Mochi (by Typeverything) is used on the packaging for Plant Based Planet as part of the brand identity by Studio Spoke. The typeface’s soft, rounded forms support an approachable tone aligned with the brand’s focus on small, everyday shifts toward plant-based living. The sans used for secondary information is Neue Haas Grotesk or similar. On the website, it’s substituted by Work Sans.

What was design? is a quick starter to one of modernity’s most contested terms. In its brief but meteoric career, “design” was subject to vast controversy. Celebrated as an engine of change, denounced as a driving force of commercialization, and regularly lamented as overused, design remains a concept whose true meaning is still being sought. While answers to the question “What is design?” are constantly shifting, the time has come for a retrospective. This book looks back, presenting a century of design thinking in its most compact form: a collection of bold quotes.

What was design? pits seventy-eight historical one-sentence answers from practitioners, theorists, and philosophers against one another. The result is a web of radical short-form definitions that remain strikingly contradictory in their references. This selection is accompanied by an essay from Florian Walzel, exploring the deeper reasons behind the conceptual ambiguity of design.

Published by Slanted Publishers, edited by Florian Walzel with editorial advice from Jurek Werth. The book, measuring 12×19 cm and counting 152 pages, was designed by Paul Jürgens, using Roumald and Neue Haas Grotesk. Hardcover with round spine, thread-stitching, offset printed with spot colors. ISBN: 978-3-69202-005-1

OT Jubilee and Neue Haas Grotesk are the typefaces used by Elias for the identity of DARC. The logo uses all-caps Cirka. From the studio’s case study (translated):

Darc is a next-generation agency that combines influencer marketing with video production. The agency excels in both areas. It identifies the right influencers, designs campaigns, and then produces high-quality content. This dual expertise ensures creative consistency and exceptional execution. Darc doesn’t outsource anything—it controls the entire value chain. […]

Darc takes its name from Joan of Arc—a symbol of bravery, authenticity, and purpose. The quest for the right images, the quest to elevate French heritage, the quest for growth. We built the brand around these values: authenticity versus artifice, creative courage versus timidity, elegance versus visual clutter. The quiet heroism of one who knows where she is going. A positioning that avoids the industry’s pitfalls—superficial coolness, forced youthfulness—to assert substance and ambition.

Poster for the feature documentary Observer directed by Ian Cheney, anchored by the typeface Herbus.

In 2025, Julien Gosselin took charge of the prestigious Parisian Odéon Théâtre de l’Europe, previously known as Théâtre de l’Odéon. Atelier Choque Le Goff was commissioned to design a new visual identity for the theater. Playing with words, they used big type and expressive layouts, mixing letters and illustrations by Martin Groch on colorful backgrounds. The cast for the new identity is as follows: Insitu, Exposure, and Neue Haas Grotesk.

Aldiviva is the typeface used for the name of Sassy009.World, the website of Oslo-based musician Sunniva Lingård a.k.a. Sassy 009. Additional fonts that appear on the homepage include Eurostile for “Sassy Chat”, Druk Wide for “Blue Racecar”, and Carlista Buttery for “Here Comes The Weekend”. “Heart Ego” combines stretched Helvetica Inserat or similar with Signerica, and “Mystery Boy” remains mysterious for now. Text and UI elements use Neue Haas Grotesk and TWK Everett Mono.

This book tells the story of Bizet Bizar, an activation of a former car park in Brussels, Belgium, between 2022 and 2024. As part of the Bizet Sustainable Neighbourhood Contract, Dear Pigs, Werkplaats Walter, and MUS-E were appointed to breathe new life into the site pending a new urban development.

From three perspectives – urban nature, art, and community – various processes emerged that make the site what it is today. Project partners, residents and neighbourhood organizations found each other in unexpected collaborations; new networks took shape. At the same time, the process raised many questions: When will the garden finally be ready? When will the gate be open?

In this book, we outline the development of Bizet Bizar through an alphabet of words and images. Each word opens a window onto the rich archive of the place. The abécédaire inspired six authors – Sonia Dermience, Gideon Boie, Pascal Gielen, Eleonora Campenella, Edith Wouters and Jolien Naeyaert – to reflect on the project. The ‘alphabet primer’ and essays interlock and engage in dialogue with each other. They can be read in any order: an exercise in open-endedness that invites us to reflect on and fantasize about how we can shape our social environment.

Bizet Bizar continues to produce and collect stories. This book is therefore neither the conclusion of two years of action, nor a classic project documentation, but rather a look at future actions in the urban space.

