The posters were screen-printed at the university studio.

Enpen Teien Shokukaku (縁辺庭苑小区画; “A small plot in a peripheral garden”) was a performance by the student group Tosok from Tama Art University in Hachioji, Tokyo. The event took place at SCHOOL in Mitaka, Tokyo. I designed the poster and flyer for the performance, featuring a layout that mixes an extensive variety of fonts.

For the large Japanese title on the poster, the fonts Iwata Fuku Marugo, Iwata Mincho, Wapuro Mincho, and Gothic MB101 are layered together. The small English title uses Tsukurimashou.

In the smaller text sections, I paired Japanese and English fonts as follows: Chu Gothic BBB with Lo-Res, Tsukushi A MaruGothic with VAG Rounded, and Tsukushi A Old Mincho with Garamond Premier.

The layout for the inside of the flyer repeats the same information while varying the typography. In addition to the poster’s fonts, I incorporated pairs such as DNP Shuei ShogoMincho with Didot, HanaKocho with Garamond Premier, and Midashi Go MB31 with Univers Next.

The flyers are offset printed and have a half-fold format.

The Slip by Miriam Webster is the first book to published by Aniko Press. The ten stories in this collection are dark, feral and completely unforgettable, full of strange encounters and big feelings. The vision for the design brief was to capture the author’s eye for the absurd and the surreal.

As with all the fiction covers I work on, I start by reading and taking notes of themes, key phrases and visual cues. These stories are great fun – weird, funny, dark, surprising – emotional and complex. In one story, the protagonist dreams of animals:

Black dogs and other beasts that stalked behind you on the back roads. Horses whinnying and bucking in the wind, synchronised and weirdly fluid, changing ways like schools of silver fish ... A nanny goat with two grey kids in tow, offering them her teats …

The dream is a premonition – there’s an escaped goat who has ‘chewed through her rope and fucked off up the hill somewhere’.

I interpret this as a symbol for freedom (perhaps incorrectly, but I’m prepared to run with it). I like freedom, I’m not sure I like goats but goats are pretty weird – they’re esoteric, surreal creatures (occult even!) – which seems a good fit for the collection. The power of the goat is calling.

After much trial and error, I eventually found the goat that might save my life. Tongue out – not too cute, not too ugly, just oddly charming enough, it’s chewing away in the high country. Being free, being chill, being weird. Being goat. Seems a nice vintage too, should contrast well with some garishly bright text – aiming for the sweet spot where the archaic (story telling; old as the hills) and the modern (the text often plays with form, while poking fun at its own metatextuality) meet. You know that spot, right? It’s a good place.

For the cover’s display type, I wanted something big and bold but with a certain softness and warmth – enter the rock-solid humanist sans serif with a hint of contemporary typographic finesse, P22 Underground. And okay, my handwriting sucks but I want something with a human hand behind it, so I turn to another literary surrealist – help me out, Franz? – the subtitle of ‘Stories’ is set in FF Mister K (a font based on Kafka’s handwriting).

The interior is primarily typeset in Garamond Premier and Underground (with a few wingdings and emojis for good measure). One story, ‘New Directions’ (which contains the titular story – ‘The Slip’ – in a metatextual way) required a very detailed setting; conveying multiple voices: author, confidant, publisher, analyst, patient – and an eel(!) – with the voices often switching between one another mid-sentence (very slippery indeed).

Providing sufficient visual difference between each voice, while keeping an elegant and cohesive overall, was quite a challenge. The story utilises varying degrees of indentation, all-caps, small-caps, italics, reverse slant, underline – and detailed spacing (the eel is getting high, getting loose, mind and text fragmenting). The result is best experienced in print, of course. On that note, do go buy the book, it’s very, very fun.

Poster for the Rey Ahogado tournament

Rey Ahogado is the first chess tournament held at 404 Coffee & Beers as part of the cultural and community programming of the project in Caguas, Puerto Rico. The event followed an open Swiss system format with 10-minute rounds. The project was developed in collaboration with the Centro Criollo de Ciencia y Tecnología del Caribe (C3tec) and the Puerto Rico Chess Federation.

To honor this collaboration, we combined 3D graphic generation with 3D-printed object production and augmented reality, inspired by the concept and chess situation known as the “smothered mate”, or “rey ahogado” in Spanish. The graphic composition is based on the contrast between Garamond Premier and Untitled Sans. The central poster features a king piece wrapped in checkered squares, evoking the chessboard. The project was created as part of a broader effort to highlight chess as art, game, and educational tool.

