In 2005, Marion and Philippe Jacquier decided to create a gallery dedicated to anonymous photography, called “la lumière des roses” (“the light of roses”). Through thorough research in flea markets and antique shops, they discovered fabulous pictures that they kept. Twenty years later, their collection expanded to more than 10,000 pictures, covering a century of photography history. This exhibition presents the most representative pieces of vernacular photography and photography ensembles, gathered around topics such as history, intimacy, obsession, and sheds light on its great diversity.

Eloge de la photography anonyme / In Praise of Anonymous Photography is an homage to all these anonymous photographers that shared their vision of the world, with their imagination as the only limit.

This collection has been acquired by the Antoine de Galbert Foundation and was gifted to the Grenoble Museum.

The depicted poster was designed by Cécile Joly for the exhibition produced by the Rencontres d’Arles and shown at the Cloître Saint-Trophime.

Cover of the German-language edition

Description of the project by Sammlung Wemhöner:

The catalogue Follow Me Behind the Mirror. Positions of the Wemhöner Collection highlights the impressive breadth of the Wemhöner collection through Philipp Bollmann’s curatorial eye, replacing conventional order with associative juxtapositions. Showcasing a selection of around 400 works from the much larger collection, Bollmann’s dialogical approach opens up new perspectives and underscores its complexity.

This book contains works of numerous artists, including Marina Abramović, Nevin Aladag, Kader Attia, Georg Baselitz, Hans Op de Beeck, and many more. It was published by Distanz.

Cover of the English-language edition

Documentation of the graffiti and streetart festival which took place from 20th November 2015 to 6th December 2015 at the Bundeskunsthalle in Bonn.

The German-language publication was edited by Allan Gretzki, Johanna Adam, Matthias Hübner, and Robert Kaltenhäuser, with texts from Rein Wolfs, Allan Gretzki, Robert Kaltenhäuser, Johannes Stahl, Harald Hinz & Patrick Gau. It was published by Possible Books.

Matthias Hübner provided the book design, using Ostia Antica and Totentanz, both from Bureau Brut. See more images on his website.

160 pages, 23 cm×18 cm.

Constructed around a polemical text on the practice of graffiti, the book gathers several theoretical essays on the discipline and its history. The cover, printed in red and metallic chrome, is a play on the time-honoured practice of covering existing graffiti (also called “toying”) and echoes the way the texts all respond to the first document. The composition takes up all the space available on the book cover, as it would on a wall.

The softcover with dust jacket has 352 pages and measures 14×22,5 cm. It was edited by Jo Preußler and Cogitatio•Factum and is in German language. It was published by Possible Books in September 2017.

The cover was designed by Bureau Brut. The typefaces used are our Lebreton and Brut Grotesque on the cover, with Totentanz and Ostia Antica inside.

Lupo (Italian for “wolf”) is a small Italian delicatessen that opened in Lyon in the fall of 2024. Located in one of the narrowest buildings in the city, this cozy shop offers a wide variety of products from across Italy, mostly sourced from family-run producers.

Lupo features a logo that is fully and intentionally hand-drawn, evoking spontaneity and generosity, in the spirit of Italian street food. The wolf, a historical symbol of Rome and often seen negatively in the collective imagination, here sheds its unfavorable traits to become a friendly and welcoming mascot.

Des maisons pour sauver le monde by Courtenay Smith and Sean Topham is dedicated to adapting habitat to the threats weighing on our planet. The book was first published by Thames & Hudson as Houses That Can Save the World. The French edition shown here was published by Editions Parenthèses in their Architectures collection. Damien Joron provided the translation. The book has 256 pages with 550 illustrations and measures 215×245 mm. ISBN 978-2-86364-389-1

Sciences Po, also known as the Paris Institute of Political Studies is a research university located in Paris, France. They have their own publishing house, mostly publishing essays from researchers. They are now launching a bi-annual magazine focusing on the actuality of research, with a political angle. The first issue, released in April 2024, is titled “Une Europe fragmentée ?” which translates to “A Fragmented Europe?”. The many illustrations opening most articles are by Félix de Combat.

