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.

From designer Sarah Salomé Delétain (translated from the French):

Layout and graphic design of the 31st issue of Graphisme en France – Futur Souhaitable, dedicated to the environmental responsibility of graphic design. With contributions from Roxane Jubert, Florence Cortat Roller, Nolwenn Maudet and Marc van Wageningen, who share their reflections, projects, and research to enrich practices and collectively address these issues.

Published since 1994 by the Centre National des Arts Plastiques, Graphisme en France is a journal aimed at graphic designers, commissioners, and students. Printed in 10,000 copies by Art et Caractère in Lavaur (Tarn), it is distributed free of charge throughout the French cultural network and available on request at graphisme@cnap.fr.

The text typeface is Ploquine (Emma Marichal, TypeTogether), supported by Seabirds (Rosalie Wagner, 205TF) and Caramel (Hugo Lopez, X Cicéro), all released in 2024. The negative initials on the cover and the bookmark are from Floréal. This all-caps typeface was originally created by visual artist and graphic designer Jocelyn Cottencin in 2004 for a wall drawing that is now part of the Frac Bretagne collection.

Caractères is a type-centered design conference organized in Lyon, France, with five talks taking place in the course of a school year. The first edition began in October 2023 and gave the floor to some local designers: Lucas Descroix, Emma Marichal, Juliette Flécheux, Max Esnée, and Alice Savoie.

The communication was developed by Emma Marichal, centered around Plain Form’s Ready Active in its heaviest weight — making it the first-ever use of this quasi-illegible style — paired with Production Type's Gamuth and, for each speaker, a typeface that they either designed or used in recent projects. These are: Lucas Descroix's Paraiso, Emma Marichal's Ploquine, Salmanazar as used by Juliette Flécheux in her Dossier Scriptorium de Toulouse, Max Esnée's unreleased Laurifer and Alice Savoie's Loire, a bespoke typeface for the Val de Loire territory.

Caractères is organized by Rémi Forte, in partnership with the design school Strate and the type foundry 205TF.

The Danzafono 3.0 website created by UNCONFORM Studio and inspired by dancer Salud López transforms physical dance into a captivating digital experience. Collaborating with creative coder André Burnier, we crafted a website where users control a digital dance performance through word selection, affecting rhythm and sequence. The use of the Gallique typeface, designed by Emma Marichal, perfectly complements the site’s artistic and interactive nature. It is supported by Dinamo’s ABC Diatype. This innovative fusion of creative coding, web design, and kinetic typography in Danzafono 3.0 illustrates a harmonious blend of technology and human expression, enhancing audience engagement in a new and innovative way.

See the full case study on our website or experience the digital experience on danzafono.com.

Searching for a Modern Metamorphosis is a book by artist Kelly Kroener and designed by Kyle Mace together with Kroener. For the typography, they used Ambiant Sans and Zorn, both designed by Laura Csocsán, and Gallique by Emma Marichal.

Ceramicah creates refined, hand-crafted ceramics for individuals with a contemplative eye. Their meticulous attention to detail and holistic design approach result in pieces that enrich both space and life. The visual identity combines Cormorant and Neue Helvetica. The logo is customized, based off of Gallique.

This is Salima magazine, Issue 01: “Emergence”. The creators employed the theme of emergence for their first issue, inspired by the writings of Adrienne Maree Brown and Octavia Butler.

All fonts used for the typography are designed by women typedesigners. The magazine masthead is set in GlyphWorld Wasteland. In the interior, Gallique is used alongside Zorn. The sans serif used for the magazine cover is Jungka; the same typeface is used for the recipe, alongside Savon. Type marketplace Type Department supported the magazine by putting designer Mj Balvanera and project lead Salima Allen in touch with their women type designers.

All for us is a digital theater directed by La Cía Ramón Gázquez and Cristian Alcaraz. A journey through web thinking where users will come into contact with the mythological archaism of the digital age to create a new story from affection and from the new normal.

The use of the Gallique typeface focuses on creating that universe of fantasy and unreality. It is a very typographic design in which the use of Gallique together with Space Mono creates that sensation of digitization that is intended to be transmitted in the play.