язык тишины (Yazyk Tishiny, English: “Language of Silence”) was made as a student project at HSE Art and Design School.

We are used to thinking of silence as a lack of sound or image, a kind of “pause” between important events. In my book, the opposite is true: silence is the main character and the active material. It is the moment when the visual noise subsides, and we finally begin to notice the very structure of things: the grain of the film, the rhythm of the grid, or the physics of the paper. It is not “nothing,” but “everything” that we usually don’t have enough time for.

I wanted to understand how silence in art goes from being just an empty space to becoming a powerful tool. In a world where everything is loud and fast-paced, I wanted to find ways to slow down the viewer. My goal was to create a system that would make people stop, look closer, and experience the pause as a full-fledged event.

Graphics for an event organized by No Glucose at Bologna’s Freakout Club, with umru, Aaron Rumore, and Luna Lias.

In its first magazine, designed and printed in Ukraine, the Kyiv Independent offers a snapshot of Ukraine three years into Russia’s full-scale war. From the battlefields of Donbas to the streets of Kyiv, these stories capture the many dimensions of living through war.

Within these pages, experience coming-of-age during an invasion, celebrate the resilience of Ukrainian businesses, discover inspiring artists and activists, and meet those taking the journey from the front by train.

The Power Within stands as a tribute to the unwavering Ukrainian spirit, a beacon of hope in the darkest of times.

In the second episode of Disney+’s TV series Call My Agent Berlin, one of the main protagonists uses a dating app that tells her “You Matched!”. This notification is set in Finlay by supertype.

Nerd note: The u and the d are not quite correct because in both cases the “fina” version of each character (last in a sequence) should have been automatically applied. I can only assume that Adobe’s After Effects was used to create the visual, which infamously still (in 2026!) lacks support for OpenType features!

Flyer for Punto Aparte, a Manchester-based design studio, using the Colmado typeface plus Neue Helvetica 45.

For the 61st Chicago International Film Festival, the visual identity was meticulously anchored in the enduring precision of the Swiss International Style. Embracing the powerful simplicity of Neue Helvetica, a stark black and white palette, and structural efficiency, the core design provided a refined, minimalist stage.

Our ambition, however, was to celebrate the vast, vibrant world of film genres. This was achieved through a compelling typographic dialogue: carefully selected display typefaces, each echoing distinct film tropes and design tendencies, were introduced as dynamic accents.

These genre-specific types acted as exuberant bursts, dramatically contrasting the austere Neue Helvetica. They symbolize the immersive narratives of cinema ‘breaking through’ the festival’s foundational elegance, creating a design that is both disciplined and thrillingly expressive—a true homage and love letter to the design language of film.

Title design with Solæ typeface for Alex Van Pelt’s album Cabin Fever. Logotype by Gwennina Moigne and album design by Alex Van Pelt, using Neue Helvetica and two yet unidentified typefaces, a serif and a condensed sans (Kazimir Text and Univers Condensed are similar, respectively).

Ugly Nails is a tiny branding project rooted in a conscious rejection of traditional beauty aesthetics.

The artistic, unconventional nail designs became the starting point for placing the project within the Pretty Ugly movement – balancing between ugliness and attraction.

The visual identity reframes “ugly” as a tool for expression, building a bold, uncompromising brand character closer to attitude and experimentation than to classic salon standards.

Crystal Eyes Stalk at Midnight album cover

Album and promo art for Sean Wolcott’s 12th album, Crystal Eyes Stalk at Midnight. Macbeth is used as the primary display typeface, along with Harry supporting. Futura can be seen in the Clockwork Records logo, and Eurostile was used for the BGM logo along with the catalogue number.

For the promo posters, a variety of fonts were used including Nuevo Passion (a 2013 digitization of Mecanorma’s Contest), Cooper Black, and ITC Serif Gothic. Akzidenz-Grotesk Condensed is used for body copy throughout the cover and promo posters.

Crystal Eyes Stalk at Midnight vinyl with obi

Crystal Eyes Stalk at Midnight promo poster #1

Crystal Eyes Stalk at Midnight promo poster #2

Crystal Eyes Stalk at Midnight promo poster #3

Crystal Eyes Stalk at Midnight promo poster #4

Art direction and design of the new visual identity for the Parisian gallery Pavec by Juliette Bailly. Solæ is used together with Neue Helvetica across print and digital materials, like social media, press kits, invitations, certificates of authenticity, website, etc.

The Birds of Leeds Castle is a 2001 book written by Laura Gardner and published Heritage House Group Ltd. It’s a picture book that discusses the large array of birds that have resided in the famous Leeds Castle from Maidstone, Kent, and the history behind them.

The title typeface is Mason Serif by Jonathan Barnbrook, with secondary text in Bembo

Source: archive.org License: All Rights Reserved.

Mason Serif is also used inside the book, together with Neue Helvetica.

This post was originally published at Fonts In Use

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