The whole first issue of Comprendre son temps is freely accessible as a PDF.

The magazine features a changing typographic cocktail, bringing new titling fonts for each issue while keeping Tekst A and NaN Metrify A (mostly in its Wide subfamily) for texts and sub-headings for all issues. A duo of contrasting sans serifs is sharing the spotlight for this first issue. Bureau Brut's Ostia Antica, in all caps, shows its very classical proportions inspired by monumental inscriptions while Brieface's Falser Grotesk appears very geometric and modern in comparison. The difference of proportion between the very wide round letters in Ostia Antica and quite narrow in Falser, is quite startling.

NaN Metrify is mostly used in its wider versions for all introductory paragraphs and recurring info, grounding the layout with subtle confidence. Teskt, in it A version (for Analog), the only serif of the four typefaces, strikes by its very organic, soft and calligraphic influences in comparison with the three sans serifs. As the text duo, Metrify and Tekst are opposite in their construction, contrast amount, but also in proportions, AAAAA using Metrify in its Wide subfamily while Tekst sports a quite narrow fit.

Aardvark Wine & Beer is a boutique shop created “to take the snobbery out of wine”. Founded by a self-taught connoisseur turned certified sommelier, Aardvark brings a humble, community focused approach to learning about and loving wine. They arrived with an idea and an off kilter name. We took it from there and created the visual system, character and illustration, and tone of voice that make Aardvark a destination.

The primary Aardvark logo is based on Retail Display, with modifications. It is paired with a custom secondary script logo, and an eclectic typeface palette, consisting of some of the solid styles of ABC Grow plus ABC Laica and Ostia Antica.

Art direction, creative direction: Nonfiction
Exterior murals: Nick Stull
Environmental: Creative Palette
Signage: Graph X Productions
Apparel: Tonic Studios

Bureau Bertrand Clément used the Clifton typeface to design the cover of the album Le Vaisseau Blanc by the band Fondation. Originally released in 1983, this is a reissue by Tunnel Vision Records from 2017.

[More info on Discogs]

La preuve du contraire, published Éditions Haut Bord and Objet Livre, presents poems / free prose by Lou Valse. From the preface by Muriel Denis:

The literal and the figurative throughout, the strangeness, the down-to-earth absurdity, the universal place and rupture shared by all, the adventure allowed by a pre-wash... What a jubilation this book is! What freedom in the labyrinth!

The book, 10.5×17cm, 80 pages, is printed in a single spot color, using Ostia Antica throughout.

See another edition in the same series, previously shown on Fonts In Use.

Artist Christophe Galleron is interested in the powerful universes that make him wonder about the place of humankind in the world. For several years now, he has been making what he calls his “dream portraits” in the form of drawings, texts and films. Journal d’un glacier is the account of the days past, up there at the foot of the glacier.

Design by Brest Brest Brest, who used Ostia Antica throughout.

Co-edited by Haut Bord and Objet Livre
Format: 10,5×17cm, 64 pages

Naming and brand identity for Royal District, an initiative aimed at promoting the heritage of the Bourbon Dynasty in Southern Italy to younger audiences and visiting foreigners through activities and services highlighting the cultural and historical link between existing sites and institutions. Winning project of the branding contest organised by AIAP and Siti Reali.

At the core of the visual language is a vocabulary of simple shapes, inspired by the common architectural features of the sites part of the network, that resolve into the solid D of the logo – standing for the “district”, a place to discover, explore and experience.

The shapes can be used in their singularity to indicate multiplicity and diversity, in a grid to represent a network, illustratively to communicate practical messages, or playfully and expressively in combination with images – unfolding a broad cultural narrative.

The colour palette leads with a bright Naples’ Red for recognisability in institutional applications – such as stationery and permanent signage – whilst including a wide range of tones that support the varied and broad range of ever-changing content related to activities and events.

