Sebastian Vigueras. License: All Rights Reserved.

De Melodías y Colores, 1 February 2026

This post presents a series of concert posters designed for the Orquesta Típica de la Ciudad de México (OTCM) in 2026.

The poster shown above officially inaugurates the 2026 Season 1, presenting a renewed visual structure. The composition centers on La Giganta, the monumental sculpture by José Luis Cuevas, which serves as a powerful iconic element. The design employs a high-contrast photographic style in which the background image engages in a dialogue with a typographic composition of two fonts.

The typographic system is a sophisticated fusion of four distinct voices. The main title, De Melodías y Colores (“Of Melodies and Colors”), creates a rhythmic dialogue between Chicago – a robust, dotted typeface – and Origins, a fluid, handwritten typeface that mimics the expressiveness of a calligrapher’s stroke. This combination reflects the dual nature of the concert: the technical precision of the music and the vitality of the visual arts. Questa – here in the form of Questa Grande – is introduced as the new institutional serif typeface, lending a modern and elegant voice to the orchestra’s name. Finally, Cabin remains the official typeface of the Mexico City government for secondary information, ensuring that details about the guest conductor and soloists remain legible against the monumental background. This design establishes the template for the first season in 2026, prioritizing striking iconography and expressive typographic combinations.

Sebastian Vigueras. License: All Rights Reserved.

Amor en clave de sol, 15 February 2026

The visual narrative for the third poster centers on a dramatic sunset over the facade of the Museo de la Ciudad de México, where the sky's warm gradients are mirrored by the lyrical and romantic theme of the concert, Amor en clave de sol.

The typographic composition introduces a new, sophisticated hierarchy. The main title is set in Mon Nicolette, an expressive typeface by Mexican designer Cristóbal Henestrosa. Its fluid, calligraphic strokes and elegant swashes – integrated here with musical clef and heart motifs – capture the emotional essence of the repertoire.

Sebastian Vigueras. License: All Rights Reserved.

El México de sus compositores, 22 February 2026. This poster was designed together with Vania Rabago.

The fourth poster for the concert at the Alcázar of Chapultepec Castle utilizes a dramatic architectural photograph that emphasizes the perspective of the venue’s iconic checkered floor and classical arches. The deep vanishing point serves as a natural visual anchor, guiding the viewer’s eye through the historic corridor and toward the musical information.

The typographic palette is led by Gelica for the concert title. This choice brings a warm, retro-contemporary charm to the design, with its soft serifs and organic terminals providing a lyrical counterpoint to the rigid geometry of the architecture. The friendly and expressive nature of Gelica perfectly captures the passionate spirit of the repertoire.

Sebastian Vigueras. License: All Rights Reserved.

Mujeres que suenan y transforman, 8 March 2026

The fifth poster for the concert at the Ángela Peralta Open-Air Theater utilizes a striking high-angle photograph that captures the venue’s unique integration with the surrounding greenery of Parque Lincoln. The radial symmetry of the theater’s seating serves as a natural visual anchor, drawing the eye toward the stage and the performers.

The typographic palette is led by Instrument Serif for the concert title. This choice brings a classic, scholarly elegance to the design, echoing the operatic and historical legacy of the theater’s namesake. The serif structure of Instrument Serif provides a high level of sophistication that balances the organic textures of the surrounding trees.

Sebastian Vigueras. License: All Rights Reserved.

Natalicio del Benemérito de las Américas, 15 March 2026

This poster for the sixth concert of the 2026 season highlights the presence of the Orquesta Típica de la Ciudad de México (OTCM) in contemporary social spaces. The visual centerpiece is a panoramic photograph of Utopía Tezontli, a modern community center in Iztapalapa. The architectural geometry, with its white structural ribs and circular patterns, creates a rhythmic backdrop that symbolizes the utopian and transformative nature of the place.

The typographic strategy introduces Caligra, a contemporary Gothic typeface used for the main title. This choice creates a tension between the orchestra's historical roots and the modern, urban environment of the venue, while also evoking the complex framework of the building’s roof.

