A photographic and poetic guide to the Cotentin Peninsula in Normandy, France, built around rain and impressionism, where shifting weather transforms the landscape.

In 2023, Henie Onstad presented the second edition of  New Visions, the Henie Onstad Triennial for Photography and New Media. The triennial takes the pulse of experimental practices within contemporary photography and new media. The second edition of the triennial presented works that push the boundaries of photography and automated image-making, to examine acutely relevant issues such as resource extraction, energy distribution and data harvesting. ANTI have designed the exhibition and the accompanying catalog.

The title of the triennial refers to Hungarian artist and photographer László Moholy-Nagy’s text “A New Instrument of Vision” (1932), which greatly influenced the development of experimental photography in the 20th century. In the early decades of the last century, photography enabled new perceptions of an increasingly mechanized and industrialized world. Similarly, today’s artists use photography to explore the entanglements with machines and processes of automation and extraction. The identity signals dynamism, fluidity and changeability. The holographic cover reflects the nature of photography, by capturing the light and its surroundings.

The New Visions catalog was edited by Susanne Østby Sæther. It includes a foreword by Caroline Ugelstad, a curatorial statement by Inga Lāce, Reem Shadid, and Susanne Østby Sæther, and an essay by scholar Eglė Rindzevičiūtė, in addition to artist presentations. Publishing by Henie Onstad Kunstsenter and Mousse Publishing.

The text typefaces used in the catalog include Helvetica (or similar) and Freight Text, with some words in PicNic.

Chill Chai is a unique herbal tea created in collaboration between the Electrum Up To Date Festival, the Podlasie-based brand Dworzysk, and designer Grzegorz Sołowiński. This special blend is part of a broader initiative by the Don’t Worry Be Yourself Foundation to promote relaxation and self-care. With its soothing ingredients and vibrant pink hue, Chill Chai encourages you to slow down, take a moment for yourself, and enjoy the calm we all need.

Suped Up is the new power-pop project of Brian Dove and Noah Bowman. The band released two singles, “Crosswords” and “No Ghost No Problem” ahead of the release of their debut self-titled album (out April 25, 2025 via Hilltop Recordings).

As one half of said duo, I got to take the lead on creating assets for the new album, which was a great excuse to use some of my favorite fonts (and one of my own)!

The album artwork and cassette packaging uses PicNic for the band name and track listing, with Gayot New Thin for accents and the wider side of Obviously’s variable font for smaller typesetting.

On the album release show poster, Megazoid makes an appearance and Obviously’s variable axes get put to further use.

The lyric video for the single “No Ghost No Problem” also features PicNic, Gayot New, and Obviously.

Album artwork for Suped Up’s self-titled LP

Album release show poster

Cassette tape

Cassette Jcard front and interior

Still from the lyric video for “No Ghost No Problem”, featuring Gayot New

Still from the lyric video for “No Ghost No Problem”, featuring Obviously

Melville Brand Design, Metapaper, and Slanted presented the Munich Print Festival, a creative festival celebrating paper and print that took place on 17 July 2024 at ZIRKA, described as follows:

Take a look behind the scenes at some of Europe’s leading Riso studios and find out more about Munich's leading printing houses. Additionally, Metapaper, Europe's first e-commerce platform for paper, will showcase its latest products.

The poster is set in Pimpit by Benoît Bodhuin and PicNic by Mariel Nils. Additional design and Risograph printing by Markus Lange.

The festival presented Risograph studios Drucken 3000 (Berlin), Herr und Frau Rio (Munich), La Martiennerie (Paris), and The Happy Club (Munich).

Paralaxe Editions presents Naemi and Dania, September 9, 2024

Located in Berlin-Wedding, silent green Kulturquartier is an event venue and independent project housed in the historic premises of a former crematorium. Form und Konzept is a direct neighbor and responsible for much of their visual communication. For the posters advertising concerts in September 2024, the design studio of Beata Niedhart and Oliver Spieker worked with PicNic.

The inclined serif with its characteristic wobbly contours was designed by Mariel Nils and jointly released by NoFoundry and Velvetyne in 2022 under the CUTE license. PicNic comes with a built-in bouncing baseline which can be intensified by activating the ligatures. In some of the posters, Form und Konzept further cranked up the bounciness by manually shifting the baseline for selected glyphs.

The organic letterforms are interlaced with such from the more conventional Myriad and Pragmatica. The latter – a variant of Helvetica with shorter descenders – is part of silent green’s house style.

