Identity for Natchiq | Onkeehq | Isuwiq: Indigenous Artists Honor the Seal, an exhibition at the RISD Museum curated by Nadia Jackinsky-Sethi, Erin Ggaadimits Ivalu Gingrich, and Elizabeth James-Perry. This exhibition highlights seals as a cultural connector for Native communities in Alaska and Inuit Nunangat, showcasing works from the early 1900s to the present. The exhibition graphics were designed by Saachi Mehta, using Ease by Studio Feixen and LL Catalogue by Lineto.

Few Manhattan neighborhoods capture classic New York quite like Gramercy Park—a desirable enclave defined by its private garden, quiet tree-lined streets, and historic architecture. Bridging timeless elegance with modern livability, The Florian carries this legacy forward.

Watson shaped the brand from the ground up with a strategic naming approach: “The Florian” evokes warmth, greenery, and enduring character—positioning the residence as both refined and welcoming. The broader brand strategy centers on appealing to a new generation of first-time homebuyers putting down roots in New York City.

Drawing from Gramercy Park’s 19th-century ironwork, literary tradition and cultivated community, the visual identity system subtly balances history with forward momentum. A flexible logo suite spans from an expressive wordmark to a pared-back fleuron, enabling versatility across touchpoints while reinforcing a cohesive, place-based narrative. The typographic system reflects the neighborhood's effortless charm and ease while staying rooted it in its quiet sophistication. The neighborhood photography further grounds the brand in authenticity, emphasizing an emotional connection to this iconic New York location.

Both a tranquil retreat and a gateway into city living, The Florian is positioned as more than a residence—it’s a setting for new beginnings, designed for those ready to write their own New York story.

The logomark variations are set in MD Lórien with modifications to specific letterforms. Headlines are set in LL Catalogue and supporting copy is set in Founders Grotesk.

This artist's book explores the diverse reference system of forms and materials, plants, animals and other subjects out of which Claudia Comte develops her biomorphic sculptures.

From Edition Patrick Frey:

Snow-clad marble sculptures of cactuses, pencil sketches of corals and renderings of leaf shapes seemingly suspended in mid-air, interspersed with grids of neon-colored sculptures and alarming newspaper headlines warning of the "ghastly" climate apocalypse that lies in store for us: this artist's book explores the diverse reference system of forms and materials, plants, animals and other subjects out of which Claudia Comte develops her biomorphic sculptures. While cactuses are well adapted to arid conditions, coral reefs, which form bio-diverse ecosystems at the bottom of the marine food chain, are wasting away due to the warming and acidification of the ocean. Leaves, on the other hand, represent photosynthesis, the energy-converting process that gives off oxygen. Comte's supernatural fusion of cactus, coral and leaf draws connections between aspects of the desert, ocean, and forest through various processes of material metamorphosis.

The book begins with an index of Comte's wooden sculptures, on which she confers first-name monikers, as if they were her familiars. Based on sketches, they are carved in wood or executed in marble with the aid of digital media. So marble, a petrified representation of the sea, meets wood, a place of storage for natural terrestrial processes and a constant source of oxygen.

The book’s focus is on our relationship to nature and the havoc we’ve wrought on our environment, which are the principal themes of the artist's practice. Prophecies of doom culled from newspaper articles sound the alarm about the looming climate emergency, for coral reefs aren't the only critically endangered biomes.

See also a previously published post about an exhibition with Claudia Comte’s work.

Arxipelag is an editorial platform conceived, curated and designed by CRSL, nurturing the bond between us and our planet through the lens of selected photographers.

Arxipelag transports readers on a journey into the extraordinary, unveiling original perspectives, niche aesthetics, and lesser-known places, shining a spotlight on the unique viewpoints of its talented contributors.

In the overwhelming abundance of visual inputs we experience every day, the role of curation is of primary importance. This insight led us to create Arxipelag, aiming to select the very best in photography that captures the relationship between travel, nature and art, reigniting our love and curiosity for the wonders surrounding us.

The Arxipelag logo is a customization of CRSL Arches, created by our designers. All typography is set in LL Catalogue by Lineto.

