Le Grand Jeu is an independent Parisian bookstore, creative agency, and editorial platform located in the heart of the 11th arrondissement, between Oberkampf and Ménilmontant. It is known for its carefully curated selection of books, magazines and zines dedicated to street cultures. The bookshop is the place to go when searching for publications on graffiti, street art, skateboarding, surfing, sneakers, street fashion, photography and contemporary art. The team, guided by Christian Omodeo, sources titles from both major and independent publishers in France and abroad, and everything available in the shop can also be ordered on their website.

Beyond its physical space, Le Grand Jeu also works as a mobile bookstore and a cultural agency. Since 2015, the team has collaborated with institutions, brands and events across Europe, curating exhibitions, producing books, organizing events and contributing to international fairs such as Art Élysées, the Paris Surf & Skate Film Festival, and the Moniker Art Fair in London and New York. Guided by a strong passion for street culture and contemporary art, they continue to bring hard-to-find content and engaging cultural projects to a growing audience.

From spring 2019, under the designer Eliot Valdejo in collaboration with the in-house team of Le Grand Jeu, the bookshop and agency used Swiss Typefaces’ BRRR and Riviera as the core of its visual identity. The two typefaces were applied consistently across the shop sign, printed ephemera, website, and social media posts. The pairing formed a typographic system centered on contemporary type as its primary expressive tool. BRRR, with its angled terminals, subtly echoed the chisel-tip markers associated with street writing, while Riviera provided clarity and a contemporary neutrality. Together, they balanced expressiveness, legibility and a contemporary tone that reflected the core character of the bookstore.

This identity was discontinued in fall 2025, following a rebranding led by Paolo Proserpio.

On the website, BRRR and Riviera are paired with Nunito for the navigation menu.

With marine-derived ingredients like giant sea kelp, Apotheanic sought to create an identity and packaging system that celebrates nature. The brand’s signature golden yellow, inspired by the way seaweed changes colour when held up to sunlight, is a subtle nod to the transformative nature of their products.

Creating a fully recyclable packaging system that supports small batch production to minimise waste was essential. By partnering with UK-based production companies, we ensured the brand was able to further reduce its overall carbon footprint.

Located in Eastbourne, Devonshire Collective (DC) contributes actively to the development of the local art scene through its diverse cultural activities: VOLT, a gallery space dedicated to promote emerging and underrepresented artists living in East Sussex and nationally, also providing studio spaces to local creatives and makers, and DC Learn which offers free arts education and community engagement programmes for children and families.

For the collective’s new colourful identity, they collaborated with London-based design studio Daly & Lyon. From the designers’ instagram post describing the project:

The three strands of the organisation – Devonshire Collective’s offsite activities; VOLT […]; and DC Learn […] are brought together under a fresh set of logotypes and communication collateral, including a new website, exterior signage and various print and social media assets.

Colours take their cue from the town’s older red and blue pavement bollards and the blue-green sea (on a sunny day…).

Signage is fabricated from mill-finished dibond to reflect the changeable seaside weather conditions throughout the year.

Riviera Nights Regular and Medium by Swiss Typefaces are used across all materials.

Riviera Nights is available from Swiss Typefaces.

New typographic installation featuring Riviera by Swiss Typefaces has been installed aiming at enriching the public realm through celebration of Tom Raworth.

The dynamic text-based installation commemorates local writer, printer and publisher Tom Raworth (1938–2017). One of 23 locally-led projects supported by Hackney Council’s innovative Hackney Central Impact and Ideas Fund, the installation provides a platform for writing in public space, inviting passersby to engage with Raworth’s experimental writing and typesetting.

Tom Raworth was influential in bringing the style of Black Mountain, New York School and Beat poets to British writing, and first began his serious engagement with writing, printing and publishing while living on Amhurst Road in Hackney in 1960. Author of over 60 books, he founded Matrix Press in 1961 – publishing the literary/art magazine Outburst – and Goliard Press in 1965.

Responding to Raworth’s writing and his work as a printer and publisher, Polytechic’s design echoes the manual process of typesetting metal or wood type for print, with more than 700 enamel screen-printed tiles allowing for the faithful reproduction of Raworth’s work.

