Shallow is a 2024 publication by Simryn Gill, Charles Lim Yi Yong, Chanon Kenji Praepipatmongkol and Selene Yap, published by Stolon Press in Sydney with support from Singapore Art Museum. The book was edited by Tom Melick and designed and typeset by ruttens-wille.

The publication brings together text and images around living and working near the equator, with contents including Charles Lim Yi Yong’s Sumatra by the Side, Simryn Gill’s Shallow, Selene Yap’s Sea-view and Chanon Kenji Praepipatmongkol’s To Catch the Wind. It was published as a 92-page softcover leporello in an edition of 500.

The publication uses Store Norske Leif from Skriftkompani alongside Neue Haas Unica by Monotype.

Werkplaats Walter, named after the great Belgian painter Walter Swennen (R.I.P.), is a work and performance space for experimental and avant-garde music and art in an old industrial building. Located in the center of Brussels, Werkplaats Walter welcomes both local and international visual artists and musicians.

Following the recent acquisition of a second building and an extensive two-year renovation, realised by Lhoas & Lhoas Architects, Werkplaats Walter has grown significantly. The expanded site now offers nearly 3,000 m² of workspace, a professional recording studio, and a wide range of new facilities.

To support this transformation, we built a completely new website. Together with the Werkplaats Walter team, we developed a new information architecture that reflects the organisation’s expanded activities and future ambitions. Building on this foundation, we designed an intuitive user interface that gives dedicated attention to the music programme, artists’ studios, and rental opportunities, while making it easy for visitors to navigate the platform.

At the heart of the music section is an artist web that connects every musician who has performed at Werkplaats Walter since its opening nearly ten years ago, revealing the rich web of collaborations and artistic exchanges that have shaped the organisation over the years. The new website was expertly developed by longtime collaborator Jonas of JustGoe.

Only one typeface is used throughout the site: Neue Haas Unica, in three weights: Heavy, Medium, plus an outlined variant for large headers. We chose Neue Haas Unica for its quiet confidence. Strong and precise, it brings clarity and structure without overpowering the site. Its restrained presence keeps the focus where it belongs: on the content itself.

The visual identity was also refined to create a consistent and recognisable brand presence across all digital and printed media. The original logo and colour palette were deliberately preserved, maintaining continuity with Werkplaats Walter’s established identity while improving coherence across all communication channels.

Werkplaats Walter home

Werkplaats Walter studios

Werkplaats Walter studios

Werkplaats Walter concert detail

Werkplaats Walter artist web

Czerny's Symposium. License: All Rights Reserved.

Czerny’s Symposium, issue 001: “Kodoku” is a 204-page publication that revolves around the Japanese idea of 孤独 (kodoku)—exploring how isolation and loneliness creep into the lives of visual artists, writers, and creatives alike. Select contributors offer an intimate insight into their creative process, share how they find resilience in the face of solitude, and reflect upon the emotional journey they navigate in the act of creating.

Pantasia (Wei Huang / Counter Forms) serves as the primary typeface for the visual identity of Czerny’s Symposium—as seen in the logotype and used throughout the publication across section headings, running footer labels, and speaker identifiers in interviews. Herbik (Daniel Veneklaas / Counter Forms) is the secondary typeface used for all body text. Neue Haas Unica (Toshi Omagari / Linotype) provides visual contrast to the previous two serif typefaces as a functional and unassuming sans serif; it is applied to page numbers, artwork captions, and footnotes at smaller sizes, while blown up in scale across pull quote pages.

The inaugural issue was published in 2025 in an edition of 100. The publication includes a foreword and introduction by Junpei Satyapan, along with contributions from Charlie Broadhead, Dakota Butler, Daylen Seu, Ethan Ming, Lola Dement Myers, Shi Hong, and Weihong Zheng.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

The multidisciplinary practice of Lulu Obermayer, whose work moves between performance, opera, theater, and choreography, is reflected in her portfolio website, with text set in Neue Haas Unica and KTF Olivier.

