Badacsony refers to the region on the north shore of Lake Balaton where the peculiarly shaped basalt mountains meet the waterfront. The images in the Badacsony series are a photographic project selected from more than 4,000 images, creating a process of observation and reflection.

Capturing the same landscape again and again for eight years, Ábel Szalontai manages to build an incredible insight into a view that was there before us and will be there long after. Through repetition, the viewer is guided to immerse oneself beyond the top visual layer, digging deeper into the meaning and underlying content.

The painterly aesthetic of the photograph series is stunningly reproduced in the photo book that so well captures the idea and power of repetition. A subject that seems so personal to the photographer is showcased in such a way that it breaks away from him and becomes experiential to the viewer.

The grey-green cloth-covered book presents 72+8 photographs in a unique landscape format with the spine running on the longer side. The images are accompanied by short texts by a poet, as well as two essays by a philosopher and an architectural critic and visual environment researcher.

Poster made as a personal project to commemorate the release of Beyoncé’s album Act II: Cowboy Carter. The design is inspired by Chitlin’ Circuit posters. Printed copies are available from my print store.

reBEL Premium Patat[e] is a Belgian artisanal potato chip brand. The branding, packaging, and marketing were carried out by Agrum’ent, a full service creative agency specializing in the food and hospitality industry. The logo features Bely Display and Bely. The chip flavors are set in Cortado, with Acumin used for “Chips Bio” and the weight indication. Informational text on the back of the packaging is set in Brandon Grotesque, with moments of Cortado.

Adapted from the Historical Memoirs of Chinese historian Sima Qian (145–86 BCE), Des assassins relates the chivalrous prowess of five ancient Chinese warriors who committed – or attempted to commit – a political assassination.

For the book title on the cover, designers deux point deux chose Min Sans Regular and Bold, designed by Tienmin Lao and available from Future Fonts. This high-contrast sans serif has sharp and clean cuts, as if cut by a sword. The texts inside are set in Bely by Roxane Gataud (TypeTogether) and text in speech bubbles uses Inkslinger BB, designed by Nate Piekos and released through his Blambot type foundry.

The Taiwanese author, Chen Uen, uses a traditional Chinese brush painting technique. We decided to erase some of the borders of the frames, to let the Chen Uen’s art breathe and blow up. The book is published within its original sense of lecture: from back to front from a western perspective.

Des assassins is the first graphic novel – “manhua” in Taiwanese – in the collection Des cases, des langues, des mondes (“cases, languages, worlds) by independent publishing house Patayo.

Bely Display and Bely in use for the exhibition catalogue of the Kibékülés (“Reconciliation”) exhibition at the Pannonhalma Archabbey.

The rich and diverse collections of the Pannonhalma Archabbey are among the most important church collections in Hungary.However, the graphic prints kept here are rarely displayed at exhibitions. The year 2018 is related to the philosophy of reconciliation in Pannonhalma. This gave us the opportunity to present a selection from the material that is closely related to the same subject. — pannonhalma.hu

Code Civil is the new luxury fashion and lifestyle destination in Belgium. A two-stage opening: a pilot boutique in Knokke-Heist on the coast in the summer of 2018 before the flagship opens on the prestigious Avenue Louise in Brussels, in a splendid building of 1,500 m² and 4 floors dating from the mid-19th century, initially intended for a law firm. Beyond the simple concept store gathering the most prominent designers, from Courrèges to MSGM via Neil Barrett or Cédric Charlier, Code Civil is a lifestyle destination at the antipodes of the cold and elitist luxury boutique, where you can dine, meet your friends, enjoy the services of a high-end concierge or get dressed up in the beauty lounge, organize an event and occasionally enjoy works of art.

The founder of the place contacted us in order to build with her her brand, her identity and her positioning from the very beginning, as close as possible to her convictions and the passion that animates her. We have imagined the name, Civil Code, in reference both to the initial occupants of the Brussels address, the lawyers, but also to the vocation of the place: redefining the laws of civil life, elegance and luxury.

We then built a visual identity based on an observation: traditional luxury, based on an indisputable heritage, can claim more grandiloquence and decorative elements. The new luxury, a reflection of our times, takes the complete opposite of what characterizes the luxury of the golden age of neoliberalism. We have developed a graphic language based on the juxtaposition, even the collision of the exquisite and the banal.

The logo is a dedicated monospaced typographic design with certain graphic subtleties, which give it a personality that is both raw and sophisticated. The graphic language is composed of a minimum number of visual elements; it is built solely on the basis of typographical compositions, a certain management of space and white circulation. The rest of the branding will be to discover at the end of the year when the Brussels address opens.

The Peace Table (Mesa para la Paz) is an instance of meetings, dialogues, exchanges, community shows, and a large table of shared food. It takes place within the framework of the celebration of the International Day of Human Rights, promoted by the government and appropriate by different communities.

Die Frucht (The Fruit) is a newspaper that was created at the Klingspor Museum for Book Art, Typography and Calligraphy in Offenbach, Germany during the annual “Night of the Museums” event as result of a performative night shift by the designers of U9 visuelle Allianz. It was designed with scanner, typewriter and webcam, using bodies, guests, smartphones and cacti. The typeface in use is Roxane Gataud’s typeface Bely.

In the summer of 2016 French designer Anette Lenz used Roxane Gataud’s Bely in Trans-missions, the printed program of Musée des Arts Décoratifs (Paris). With the purpose of promoting type design in France, each of the issues of Trans-missions is set using a different typeface which is then presented on the last page of the magazine.