Poster for the Rey Ahogado tournament

Flyer for the Rey Ahogado tournament

Digital promo of the Rey Ahogado tournament ft. a DSPO lens photo

At the Rey Ahogado tournament, May 24, 2025

Digital promo of Rey Ahogado tournament ft. a DSPO lens photo

At the Rey Ahogado tournament, May 24, 2025

A giant King piece in augmented reality, created in Adobe Aero for an Instagram reel

Swiper is an artist’s book chronicling an unlikely sequence of events that unfolded in the summer of 2023: After going out for drinks with a man named Joshua whom she met on Tinder, 25-year-old New York City resident Alexis Dougé spent the night with her date back at her Brooklyn apartment – only to find out the next morning that he had stolen her pair of tabi. Alexis posted a series of videos on TikTok recounting the situation, which immediately took social media by storm and sparked an Internet-wide craze for the newly dubbed “tabi swiper.”

The publication documents the story’s viral reception across social media, stylized in the visual language of early means of Internet-mediated communication such as text-based chat clients and message boards, while shining a spotlight on the Internet lore surrounding Maison Margiela’s iconic split-toe silhouette.

Swiper is set in Courier, drawing upon the history of monospaced typefaces commonly observed throughout early Internet chat clients and message boards, as well as Martin Margiela’s use of the typeface across written materials during his tenure at his eponymous fashion house. Selected messages are reproduced using San Francisco and a spread with news flashes has texts rendered in Arial. The embossed cover title is set in Garamond Premier.

Swiper is a 2024 recipient of the Visual Artists: Creation grant from the Toronto Arts Council. Published by flāna flāna books in 2024, counting 68 pages and measuring 4.375×7 inch, ISBN 978-1-0690508-0-9.

Made as student project at the ArtCenter College of Design, this 64-page book offers an in-depth exploration of yellow journalism, combining ironic imagery with thought-provoking captions to challenge readers' perceptions of sensationalist media. Each image is carefully paired with insights into common logical fallacies, creating a compelling narrative that critically examines the mechanics and impact of fake news. By deconstructing these deceptive tactics, the book invites readers to engage with the content on a deeper level, fostering media literacy and skepticism.

The design draws heavily from traditional newspaper aesthetics to reinforce the theme. The use of Garamond Premier provides a classic, authoritative tone, while the incorporation of a grainy texture evokes the tactile feel of old-school print media. This juxtaposition of traditional elements with absurd, exaggerated visuals highlights the inherent contradictions of yellow journalism, amplifying its critique.

The layout balances structured grids with dynamic compositions to guide the reader’s eye, ensuring each page is both visually engaging and informative. Strategic use of white space and high-contrast imagery creates tension, further emphasizing the dramatic and often misleading nature of sensational headlines. The book not only serves as an artistic exploration of the subject but also as an educational tool, equipping readers with the knowledge to identify and question false narratives in their everyday lives.

Front and spine of Faber & Faber’s book jacket

Intermezzo is Irish writer Sally Rooney’s latest novel. The “exquisitely moving story about grief, love and family” was published in the UK in September 2024 by Faber & Faber. It comes with a modern and thoughtful book cover with bold graphic design and an unconventional mix of typefaces.

The book jacket was designed by in-house designer and illustrator Kishan Rajani (you can read about the process in an interview for GQ). It features three main elements stacked upon each other on a white background: the author’s name, in Maax Display Ultra, shown in the signature electric blue also seen on the book’s back and in much of the marketing campaign, which started months before the release. Underneath sits a square illustration featuring a man’s silhouette standing in the background while the legs of another walking man frame the picture in the foreground, with a fallen chess piece at his feet. The third element is the title, set in the open-source font Le Murmure, also in all caps.

The whole communication makes thorough use of the typeface duo and of the blue-white-black trichromy; on posters, tote bags, the dedicated website, coffee cups, enamel pins, stickers, T-shirts, etc. The publisher even organized live jacket design events where illustrators (Yuk Fun, Maria Ines Gul and Nänni-Pää) would draw custom designs onto jackets that were printed out with the illustrated square left blank.

The hardback version is available both with a white and a blue background. Review copies of the book were also sent out featuring a temporary cover that already featured the distinctive colors and fonts, but not yet the illustration.

The German hardback edition (translated by Zoë Beck) by Claassen follows the same basic design as the one by Faber & Faber, also featuring Maax Display and Le Murmure.

Front of Faber & Faber’s book jacket. “Author of Normal People” at the top is set in Futura and Futura Black.

The hardback book cover depicts a sitting dog and also features Maax Display and Le Murmure.

The back of the jacket continues the chess theme with blue and white fields. The typeface is an italic Garamond, possibly Garamond Premier.

Review copy of the book, on top of a tote bag

Shop window decorated with promotional posters and oversized chess pieces

Early birds with promotional cups and plastic bags

A jacket with custom illustration in the making

One of the jacket designs with custom illustration, alongside a bookmark ft. text in Futura and a chess sticker

Promotional enamel pin and a paperback edition of the book

The sign at this book shop features a magnificent rendering of the book jacket and its typography in chalk. Due to the medium of the blackboard, black and white are reversed.

