Vi Ser Mønstre Overalt. Tekstiltryk som håndværk, tradition og kunstart / We See Patterns Everywhere. Textile Print as Craft, Tradition and Art Form explores the rich tradition and contemporary relevance of hand-printed textiles – both as a living craft and as an artistic practice in constant evolution. The bilingual publication accompanies the exhibition Trykkraft / Printing Power at the Designmuseum Denmark and serves as both a scholarly exploration and an aesthetic experience, and contributes to highlighting the continuing significance of textile printing in Denmark. Featured are eight living Danish female textile artists: Anne Fabricius Møller, Bitten Hegelund, Else Kallesøe, Janne Wendt, Josefina Enevold, Lisbet Friis, Trine Tronhjem and Liv Marie Rømer.

The book was designed by Spine Studio using the typefaces Monopol by Nguyen Gobber for titles and Maligne by Maxitype for running text.

Village Green has designed five typographic posters pairing fonts donated from ten different font foundries to raise funds for War Child UK. The posters are available as limited edition screen prints.

The participating foundries are Dinamo, Narrow Type, Newglyph, Maxitype, Tup Wanders, PFA-Typefaces, D0UBLE ZER0, Comicraft, Blambot, and Rellence (prev. Ultra Kuhl).

From The Brand Identity:

The Font Family project pairs two foundries on each B2 poster, creating bold compositions that loosely suggest human figures. It’s a playful concept that works on multiple levels – these typographic ‘people’ become a family of sorts, just as the foundries, printers and designers collaborating on the project form their own creative community. All profits from the screen-printed editions go to War Child UK.

The technical side shaped the creative decisions from the start. Working with Ricky at Mesh & Blade in east London, the team designed specifically for screen printing’s strengths and limitations. The bold, colourful characteristics were perfect for the process, but it meant thinking differently about colour separation and registration. “We were also keen to get away from our desks and have conversations about finishes, stocks and inks,” Fearn explains. “From a technical perspective, we kept things relatively bold and minimal with high contrast and simplified colour layers, which ensured the designs translated cleanly and consistently at scale.” That hands-on approach reflects something larger about the project’s philosophy. In a world where remote work and digital-first thinking dominate, there’s something refreshing about a project that brings people together around physical processes and shared goals.

Telka and Metaballs

Screen printing at Mesh & Blade

Azurio and Alpenkreuzer / Baikal and Zzzap / ABC Gravity and Damn Noisy Kids / 00 Hypertext Mono and Meilen

Source: www.bak.admin.ch Nadine Wüthrich. License: All Rights Reserved.

The animation shows a dynamically interlocking 2026 as a visual metaphor for culture in motion. It stands for connection, change, and cohesion – a New Year’s greeting for 2026 from the Bundesamt für Kultur (BAK), the Swiss Federal Office of Culture: culture builds bridges, creates resilience, enables peace, and shapes democracy.

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Romansh version

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Italian version

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French version

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STK Bureau Serif and STK Bureau Sans from Smuss Type Kiosk are the brand typefaces of Holly Ventures, with Selecta by Maxitype used for the company’s logo. Their identity was designed by J.D. Reeves:

Holly Ventures invests in and supports world-class cybersecurity founders, beginning at the earliest stage of company building. Founded by John Brennan, Holly Ventures focuses on Day Zero: the stage where founders need direct engagement with the decision-maker and flexibility in how they structure their cap tables. Backed by investors from Bessemer Venture Partners, Ballistic Ventures, CRV, Vanderbilt University, Okta Ventures and more, Holly Ventures delivers the network breadth of a far larger fund while preserving the flexibility and responsiveness of an angel investor.

The brand draws inspiration from the holly tree and its symbolism of heritage, resilience, and protection. We leaned into the visual motif of a holly berry, creating a visual expression that leverages the circle shape across brand patterns, interactive website elements, and photography treatments.

From Bureau Strada:

Poster for a heavy metal concert and performance event at Bad Bonn, in collaboration with Nathan Meyer. The aim was to design a poster that was coherent with the event, while subverting common heavy metal clichés. To provide a contrast to the handcrafted feel of the linocut, the Metaballs typeface by Maxitype introduces more geometric forms, subtly referencing the bone motif of the illustration.