This thesis project made at NABA Milano delves into the social implications of communication design, investigating how the profession of a designer can influence and shape the thoughts of individuals and society. The book is divided into six chapters, each addressing a specific theme of our interest: aesthetics, experimentation, cities, culture, politics, and people. At the conclusion of the research, two interviews were also conducted. The typographic approach of the book is the result of research and experimentation around the ideals of the Dutch studio Experimental Jetset: the goal is to make the book a tangible and material object by employing different visual solutions, such as the overlay of textual elements, unconventional cuts of photographic elements, and an extensive use of white space.

Marvin Visions, Mathieu Triay’s revival of Marvin, expands Michael Chave’s original 1969 design into a range of weights and optical sizes. And yet the majority of applications uses the Bold weight only. This book is an exception.

Designers Lorraine Wild and Tommy Huang of Green Dragon Office started with the Bold, too, but made it less weighty by outlining the letterforms. The title is rendered with hyper-extended EndcapS (compare to a similar treatment for Starliners, 1980). For the subtitle, captions, page numbers, bibliographical dates and more, they pulled up a much lighter weight. This airy end of the design space has distinct qualities, which are a good match for the transcendental theme. The text typeface appears to be LL Catalogue.

The Transcendental Painting Group was founded in Santa Fe and Taos, New Mexico, in 1938. This “first book on a radical, astonishingly prescient episode in American modernism” was published by the Crocker Art Museum together with DelMonico Books. It accompanied an exhibition that opened at the Albuquerque Museum in June 2021, and subsequently traveled to the Philbrook Museum of Art; Artis—Naples, The Baker Museum; and the Crocker Art Museum, Sacramento. The show concluded at the Los Angeles County Museum of Art in April 2023.

L'aventure en train de nuit (“Night Train Adventure”) is an e-book in pdf format designed by Les Others. Baste B (available at Lift Type) is used for all titles, running headings and page numbers. ABC Diatype and Diatype Semi-Mono (including a yet unreleased Semi-Mono Condensed) by Dinamo as well as LL Catalogue by Lineto are used for text and small information.

Excerpt from the description on the design studio’s website, translated from the French:

Would you like to travel to the other side of France without flying or spending seven hours on the highway? The night train seems to be the right option. It allows you to optimize your journey and discover the pleasures of the night on the rails…

[…] We have identified the most beautiful natural areas (peaks, lakes, forests, reserves, cliffs…) easily accessible from Intercités night trains stations, so you can organize your own outdoors adventures.

The guide can be downloaded as an incentive for signing up to the Recto Verso newsletter.

Magma is a contemporary publication that revives the tradition of 20th-century art reviews. It serves as a platform for artistic expression, fostering collaboration between artists and writers.

The journal aims to transcend the conventional boundaries of the art world, inviting readers to engage in a dialogue. It serves as a meeting place for artists, photographers, writers, directors, sculptors, and architects from different generations and backgrounds. Contributors have the freedom to explore various forms and content, creating original and previously unpublished works specifically for the publication.

The inaugural edition of Magma features 18 artists and over 80 works of art and literary texts, in a large format bound like a book for annual publication, including two inserts of artworks. The journal is art directed by Helena Kadji & Rocío Ortiz from Faye and Gina and has Lineto’s LL Ruder Plakat on full display, with LL Catalogue playing a supporting role on the main articles.

Early version of AC Bandit by Sylvan Lanz alongside with LL Catalogue by Nazareno Crea, used in the book We, the City. Plurality and Resistance in Berlin and Istanbul. From publisher Jovis:

In the face of uninhibited neoliberal restructuring, Berlin and Istanbul have for the past decade been subject to various forms of political polarization and social injustice. As a result, the struggles for affordable housing, access to public space, fair labor, ecological justice, and the right to live differently have intensified. Various forms of grassroots resistance have put the relationship between local governments and social movements to the test, provoking questions about where and how the city’s political subjects emerge. Blending dialogues, essays, and critical reflections, the e-book investigates the ways in which the residents of Berlin and Istanbul experience, express, and resist the physical, political, and normative reordering of their cities, and asks: Who are We, the City?