With this publication, Dear pigs takes up a position within the architectural and urban planning discourse that advocates the importance of experimental development models and practices of permanent temporariness. Not to offer solutions, but to create space for questions, for cross-pollination, for the unfinished. We hope that readers will be challenged to celebrate unexpected twists, chance encounters and open endings as ingredients of an inclusive city.

The typefaces used are Exposure by 205TF and Neue Haas Grotesk by Christian Schwartz.

Main text is set in Exposure, a typeface that balances an intentionally unfinished character with full legibility. Secondary content is set at a slightly smaller point size in Neue Haas Grotesk.

Graphic design by Els+Onno. Concept and composition by Dear pigs, (Martha Meijer, Jasmien De Ryck, Jan Laute and Lode Vranken). Photography by Sarah Michielsen and others.

Asfalt Billboard Coiffeur. Notes on Bizet Bizar is available from Public Space.

La Pierrot is a drag performance evening at the crossroads of cabaret, clowning, and melancholy, taking place on December 4, 2025, at Le Grand Huit in Rennes. Conceived by Bleu Déclin, the event also brings together Fragile de France and Anne-Marie Kondom for three performance sets with distinctive aesthetics, exploring extravagant, sensitive, and hybrid figures.

Envisioned as a suspended moment, La Pierrot draws on the imagery of contemporary cabaret and the sad clown, blending humor, poetry, and vulnerability. The scenography and characters are part of a strong visual exploration, in which costume, makeup, and the body become graphic mediums in their own right.

The evening is part of the Fulmine creators’ market.

Crystal Eyes Stalk at Midnight album cover

Album and promo art for Sean Wolcott’s 12th album, Crystal Eyes Stalk at Midnight. Macbeth is used as the primary display typeface, along with Harry supporting. Futura can be seen in the Clockwork Records logo, and Eurostile was used for the BGM logo along with the catalogue number.

For the promo posters, a variety of fonts were used including Nuevo Passion (a 2013 digitization of Mecanorma’s Contest), Cooper Black, and ITC Serif Gothic. Akzidenz-Grotesk Condensed is used for body copy throughout the cover and promo posters.

Crystal Eyes Stalk at Midnight vinyl with obi

Crystal Eyes Stalk at Midnight promo poster #1

Crystal Eyes Stalk at Midnight promo poster #2

Crystal Eyes Stalk at Midnight promo poster #3

Crystal Eyes Stalk at Midnight promo poster #4

La collection Radu George is a book showcasing works from the Radu George collection, designed by me, Gwennina Moigne. The layout highlights the generosity and diversity of the pieces included in the collection. Particular attention is given to color, which punctuates the different sections of the book and reflects the visual richness of the artworks. The book was designed using Solæ (cover, chapter titles, titles of works), Min Sans (cover, chapter titles), Exposure​​​​​​​ (quotes) and Neue Haas Grotesk (texts and captions).

Exclam is a French-language comedy festival in Montreal, Canada.

Flexible by Art Grootfontein was used for the logo and all festival communications. It’s supported by Neue Haas Grotesk Display. The festival's visual identity was created by Bitesize, a Montreal-based agency.

This lunar calendar for 2026 was Risograph printed using four colors (black, fluorescent pink, aqua blue, and yellow) on 90g/m² Polen Bold paper, DIN A3 size.

All lunar phases of 2026 are indicated in the calendar poster using a color-gradation scale: pure fluorescent pink marks the full moons, yellow for the waxing/waning moons, and blue for the new moons. The transition between phases is illustrated through the overlay of the base tones at varying tints, creating a tonal scale that repeats itself across the lunar cycles of the year. In this way the poster also doubles as a risograph color-blending guide. Over the moon icons, a layer of text was printed in black ink using Neue Haas Grotesk.

As a Risograph print, the colors of the calendar are separately printed with soy or rice-based inks that are applied through a stencil (master) made from banana-leaf fiber or hemp fiber. The result is a print with strongly vibrant colors, with unique texture and imperfections.

In 2024, as Portugal commemorates the 50th anniversary of its liberation from dictatorship, MAM (Maia Architecture Month) turns its gaze to the idea of freedom. Under the central question, “What is a freedom space?”, the exhibition brings together 50 architects, thinkers, and visual artists to explore the complex, often elusive nature of this concept.

The catalog was designed by Pedro Meireis with Nilza Lello, using Haber by Benoît Bodhuin and Neue Haas Grotesk by Christian Schwartz. The exhibition was curated by Ana Resende and Nuno Melo Sousa.

In Un material para imaginar, architect and researcher Oriol París Viviana traces five decades of Escofet 1886’s contribution to the industrialization of architectural facades. The book revisits the company’s most influential projects to show how concrete has evolved from a structural component into a medium of expressive and technical possibility.