Salenta De Badisdenne, Topu Lyo, and Andrew Pekler, September 11, 2024

Bex Burch & Laurel Pardue, Teresa Allgaier, September 13, 2024

Brìghde Chaimbeul, Dylan Kerr, September 24, 2024

Since it was founded in 2019, La Maison has come to be considered an institution when it comes to modern, French baked goods in Berlin. In 2023, Yil & Mann rebranded La Maison, moving away from a more traditional typographic approach to a look more suitable for the modern classic La Maison had become.

The new logo was designed featuring Relais by Alexander Rütten and Olivia Wood from Ligature Type.

“Using Relais leads to more generous proportions than the previous word mark, enabling the logo to be used more flexibly in different applications without losing its characteristics and visual strength. Relais belongs to the specific classicist Antiqua family called Didone, which was mainly developed in France and became known worldwide. The emphasis on vertical lines and the high contrast gives it a as strong, calm and elegant look”, say the designers.

In addition to the café, there is also the Boutique de La Maison, a store in the immediate vicinity of the bakery .To create a specific logo for this boutique, Relais was paired with an adapted version of the organic, illustrative PicNic by Mariel Nils. The quirky, handcrafted character of the lettering creates a charming contrast to Relais elegant and clear style.

Schick Toikka’s typeface Dia is used throughout all media as a text typeface, offering good legibility with a subtly warm and practical appeal.

The two logos are used on the shop windows, website, business cards, letterhead, poster, packaging und social media.

Window of the shop on Urbanstraße, Berlin

Branded packaging

Employee in a La Maison T-shirt

Invitation to the opening party

The La Maison menu

La Maison Website

Aún te Quiero (“I Still Love You”) is a fanzine that explores the destruction of objects and the disassembly of memories with objects in maximalist contexts. The magazine reflects on and accompanies four people on their way to destroy special objects for them.

Nugget-sized N set in NaN Spaceland Bold (designed by Jack Llewellyn and released by NaN) at 308 pt on a Neptune Horizon background

FIBER FONTS A–Z is a personal project that focuses on intentionality, materiality, and typography. It was unveiled during the popular Instagram challenge, 36 Days of Type (2024).

The project illustrates the alphabet through 26 handmade punch needle rugs – each adhering to the rule that its chosen adjective, typeface, and yarn color all start with the letter depicted on it. To highlight the gender imbalance within typography, I challenged myself to select typefaces purposefully and to seek out those designed by female typographers. In total, 16 female designers and 16 male designers created the 26 typefaces featured in this alphabet.

To help amplify female voices in type, check out my research (Google Docs).
View the rest of the alphabet!

O set in Orkyd (designed and released by Anna Sing) at 1,205 pt Outlined in Off White on an Orchid background

P set in PicNic (designed by Mariel Nils and co-released by Velvetyne and NoFoundry) at 880 pt on a PNG Pale Gray and Paper White background

Quoted Q set in Quarantype Hopscotch (designed by Cosimo Lorenzo Pancini and released by Zetafonts) at 670 pt on a Quiet Time background

R set in Ready Active Light (designed by Lucas Descroix and Benjamin Dumond) at 1,655 pt on a Royal background with Round corners

Subtly-Striped S set in Sabre Black (designed by Gareth Hague and released via his Alias foundry) at 1,665 pt on a Sunset background

Turned-over T set in TT Geekette Muscles (designed by Viktoria Usmanova and available from TypeTrends) at 1,213 pt on a Tobacco background

From Kaaitheater:

After two seasons in Brussels, Kaaitheater continues the rich collaboration with VUB’s [Vrije Universiteit Brussel’s] Crosstalks around the series of lectures, debates and workshops under the name More-than-human Encounters. For this third edition, we join forces with international partners from both the arts and academia and in kinship with our more-than-human relatives.

The Series of More-than-human Encounters elaborates on different ways of being and different ways of knowledge, on what can be known and what will never be knowable. With the forest, the mountains, and the deep sea as our thinking companions, you are invited to come and discover what lies behind the horizon of human knowledge.

→ In collaboration with KVS (Brussel), Framer Framed (Amsterdam), La Casa Encendida & Artea (Madrid) and Rosendal Teater & The environmental humanities research group at NTNU (Trondheim)

Pauline Sesniac was invited to illustrate this series of events, which was also accompanying the exhibition Charging Myths in the Framer Framed, Amsterdam, through 3D compositions and visual landscapes. The fonts she used are PicNic for “more than”, New Spirit Condensed for “human”, and Apple Garamond Italic for “encounters #3”. The choice of PicNic was inspired by the organic shapes of the elements.

Album cover

Mr. Wildflower is the debut album from Canadian musician and visual artist Mac MacLaren, announced on December 1, 2023, and released independently on March 1, 2024.