Inspired by Chernaik, Herbert and Benson’s Poems on the Underground and Jenny Holzer’s word art, the installation will feature new writing from Raworth’s catalogue each month, sparking surprise and curiosity in the everyday journeys of local residents and passersby.

In line with Hackney Council’s efforts to invest in local businesses and support sustainable urban development, Polytechnic assembled a local team to collaborate on the project, working closely with design studio Mitre & Mondays and screen-printers Manson’s Press.

The project was made possible with the support of the Raworth family who granted permission for the installation to share Raworth’s work with a wider audience.

Embedded within the street-frontage of Bodney Road Studios, the installation is publicly accessible 24 hours a day, 7 days a week and is located adjacent to Amhurst Road on Bodney Road, Hackney.

You can read more about the project on the dedicated project website.

Full project credits:
Concept, graphic design and web design by Polytechnic
3D design and fabrication by Mitre & Mondays
Printing by Manson’s Press
Photography by Thomas Adank

Swiss Typeface’s Riviera is used across all printed matter to promote and document Joe Gamble’s solo show — presented w/Gedney Common and held in 2021 at Bodney Road Studios. Riviera is used as the house typeface for all Bodney Road Studios events and on the website. From the publication text by Charlotte Flint:

Joe Gamble’s sublime landscapes are forged from a combination of preliminary drawings, past sketchbooks, photographs and memories. Frequently visiting the Llŷn Peninsula in Wales, Joe documents the surrounding landscape and uses these source materials as foundations for creating paintings that convey a sense of space and explore ‘how place might be captured, interpreted and then finally presented’. […]

Working predominantly with drawing and painting, Joe graduated from the Royal Drawing School in 2019; he lives and works in London.

The third issue of the Transnational Social Strike Journal documents the wave of women’s strikes in 2018. The booklet is printed A5 on a relatively transparent stock to make the purple spot bleed through the pages whenever possible.

Messer carries the design with its confident clarity. It pairs with Riviera Nights, then a single-weight lab font, matching its resolute, sharp edges with the knifes edge serifs.

The journal is available as a download from the Transnational Social Strike website.

Ink Dreams was and exhibition held at the Los Angeles County Museum of Art (LACMA) from September 19 to December 12 2021, which showcased the works of 53 local artists from Asia, Europe and North America, who all had one thing in common: the medium of ink. It explored how the ink spirit is translated across other mediums, global makers and contemporary art and included 78 works including photography, sculpture, video, painting, etc., proposing a new perspective on contemporary ink art, integrating the traditional characteristics of ink painting and new adaptations of traditional themes, not being bound by traditional materials.

The exhibition catalog, designed by Lorraine Wild and Xiaoqing Wang at Green Dragon Office, is entirely set with Riviera Nights. Several contrasting weights are used to create a complex but refined layout, highlighting the art pieces.

Riviera Nights is part of the Riviera family, available from Swiss Typefaces.

In 2021 several aspects of the Hungarian Irodalmi Magazin (“Literary Magazine”) went through a redesign: the cover layout, the typefaces and the logotype. All issues released since 2020 got redesigned with the new logotype and cover layout.

The new logotype was made with the Riviera Nights typeface. The running text uses Piazzolla, a typeface in variable font format made specifically for print media and publications. The healthy contrast between these two is one of the main foundations of the brand identity.

The cover for the 1920/2020 issue was exhibited at the XXII. National Graphic Design Biennial of Hungary. It was designed with Fit, a variable font designed by David Jonathan Ross.

From Hypebeast:

Rolls-Royce’s first fully electric vehicle titled the Spectre is slated to arrive on the market in Q4 of 2023. The two-door vehicle looks to be based on the Wraith coupé with its “fastback-oriented” design. “With this new product we set out our credentials for the full electrification of our entire product portfolio by 2030”, said Torsten Muller-Otvos, CEO of Rolls-Royce. “By then, Rolls-Royce will no longer be in the business of producing or selling any internal combustion engine products.” Details are still firmly under wraps, but Otvos promises prototype models will offer more clues as they hit public roads for testing in the coming weeks.

The font used all over the prototype car is Riviera Nights, which also serves as Rolls Royce’s new branding typeface.

