The website for Philippe Tourriol, designed by WA75, showcases the artist’s work in both Paris, France, and Marfa, Texas.

The artist’s name is set as concrete poetry in HEX Franklin, a typeface inspired by the iconic Franklin Gothic type family. Meanwhile, the main text is set in Standard, Bryce Wilner’s interpretation of Akzidenz-Grotesk. The third font at play is a custom version of C059 Roman, a version of Century Schoolbook by URW remixed by WA75.

The Department of Transformation, founded and directed by Prem Krishnamurthy, explores how art and design can be agents of transformation for individuals, communities, and institutions. Its website was designed and created by MENSCHMASCHINE Studio (Benedikt Rottstegge & Stella Friedenberger) and is set in Bryce Wilner’s version of Akzidenz Grotesk named Standard as well as HAL Timezone, published by HAL Typefaces.

From the website’s About page:

What tools are needed for individual, collective, and structural transformation? How can the idea of the artist become more porous and interdependent? Where can we gather together to change and grow?

Department of Transformation (D?T) is an artist-organized group that prototypes new formats for togetherness and mutual learning. Through workshops, events, publications, and consulting (+ karaoke!), D?T supports individuals, communities, and institutions in their own processes of change. D?T is transforming art & design in order to transform the world.

The Philadelphia-based Fitler Club’s 135,000 square-foot campus also functions as one of the city’s most forward-looking contemporary arts gallery spaces. To celebrate the Fitler Foundation’s two initial two-year artistic residency cohorts, Artists in Residence at Fitler Club 2019-2023 lets both the space and the work do the talking. Functioning as both commemoration and advertising, this piece communicates simultaneous messages of exclusivity and outreach. Big type is set in Miniature Display.

Table Talk emerged in the silent, isolated corners of a pandemic, when long conversations, the kind that blur daily schedules, were greatly missed. It attempts to fill these silent moments with stories that use a plate of food to weave personal histories with our understanding of the world.

Table Talk uses Frode Helland’s Viksjø for display, Optician Sans (a custom typeface by Fábio Martins for Norwegian design agency ANTI that was released open source) for subheads, and Bryce Wilner’s Standard for text.