The publication gains much of its character from the visual direction by me, Meritxell Casamira (Casamira), with a design approach that reinforces the book’s central theme. Drawing on the austere vocabulary of brutalism, I’ve build a graphic environment that mirrors the material it examines. The layout embraces weight, texture, and clarity, turning each spread into a distilled reflection of concrete’s physical presence.

The design avoids ornamentation in favor of precision. Photographs, drawings, and text are orchestrated with deliberate restraint, creating a rhythm that guides readers through Escofet’s legacy without overshadowing it. The result is a publication that reads as both a historical document and an interpretive object – one that allows the material’s quiet force to emerge through structure, scale, and visual balance.

Through this lens, the book becomes more than an academic tribute. It stands as an example of how editorial design can translate architectural thinking into a tactile reading experience, giving concrete not just a narrative, but a voice.

Sixty years supporting good design: ADG-FAD, 1961–2021.

Paying tribute to Samuel Beckett’s “Fail, fail again, fail better”, this poster was created for the commemorative exhibition marking the 60th anniversary of ADG-FAD at the Design Museum of Barcelona. ADG-FAD (Asociación de Diseño Gráfico y Comunicación Visual) is the association for graphic design and visual communication within the FAD.

The title is set in Neue Haas Grotesk Display by Commercial Type (featuring a rotated and mirrored G). The small text at the bottom is set in Neue Haas Unica by Monotype.

These posters, T-shirts, and bags are all part of the identity designed by André Cruz for Turno da Noite (“Night Shift”), a conference on night culture and its economy held at Porto’s Maus Habitos in July 2025. The text is set in Tokyto by Benoît Bodhuin, paired with what appears to be Neue Haas Grotesk.

Exhibition communication for Das Schatzbuch von St. Emmeram at the Bayerisches Nationalmuseum. The show explores how precious objects from churches and monasteries were once meticulously illustrated in richly decorated books – turning devotion into art.

From poster to invitation and exhibition graphics – the visual language reflects the exhibition’s theme: sacred treasures and baroque splendour, reinterpreted through a contemporary lens. Minimal layout, clear typography, and a rich colour palette balance clarity and ornament, past and present. A project that bridges clarity and opulence, past and present.

The monograph Seçkin Pirim 2000–2024 offers a comprehensive selection of Seçkin Pirim’s œuvre from the early 2000s to the present, tracing the evolution of his practice from the beginning of his career to today.

Each editioned copy of the publication features a unique cover designed and executed by Pirim himself as an original extension of his artistic practice. Structured around a chronological examination of Pirim’s œuvre in three periods, the book does not treat these phases as isolated or independent stages, but rather as a continuum of constant evolution shaped by the artist’s ongoing inquiries and explorations into the art of sculpture.

Enriched by curator Tommaso Tovaglieri’s analysis of the transformations in Pirim’s work and art historian Ebru Nalan Sülün’s essay situating the artist’s production within the history of sculpture in Turkey, the book also features Pirim’s personal reflections on each period as well as selected excerpts from previously published texts on his work. Edited by Erdem İlgi Akter, published as a bilingual edition in Turkish and English, the book stands out as a collector’s item.

MUAS is a boutique ceramic atelier (and also a cafe), with products present worldwide, known for beautiful, yet bold and out-of-the-ordinary creations.

Japanese minimalism provided the foundation, aligning with the owners’ cultural inspiration while establishing luxury associations. Generous white space and editorial layouts created breathing room around products, transforming presentation from catalog merchandising to gallery curation. The simplified palette used warm greys inspired by clay tones, providing subtle backgrounds that enhanced rather than overshadowed the rich product glazes. Typography reinforced premium positioning through deliberate scale – small, spread-out text in English and Japanese added sophisticated detail without competing with photography. The organic, rounded logo softened stark minimalism while referencing clay forms. Despite simplification, the MUAS letterforms retained distinctiveness, demonstrating the thoughtful reduction characteristic of luxury design. This visual strategy positioned MUAS as a ceramics gallery rather than retail shop, fundamentally shifting customer expectations and justifying premium pricing. The identity successfully communicated that MUAS products exist at the intersection of craft, design, and art – transforming purchases from functional decisions to cultural investments.

Throughout printed matter, Neue Haas Grotesk is paired with snippets of Japanese text set in M PLUS 1p; on the bilingual website, text is rendered in Inter.

dailydeep is a self-reflection project disguised as a journal. It compiles 365 questions to deepen your relationship with yourself – on 365 individually designed pages. The journal creates a frame for self-discovery – leaving space to grow into. Every blank becomes a personal trace, turning each copy into a unique reflection of its user.