Riviera Nights is part of the Riviera family, available from Swiss Typefaces.

Designer Stephie Müller is using a combination of Riviera Nights and Arial on her portfolio website.

Riviera Nights is part of the Riviera family, available from Swiss Typefaces.

Type Life #1 was the first edition in a series of printed publications about design, typography and lifestyle, presented by Swiss Typefaces. Published in June 2017, it was soon sold out. Letter lovers who missed out on securing a copy can now rejoice: Type Life #1 is available again. The new edition is not just a reprint, but an enhanced update. It boosts four more pages and a revised design with new colors. The content was extended, too. In addition to new images, version 2 features several new typefaces that were created in the past months.

Type Life is packed to the brim with letterforms, and yet it is not a specimen. It’s a celebration of style and a wellspring of inspiration. Instead of long texts, there are lots of images, including photography, illustration, lettering, and exclusive previews of upcoming typefaces, forming a highly visual experience. Each issue is devoted to one chosen theme, and is made in collaboration with guest artists, illustrators, and designers. The printing process along with the use of metallic and neon colors is a key aspect. Apart from the format of a newspaper magazine, the identity of Type Life changes with every issue, depending on the topics and the guests.

The inaugural issue is about the Lab. In this Research & Development department, the designers of Swiss Typefaces explore new ideas for future fonts. Two of the Lab fonts are showcased in detail: BRRR is a playful wide Grotesk with a great deal of disruptive details. A spin-off from Simplon Mono, it was initially created to design a poster series for Swiss artist Simon Paccaud. KRSNA started out as a custom version of NewPanam Skyline, made for two vinyl record sleeves by Geneva-based musician Grace Core. This experimental typeface abandons the convention of a continuous baseline and introduces a three-storey space where the letters can sit at the top, center or bottom, with the remaining space filled by bars and spikes. The resulting word images are captivating patterns with logo-like qualities. Type Life reveals how BRRR and KRSNA came into being by depicting preliminary sketches, evolutionary steps, and photos of experiments made during trips. Reproductions of the very first applications show the fonts in context.

The updated edition also provides a glimpse into two upcoming Lab releases. KOPYME is a brutalist typeface with monospaced characters of extra wide proportions. Its horizontal nature is offset by diagonals that shoot across the glyph space like laser beams. They crash through the baseline, extending the underlying grid by a fourth underground level, and adding to the KOPYME’s kinetic energy. Black Mamba is an offshoot of the SangBleu series. Its swash letterforms are melting and churning as if they were drawn under the influence of the intoxicating Aztec elixirs mentioned in “The King, His Court, The Explorer & The Gift”, the essay included in the SangBleu Book.

Guest contributor is Thomas Louzoun aka Zombie Tears, a French art director, illustrator and tattoo artist. His whimsical drawings and handmade letterings were created specifically for Type Life. They are complemented by samples of recently released fonts like the fat display serif IKANSEEYOUALL and the bonkers Euclid Stencil, and previews of fonts that were in the making at the time of the publication, like new styles for TheW Clan (ODB & GZA, in addition to already released RZA).

An underlying theme in Type Life #1 is the confrontation of opposites. Systematic typography is interspersed with footloose lettering, accurate vector shapes are shown side by side with drippy comic blackletter. Highbrow clashes with subculture when an icon of the Swiss International Style gets remixed with street art. Past meets present also in the typeface designs that always and inevitably are contextualized in history. The digital is contrasted with the analog, the local with the cosmopolitan, the abstract with the personal. On a formal level, all of this is represented by the combination of uncoated newsprint and glamorous spot colors. The unique color palette featuring Pantone neon colors along with silver and black is a defining element of the publication’s identity.

Type Life issue #1 v2 was printed in an edition of 1,500 copies. It is now available exclusively from Physical Company. Fonts are available on Swiss Typefaces.

Cover, with magazine logo set in Ikanseeyouall. The theme is set in SangBleu OG Condensed, with showings of Krsna and Kopyme underneath.

outlined Krsna used as a frame.

Type amidst lettering by Thomas Louzoun: “Type Life Choose Us” is set in Black Mamba.

Capital K’s set in Euclid Stencil and Krsna. The font names are set in Brrr .