The book plus a matching tote bag

The book and an advert on the London Underground

Book jacket and cover of the German edition by Claassen

Claassen’s limited first edition comes with blue edges.

This extra virgin olive oil from Irpinia in Southern Italy is crafted predominantly from the native Ravece cultivar. Its true distinction lies in its deep-rooted family heritage.

Monte Augusto is typeset in Norman with a swash on the capital A. The subhead Olio di Familia dal 1803 is also shown in golden letters and uses Turquoise. The back label is mainly designed using Auster.

The Merola family has been producing oil since at least 1803, a fact marked by the date engraved on a stone tub once used for storage. Young Vincenzo sought to honor this legacy by packaging the oil in an elegant bottle, departing from the traditional large-format cans. The uniquely shaped bottle, reminiscent of balsamic vinegar, is adorned in black and gold, exuding a sense of value at first glance. The family monogram, prominently displayed on the collar, echoes the one still found at the Merola palace in the historic center of Bonito.

The label is a testament to both tradition and craftsmanship. Made with black-textured UPM Raflatac Cotton Black paper, it features a portrait of Vincenzo’s great-great-grandfather, Nicola Merola, who first began marketing the family’s olive oil in the 19th century. This portrait is printed on UPM Raflatac Genesi paper. The label is printed using three different golds: offset for the text and nutritional information, laminates for the decorative olive leaves and carriage—an image still found in the Merola palace—and cast gold for the progressive bottle numbering and the inscription "Monte Augusto," the location of the family’s olive groves. The label wraps around the bottle, die-cut to form a drop of glass at the closure, with the cap sealed by a wax stamp bearing the Merola family monogram.

Label design by BasileAdv. The website was designed by Damedia and combines headlines in Norman with text in Garamond Premier.

To commemorate the 500th anniversary of the death of Leonardo da Vinci (1452–1519), The Metropolitan Museum of Art will display the artist’s painting Saint Jerome Praying in the Wilderness (begun ca. 1483). A special loan from the Vatican Museums, this monumental, exquisitely rendered painting is in an unfinished state, providing viewers with extraordinary insights into the artist’s creative process.

For the communication of this exhibition, graphic designers Mortimer Lebigre and Ann Rieger used the typeface Le Beaune designed by Damien Gautier (205TF) and Garamond Premier Pro designed by Robert Slimbach (Adobe).

For their fifteenth full-length release, The Avett Brothers came to us to design a layered visual experience that embodies the deeply personal and calmly existential collection of songs that make up their eponymous album. The design articulates a pattern language that frames the band’s exploration of spirituality, intimacy, and rootedness. We turned to the complex, contemplative diagrams and charts of ancient gnosticism and hermeticism for initial inspiration. From there, we expanded our range of influences to poetry, and the band’s own deeply place-based (and significantly rural Southern) lineages.

This led to a rich, detail-oriented typographic palette that references literature, mystical diagrams, and vintage religious texts to create a textural atmosphere that is at once storied and contemporary.

Garamond Premier, Adobe’s version of the serif all-star, carries the suite’s body copy and titles, setting a sophisticated, literary tone that avoids coming across as stuffy or antiquated. Out of the Dark’s Syncro Italic, Rokha (W Type Foundry) and Dédale (205TF) are used as complementary fonts from the LP jacket interior diagram to the lyric “poetry” chapbook for their strong character and classical references.

A flexible website supports the album release, combining the contemplative, bookish atmosphere of band’s off-road lives with the invigorating energy of their live performances. Its typography takes a more modern, evergreen approach, with SwissPosters by newglyph and The Future (Klim Type Foundry) contrasting Garamond Première.

[More info on Discogs]

The Moving Couch Cinema was a series of movie screenings hosted by Rita Davis and Björn Giesecke. Taking place on a couch with four wheels moving through the Estonian Academy of Arts in Tallinn. Arriving every time at a different location – staircase, fine arts drawing studio, bathroom, exhibition space. Staying for short, projecting a movie, and moving back.

The pamphlets produced for each occasion gather scanned bits and fragments to provide context for further reading, like transcripts, film reviews, interviews, and newspaper clippings.

The title features the first use of Drama. An all-caps monospaced zig-zagging typeface based on Rogers (Boston, ca. 1889), Drama can run up (Zig), down (Zag), around corners (Zig Zag), on uneven ground (Zig Zag Zig Zag), simply straight ahead (Horizontal), and is variable for everything in between.