Sebastian Vigueras. License: All Rights Reserved.

Armoniás de primavera, 22 March 2026

The visual composition of the seventh poster is centered on an expansive landscape photograph of Parque Tezozómoc, featuring its iconic artificial lake and the pre-Hispanic-inspired topography. The open, bright blue sky and the reflection of the clouds in the water serve as a natural visual anchor, providing a serene and airy backdrop that reflects the “spring harmonies” theme.

The typographic hierarchy is led by a sophisticated pairing for the title: Amster, with its contemporary and sharp personality, and ATF Garamond, which provides a timeless, academic elegance. This combination creates a refined, editorial feel that contrasts with the organic, open-air nature of the park. The layout effectively utilizes the landscape’s “white space” to allow the intricate typographic layers to breathe, maintaining a balance between historical tradition and the modern urban environment.

During a ten-month backpacking trip from Cuba to Argentina, Catamarca-based writer and traveler Juan Francisco Uriarte wrote chronicles collected in the book Lo cierto es que uno respira (“The Truth Is That One Breathes”).

Published by Biblioteca Los libros de la Borges in Catamarca, the book, designed by Aylén Avilés, is entirely set in Amster, with generous leading which gives air and breathing room to the brief entries in this work. Amster was designed by Francisco Gálvez Pizarro and is available from PampaType.

Cover art by Mauge Suárez. Printed by Sudamérica Impresos, Rosario, Argentina.

El trébol Africano is a book written by Graciela Cros and published by La ballesta magnífica at the end of 2023. The diary/chronicle has 168 pages and was printed in Córdoba, Argentina. It’s typeset in Amster, designed by Francisco Gálvez and distributed by Pampa type.

Spring greeting card by French designer Véronique Simon, using Amster for the texts and some of the initials of Amster Versal Iluminada (both by PampaType).

Her beauty was incomparable. The superfluous had no place. That illumination governed from above, with imperceptible variations in intensity, exempted the courtyard from the violent alterations of the day, conferring upon it and its surroundings the elusive timeless condition.

This (translated) excerpt is from The Passage, the first novel in this beautiful book written by Adolfo Couve (1940–1998) and published in 2023 by La ballesta magnifica – which I had the pleasure of designing. Composed with Amster by Francisco Gálvez Pizarro (PampaType) and Alegreya Sans by Juan Pablo del Peral (Huerta Tipográfica).

The Old War Office building in London’s historic Whitehall district was recently restored and turned into a complex, Raffles London, holding a luxury hotel, residences, bars and restaurants. For two of the gastronomic spaces, Mauro Colagreco’s restaurant and Mauro’s Table, both headed by the renowned Argentinian chef, the designers of Greenspace chose the typeface Amster (Francisco Gálvez, PampaType) to compose the headlines of the menus, following “its classic yet contemporary feel.”

Mauro’s Table in particular “offers an intimate tasting experience where traditional menus are replaced by keepsake cards, featuring beautifully crafted botanical illustrations”.

NMTK is a zine, initiated, designed and published by (type)designer Carolina Giovagnoli. issue B – the second edition – is about a complot. A plot organized by German consonants against the vowels.

All text is set in in Amster Light Roman and Light Italic (designed by Francisco Gálvez Pizzarro and available from Pampa Type) and Carolina’s in-progress typeface ABC der Scheren. Risograph printed, A6 format, 16 pages, self-published in a limited edition of 50 copies. The story is told in English, German, and Spanish.

Ministerio de Desarrollo Social y Familia a través de la Unidad de Coordinación de Asuntos Indígenas (UCAI). License: All Rights Reserved.

Ministerio de Desarrollo Social y Familia a través de la Unidad de Coordinación de Asuntos Indígenas (UCAI). License: All Rights Reserved.

In 2019, the International Year of Indigenous Languages, the Chilean Ministry of Social Development and Family (Indigenous Affairs Unit) published a series of dictionaries of native languages ​​in Chile, following a policy of cultural revitalization and inclusive development. Now a revised second edition followed.