The album design is by Mac MacLaren, with photography by Tyler Gardiner. The album art prominently features text set in Raphaël Bastide and Jérémy Landes’ Fungal in various growth-affected styles. Fungal, based on Bistream DejaVu, was a challenge given to Landes from Bastide to "make a typeface rot and ferment" (Studio Triple). This rotting growth affect was used in the album's artwork to symbolize memory loss by demonstrating a progressively worsening text legibility as the album's written story progresses. This is featured most noticeably on the back of the Wildflower Gazette vinyl insert, where the story becomes nearly illegible mirroring the titular character's decent into a dementia-fueled haze.

Several fonts from the last century and older make an appearance in the Wildflower Gazette vinyl insert in an homage to dense information-packed periodicals of these older periods. These various typefaces are mostly digitizations by Dick Pape based on the originals, including Via Face Don (circa 1977) by Hans Donner and Sylvia Trenker, Frankfurter (1970) by Bob Newman and its copy Rock Opera (circa 1974), Tuscan Italian (1853) by Jordan Davies, Futura Licht (1931) by Paul Renner and Pluto issued by Face Photosetting in 1969. Picnic by Mariel·le Nils and Adelphe by Eugénie Bidaut are also featured.

I created a hand-cut linocut design with a W initial based on Arnold Böcklin for the second vinyl insert and album promotional poster. I transferred the letter to the block directly from my scan of the typeface which inadvertently mirrored the letter, and luckily since its only a W it’s not a noticeable mistake!

Back cover

Spine

Record labels

Insert featuring Picnic and drop caps set in Via Face Don

Insert featuring Frankfurter and Rock Opera

Insert featuring MAiD “advert” set in Via Face Don, with additional text in Tuscan Italian, Futura Licht and Adelphe

Insert featuring Pluto, and Fungal with increasing growth levels

Linocut print featuring hand-cut lettering based on Arnold Böcklin

We feel a constant and rising sense of invasion: parasites, notifications, drugs, bodies, catastrophes, aliens. But the line between who invades and who is invaded can be more blurred than we usually think, heavily depending on perspectives.

INTRUSO Magazine challenges readers to step out of their comfort zone and break free from their confining filter bubbles. The magazine gathers investigations, opinions and interviews about topical and divisive issues, to question pre-established boundaries and power dynamics, encouraging dialogue and fostering a deeper appreciation of differing viewpoints.

Each issue of the magazine won’t be limited to a single topic, instead it will be a collection of opinions and essays around every kind of invasion we experience everyday. Issue 1 sets the tone of the magazine proposing many articles about science and nature, but also lighthearted contents like “how to choose the best sex toy?” or “why the heck kids are birthdays becoming so expensive?”

The logo is set in Airaz by Javier Unknos. Continuous text and headlines are set in Suisse Int’l by Swiss Typefaces. Inserts are set in Messina Modern by Luzi Type. Navigation, footnotes, credits and tags are set in Suisse Int’l Mono. The article “Opening up to parasites” additionally uses PicNic by Mariel Nils, and “A body inside a body: Maternidad” adds CirrusCumulus by Clara Sambot.

This issue counts 96 pages and measures 23.5×33.5 cm. Printed on Cyclus Offset 90g/m² paper. It was made as a student project at Elisava, Barcelona, in 2023.

Forge / Dernier Train Pour Stahlheim is a split album by Hochiwah and Cimetière de l’Est, released as compact cassette by AB Records.

The design is quite minimal, featuring a drawing by Roxane Métayer and the title and the tracklist set in PicNic. The design of the typefaces is in the same style as the drawing, with a fluid aspect and round shaped.

PicNic is a design by Mariel·le Nils who is based in Brussels, just like Métayer. Nils previously studied in Lyon, which is close to Saint-Germain-Laval and Saint-Étienne where AB Records is based.

[More info on Discogs]

Comédias do Minho is a distinctive territorial initiative that originated in 2003 through the joint efforts of five municipalities in northern Portugal, with the aim to bring theater to small villages.

The guiding principles for structuring the annual program for 2023 and the working methodology were centered around the concepts of desire, emergency, and joy. Emergency, in terms of urgency and immersion, lies at the core of the program’s thematic focus. The entire program draws inspiration from Almada Negreiros’ profound words, “Joy is the most serious thing in life.” As articulated by Magda Henriques in her editorial, “We create alternative images that defy the imagery of catastrophe because ‘This world is pregnant with other worlds that only need our enthusiasm to be born,’ as Eduardo Galeano once poignantly expressed.”