In March 1996 TassinariVetta took over the art direction of Casabella, the historic architectural review founded in 1928. From that moment on the magazine has become part of the everyday life of the studio, where it is designed month after month.

Aiming to go beyond the traditional concept of ‘typographic architecture’ – which sees graphic arts subject to the universal compositional rules expressed in architecture – and to offer a new perspective on the world of letters, the 2024-25 cover design sets editorial objectives ahead of graphic ones.

Taking advantage of the constraints inherent in monthly publication in sectoralization and serialization, and enhancing repetitive elements—the masthead, headlines, but above all the sequential number—the project brings editorial content to the cover through the choice of the font used to compose the number, its graphic interpretation, and the explanatory note published on the inside pages, which is an integral part of the project itself.

Faithful to the magazine tradition, issue after issue, the choice of lettering or typeface moves through the 20th century between avant-garde and modernism, with forays into adjacent spaces suggested by unlikely discards or ambiguous analogies, while exploring the development of the industrial means underlying mechanical writing.

With philological respect—using fonts available under license, photographic reproductions of original specimens, or vector redrawing, as appropriate—and with the calibrated use of a color palette consistent with the magazine visual history, the graphic interpretation ultimately aims to bring the historical artifact into the present, contextualizing it in a contemporary and accessible language.

no. 976 – Lettering for the Tomba Veritti (Udine, Italy), Carlo Scarpa, 1951

no. 975 – Univers, Adrian Frutiger, Deberny & Peignot, 1957

no. 974 – Prisma, Rudolf Koch, Klingspor, 1930

no. 973 – LL Le Corbusier, Nico Schweizer (da Le Corbusier), Lineto, 1999

no. 971-972 – Memphis, Rudolf Wolf, Stempel AG, 1929

no. 970 – Ingenieur, Wim Crouwel, 1964, The Foundry Types, 2012

no. 969 – bayer-type, Hebert Bayer, Berthold, 1931

no. 968 – Mexico 68, Lance Wyman, 1966–68

no. 967 – Our Bodoni, Massimo Vignelli, Tom Carnase, WTC (World Typeface Center), 1989

no. 965-966 – Futura Black / Paul Renner / Bauer, 1929

no. 963 – Fat Face, Herb Lubalin, Tom Carnase, ITC International Typeface Corporation, 1970

no. 962 – Kabel, Rudolf Koch, Klingspor, 1927

no. 961 – Stop, Aldo Novarese, Nebiolo, 1970

no 959-960 – New Alphabet, Wim Crouwel, 1967

no. 958 – Frankfurter, Bob Newman, Letraset, 1970

no. 957 – Universal, Herbert Bayer, 1925

no. 956 – Oakland, Zuzana Licko, Emigre, 1985

no. 955 – Aldina (Aldino), Nebiolo, redesign Adalberto Libera, 1938

no. 954 – Kombinationsschrift, Josef Albers, 1926–28

no. 953 – Bifur, A.M. Cassandre, Deberny & Peignot, 1929

This publication design project was created at ArtCenter College of Design for Communication Design 3 with Carolina Trigo.

This project tells the stories of Hiroshima bombing survivors who transformed their trauma into art, delivering powerful messages of hope and resilience. Inspired by Sadako Sasaki’s 1,000 paper cranes, the design incorporates folded imagery and carefully treated typography that mirrors the act of folding paper—symbolizing both the creation of something beautiful and the delicate balance between strength and fragility.

The work highlights the profound impact of collaboration—not only as a force behind the devastation of Hiroshima, but also as a path toward peace and understanding. Just as collective effort contributed to destruction, it can also be redirected toward compassion, healing, and hope. The binding reflects this tension between delicacy and endurance, honoring the past while inspiring future generations to foster empathy through shared artistic expression.

The typography pairs Neue Haas Unica for its clarity, neutrality, and modern restraint across the body text, while Shippori Mincho introduces a quiet elegance and cultural resonance that reinforces the project’s emotional weight. Together, they balance sensitivity with structural precision, echoing the harmony between fragility and strength embedded in the narrative.

