Le casier is a short film directed by Hugo Chetelat for the Nikon Film Festival 2026, an annual competition where filmmakers are invited to create short films with a maximum duration of two minutes, based on a specific theme. The theme of the 2026 edition was Beauty.

The film follows Jean, who is in a swimming pool locker room with his club. Ashamed of his body, he withdraws and hides himself. Will this feeling of shame fade over time?

Le casier is available to watch, and voting is open until March 26! :)

I designed four posters for it, using Swiss 721 and Instrument Serif.

Melbourne-based branding and marketing agency Studio Perspective created a holistic strategy and brand identity for Loam House: “Offering 89 architecturally designed, home-sized apartments amongst a sanctuary of established landscaping, Loam House’s architecture pays homage to natural layers of rock that form over time”.

The identity is using Solare (Nikolas Type) paired with Swiss 721 (Bitstream).

“Parole… parole” (“Words… words”), 2009, drawing and computer graphics, 50×70cm. This poster was selected in the international competition “Good 50×70” on the theme of the nuclear emergency.

Swiss 721 was used by French graphic designer Paul Faure in the communication design for the 10th edition of the Museumnacht Gent (Ghent Museum Night) in 2016, including posters, leaflets, press banners and billboards.

To celebrate the 10th edition of the event, the ten partner museums of the night are honored in a playful collage of their logos.

The cover and spine displaying a modified Zaft² in combination with Cardone

A24's recent publication designed by Studio Elana Schlenker and Jordi Ng. A 574-page hyper-local travel guide book to the most far-out state in America. The book features a puffy cover with blocky, eccentric display typography reminiscent of classic Florida postcards (a modified version of WT Zaft² published by WiseType and designed by Jacob Wise and Céline Hurka). The rest of the book features a range of typefaces including Fátima Lázaro’s Cardone (205TF), Swiss 721 (Bitstream), and Hammer (Out of the Dark).

The colour palette revolves around a “Florida Pink” swatch, a shade of pink that was pulled from the wildlife and architecture of the state. Each chapter of the book corresponds to a different geographical part of the state and begins with a fold-out illustrated map of the locations and landmarks in that chapter. Folios on the side of each page provide strong wayfinding and a sense of location throughout the book.

Edited by Gabrielle Calise and illustrated by Gabriel Alcala, with an introduction by Tyler Gillespie.

Published by A24 Books, 2022
547 pp.
6.5 × 8.5 in.
Puff cover with embossed detailing
Gatefold chapter maps

A close up of the embossed puff-cover showing Gabriele Alcala's illustrations integrated with the Zaft² font.

Ch. Demel’s Söhne is a K.u.K. Hofzuckerbäckerei (royally appointed patisserie) in the heart of Vienna. A cultural and culinary institution, the traditional coffee house has been tempting locals and travellers alike since being founded in 1786.

As part of a wider initiative to rebrand, a limited edition range of Christmas products were created for Demel’s 2021 holiday season. They were inspired by Viennese architecture and combined bold modernity with notes of old-world charm.

All products were photographed (by Medium Large Studio) as part of a hyper-stylised seasonal campaign, featuring many traditional baking utensils, as well as other objects, found throughout the historic Demel building.

Find more information and images on my portfolio website.

AC Visual by Jan Novák paired with Rhymes by Jakub Samek and Bitstream’s Swiss 721 for the November/December issue of frieze Magazine (No. 231). From frieze’s website:

‘What if artists were in control of the funding and distributing the money that powers are?’ – Bhavik Singh

In the November/December issue of frieze, senior editor Terence B. Trouillot convenes a roundtable discussion with artists and writers on decentralized autonomous organizations (DAOs). Skye Arundhati Thomas profiles artist Danielle Brathwaite-Shirley, whose games, installations and videos centre around Black Trans experience⁠.

Redesign of contemporary art and culture magazine frieze by creative director David Lane and design director Lorenz Klingebiel, with Andrew Durbin as editor. At the core of the redesign sits Rhymes, by Jakub Samek, distributed exclusively by Maxitype. Jakub drew a bespoke compressed display version: Rhymes Compressed, exclusively used in the front section of frieze. It is complemented by Swiss 721, a 20th century sans-serif classic.

frieze magazine gets published eight times a year with offices in London, Berlin and New York.

The cover shows photos by Barbara Norfleet, Oscar Palacio, and Sim Chi Yin.

Devour the land, edited by Makeda Best and published by Harvard Art Museums, traces the impacts of militarism on the American landscape, through the lens of art, environmental studies, and politics. Distributed by Yale University Press.