The F4 poster was printed in a black only version, and another 50 × 70 cm version is printed in offset silver and black with a matte varnish by Cric Print in Fribourg. The concert was organised by Maxime Barras & Maxime Papaux, under the name Maxi-Maxi.

Fan fiction magazine Danke is a biannual literary journal edited by Marion Regenscheit and Lucien Haug. In Danke, authors find space for a new, constructive approach to (old) texts. This year’s edition is themed “The Heidi issue”.

Display fonts of different type foundries and type designers supplement every issue. Among them are KTF Roman, KTF Jermilov, KTF Rublena, and KTF Tiemann by Kyiv Type Foundry. The designer – Dual Room’s Emmanuel Crivelli – also uses Cornbread, OCR-X and Selecta from Maxitype, plus BC Monument and BC Unciala by Briefcase Type Foundry.

The magazine’s editorial team consists of Lucien Haug, Marion Regenscheit, Richard Stoiber, Dorothee Elmiger, Chris Möller, and Mazlum Nergiz, together with the authors Johny Pitts, Enis Maci, Simoné Goldschmidt-Lechner, Hendrik Otremba, Marina Skalova, Clemens J. Setz, Anna Gien, Leonie Ott, Lotti Spieler, Leo Lemke, Tania Röttger, Dominic Oppliger.

NOT A HOTEL is evolving, with NIGO®︎ and Pharrell Williams joining as creative advisors and investors. This partnership marks the beginning of an exciting new chapter, driving forward bold projects both in Japan and beyond, including the upcoming “NOT A HOTEL TOKYO— THE NIGO HOUSE,” which is now under construction. Our journey is just beginning.

The website and branding identity feature Selecta, a sharp, contemporary sans serif whose modular forms echo NOT A HOTEL’s modern and experimental spirit.

Esquire Italia’s creative direction was renewed and redesigned by Cabinet Milano and Dual Room under the direction of Giovanni Audiffredi, with fashion direction by Nik Piras. The updated direction, seen in issues Nº 31 to 37, balances contemporary elegance with the magazine’s bold editorial voice, unifying fashion, culture, and design through a sharper visual language and cohesive art direction.

As the main typeface, Maligne by Maxitype, a geometric sans inspired by 20th-century letter painters, serves both display and text roles, while OT Kairo by Omnitype provides a complementary serif counterpart.

100 beste Plakate 23 highlights the year’s most compelling poster designs from Germany, Austria and Switzerland. From bold typography to experimental imagery, these 100 posters capture today’s vibrant pulse of visual communication.

In 2023, it’s Studio Es from Vienna who designed the visual identity of the competition.

For the type, they chose Signs (by Swiss foundry Maxitype) – a chunky, spirited typeface that communicates with clarity whether static or in motion – and combined it with Pantasia by Wei Huang and Times New Roman in order to create contrast and rhythm in the visuals.

Cover photo by Rafael Prado / Viva o Balão

Fan fiction magazine Danke is a biannual literary journal edited by Marion Regenscheit and Lucien Haug. In Danke, authors find space for a new, constructive approach to (old) texts.

The magazine’s editorial team, consisting of Lucien Haug, Marion Regenscheit, Richard Stoiber, Dorothee Elmiger, Chris Möller, Svenja Viola Bungarten, and Mazlum Nergiz, together with the authors Svenja Reiner, Dietmar Dath and Scholastique Mukasonga, presents the first issue of Danke.

Display fonts of different type foundries and type designers supplement every issue. Among them are KTF Cirk, KTF Labyrinth, KTF Rublena, KTF Metro Sport and KTF Compact by Kyiv Type Foundry. Danke magazine also uses the fonts Rhymes, Selecta, Signs, Eurocat, OCR-X, Modelo and Cornbread by Maxitype, BC Prkno by Briefcase Type Foundry, and Kiddo by notyourtypefoundry. The origin of Cosmic Cult is unknown.

Arie Vervelde (1951–2014) was so much more than one of the most talented and international renowned illustrators. He had a very keen eye for fashion and trends, but always focused on the human side. The men and women of all colours and shapes in his art are always strong and sensual and sometimes outspoken sexy. He was always looking for new techniques and materials. Humor and a certain lightness gave his work an optimistic freshness. His vibrant illustrations were over the years published in many fashion magazines and national newspapers.