Elliot & Ostrich design timeless jewelry. Each piece is handmade in Antwerp and crafted from 18-karat gold and carefully selected white or nude diamonds.

The identity work was done by Turbulence and the website features IvyPresto and Neue Haas Unica.

Les Perséides / Le Papier du Mois is a collaboration between Fedrigoni, Spaciofino and L’imprimeur Simon. Every month, Fedrigoni organises a collaboration between a design studio and a printer to showcase their range of papers. Responsible for the August 2025 edition, Spaciofino took inspiration from the Perseids, a meteor shower that occurs every summer. The result is a leporello – measuring 560×205 mm and printed on Cocktail Blue Moon 120 g/m² paper, contained in a pocket revealing a poem by Pierre Reverdy, “Étoile filante” (“shooting star”). On the back, the studio has drawn a star collection reminiscent of a naturalist’s board.

The typography uses Neue Haas Unica by Monotype. Fedrigoni’s branding on the other hand (as seen on the envelope) is set in Forma DJR by David Jonathan Ross.

Visual identity for Echo System, a live music venue in Scey-sur-Saône, Haute-Saône, in north-eastern France. A bold graphic system applied to the semi-annual program brochures.
The specifically customized titles are derived from the logo design and use parts of Thomas Huot-Marchand’s Garaje Multi. Smaller text is added in Neue Haas Unica.

Sixty years supporting good design: ADG-FAD, 1961–2021.

Paying tribute to Samuel Beckett’s “Fail, fail again, fail better”, this poster was created for the commemorative exhibition marking the 60th anniversary of ADG-FAD at the Design Museum of Barcelona. ADG-FAD (Asociación de Diseño Gráfico y Comunicación Visual) is the association for graphic design and visual communication within the FAD.

The title is set in Neue Haas Grotesk Display by Commercial Type (featuring a rotated and mirrored G). The small text at the bottom is set in Neue Haas Unica by Monotype.

Kugel und Niere is a podcast production company that operates from Munich, Germany, since 2017.

Studio Veh led the 2025 (re)branding of the company, with a highly typographic approach. From the case study:

With words being the brand’s most important asset, Studio Veh delivered a typographic solution: a flexible type system using a wide typeface that not only emphasises the larger-than-life stories, but also the impact of the podcasts’ conversations.

For the logo and titles, Veh went with Druk Wide. Then, contrasting in weight as well as structure and width, we have NaN Rage Beau Condensed Thin (mostly). NaN Rage Beau is used for secondary titles and contrast, when needed. On Kugel und Niere’s website, Neue Haas Unica is used for all body copy and sub-headings too, while NaN Rage is curiously absent.

Seraj Law came to us with a vision, not a brand.

They were getting ready to open their own practice, grounded in the kind of legal service people actually want. Smart. Straightforward. Human. But without a brand identity, there was no clear way to express what made them different. They weren’t just looking for a logo. They needed something with substance. A brand that could carry their voice, their values, and their presence into the world with confidence.

From the typography to visual identity, we shaped every detail to feel composed, approachable, and quietly powerful. The identity is clean without feeling cold, and confident without trying too hard. It reflects the heart of Seraj Law: a modern firm rooted in principle, built to guide, protect, and advocate with purpose. What started as a vision is now a brand that leads with clarity and feels unmistakably human.

Design for Red Edge’s second release by Bastien, called Temps Boro.

From design agency Branded:

mezete, a Jordanian brand, cracked the code on transporting authentic Middle Eastern food globally—no refrigeration needed. After 20 years of perfecting the flavour, the founder had the taste just right. But the original packaging? It didn’t tell the same story. So we went straight to the source—immersing ourselves in the heart of downtown Amman (the capital of Jordan).

Our strategy was to make someone “taste the Middle East” by looking at the pack. The idea was to transfer the energy, busyness, vibrancy, and chaos of the souks (bazaars) of the Middle East onto the packs, rather than using the typical Middle Eastern patterns. The typography is expressive and draws inspiration from the way poems are written in Arabic.