Headlines are set in Windsor [edit: it’s New Spirit, see comments]; body copy is set in a mix of NN Colroy and an unidentified sans (Helvetica?) [edit: it’s Swiss 721, see comments], and ABC Favorit Mono is used for navigational elements, captions and other small text.

The back cover photos are by Dorothy Marder, Richard Misrach, Eli Reed

Inside of unfolded invitation, 10″×14″

For The Paris Review’s 2019 Spring Revel benefit invitation design, Topos Graphics conveyed a broad range of book design with 18 carefully-selected bookish typefaces. Topos provided this explanation by email:

We designed a book shelf environment for text elements to be placed, composing texts as if they were individual titles. Different volumes of content got different character treatments. This functioned to compartmentalize the invitation’s hierarchy of info, but it also allowed us to approach each individual element anew. Like a personal library, the result takes on a character of its own. Tinged with old- and new-era sensibilities, we felt the selections—and the suite's ​ color palette—connected to The Paris Review’s 1960s advent and a contemporary moment—both in literature and typography. Book collections, like font collections, showcase a rich diversity of history, form and taste.

The invitation unfolded to a 10″×14″ posterette, with the front and back sides designed as a kind of A-Side, B-Side of a wooden bookshelf. The shelf cubbies gave us spaces—a semblance of a grid—to place information within. And that grid functioned through the event’s other collateral, like its printed program.

The annual event’s title “REVEL” is spelled out of book spines and a clever crop of Schmalfette Grotesk’s R. Strategic moves in hierarchy, with color, scale, and type orientation, create an engagingly graphic reading of a large amount of text. The books are energetically stacked, with the bookshelf bolstering as a grid to group and separate information.

Additional typefaces reflect different eras and aesthetics of book design: elegantly readable Garamond Premier, Paperback, and Study; mid-century classics like ITC Franklin Gothic and Lydian; genre-novel signifiers Ballast, Bookmania, and Cortado; stoic and structural ITC Lubalin Graph, Swiss 721, and Sentinel; contemporary and inventive Minérale and Canela.

Larger book spines use display typefaces to prioritize the most pertinent information, like the event location and speakers. Smaller type used uniformly suggests the repeated design systems of book series—Study for the board of directors and Schmalfette Grotesk for list of hosts.

The opposite side of the unfolded invitation provides a peek at the book blocks from behind the shelves and a quiet background for a mailing label. All information is repeated from the graphic side, set more traditionally in Garamond Premier. The attention to hierarchy persists, and ruled lines parallel the organizational function of the bookshelf.

Front of folded invitation. The Paris Review’s logo is segmented on book edges.

Outside of the invitation, unfolded

Close crop of the vector artwork

Close crop of the vector artwork

Close crop of the vector artwork

Close crop of the vector artwork. Garamond Premier is used in various of its optical sizes.

Close up of Minérale, Schmalfette Grotesk, Paperback Italic, and a little bit of Chrysaora

Close up of the writer hosts section using Schmalfette Grotesk

Goodfight is a Los Angeles based fashion label and creative studio. Mouthwash Studio developed their new strategy, visual identity and website. In the new identity, ABC Synt is used as the brand typeface, supported by Swiss 721.

In a webpick article on Communication Arts, Mouthwash and web developer Adrien Picard share some favourite and challenging parts of the design process:

Redefining the branding and wordmark for Goodfight formed an exciting portion of this project that helped solidify the web launch as a line-in-the-sand moment for the brand. The new wordmark is typeset in Synt, an unreleased font by ABC Dinamo. Being one of the first to use a font is a big moment for a brand, and it helps create an ownable and memorable mark that will stand the test of time.

The brand website opens with a carrousel showing images that stretch as they slide from left to right:

The rotating images you encounter on the homepage are a memorable way to experience the brand’s look and feel. Being easily browsable with a unique distortion effect, it really encourages and rewards interaction and exploration. The pace of the entire site is really up to the viewer, giving them control and freedom that deviates from traditional approaches. This feeling is also echoed by the transitions found on the archive page, shifting in and out of the individual stories. It’s a foundational piece to the overall UX of the site, and it served as a through line in the design and development process.

Branding for Kometa Pizza, a restaurant/take-out based in Kyiv, Ukraine. Art-directed and designed by Dmytro Nikolaienko, who used KTF Rublena (Kyiv Type Foundry) for headlines and Tilde’s version of Swiss 721 for information. The illustrations and animations were made by Anna Makarchuk.

