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.

gegenfeuer is a political design firm based in Berlin. Since 2010, they have been organizing solidarity parties, the profits of which go to individual assistance for refugees and support anti-fascist work in Berlin and Eastern Germany. Among those parties, since 2016, Unterm Techno liegt der Punk has been held once a year at the club ://about blank. The party, still running today, promotes a solid music selection with DJs playing techno, trance, and punk.

For their design work, gegenfeuer is often collaborating with party collectives and occasionally with friends invited to contribute to the posters. Since 2019, the party adopted its current visual identity, centered on the use of the typeface BRRR in a clever balance of some of its alternates. In particular, in the party name, the K in “PUNK” uses the Rotation stylistic set, while in “TECHNO LIEGT”, the C and L are from the Fluid stylistic set. Added to this is the mirroring of the N in “PUNK” and the substitution of the O in “TECHNO” with a custom dripping smiley, designed for the party and echoing the long lineage of acid smileys in acid/rave graphics.

Instead of producing a single polished poster, the group produces 20 to 30 rough, experimental variations, mixing lineups, artist names, illustrations, and textures. Fluorescent stickers with the party name, date, and location unify the series, creating a kind of anarchic, collage-like campaign across Berlin. Combining BRRR with hand-drawn illustrations and high-contrast neon colors, their intervention evoke rave flyers and punk DIY print culture.

These design features and the campaign approach underline the punk soul of the party, reflected in the subversive use of the typeface and in its angled terminals, which connect well to the chisel-tip markers used for underground tagging. At the same time, the typographic choice function as political gesture: accessible, disruptive, and highly visible in public space. The guerrilla sticker bombing can be seen not just as promotion but also a way of reclaiming urban visual culture, resonating with both punk traditions and anti-fascist activism.

The poster designed for the dj DIYVISION (from the Flensburg techno 939avantgarde community) parodies the Joy Division's Unknown Pleasures album cover. Here Helvetica can be seen paired with BRRR.

For the 2019 party, BRRR was adopted as all lowercase for the main advertisement. The font can be also seen in all caps using the Stylistic Set 1 “Rotation” for the STRAND poster.

The AZIT art museum, located in one of Seoul’s most attractive neighborhoods, Insa-dong, is colloquially known as an open-air museum. As part of the Croatian Culture Week in Seoul from 23rd to 29th of August 2025, it hosted the exhibition K – Ember (Croatian: K – Žeravica), conceived by Croatian artist Danko Friščić.

This fifth exhibition edition, subtitled “UHO – Under Hallucinative Objects”, presents contemporary Croatian artists of the middle generation to friends from the Far East for the first time. Excerpt from the catalog by Feđa Gavrilović:

Ember is a curatorial project initiated by Danko Friščić in 2000, with four editions held to date. The fifth now marks its first appearance beyond Europe – though not its last. Each Ember showcases works across various media, brought together in mutual dialogue and a dynamic spatial interaction. At its core, the project features a circle of artists from Friščić’s own generation, many of whom have participated in nearly every edition. However, Ember remains an open and flexible platform, regularly welcoming contributions from artists of different backgrounds and generations.

The design approach combines classic and analog with digital and three-dimensional elements into a coherent striking visual entirety, expanding the aesthetics of communication into the sphere of universal recognition. Pictograms in the exhibition catalog were drawn by ALU Professor Danko Friščić.

The variable DS ddungsang (Yoon Design) and Flegrei (Adobe) were used for the main title in its “oh” and “Yeah” iterations. Body text is set in Hack (Source Foundry), while surnames of the artists are set in Brrrrr (Swiss Typefaces). Gamtan Road Tantan (KCISA) is used only for address in Korean.

The poster was designed for the student exhibition of the Academy of Fine Arts in Zagreb a.k.a. ALU. The exhibition StudALU was held from September 26 to October 1, 2023 at the Art Zagreb annual fair.

The font for the headline is Brrr Skrrt, except “u Zagrebu” which is set in Vogy Smog Only – both from Swiss Typefaces. Dates, location and names are set in Ambiguity Radical by Monotype.

The photo used for the poster was taken by ALU Professor Danko Friščić during the installation of the exhibits. The poster was designed by Dušan Bekar and Alira Hrabar Bekar for Bekar Haus.

In the background you can see a piece of painting that is part of the photo used.

From Corvina I Turbot:

Jiyu. Freedom & Creative Unlocking, is a kit of cards designed to re-connect with your intuition. A no-game that will allow you to explore mindlessly and to try new techniques and registers, and you will be surprised with what you’re capable of creating.

Klute is used for headline type, supported by BRRR for secondary text. The sans serif used for instructions is yet to be identified [edit: looks like Graphik, see comments].

For its debut issue, the student-run magazine El caldo at Centro de diseño, cine y televisión pursued a tongue-praising theme. Inspired by Mexican Spanish ambiguities and all types of idioms deriving directly from the “lengua” (“tongue)” concept, El caldo’s debut edition brings together multiple contributions ranging from poems and short stories to photo essays and interviews.

Written contributions reunite essays by Berke Gold, Daniel Berkstein Guillemot, Sebastián M. Finck, Natalia Padilla, Karla Muñoz, and Radamés Vargas.

