it on to combine these two practices into one. Inspired by the spectrographic images that Aphex Twin embedded in some of his tracks and waveform art shared in early 2000s IDM forums, I was researching the possibilities of drawing or shaping sound waves into letters. A Mac OS 9 audio software that I was still able to run on my PowerBook enabled me to achieve this. In the mode that made it possible to manipulate the waves, the proportions were horizontal stretched. The process to create the shapes I needed was to work with elliptic outlines on transparent paper that I laid on top of the screen as templates to fill in. The typeface was accompanied by sound files in scales C, C#, B, D and H. The font comprised lowercase letters only, since many uppercase letters would have been difficult, impossible or proportionally awkward to make. The middle line lays at the centre of the x-height. This creates many restrictions which already forced met to set the numbers in italic. Without that trick, 0 and 8 would be indistinguishable.

Opening spread for the article by Samantha Weinberg

The other typefaces used alongside Sonic Waves are all-caps Avenue Mono and the FT’s standard Financier Text.

A Mac OS 9 sound editor with the ability to draw sound waves manually

Audio type specimen: here’s what Sonic Waves sounds like.

The L.A. Review of the Moving Image documents the shifting landscape of film culture in Los Angeles. Over the past decade, the city’s creative life has expanded beyond its traditional centers, moving away from Hollywood premieres and studio theaters into a constellation of smaller, experimental spaces. Today, moving images circulate through artist-run cinemas, living room screenings, rooftops, cemeteries, guerrilla file shares, Twitch streams, and group chats. This dispersed yet coherent network reflects a culture where watching, rewatching, editing, and remixing have become collective rituals.

The Review approaches the moving image not simply as content, but as encounter; asking where films are shown, how they are shared, and how they reshape communities and publics. It positions itself within this fragmented geography as both observer and participant, chronicling the ways moving images continue to organize memory, desire, and cultural identity in Los Angeles.

The newspaper and the marketing materials use Ceraph, a flaring semi-serif designed by Emma Piercy available at Sharp Type. Ceraph’s distinctive blend of sharpness and warmth mirrors the project’s contemporary and experimental spirit. Its versatility makes it well-suited for both editorial contexts and promotional materials, giving the Review a consistent yet characterful typographic voice. [edit: Additional fonts include Sometimes Times and ABC Favorit Mono, see comments.]

The project was led by art director Ellie Sunlight Moon, with editorial direction by Anthony Tran. Contributions were made by Mariah Flores, and publishing guidance was provided by Rachel Rosenfelt.

Son of a Tailor is a clothing company built on the principles of expert craftsmanship, simple Danish design, sustainable production methods, and making custom-fit clothing for men.
The visual identity was made by Andreas Langhorn using IvyOra Display for headlines with IvyOra Text and Oatmeal Sans for text. System85 serves for the logo.

Visual identity and website for Vlasblom & Deroose, a consultancy agency specializing in strategy and communication for NGOs and companies. Zeppa designed an identity that reflects their thoughtful, modern approach with a balance of clarity and elegance.

Typography plays a central role: Sometimes Times is used for the logotype, headlines, and quotes—bringing a refined tone with a subtle feminine touch. Neue Haas Unica supports body text with clean, modern readability.

Simple titles and credits for Laura Savage’s new music video “On A Good Day”, directed and edited by Tim Finch.

Sam Bufalo is a documentary family and wedding photographer based in Stamford, Connecticut. We designed the brand identity and website for Sam that evokes emotions inspired by moments reminding you of old footage, handheld cameras from the 1970s, messy but real moments.

Sometimes Times, designed by Sam G. Hughes, is used as the main header and accent typeface. It is a timeless serif integrating contemporary aesthetics to classic form, inspired by individualistic old-style serifs and mid-1990s culture. For body copy, we used Courier Prime by Alan Dague-Greene, which brings to mind typewriters and computer programming. Courier Prime adds a sparse, minimal and “undesigned” feel to the identity.

Published in 2024, Fangor After Guggenheim is a catalogue created in collaboration between GNYP Gallery and the Fangor Foundation. It examines the artistic career of Wojciech Fangor following his solo exhibition at the Guggenheim Museum in New York in 1970, marking a key moment in his creative evolution.

The publication, counting 152 pages and measuring 32×25,5 cm, was designed by Granada Hills and is typeset in Slussen by Blaze Type and Office Times from BoulevardLAB. It contains essays by the art critics Dominic Eichler, Pamela Hansford, and Darla Migan, each focussing on a series or an element of Fangor’s artistic interest. The images showcase Fangor’s artworks along with interior photographs of his various studios.

Pippāl is a gathering place that celebrates the richness and diversity of Indian culture and cuisine, and melds traditional flavors with a modern touch. Influenced by the contrast and depth of cultures across India, the brand identity is built on connection and balance, reflected in both the wordmark – based on New Forest – and icon.

The typeface Sometimes Times offers an inviting timelessness and charm. Interstate relates to the slightly condensed, high counter height of Sometimes' letterforms, yet contrasts as a hard-working sans-serif. Campaign adds a layer of interest to augment the other two typefaces, with a charismatic expanded Grotesque font that rounds out the typographic system.

Rebrand of AdHoc, the iconic Brooklyn-based concert promoter and publication, to coincide with the launch of AdHoc Projects, their new creative arm.

Design by Studio Elana Schlenker, the logo is a customization of the Pimpit typeface by Benoît Bodhuin, which they adapted in collaboration with Polytype, who also worked with them to create smushed and condensed versions of the mark as well as a simple monogram.

