Dancing in the Street is a book dedicated to and exploring the career of Paul Dash, a Barbados-born artist. Edited by Cameron Amiri and with texts by Paul Dash, Miranda Matthews, Habda Rashid and Allison Thompson, this new publication coincides with an exhibition of the same title, shown at Felix & Spear, a gallery in West London.

It celebrates Dash’s enduring commitment to art, education, and the representation of diasporic experience. A key member of the Caribbean Artists Movement, Dash’s work traces scenes of everyday life and communal celebration with rhythmic energy and deep cultural resonance. His compositions evoke the movement, colour, and ritual of social gatherings—spaces where histories of migration and belonging find joyful expression.

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.

RT Alias Rough Regular in great use for the navigation on David Herren’s personal website showcasing his projects. From the About page:

David Herren (b. 1984) is a visual artist currently based in Lucerne, Switzerland. In his work, Herren questions the role of living beings in relation to a technologized environment and explores resulting phenomena. He examines systems on the brink of instability by modeling processes with information from databases—or by developing recursive machines evoking human inadequacies in their behavior. Herren's artistic practice reflects ideologies in social and personal contexts, and he is always concerned with his own entanglement in the world.

The text typeface is Univers Next.

Bibliothèque Kandinsky’s Summer University is a cultural programme organised by the Centre Pompidou in Paris. It is built around the source material of modern and contemporary art: archives, written documentation, photographs, films, etc. It gathers young researchers, historians, anthropologists, sociologists, critics, curators, who work together on this material. The Summer University includes writing workshops and archive visits. The result of this research is gathered into a journal, which each year is produced by a different designer.

Issue 8, “Show/Search” (2022) was designed by Olivier Lebrun. It is set in Axo Narrow (Abyme, released 2024), alongside a bespoke version of Lineto’s Biff with Script 12 Pitch and Univers Next.

Poster, title and credits for Queendom, a powerful documentary directed by Agniia Galdanova (Sundance and IDFA-supported director), with Gena Marvin and produced by Igor Myakotin. Design by République Studio.

Gena, a queer artist from a small town in Russia, dresses in otherworldly costumes made from junk and tape, and protests the government on the streets of Moscow. She stages radical performances in public that become a new form of art and activism - and put her life in danger.

The film had its world premiere at SXSW, Austin (TX) in March 2023.

The title design of the movie is based on Radiant Extra Condensed, redrawn by Mael Sinic with help from Noël Leu. The credits are set in Neuf (Velvele) and the billing block of the posters use Univers Next Compressed.

[More info on IMDb]

The second issue of the Transnational Social Strike Journal was the first one we had the budget to print, albeit in a limited rotation and at A5.

I had just read Heidrun Osterer and Philipp Stamm’s fantastic Adrian Frutiger – Typefaces and was on a real Frutiger high. Egyptienne F is an underrated workhorse that is lovely to work with, and I think it pairs great with Centennial as a kind-of pseudo-display size.

The booklet was initially supposed to be printed in duo color on a Risograph. However, the unit broke down in true Riso fashion, so we had to go digital with a pseudo-spot. The cover references the second 1971 issue of Typographische Monatsblätter, sans the kitsch 70s illustrations.

The exhibition Touch. Prints by Kiki Smith has been staged at the Staatliche Graphische Sammlung München (one of four independent museums housed within the Pinakothek der Moderne Munich) to mark a generous gift from the New York artist Kiki Smith, who has provided the collection with nearly all the edited printwork she has produced over her lifetime.

To accompany the exhibition a 256-page catalogue has been designed by Buero NOC with Friederike C Hamann. The body copy and captions are set in GT Super Text while all titles are set in all-caps SangBleu Sunrise.

SangBleu Sunrise is part of the SangBleu family, available from Swiss Typefaces.

The logo for the Staatliche Graphische Sammlung München is designed with Univers Next Pro 220 Condensed Thin.

The cookbook Alles in Butter: Warum es in Österreich so richtig gut schmeckt (“Everything in butter: Why everything tastes so good in Austria”) by the multifunctional food processor brand Thermomix focuses on the Austrian cuisine. An extensive collection of recipes for each region of Austria, combined with delightfully assembled background information about austrian traditions. The design is based on a mixture of modernity and traditional elements.

The book title is set in BC Reformulate, with a subtitle using two weights of Ingeborg. The complementary sans is Univers Next.

The corporate design for the Solothurn Literary Days is based entirely on Univers Next as the corporate typeface. In the logo and on posters all the four national languages of Switzerland (German, French, Italian, Romansh) are treated equally. The spelled-out date — with letters instead of numerals — is a central element of the corporate design.

The 2016 edition uses illustrations by artist Marcel Freymond for the posters and other communication. All graphic design was done by Andrea Stebler, Thomas Berger and Thomas Hirter.

2015 KPMG Annual Review

“KPMG, the massive consulting and accounting firm, somehow decided on Giorgio Sans as the new voice of their brand, which was a really bold choice, and really makes their identity so much more interesting than you would ever expect from a multinational accounting firm. [Giorgio Sans] is a fashion typeface, originally drawn for a fashion magazine and here it is in PowerPoint presentations about how Brexit is going to work.” — Christian Schwartz

2015 KPMG Annual Review

PowerPoint slide

PowerPoint slide

KPMG main website

KPMG main website

KPMG main website