The typographic system leads with Ostia Antica. The classic proportions of its uppercase letters pair well with the geometries of the visual language, whilst offering a distinct personality. Fortescue Italic accompanies Ostia Antica adding elegance and a nod to tradition, whilst retaining a modern feel.

Identity for the 2021/2022 season of ERT Emilia Romagna Teatro Fondazione, the National Theater of Emilia Romagna, made by Tomo Tomo. The theater has five locations in five different cities: Bologna, Modena, Cesena, Vignola, Castelfranco Emilia. Each theater and each city have a specific identity that originates with the interpretation of the architectonic shape of each building. This synthetic and pure architectonic forms matched with a different color palette for each theater make the identity of the whole season. The typeface, Ostia Antica by Bureau Brut, makes a strong connection between all the theaters and all the different printed materials. Especially the italic version with its strong slant accentuates the recognizability of the campaign.

The Ideal City: Exploring Urban Futures is a book about sustainable urbanism, edited by Space10, designed by Ilona Samcewicz-Parham’s studio Spilenka, and published by Gestalten.

As technology and urban life edge ever closer, The Ideal City explores the ambitious actions and initiatives being brought to life across the globe to meet tomorrow’s demand in clever, forwarding-thinking ways. From pedestrian infrastructure to housing, the book uncovers what is being discussed at the forefront of urbanism through expert essays and profiles.

The entire book is composed in Bureau Brut’s Ostia Antica.

Album cover made by Rémy Poncet / Brest Brest Brest for the Swiss musician Manuel Troller and the label three:four records. Ostia Antica (Bureau Brut) is used in upright and italic styles.

[More info on Discogs]

Poster made by Rémy Poncet / Brest Brest Brest for the French singer Miossec with Ostia Antica by Yoann Minet / Bureau Brut and a photograph from Richard Dumas.

“Thoughts and Destiny”. Everpress invited me to create a design for their Holiday Collection, which is temporarily available.

Every action and feeling is preceded by a thought. This insight has been poetically formulated by Mahatma Gandhi: “Your beliefs become your thoughts, Your thoughts become your words, Your words become your actions, Your actions become your habits, Your habits become your values, Your values become your destiny.” The power of thought is stronger than we may realize. Our thoughts are the starting point for change in any form. Through self-reflection, analysis, visualization, priority making, goal-setting, communication, dedicated work, collaboration etc. we can together create the world that we wish for ourselves and others. Regardless of the goal, positive progress always begins with a willingness to change our habitual way of thinking.

For the words, the design pairs lettering with Ostia Antica Italic by Bureau Brut.

Muma is the first gin from Apulia distilled using pure sea water. Their new packaging was designed by Carosello Lab:

With a fresh, refined and free soul, Muma is the gin that embodies the Mediterranean lifestyle: sophisticated smells, strong sensations and an ongoing drive for freedom and discovery. The visual identity captures these features and brings them to a young international audience.

The new packaging uses two Bureau Brut typefaces: Ostia Antica and Traulha.

Yellow Vision Vol.3 is the third edition of an annual magazine featuring articles about technology, modern cities, algorithms, new industries and more innovative goodness. Art direction and editorial design by Violaine & Jérémy.

The magazine layout uses Brutal, Ostia Antica, Gabriela Stencil, Modern/Scotch and (modified) Druk Condensed for headlines. The body texts are set in Kobe and Fugue Mono.

Illustrators: Leonis Bos, Jaroslaw Danilenko, Javilostcontrol, Waldemar Stepien.

New brand identity by Mildred & Duck for The Gatherers, a New Zealand-based floral studio, specializing in arrangements that embrace and celebrate the natural environment.

The application of the new identity seeks to enhance rather than overpower the arrangements it sits alongside; incorporating the soft warm tones of various uncoated paper stocks, natural cotton ribbon and embossed elements to subtly introduce texture. A layered approach ensures the brand is embedded throughout the customer experience, with considered details like the tear-off notecard section of the custom folders.

Folio photography by Shelley Horan.