The other fonts used in the identity are Dinamo’s ABC Diatype Semi-Mono and BoulevardLAB’s Office Times Mono Sharp.

Custom lettering: Polytype
Illustration: Kyle Platts
Web development: Maria Adelaide
Logo animation: Marinus Klinksik

Born from the belief that nourishing, high quality, planet-friendly products should be available to everyone, Wholesome is the online eco-health pantry and membership that makes a difference at every step. They tasked Universal Favourite with an end-to-end brand overhaul that would reflect the innovation of their DTC offering, looking, feeling and sounding as good as the brands and products they stock.

The logo is set in Gooper, a typeface that embodies the communal spirit of its heritage (the ever-ubiquitous, retro Cooper) while bringing its own goopy, playful flair. Slight customisations were made to the w allowing it to tuck neatly under the h ascender and also to shine as a standalone icon. With its soft edges and winding curves, the mark is distinctively warm and inviting.

The typography intertwines practicality and expression. Gooper SemiCondensed is disarmingly personable with just enough charm for headers and large-scale use. Maison Neue takes out the role of best supporting typeface, providing a clean but friendly sans serif that’s ideal for smaller pops of copy. And then there’s Kale Sans Mono – the informative, matter-of-fact, typewriter-esque workhorse. Together they make for a type system that’s as rich in quality and variety as the brand they represent.

The Japanese clothing brand Edwin opened a new store in Antwerp, Belgium, in December of 2022. For the occasion, they commissioned graphic designer Stephanie Specht to produce communication elements, signage and limited merch. Paired with Sometimes Times by BoulevardLAB, it is the first-ever public use of Plain Form's Ready, then freshly released with the launch of the foundry.

TeeMaa is a Helsinki-based tea house and a shop where you can also buy tea-related products and accessories. In accordance with the interior design, the branding by Tino Nyman presents both the sophistication and the playfulness of TeeMaa with the use of delicate colors and intricate text compositions. The identity uses Panama Italic and BL Arctic for the logotype, Cucina (neretta and corsiva) and Lateral for the titles and information.

EnKō Beauty was created by successful makeup artist Caylin McDonie, who has risen to fame through social media, renowned for her avant-garde looks.

The name EnKō is a word originating in Japanese folklore, meaning water dragon, and was originally inspired by a beauty-look. Handmade from scratch, the custom logotype and typography in Rabbit Hole Display was created by Hugmun Studio (@hugmun.studio) founder Tomasz Pawluk a.k.a Boafff (@boafff). Hugmun Studio comments:

Each surreal letter flows, hinting at the folklore origins feels relevant to makeup, art, and freehand flowing lines as we see in Caylin’s artistry. Metallic, holographic, 3D, and chrome also play a large role in the brand identity. Shifting and flowing with light and color like the multi tones found in the eye shadows.

The packaging was created by Marceli Printery with debossing and black letterpress printing on Carte à Parfum paper by Fedrigoni. The complimentary Sometimes Times Italic by BoulevardLAB provides a lighter but equally intricate contrast to Rabbit Hole Display. These are offset by Optimo’s sans serif Plain.

Thorlo, the brainchild of a small family mill in North Carolina, has always believed in engineering socks for movement, but almost half a century after their founding, their legacy of ergonomic innovation had been lost in the rush of the latest, new-to-market brands. The goal of this rebrand was to reinvigorate the American sock brand and cement its rightful place as an icon today and for generations to come.

Thorlo’s leap into the future began with a new wordmark, which had seen many iterations in the last 40+ years (some more successful than others). The new logo, set in tightly tracked BN Dime Display, is resolute and ownable—nodding to Thorlo’s origins while also embodying the brand’s strength and durability. One interesting note: as part of the logo refresh, the brand name was also changed from “Thorlos” to “Thorlo,” the name the company went by in the 1980s (and one of the key eras of inspiration for the design system).

The remainder of the brand system is relatively text heavy, combining bold colors with a sans, Neue Montreal Bold, and a serif, Office Times Sharp. While Neue Montreal nods to a classic Modernist identity system, Office Times speaks to 80s editorial design, and the prior heyday of the brand.

Visual identity for Claire Ginestoux designed by Por Qué No, using Marcus from MA-MA Type together with Avenue Mono from BoulevardLAB. The palette is completed by Neutraface Text Italic from House Industries.

From the artist’s website (translated):

French artist Claire Ginestoux has always been drawn to nature in all its graphic and colorful forms. Inspired by the natural phenomenon called Superbloom, a spectacular bloom of wild flowers in the California desert, she declines this rare and precious moment in a sensitive and shimmering universe, in an imaginary landscape in her pastels and paintings, in abstract prints or in silk flowers.

For more than 50 years, less-lethal munitions like rubber bullets, bean-bag rounds, pepper balls and tear gas canisters have injured, disfigured, and killed people. Don’t look away; the victims have built a powerful case against these weapons.

The website pairs Office Times Round and its fixed-pitch companion Office Times Mono with GT America Mono.

I designed the logo for Lentement (렁트멍), a fine dining restaurant in Seoul run by chef Lee Hae-wook (이해욱), using a customized stencil version of F37 Bergman. It’s paired with Sometimes Times.

The rest that Lentement pursues is a gap in everyday life. The space where you can enjoy a neat meals and neatly prepared meals with high-quality fresh ingredients.