2018 design created by Kristin Krause. Her flyer and poster design were part of an annually design competition held in the Graphic Design Klasse Fons Hickmann at the Berlin Summer University of the Arts.

"My idea was: The physical form of flyer/poster informed the design. I was imagining for someone to take the flyer outside to the lake and sand would collect in the folds of the paper. I liked the idea, that it was not too straightforward. Actually, part of the reason why I chose the Riviera typeface was its name and association with beaches." – Kristin Krause

Riviera is part of the Lab, available on Swiss Typefaces.

Catalogue and guide for the photography exhibition North: Fashioning Identity at Somerset House, London, designed by B.A.M.

This winter, Somerset House is proud to present North: Fashioning Identity, an exhibition examining representations of the north of England and Northerners in photography, fashion and art.

North: Fashioning Identity features over 100 photographs, fashion garments and artworks from a host of renowned photographers, designers and artists including Alasdair McLellan, Corinne Day, Mark Leckey, Jeremy Deller, Raf Simons, Paul Smith, Off White’s Virgil Abloh, Peter Saville, Stephen Jones, Gareth Pugh, Nick Knight, Glen Luchford, Jamie Hawkesworth and David Sims, plus the likes of Shirley Baker, John Bulmer and Peter Mitchell.

The Riviera typeface is available in the Lab of Swiss Typefaces.

Type Life is a new series of printed publications about design, typography and lifestyle by Swiss Typefaces.

It is packed to the brim with letterforms, and yet it is not a specimen. Type Life is a celebration of style and a wellspring of inspiration. Instead of long texts, there are lots of images, including photography, illustration, lettering, and exclusive previews of upcoming typefaces, forming a highly visual experience. Each issue will be devoted to one chosen theme, and is made in collaboration with guest artists, illustrators, and designers. A key aspect is the printing process, along with the use of metallic and neon colors. Apart from the format of a newspaper magazine, the identity of Type Life will change with every issue, depending on the topics and the guests.

Issue #1: Special Lab

The inaugural issue is a special about the Lab. In this Research & Development department, we explore new ideas for future fonts. Two of the most recent additions to the Lab are showcased here. The first one named BRRR is a playful wide Grotesk with a great deal of disruptive details. A spin-off from Simplon Mono, it was initially created to design a poster series for Swiss artist Simon Paccaud. KRSNA started out as a custom version of NewParis Skyline, made for two vinyl record sleeves by Geneva-based musician Grace Core. This experimental typeface abandons the convention of a continuous baseline and introduces a three-storey space where the letters can sit at the top, center or bottom, with the remaining space filled by bars and spikes. The resulting word images are captivating patterns with logo-like qualities. Type Life reveals how BRRR and KRSNA came into being by depicting preliminary sketches, evolutionary steps, and photos of experiments made during trips. Reproductions of the very first applications show the fonts in context.

The guest contributor to the first issue is Thomas Louzoun aka Zoum, a French art director and illustrator. His whimsical drawings and handmade letterings were created specifically for Type Life. Among the other contents is a feature of the Style Games Bachelor work made by type designer Ludmila Bredikhina at ECAL, and a luscious spread with samples of fonts that were either just launched or will be made available in the future.

On the back cover, Swiss Typefaces announces a milestone release for fall 2017: The SangBleu Collection is a brand new typeface series spanning 5 subfamilies with 46 styles – from Imperator Black to Opera Air – all of them supporting both the Latin and the Cyrillic alphabet.

An underlying theme in Type Life #1 is the confrontation of opposites. Systematic typography is interspersed with footloose lettering, accurate vector shapes are shown side by side with drippy comic blackletter. Highbrow clashes with subculture when an icon of the Swiss International Style gets remixed with graffiti. Past meets present also in the typeface designs that always and inevitably are contextualized in history. The digital is contrasted with the analog, the local with the cosmopolitan, the abstract with the personal. On a formal level, all of this is represented by the combination of uncoated newsprint and glamorous spot colors. The minimal but nevertheless unique color palette featuring Pantone neon pink and yellow along with silver and black is a defining element of the publication’s identity.

Type Life #1 was printed in an edition of 1,000 copies.