Sabrina Lucas is an art gallery located in Nantes, France. Twistudio associated with Sabrina in 2021, and created an online gallery. The esthetic is minimalist and brutalist. The branding uses Kaftan Serif with black and white to visually highlight the artworks.

The website is now live at sabrinalucas.com. All text is rendered in Swiss 721.

Global brand strategy and identity development for Maison Dentaire No32 – a multigenerational dental clinic blending heritage and youth to form an old school reminiscing celebration. July’s creative vision was to infuse a feeling of establishment, confidence and experience with a young attitude – through a gritty tone of voice and a crisp yet daring typographic treatment.

Walking into Maison Dentaire, you immediately feel it is not your typical dental clinic. The familiar and laid back atmosphere makes you feel that you're in good hands – it's comparable to walking in your neighbourhood’s barbershop, where you will sip a whiskey while waiting for your ‘man’ to groom you. That same person who was taking care of your ‘pa and Grandpa, making sure they always looked fresh and on point. “It’s not a men’s cave, it’s just about the global spirit.” Patients actually enjoy going to the dentist, it becomes their good moment in a bad day, even with a bad tooth.

You know these old type specimen books? We never start a new project without taking time to flip through their pages – although amazing typefaces are being designed today, sometimes the older, poorly digitized typefaces can bring something special to the equation.

Looking at the dental world from a very elementary stand point: teeth, roots, bones, strings, pointy tools etc., we come up with qualitatives that illustrate these aspects and translate them typographically – fragility, growth, morphology, transformation, intricacy, detail and craft. We settled on Gascogne by Frederic Goudy, for its effortless attitude – we immediately found it could feel young and gritty, while conveying a sense of confidence and establishment. The pointy yet rounded letter ends felt dental, the wide nature of the letters also felt dental, as in when you’re asked to “open wide” etc. It’s always a good challenge to design a logotype that can “feel” like a certain field, without necessarily having to use recognizable graphic references. The S was completely customized to bring a visual “vibration” to ‘Maison’, boosting the logotypes' personality, and smooth ligatures were carefully integrated throughout the logotype as a nod to bones growing, fusing together, and morphology – just like the NT ligature, that was also used as a stand-alone typographic element in the ‘No32’ symbol. Yeah, we didn’t just type a classy serif…

The Voll-Damm Barcelona Jazz Festival is one of the global references within the genre thanks to its fusion of styles, upcoming talent and recognized artists.

For its 51st edition, the festival proposed a total change of image that linked the spirit of the festival with the strength and rhythm of the music. Druk was the perfect choice to reflect the unpredictable and lively nature of jazz thanks to its expressiveness and multiple formats. The use of black and white and the strong prominence of typography form the anchor of the new visual system that will define this and the following editions.

Swiss 721 works as a support font for longer texts and additional information.

Nora Eglesz is a make-up artist working in film, fashion and photography. Her practice is following an ethical approach using her influence and reputation in the Industry of becoming an ambassador for non-cruel and vegan make-up. 


KR8 Bureau in Vienna conveyed her visual identity through a strong typographic system, reflecting her snazzy and fun, unconventional personality. The counter weighting fonts Grand Slang and Swiss 721 build an expressive and memorable appearance, showing that pure, straight typographic branding can succeed without a traditional logo.

The Generalitat Valenciana commissioned us to renew the brand of the “Institut Valencia de la Joventut” (IVAJ), an agency coordinating youth policy in the Valencian Community. Among its tasks are the defense of young people's social rights and freedom, promotion/support of youth activities and initiatives, and education.

The institute needed a branding that would work for all its activities, such as education, engagement and public service; a brand that could coexist with the sub-brands of its existing programs, and with the branding of the Generalitat Valenciana.

We created a purely typographical brand focused on the acronym IVAJ, inspired by sport as a symbol of positive values: participation, union, teamwork, companionship, coexistence, social responsibility, effort; an outright brand, in white and black with a clear, direct typography and with a secondary color range for applications.

A recent EP cover design for Liverpool’s M62 Records combining expressive use of type and layout with monochrome colour. Hear clips of the EP.

Website for BGN, a brand-led, strategic design agency from Manchester, UK.

Clever customised R. It has got its leg from the capital J.

The design of the visual identity, the cycle frames, and packaging for the Belgian tailormade Jaegher Airlight Steel Race Cycles by Jelle Marechal and Christophe Ghewy (Bowling Brussels).

Clever use of Grover (Sudtipos) for the logo and Akkurat (Lineto) as supporting typeface on the printed materials. 

The logo made up by the J and R