These four dictionaries dedicated to the Aymara, Quechua, Mapuche, and Rapa Nui languages are a significant contribution to the future of the various native languages spoken in Chile. The dictionaries are available for free download. All covers were designed entirely with Amster. The interiors are set in ITC Franklin Gothic, with Ronnia used for headings.

Ministerio de Desarrollo Social y Familia a través de la Unidad de Coordinación de Asuntos Indígenas (UCAI). License: All Rights Reserved.

Ministerio de Desarrollo Social y Familia a través de la Unidad de Coordinación de Asuntos Indígenas (UCAI). License: All Rights Reserved.

Ministerio de Desarrollo Social y Familia a través de la Unidad de Coordinación de Asuntos Indígenas (UCAI). License: All Rights Reserved.

Source: asuntosindigenas.ministeriodesarrollosocial.gob.cl Ministerio de Desarrollo Social y Familia a través de la Unidad de Coordinación de Asuntos Indígenas (UCAI). License: All Rights Reserved.

Diccionario de la lengua Aymara / Aru Pirwa Aymara

Source: asuntosindigenas.ministeriodesarrollosocial.gob.cl Ministerio de Desarrollo Social y Familia a través de la Unidad de Coordinación de Asuntos Indígenas (UCAI). License: All Rights Reserved.

Diccionario de la lengua Quechua / Qheswa Simi Taqe

Source: asuntosindigenas.ministeriodesarrollosocial.gob.cl Ministerio de Desarrollo Social y Familia a través de la Unidad de Coordinación de Asuntos Indígenas (UCAI). License: All Rights Reserved.

Diccionario de la lengua Mapuche / Wipümzugulwe Mapuche

Source: asuntosindigenas.ministeriodesarrollosocial.gob.cl Ministerio de Desarrollo Social y Familia a través de la Unidad de Coordinación de Asuntos Indígenas (UCAI). License: All Rights Reserved.

Diccionario de la lengua Rapa Nui / He Puka Rara Rauhuru Vanana Rapa Nui

Source: www.facebook.com Conadi Gob. License: All Rights Reserved.

Source: www.facebook.com Conadi Gob. License: All Rights Reserved.

Artes Vivas is a collection of books set entirely in Francisco Gálvez Pizarro’s Amster (PampaType, 2014). It was made as a student project in the postgraduate course Diplomatura en Artes del Libro (“Arts of the Book”) at Universidad Nacional de las Artes, Buenos Aires, Argentina. The patterns on the covers are typeset using Weg (Huerta Tipográfica, 2021). Devised by Carolina Giovagnoli, one of the book designers, Weg is “an experimental type system where legibility isn’t the focus”.

The texts used in this exercise are “Pachamarita. El solticio de una payasa” by Letica Leiva, “Un mechón de tu pelo” by Luis Loyola Cano, and “Las vidas probables” by Pablo D’Elía.

Album art for Árbol de la Esperanza (“Tree of Hope”) by the Mexican band La Manta from Xalapa, Veracruz. From Estudio Cuatro Ojos (translated):

La Manta performs a fusion of traditional music from Mexico, mixed with elements of jazz and other musical genres.

The cover illustration is a pencil drawing that was digitally colorized. It’s inspired by the trees of life made in Metepec, Mexico, with a series of iconic elements of traditional Mexican culture that identify the group and some songs from the album.

For the interior pages of the booklet, the Amster typeface family by Francisco Gálvez was used, which includes a series of illuminated drop caps, used as illustrations for each theme. Some of them were taken from the original design and others were used in modified form.

Véronique Simon (graphisme sans sulfite, toutenbasdecasse.com) designed a smart business and greeting card using Amster with Amster Versal Iluminada, combining embossing and color layering.

The message of the greeting card part is a quote by John Cage: “La situation étant désespérée, tout devient possible.” (“The situation being desperate, everything becomes possible.”)

Will Chase is a developer, designer, journalist, and artist: “Using my background as a researcher to better understand the world around me through data and I share those insights by designing and coding visual essays”.