With contributions by Hilal Alkan, Kristen Sarah Biehl, Ayşe Çavdar, Matthias Coers, Özge Ertem, Tuba İnal-Çekiç, Aslı Odman, İlayda Ece Ova, Sister Sylvester, Sema Semih, Anna Steigemann, Banu Çiçek Tülü, and Urszula Ewa Woźniak

This is the third issue of the art zine Sitstand, featuring one local artist per issue. The third issue focuses on the work of Colette Stubbings. The typopgraphy is designed using LL Catalogue, paired with the zine’s stalwart typefaces Decimal and Garton.

10×5.75″, 36 pages, singer sewn binding
printed on Mohawk Vellum kraft and pure white
edition of 100
middle spread sewn together with purple thread

Exhibition at Somerset House showcasing the work of Hanna Moon and Joyce Ng, two fashion photographers, celebrating the vitality and importance of fresh perspectives within fashion photography in a globalised and interconnected world.

Curated by Shonagh Marshall, the exhibition explores the artists’ feelings of being ‘lost in translation’, a feeling which, as artists living in a foreign city navigating different languages and shifting landscapes, informs Moon and Ng’s search for capturing beauty in the often overlooked and unseen narratives in our everyday lives.

Employing an otherworldly and playful approach to their practice, Hanna Moon and Joyce Ng incorporate cultural signifiers, set design and fashion to present their unique take on Western aesthetics and fashion ideals. Bringing distinct Asian perspectives to their work, they challenge the concept of ‘otherness’ and reflect upon the power fashion photography holds in shaping our perceptions of beauty, style and taste.

The exhibition designed by Studio Veronica Ditting pairs LL Catalogue and Univers: a serif and a sans serif, as a representation of how their works relate to each other. The typeface used for Hangeul and Chinese is yet to be identified [edit: it’s Source Han Sans, see comments].

Veronica Ditting, in conversation with It's Nice That:

Yes! So basically, I said okay and tried to figure out what they wanted to achieve in their respective works, the first thing being the structure. Hanna wanted her works on the wall, a more classic approach, and Joyce already knew she didn’t want anything on the wall and instead a free-standing structure. The third room was completely undefined at that point.

Quite early on I thought what if we gave them a bit of more an object-like quality and they were keen for the rooms to reflect each other, but not be exactly the same. It’s a bit like working out the layout of a page, you just follow your feeling of what makes sense. Then the wall panels we made are these powder-coated metal panels. They show the layers within the photography and with the typeface it was looking for a bit of tension between the two – how those two worlds could meet each other.

Fabrikzeitung is a magazine for cultural, social and political issues; it is published by Rote Fabrik (Red Factory), a former silk weaving facility in the Wollishofen neighbourhood of Zürich, Switzerland. Since 1980, it is used as a music venue and cultural centre. The newspaper was first published in 1984 and is published ten times a year.

In addition to the respective monothematic topics, the magazine provides information about the events at Rote Fabrik. Approximately 3,500 print copies are being distributed in Switzerland, in bookshops and via subscribers, mostly in German-speaking countries. Since 2015, the texts are additionally being published on fabrikzeitung.ch where they can be read online. The studio Huber/Sterzinger has been in charge of the design and editorial tasks since 2008.

Issue 374 “Der radikale Katalog” is typeset in LL Catalogue, and Issue 379 “Gegen Aktion” is one of the first uses of LL Ruder Plakat VIP, both from Lineto, paired with Mercator and Times New Roman Seven.

Issue 374, “Der radikale Katalog”:

The search window, whether in a library or archival catalog, opens doors and gates to new worlds for us. But what we often don't think about when typing in search terms is that this window is designed, built, and maintained […]

Issue 379, “Gegen Aktion”:

Significant social and political events in recent years – digitization, climate change, pandemics and war – have led many people to a new awareness of political action and resistance. From the point of view of the existing bourgeois order, the willingness to work for a change in society through activism and in social movements is and was often perceived as a threat to the status quo […]

Anatole Couteau, designer of LL Ruder Plakat, enjoying his copy of Fabrikzeitung.