Accompanying the exhibition Zero, Pop and Minimal – The 1960s and 1970s at the Von der Heydt Museum, we were allowed to design the catalog. This features a clear and minimalist aesthetic that gives the artworks appropriate space and attention. Sul Mono by R-Typography with its simple and legible form fits ideally and unobtrusively into the theme around zero, pop and minimal.

There is a focus on the exhibition's room shots, which gives the reader a good idea of how the artworks are presented. These are introduced to the respective sub-themes by floor plans of the entire exhibition. The reduced work details are set in the design grid in the room photographs.

Overall, the 280-page OTA-bound catalog is a compact and highly informative work, printed on Condat matte Périgord to best reproduce the colors and textures of the artworks. We designed a second cover variant for the publisher’s edition by Verlag Kettler.

Current Affairs, a political and cultural magazine founded in 2015, uses Essonnes for all of its headlines, larger captions, and pull-quotes. Garamond Premier is the text typeface and Futura is used for navigation and buttons.

The recently redesigned package of the South Tyrolean Bela Badia cheese from Mila features JAF Herb joined by Garamond Premier (with some customised details) and Monotype Corsiva. For the small print, Myriad Condensed is used.

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

From April 1 to July 30, 2017, the Saarlandmuseum – Alte Sammlung and the Museum für Vor- und Frühgeschichte were jointly presenting an exhibition dedicated to an important cultural-historical phenomenon in Europe in the 18th and 19th centuries: the “Grand Tour”. This term stands for study trips, which at that time were considered part of the general education of the aristocratic upper class, and led to Rome as well as to the ancient ruins on the Gulf of Naples and in Sicily.

The book was designed by Studio RBƒK using Korpus Grotesk and an unidentified italic [Garamond Premier, see comments]. It was edited by Roland Mönig, Thomas Martin and Stefan Heinlein and published by Stiftung Saarländischer Kulturbesitz.

Labels for a line of three wines, each featuring an endangered species in Liberia; the pepper bird, the pangolin, and the water cow. The wines – two white and one red – were produced by Bodega Engueras DO Valencia, for the Liberian market.

Annuario is featured for the name of the animal species. It’s paired with Annuario Wide and Garamond Premier Italic (with swash caps) for other text. Printed on Materica paper by Fedrigoni, in Valencia during summer 2021.

To the rhythm of the Super Tipo Veloz modular typeface, a summery customized version of the typeface – inspired by towels and parasols – presents the first edition of the Istiu festival. Istiu is a colloquial dialectal variant of estiu, the Catalan word for “summer”.

The illustrations and typography are based on the typographic system created by Joan Trochut Blanchard in 1942, a pioneer and benchmark in Spanish graphic design. It was digitalized and revived by Andreu Balius and Alex Trochut in 2004.

The stripes and colour combinations – which will change for each edition of the festival – seek to transmit the freshness of the summer breeze while at the same time set the tempo and visual rhythm of the artists’ names.

Hardback edition, May 2018.

See What Can be Done is a collection of essays, criticism and commentary by Lorrie Moore, originally written for The New York Review of Books and first published in book form by Knopf in April 2018. The cover for the UK edition by Faber & Faber was designed by Jonny Pelham. See what can be done with an unassuming letter e …

I noticed that every word contained either an ‘a’ or an ‘e’ and that instead of substituting one for the other it might be possible to emphasise ‘process’, as implied in the title, by reintroducing the sense of movement I’d liked from one of the earlier visuals.

You can read about the process behind this cover on the Faber blog.

Paperback edition, March 2019.

Cover with the title in scattered words from Jean-Luc.

We See Things They’ll Never See chronicles the glorious first season of Vinny Perth’s reign as the manager of Dundalk FC.

This comprehensive 304 page publication recounts every detail of the 2019 campaign, as ‘The Lilywhites’ retained the league title, as well as going agonisingly close to completing an unprecedented sweep of all five domestic trophies.

Table of contents ft. Akzidenz-Grotesk Extended; “Back to Business” in all-caps Compacta.

Text page combining ITC Garamond and Garamond Premier. The page on the right has a pull quote set in GT America.

“Last Action Heroes” uses Knockout, “Sealed with a Kiss” is set in Windsor Elongated.

BPscript and Garamond Premier in use for Θαύματα Χλωρά (“Green Miracle”) by author Orestes Davias, with illustrations by Diamantis Aidinis. The book was designed by K2design and published by Potamos:

Can texts about plants be seductive? "Primarily" is the answer and is proven in the 120 texts of Davias that are illustrated, commented on and ejected by the painter Diamantis Aidinis. Everything contributes to an intoxicating "plantation of miracles" according to the novelist Vangelis Hatzigiannidis. Orestes Davias not only knows everything about Greek, Mediterranean (but also distant) plants, he is also a fascinating narrator. He writes enchantingly, densely, knows the symbolism, is accurate, has wit and humor.