The system was applied to 40 SKUs, with multilingual versions for Canada and other global nations. The product is now sold in 40 plus countries. This new branding has had a sparkled reaction worldwide, the most recent one being spotlighted by Forbes at Expo West 2025 in the Food & Beverage category.

Arsenica is supported by Neue Haas Unica. The Arabic typeface is yet unidentified.

Alpine Bio is an agricultural company that specializes in biofactory innovation. They transform plants into natural production facilities using advanced biomanufacturing technology.

In their branding developed by Resn, Alpine Bio uses several illustration styles including press illustration techniques with duotone color schemes. This visual strategy pairs well with their use of OffBit in the Dot Bold style, creating a cohesive brand identity that reflects their innovative, technology-focused approach to agriculture.

OffBit is used together with LL DMT and a custom version of Neue Haas Unica with holes at joints.

The company has received recognition from scientific and business communities for their work in sustainable protein production.

Visual identity and website for Vlasblom & Deroose, a consultancy agency specializing in strategy and communication for NGOs and companies. Zeppa designed an identity that reflects their thoughtful, modern approach with a balance of clarity and elegance.

Typography plays a central role: Sometimes Times is used for the logotype, headlines, and quotes—bringing a refined tone with a subtle feminine touch. Neue Haas Unica supports body text with clean, modern readability.

Catalog for the exhibition Métro! Le Grand Paris en mouvement / The Metro! Grand Paris in motion at the Cité de l’architecture et du patrimoine in Paris, shown from November 2023 to April 2024. This exhibition is focused on the metro, its history and the urban transformations associated with it, in relation to the work underway on the Grand Paris Express. This gigantic operation, which began in 2016 and is still ongoing, aims to extend and renovate the Paris metropolitan area’s transport network.

From the editor’s web shop (translated):

Aimed at a wide audience, the exhibition catalogue is designed as a beautiful book, divided into as many stages and stations. It takes up in depth the content of the exhibition itinerary, while weaving new links between different issues and reorganising the order in which the thematic issues appear. Resolutely multidisciplinary, it will give ample space to the relationship with the imaginary (cinema, painting, photography, illustrations, literature…), and to the testimonies of writers, engineers, users…

Graphic designer Line Martin-Célo has chosen the dynamism of Dina Chaumont to embody the publication. She used both the Display and Text versions. Neue Haas Unica is used for text.

Visual communication is increasingly shaping our environment and making the importance of good design omnipresent. The 4 key principles of design is a fictitious exhibition by DHBW Ravensburg that attempts to create a deeper understanding and appreciation of the fundamentals of design based on the principles of contrast, repetition, alignment and proximity.

Designed by Christina Labey and published by Conveyor Studio, A Tree Grows in Queens is a meditation on the many ways in which trees manifest into other forms—from myths and memorials to meeting points and harbingers of luck. In this collection of essays and images, Magali Duzant takes inspiration from trees found in old-growth forests and the urban streetscapes of her native New York City. The book cultivates an intimate connection between the city’s ecology and heritage by examining individual trees and their interdependence with broader concerns, such as climate change, capitalism, and urban revitalization. A Tree Grows in Queens grafts written reflections, historical images, and photographs to kindle a deeper appreciation of the significance of trees in our everyday lives.

The book is set in Kalice Regular (designed by Margot Lévêque) and the sans serif Neue Haas Unica (designed by Toshi Omagari).

Founded by Benjamin Eymere and Victoire de Pourtales, 91530 Le Marais is a multidisciplinary space combining hemp production and artist residency. Here, art and rurality come together in harmony. For the opening, 91530 Le Marais presented Phytocène. The hemp field interacts with the music and sound composed by Agoria and Nicolas Ion Becker.

The event visuals are set in Kalice Regular for the 91.530 logo (designed by Margot Lévêque) alongside Arizona Flare for "Le Marais" (designed by Elias Hanzer) and the sans serif Neue Haas Unica (designed by Toshi Omagari).