Catalogue for Conserver, Adapter, Transmettre (Conserving, Adapting, and Handing Down), an exhibition shown at the Pavillon de l’Arsenal in Paris from 19th October 2022 to 5th March 2023:

Carbon emissions are associated with all stages of a building’s life—from design to use. The construction industry is one of the highest contributors to climate change and the best way of reducing this footprint is therefore to shift away from demolition and rebuilding, to conserving existing structures (thus storing carbon), and adapting forms and materials in order to hand down buildings that are sounder in their operation and their urbanity to future generations. The principle of rebuilding the city on itself is not new, but carbon causes us to radically adjust for a new era. It compels and questions all types of built heritage and all stages of the project life cycle.

Cover typography and headlines in LL Ruder Plakat, text in LL Catalogue. 416 pages, 250×300 mm.

The Swiss Federal Office of Culture (BAK) honors eminent Swiss cultural creators through its Grand Prix suisse d'art/Prix Meret Oppenheim, which is awarded to personalities from the world of arts, mediation and architecture whose work is of particular topicality and importance for the practice of art and architecture in Switzerland. Among the three 2021 winners: the architect Georges Descombes, curator Esther Eppstein, and artist Vivian Suter.

The BAK 2021 exhibition, publication and all communication material have been designed by Adeline Mollard using LL Catalogue alongside illustrations by Olga Prader.

Mendia Deitzen Naute (“They call me the mountain”) was published on the occasion of a residency organized by the association Haran Ubel (“Vallée violette” / “Purple valley”) in Aldude, Basque Country.

Mari Campistron invited me, artist and graphic designer Magali Brueder, to work on the theme of the mountain, using a collection of old postcards collected by a villager and based on thirteen interviews with sixteen people living in Lower Navarre and having a privileged relationship with the mountain: shepherds, hikers, trail runners, hunters, and smugglers. The book was printed in risography in the Basque Country in July 2022.

LL Catalogue is used throughout in a single weight.

Flecha in italic and roman styles on the book’s spine

Celestial Intelligences: Angelology, Cabala, and Gnosis: Giovanni Pico della Mirandola’s Quest for the Perennial Philosophy by Greg Kaminsky, is a book that explores the life and ideas of Italian Renaissance philosopher Giovanni Pico della Mirandola and his angelology in order to interpret the process of spiritual ascension that he prescribed in his Oration.

This publication was released in three different editions: a Standard Edition (shown here), a Collector’s Edition, and an Artisanal Edition with slipcase, all in limited copies.

Illustrations and typography by Joseph Uccello.

The imprint is set in Calluna and lists the typefaces used for typesetting the book. Marbach and Px Grotesk are not shown in the images included here.

The title page features an early use of Chassi (2021, here with red initial C), paired with Heldane.

The frontispiece chart uses LL Catalogue and Stanley Italic.

Chapter beginning with Flecha in Extralight and Italic. The main text is set in Calluna, the footnote in LL Catalogue.

A drop cap from Flecha

Printed publication that showcases voices and creative minds from the Arab world. I Came For Couscous presents itself as a human experience, where writers, photographers, filmmakers, designers, illustrators, and poets explore openness and diversity, and the beautiful contrasts of the MENA region.

This first issue was designed focusing on a graphic system that could accommodate and elevate contents from a variety of cultures and visual heritages. A high-end collectible, the act of balancing the full and colourful with the empty and white was key to develop the pace of the magazine.

Limbo magazine is making generous use of Schmale Egyptienne No. 12 FSL, subtly accompanied by LL Catalogue. The magazine logo is based on Fanfare. From the magazine’s website:

LIMBO Magazine is a not-for-profit venture to support unemployed artists and creatives. We’ve assembled a team of out-of-work editors, designers, writers, illustrators, and artists and asked them to reimagine what a magazine might look like for the state we’re in. Submissions from an incredible cast of contributors bring it to life. Our aim is to provide much-needed work, a positive outlet for creative energy, and—along the way—a time capsule of this strange moment.

The first issue of LIMBO Magazine captures the spirit of this uncertain moment with work from 100 contributors including Wolfgang Tillmans, Miranda July, Tyler Mitchell, Peaches, Collier Schorr, Ed Ruscha, Vivienne Westwood, Stephen Shore, and more. All profits go to the out-of-work artists and staff who created the magazine.

Publisher: Nick Chapin
Editor: Francesca Gavin
Creative Director: Dave Lane
Art Director: Lauren Barrett
Contributing Editor: Anne Bourgeois-Vignon

The first issue comes with four cover variants.