In designing this book, we worked in close collaboration with Melvin Anderson and Martijn Homan. In the 192-page book that was printed in fullcolour with fluorescent ink as an additional colour for the large font, we used HTF Didot by Jonathan Hoefler in combination with Programme from Optimo.

Text: John de Greef, Anne Marie Commandeur, Marianne van Heusden, Win Catermans, David R Shah, Nicole Uniquole, Melvin Anderson
Translation: Tom Johnston

The book was printed by robstolk and published by Lecturis.

A new identity for Maison Saint-Gervais, a theater in Geneva, Switzerland. Art direction and design Dual Room (Emmanuel Crivelli), starring KTF Concrete Bold (available on request) and Selecta by Maxitype.

Detail from the style guide, with the key-related elements derived from the Geneva flag

ESCMID, the European Society of Clinical Microbiology and Infectious Diseases, is one of the largest medical societies in the world. As it continues to grow and gain influence worldwide it is rapidly turning into a global science brand. Scholtysik consolidated the extensive brand portfolio and changed the congress name to “ESCMID Global” which highlights its position as the world’s largest and most relevant congress in its field. At the same time, Scholtysik renewed the complete visual identity and brand communication.

Selecta by Maxitype was chosen as the brand typeface across all touchpoints. Scholtysik looked for a typeface that would generate impact in large applications at international events and at the same time could provide precise, factual communication of scientific content and medical guidelines. The typographic look and feel must do justice to the never-ending curiosity and methodical rigour of scientific research and ultimately convey the clarity and strength to fight infectious diseases worldwide.

A custom version of the type family for ESCMID includes a set of Greek characters for proper representation of biological and medical terminology.

The Visual Poetry / Visuelle Poésie exhibition, held in 2023, showed contemporary Iranian posters at Museum für Gestaltung Zürich. The exhibition opened up a broad spectrum of visual languages. The campaign, designed by Skala, carves out the linking thread between them all, providing the show with a poetic face that depicts its essence. The key visual elegantly applies evocative symbolism to hint at the infinity of possible interpretations of visual forms. In doing so, it constitutes an example of just this richness itself, making the public curious for more. Typeset in Selecta by Maxitype. The font used for the text in Farsi (?) is yet unidentified.

L’Effet de Serre is a group exhibition at Abbatiale Bellelay, Switzerland. From the description (translated):

A group exhibition on the body, its metamorphosis, the soul, its non-existence and its consequences, with works by Benedikt Bock, Emilie Ding & Alizée Lenox, Richard Frater, Thomas Julier, Max Kriegleder, Claire van Lubeek, Léa Katharina Meier, Jean-Charles de Quillacq, Margaret Raspé, Virginie Sistek, Terre Thaemlitz, in an installation by Jan van Oordt, at the invitation of Sylvain Menétrey, curator of the Abbatiale Bellelay, assisted by Katia Leonelli.

The exhibition poster was designed by Emmenauel Crivelli of Dual Room, making early use of KTF Labyrinth, together with Selecta.

Cover with slanted Croissant for the title

From the Ventoline website (translated from the French):

Ventoline is a fanzine born of both a daily enthusiasm for everything to do with music, and a genuine weariness at the near-absence of women's words on this vast subject. Commenting, criticizing, prescribing, sharing stories, tastes, dislikes – in short, musical culture… […]

Ventoline is an entirely self-produced and self-distributed editorial project that receives no public or private financial support, and has been running for three years thanks to the sale of its issues and a few hectoliters of elbow grease. Everyone contributes on a voluntary basis, according to their desires, means and time. The frequency of each issue is therefore erratic, but this absence of imperatives also proves to be a relief: Ventoline comes out when you can, when you want.

In issue no. 6, the contributors talk “about record collecting. Algerians, unloved instruments, Mexican narco-culture, euphoria and mourning of concerts, a heterotopic club of dykes, Moldavian tradition, and even motherhood – who knows!”

The text typeface in this feature is GR10. The blackletter used for the headline is Neue Theuerdank Fraktur.

Contents (“sommaire”) ft. Spider Panic and Optima with faux small caps and faux italics. The numbers are from GST Aero; the text at the top is set in OCR-X.