The program is divided horizontally into two distinct parts. The lower third is dedicated to the Alto Minho territory, showcasing the people, places, practices, beliefs, and daily life of the region, with a particular emphasis on its deep-rooted local culture. The upper part of the program focuses on the creative outputs, innovations, actions, and cultural movements that emerge from this rich cultural backdrop.ith these inquiries in mind, I made the deliberate choice to manipulate the chromatic range and disrupt the conventional order in which colors typically appear in printed images. The traditional CMYK color model was replaced with four direct colors, resulting in fresh, quasi-psychedelic interpretations of the Minho territory. Furthermore, I sought to discover new and unexpected encounters through techniques such as overprinting, experimentation, and improvisation with these four colors. The typographic treatment in this program embraces a celebration amidst chaos, expressing the heterogeneous nature of each event and experience.

Texts were created using various typefaces, including Typefesse by Océane Juvin, Söhne (with Söhne Schmal and Söhne Mono) by Klim Type Foundry, Minion by Adobe, and PicNic by Mariel Nils. In addition, there is Megazoid by David Jonathan Ross, OffBit by Power Type, and Anthony by Sun Young Oh. Not shown in the included images are Junicode, Pilowlava by Anton Moglia & Jérémy Landes, FT88, FT88 Gothique and FT88 School by Oriane Charvieux (& Mandy Elbé), as well as ABC Synt Turbo, ABC Diatype, and ABC Gravity by Dinamo.

Read and see more on my website.

Packaging

AMA is a Brazilian soap brand, producing soap and shampoo bars for children.

When crafting the logo, we picked PicNic, a typeface that conveys an organic character, while invoking the whimsical and captivating world of children. Every curve and contour was thoughtfully fashioned to embody this essence, establishing an instantaneous visual rapport with our intended audience.

The world flames like a discokugel is a play written by Thomas Köck and Mateja Meded, and directed by Jacob Höhne. It will premiere on December 16, 2022, at Berlin’s RambaZamba Theater, in cooperation with Theater des Anthropozän and AnthropoScenes. The play is set on –

a planet Earth that aliens take possession of after humans have died out due to drought and water pollution. Even the Styx, the river of the dead, and its tributaries Kokytos and Lethe have dried up. The souls of the deceased can no longer cross over into the realm of the dead and accumulate in the form of spirits hoping for a cleansing flood.

The poster was designed by Stahl R, who are responsible for all of RambaZamba’s visual communication. For the title, they used PicNic. Drawn by Mariel Nils, PicNic was co-released by Velvetyne and NoFoundry in January 2022. Despite being out in the world only for a few months, it is already represented with seven examples on Fonts In Use. This may have to do with the fact that it comes for free, under the SIL Open Font License, but the nonchalant design also seems to have hit the zeitgeist. Velvetyne describes it as follows:

The shapes are inspired by the trajectory of a drop of water on an oilcloth, the shadows of the tree leaves on the fabric lying in the grass, the precise path that the ant takes to the watermelon. They attempt to translate the sensory experience of a picnic among friends.
This typeface will suit for all wild, poetic and bucolic explorers for their most adventurous excursions.

On this loud poster, the letters start to dance – not on a volcano, but under the titular mirror ball, a flaming world. They’re sizzling, blistering and deforming in the heat.

Design by Stahl R using photos by Phillip Zwanzig and Wolfgang Hasselmann

Most things that are commonly described with good, beautiful and touching are not formally perfect. The book studies the topics of photography, painting, architecture, sound and (a personal one) stutter to develop a book layout concept based on imperfection. In the book, those imperfections are referred to as Rauschen (grain). The layout shall not only inform the viewer/reader but rather move them, too.

The authors own imperfection – a stutter – motivated him to explore this topic. After many years of therapy the question comes up if “perfect speech” should be the goal or if there is more potential in not striving for perfection but for authenticity.

Each chapter describes a different topic and specific imperfections which are visually translated into the layout. Bastardo Grotesk as well as GT Alpina and Covik Sans Mono have imperfect, grainy aspects in their visual appearance that fit well for the overall idea of the book. The fonts of the intertitles vary for each chapter based on the characteristics of the topics imperfection.

Das Rauschen der Dinge (The Grain of Things) was made as a bachelor project in the Mediendesign program at DHBW Ravensburg.

Bologna’s No Glucose Festival crew went wild for this year’s Halloween freakout.

PicNic – from the always surprising Velvetyne foundry – is the primary type picked for its peculiar drop-like silhouette, which combines greatly here with the winding course of the fingers in the pencil illustration.

Timeless bold Goudy Oldstyle adds consistency and highlights the musical program: two live shows by Spain’s Semiotics Department of Heteronyms (SDH) and UK-based M!R!M.

Flyer artwork for a club night by Fucket Freakkvens, an Oslo-based rave collective, at Hausmania Kulturhus.

What better way to spread a message than to wear it? We designed a T-shirt about a vision on how to help fighting for cleaner air. Available from Everpress, with text set in PicNic and Suisse Int’l.