His portfolio website uses Amster Versal Iluminada for its drop caps. Amster is used for headlines and body copy. The menu items and selected navigation items are set in Alegreya Sans. In a blog post dedicated to the redesign of his website, the designer writes:

The wonderful thing about Amster is it is so much more than a font, it’s a whole type family. Since you’re reading this blog, you’ve no doubt noticed the gorgeous illustrated drop caps that feature under section headings. These drop caps are really special, not only are they intricately illustrated with characters based off of Chilean printed news sheets from the 19th century, but they have a foreground and background, which allows two-tone colors, and there are two varieties of each glyph. But the fun doesn’t stop there; Amster also includes two sets of illustrated flower glyphs, based on the copihue, a flower endemic to Chile. These glyphs are easily tessellated into borders, which you can see in the large header designs on each of the pages of this site.

This is a 188-page tribute book to the Athra Theatre Company, whose shows have marked their era and its audiences between 1995 and 2018. From 1995 to 2018, the Athra company multiplied its shows around the world. After the death of its director, the company is pulling back the curtain and paying a final tribute to him with this 188-page book.

From design studio ramel · luzoir:

Between archive photographs, excerpts from original texts and press reviews, we designed a book that accurately retraces the entire Athra adventure. The Amster font allows to retranscribe the great expressiveness of the shows, a very rhythmic layout testifies to the energy that the company has deployed throughout its history. In the center of the book, a collection of texts offers a quiet time of reading.

Movie poster for the Slovak movie Little Kingdom of 2019 using Amster Super Negra Itálica with modified serifs, tight linespacing and letterspacing, as well as an interlinear ligature with the l extended to merge with the ascender of the letter d below.

The curly bracket used to mask the image is a modified version of Amster Negra, and the information is set in loosely spaced caps from Fedra Sans.

Malá Ríša, the original title in Slovak, uses all-caps Moret for the title and slogan.

Slovak movie poster.

From Nouvelle étiquette:

Le Périscope is a free scientific magazine. Its articles are intended to make accessible and visible the academic research work of young scientists and students in the field of arts and culture of the University of Lorraine, France.

For this project, we supported and advised the editorial board of the magazine from scratch, in order to create an complete interesting editorial object, that fulfils the challenges of such a publication and which is both graphically appealing and comfortable to read.

To do so, we designed a magazine that explores the concepts of verticality, plans and scale changes, through a bold layout design and the use of a very identifiable typeface (Amster, designed by Francisco Gálvez and distributed by Pampatype). A combination of black and a striking colour also installs a flexible graphical principle that can be adapted to each publication and allows for a sequence of simple and effective folios.

This is N°1. See also N° 0.

Tipos Latinos is the space dedicated to celebrate and promote Latin American type design. The catalogue for the 6th Biennale in Chile (2014) uses Amster (Francisco Gálvez, PampaType).

The catalogue was designed by Leonidas Loyola Valenzuela with the collaboration of María de los Ángeles Briones, Rodrigo López, Horacio Mella, Diego Olivares, Anahí Rivera, and Luis Romanque.

Le Périscope is a free scientific journal. Its articles are intended to make the academic and research work of young scientists and students in the field of arts and culture of the University of Lorraine accessible and visible.

Nouvelle Étiquette designed a magazine that explores the concepts of verticality, plans and scale changes, through a bold typography and a very identifiable typeface, Amster, designed by Francisco Gálvez and distributed by Pampatype. A combination of black and a striking colour also installs a flexible graphical principle that can be adapted to each issue and allows for a sequence of simple and effective folios. This is numéro zéro.

Client: Université de Lorraine.

Enigma employed Amster (Francisco Gálvez, PampaType) for their new branding project Restauro, a classy restaurant allocated in a house from 1604, in the iconic neighborhood Barrio de los Sapos, in Puebla, Mexico.

Enigma usó Amster (Francisco Gálvez, PampaType) para su nuevo proyecto de branding Restauro, un restaurante cobijado por una casa de 1604 en la colonia más icónica de Puebla: Barrio de los Sapos (México).