Insitu in two columns for text, with Tekton for the headline and emphasis

Body copy is set in Glasgow. The quote uses Modern Blackletter and the bold extended grot is OPS Facitype.

More text in GR10, paired with drop caps from Neue Theuerdank Fraktur and some Ober-Türkheim.

Verona on an angled baseline, with body text in Figure Monospace. The sans used for the lines on a steep angle appears to be ES Allianz.

The poster (50×34 cm) included in Ventoline no. 6 is a transcript of a TV interview with Edith Massey, a.k.a. the Egg Lady, actress and friend of John Waters, and performer of two punk rock hits including “Punks, Get Off the Grass”. The display typeface is Lyric Stencil NF, slanted, paired with more Figure Monospace.

On the left: Produkt and Glasgow Italic with headlines in obliqued Optima. On the right: WS Naive with triple contour and replies in Routed Gothic.

More of the interview in Produkt and Routed Gothic

Frankfurter Medium (left) and ITC Souvenir Italic (right), with big type in IM Fell DW Pica Italic and Lyric Stencil NF

The box on the bottom left of the right page is set in EB Garamond. The colophon in OCR-X additionally mentions Eccles and Hershey Times, but these fonts don’t seem to be shown in the images included here. Jakob, Aston Script and Flash represent a mirrored reproduction of an exhibition poster, and Harrington (“Club Ventoline”) appears to belong to a previous design, too – these aren’t listed under the fonts used for the design of this zine.

The festival identity for the 20th edition of Origines Contrôlées, held from October 20 to December 21, 2023, was designed by Vif Design and uses the Bugrino and Modelo typefaces.

This festival, celebrated annually in Toulouse, France, highlights the rich diversity of cultural heritage and promotes dialogue through various artistic expressions including music, theater, and visual arts.

Every year, the MTV VMAs (Video Music Awards) stake a claim as the ultimate anti-academy awards, with a colourful night of jaw-dropping performances watched by a vast global audience. From Britney’s serpentine co-star to Ye’s infamous interruption, headline-grabbing moments play a key role in VMAs folklore. The branding follows suit, with MTV’s archetypal, in-your-face attitude shouting louder than other awards. For 2022 and 2023, MTV invited Studio Dumbar/DEPT® to create a campaign identity encompassing motion design and social media visuals.

For the type, Studio Dumbar chose Signs (by Swiss foundry Maxitype)—a chunky, spirited typeface that communicates with clarity whether static or in motion—combined with Selecta for the informative text displayed in compact sizes.

The Design Parade is a yearly festival held in Hyères and Toulon, two neighboring cities at the southernmost tip of the Provence region in France. What started in 2006 in Hyères as an event to celebrate product design was extended in 2016 to Toulon and to the field of interior design. At the core of both festivals is a competition among ten selected young talents. They are organized by Villa Noailles, a center for contemporary art and architecture of international esteem since 1996, located in a modernist gem built by Robert Mallet-Stevens.

Here we show posters and catalogs for the 2023 edition of Design Parade, designed by Marc Armand, a longtime collaborator of Villa Noailles. He chose to create a “dp23” logo from the typeface Metaballs by Maximage, enhanced with a metallic 3D effect. The second typeface coining the 2023 visual identity is Enduro, designed by Emmanuel Besse and published by Production Type. Enduro is a sans serif of industrial appeal and a comprehensive collection that comes in three widths and a total of 44 styles. While the posters highlight the dynamic and eye-catching character of Enduro Black Italic, the headlines inside the catalogs put on that same card and combine it with upright and lighter cuts for the reading text and the captions.

Catalog cover for the Design Parade Hyères

Catalog cover for the Design Parade Toulon

The artists’ book Gehege (“enclosure”) was published by Edition Taube:

The artists’ book Gehege contains photographs from the library of Zurich Zoo. The selection shows zoo landscapes from 1945 onwards using western metropolises as examples. The pictures were taken by employees of Zurich Zoo. For research purposes, they travelled to other cities to document animal husbandry.

The book is designed by Vanja Ivana Jelić and Sara Arzu Hardegger (sava). Selecta is used with a custom version of the letter G specially designed by Maxitype for this publication.