This project was conceived as part of the temporary exhibition Grandeur Nature 2025, led by the Atelier de Didactique Visuelle at HEAR in Strasbourg. The in-situ installation measures 200cm × 100cm and is made of wood and Plexiglas.

I highlighted the former Geistel printing house through four archive photos redrawn in dotted lines. The installation, intended for local residents, combines testimonials and images to revive memories of the place. The drawings on Plexiglas are superimposed on the printing house, inviting a sensitive and participatory reinterpretation of history. Each panel explores a theme (family, lithography, workers), supported by typography that evokes a memory in motion.

Front Cover

commonSans (plus the yet unreleased commonSans Condensed) – both available from my notyourtypefoundry – are used in my design for the summer 2025 brochure of Dutch publisher Valiz alongside Iki Mono by Beatrice D'Agostino (released by CAST) and Seaweed Sans by Mother Type. From Valiz:

Inspired by what you've seen? You can (pre)order most of these titles now or soon in our online shop, or support your local independent bookstore and buy them there. We hope to see you all soon at book fairs, presentations and programs. In the meantime: we hope you'll continue to read and enjoy creative work by yourself or others. See you soon!

Browse the Valiz brochure online.

Rotated keywords printed along the edges of the brochure interior

Inner pages, close-up of keywords

Colophon

No More War is a retrospective of photographer Giles Duley’s work in EMERGENCY’s hospitals in Afghanistan and Iraq. From design studio +fortuna:

It is the personal account of a photographer who for decades documented and experienced the impact of war firsthand, to the point of being seriously injured by an explosive device. Kabul 2012, Mosul 2017 and Kabul 2021 recount Duley's journey through photographs and words from his diary, words written shortly before the Taliban took the city in 2021.

The exhibition project takes the visitor through an immersive journey, built from images, texts, audio, artwork and artistic contaminations, thanks to the contributions of Sibomana, Christina Balit, Emma Francis and Massive Attack. It presents itself as a means of information and reflection, becoming an important tool for understanding this universal story.
The design challenge was to find a way to let each story, each face, find its space, make its voice heard to ask in unison: no more war.

Magazine covers

The third printed issue of Outpump magazine was published five years after its inception as an online magazine. The print magazine counts issue 0 as its first issue. From designers Atto:

Outpump is a digital magazine born in 2016. It narrates the link between lifestyle and pop-culture, it tells about world of the sneakers, fashion, music and sport. It combines the power of the stories with a strong visual impact of the content.

The graphic design of this issue is coherent with the previous one: we combined a classic use of grids and typography and the desire to break the rules, the aim was to represent Outpump as its best.

We used pretty narrow margins and put some intentional mistakes. From Themerson's semantic poems we stole the constructions of the paragraphs and added a shining touch using the silver Pantone.

Magazine spines

The typographical cover of the book displays many faces in order to recall Bauhaus typography

A precise and previously unpublished archival research collects and reveals the biographical events of all the “girls” of the Bauhaus, the Bauhausmädels. Design historian Anty Pansera involves the reader by transporting them to the fascinating life inside the school where male and female students lived together with masters of the caliber of Gropius, Mies van der Rohe, Kandinskij, Klee, and free time was shared between parties, readings, political discussions, love stories, exhibitions, artistic performances, music (Bauhaus had its own orchestra), sports; in the background, of course, the tragic rise of Nazism which led to the closure of the academy, the prohibition of practicing for artists, and which forced many of the women (more than 14% were of Jewish origin) to flee and exile, when not to death in a concentration camp.

Published by Nomos Edizioni in Italian, the book shows unpublished archive photos of the school and collects in an extensive infographic some data relating to the Bauhausmädels, while on the back cover and in the flaps there is a visual representation of when our protagonists took part in the life of the school.

The infographic on the flap and inside cover

Chapter openings

Box and spine view

Founded in 1900, Nikken Sekkei is a world leader in architectural innovation, urban planning and technology. Instrumental in achieving the modernization of Japan itself, the company is both a national icon and a renowned international creator of architectural, engineering, and environmental landmarks.

This book, edited by Rosa Maria Falvo and published by Rizzoli International, is an elegant tribute to Nikken Sekkei’s remarkable achievements and contributions to world architecture over the last 120 years. A poetic, photographic journey features Nikken’s approach to timeless design: its integrated perspectives, meticulous craftsmanship, and quintessential Japanese traditions.

The book's layout is inspired by Japanese typographic traditions and clean spaces, featuring Futura – Nikken Sekkei's institutional font – and the monospaced Iki Mono in several weights.

Box and backcover detail

Double spread

Spread with index

Index detail

Francesca Occhionero wrote about her restyling of IL magazine:

When I was asked to redesign the logo for IL by IlSole24ore (the main Italian financial newspaper) and its whole graphic layout, there were two facts to take into account:

1. I used to be a reader of the magazine in my university years and I was a fan of Francesco Franchi’s infographic mania.
2. I built my career around fashion magazines, L’Uomo Vogue first and L’Officiel Hommes afterwards, so I was raised in the school of image supremacy.

IL magazine already possessed a glorious graphic history and I didn’t want to compete in the same field. My aim was to design an elegant package for beautiful visuals where the reader could find himself at ease month by month. I didn’t want anything cool, trendy or over designed but I wanted the pages to look light, easy to read and surrounded by white space to frame brilliant texts by prestigious writers. The goal was to create somewhat of a fashion almanac for gentlemen supported by engaging content. I also developed a cultural appendix with a bookish, relatively tridimensional treatment where illustrations by Requiescat – a talent I discovered on Instagram – characterize each section, all in black and white.

Therefore, my idea was to first streamline the logo itself which is why it is two very essential lines – both primitive and sleek simultaneously – with the option to get playful with the use of a vivid color palette. I additionally removed the under title “il maschile” as I don’t believe a magazine should have a gender, based on my personal experience as a buyer. For the first cover, I pushed a picture by South African photographer Kent Andreasen; he is a magician of analog and his reportages are so powerful and vibrant that they can make a page sing. I am finding myself to still be in love with magazines, despite all and despite the current times, as you can argue.

I was supported in the execution of the project by Flavia Lunardi of Sezione Grafica, who had already helped me on an Art Basel new business initiative a few months before. She can turn my dreams into typography, as I often say.

It’s always hard to give birth to a concept and then let it go, I have been the art director of L’Officiel Hommes Italia and Paris and I was taking care of literally every detail, even technical, until the moment we would launch the print. In this case, the editorial team has taken over and it’s quite a surprise to discover each time how they will utilize this tool and make it their own.

In Occhionero’s redesign, Brunel and Caslon Ionic (both available from Commercial Classics) are used throughout, from headlines and lead paragraphs to body text. Brunel was used in the optical sizes Brunel Poster, Brunel Hairline, and Brunel Text. Captions, page navigation, and other short text are set in New Rail Alphabet (A2 Type) and the recently released Iki Mono (CAST).

The Communication Design course at Politecnico di Milano – which includes a Bachelor’s Degree and a Master’s Degree Course – is aimed at training professional designers who work in the field of visual communication, graphics, multimedia, and online interaction. The brand new bilingual website explains which are the goals of the educational path and features a description of the curriculum, including projects by both the Bachelor’s and Master’s degree students as well as alumni testimonials.

The website is set in the upcoming Iki Mono (CAST Foundry) in one cut (Light), plus Helvetica.