The typographic approach also found its way through these ambiguites, choosing plurality over monotony as a manner of illustrating the diversity upon which the community builds itself. Hence the cover title is set in an array of Black Mamba, Manicotti, Roslindale and Krsna; subtitles in BRRR and Druk; and body text in Lausanne.

Arde, moments and memories. Scented soy candles that celebrate fire, handmade in a workshop in Lima, Peru. Through a selection of aromas and textures, it collects your day as experiences. Set an intention, light the fire.

The visual approach for this project begins with understanding fire as an elemental celebration and a craft process. The packaging system explores the need to communicate of the brand. With a name as impressive as Arde (“Burn”), the use of Brrr for the typography is essential to stand out. Smaller text is set in Roboto Mono. The box represents this quality, with the support of a monospaced typeface as complement. On the other hand, the label showcases the layout system, as well as the typographic selection. Offset printing provides a texture to the design, generating small organic forms of ink.

Número Zero is the first publication of a series—an always ongoing project. Número Zero, a student project from the Escola Britânica de Artes Creativas in São Paulo, contains articles, reviews, translations, interviews, graphic essays, illustrations, shared practices, and much more, in a working progress never defined format of publication: an always ‘to-be shaped’ enterprise of critical thinking.

The use of multiple typefaces seeks to push the boundaries of editorial design conventions and illustrates the several voices behind this project. This is a key element of the publication that together with different uses of the grid spotlight the form of the text and its constant transformation, be it varying position, weight, size or style.

In short, the choices of design are inquisitive and integrate elements in order to reflect the new perspectives and critical reflections proposed by this publication. The magazine as it is presented today is a transdisciplinary platform designed to constitute a space for students and professionals to present and articulate a critical reflection on the broader field of creative arts.

From Seed Atelier:

The SEED Editions wheatpaste campaign covered the likes of Central, East and South London, using a design created for SEED Editions that was dynamic, eye-catching and simple.

BRRR is part of the Lab typefaces, available from Swiss Typefaces.

Message. Tech. Human posters.

Message. Tech. Human is a typographical project made at ArtCenter College of Design. It uses posters, motion, and collaterals to execute the core methodology from either an artist, a musician, a photographer, a philosopher, a theorist, a poet, or a critic. Marshall McLuhan is a personal choice for this specific project and his theories potentially allow the designer to embed his critique/comments on media and mediums.

Message. Tech. Human intends to execute and critique on McLuhan's theories, “The medium Is the message”. It is using posters, broadsheets, and motion graphics as “mediums” to question about whether the design and quantity of information would change the definition of "mediums". Will the unconventional styles of design change the “poster” into an editorial spread? Can a broadsheet be a poster?...

Typographic choices for Message. Tech. Human are taking considerations of the topic, which relates to media and history. Brrr and Clifton are both quirky and funky. The proportion of their letters are visually stable in terms of their width, correlating with figures of televisions and digital screens. Chap, in the meantime, plays the fun part along with the illustration, bringing out a sense of humor. Arnhem is a choice of being timeless and classical.

Poster, motion, and collaterals.

Broadsheets.

Broadsheet 1: challenge the format and content of a broadsheet. Can a broadsheet be a poster?

Broadsheet 1.

Broadsheet 2.

Broadsheet 2: a commentary on Marshall McLuhan's media theories.

Broadsheet 2.

The music clip for “Awesome” by Valee was shot by Antoinne Bryant and art directed by the Sang Bleu team. Additional visuals were provided by Swiss Typefaces and M(A)T(A).

KRSNA & BRRR are part of the Lab typefaces, 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 .

Romanian designer Bogdan Ceausescu used BRRR (paired with GT America Extended) to create the cover for Landing on the Comet, jazz-fusion band Krisper’s latest record. The artwork has been drawn by Sebastian Pren.

BRRR is part of the Lab typefaces, available from Swiss Typefaces.

“Portfolio is Dead” was the main theme of 2019 Element Talks conference that was run together with European Design Festival taking place in Warsaw. Great designers aren’t all about nice pictures in their portfolios anymore. We have to be more interdisciplinary than ever. Our skills and people we work with, properly combined can move mountains. In order to do that, we need to work like this one incredible creative machine.

The fonts in use are Brrr (Swiss Typefaces) and Güggeli (Fabio Biesel). From the beginning Uniforma knew that a design festival with top designers as a target group has to have experimental fonts in its identity. The other factor influencing the choice of fonts was the main theme of the conference, which is strong and provocative.

Organisation, branding and social media communication for BWOOOOHHHH: three days of music experimentation in Milan, Italy, including DIY instument construction workshop and a solo performance. The event featured Yuri Landman (Hypercustom), a Dutch inventor of musical instruments, and took place at Circolo IAM. BWOOOOHHHH is an onomatopoeia which me and Yuri Landman came up with. Brrr is used with some faux diacritics. It’s paired with Clifton Italic.

Made for the exhibition Soirée graphique n°10 – “Hallo Deutschland”.

The poster seeks to enter into dialogue with the picture. Indeed, the photography represents from a subjective point of view a messy room. The message of the poster wants to organize it, telling the protagonist of this mess to clean up and then sit down. The strict and orderly tone of the poster goes in opposition with the photo and creates an opposing diptych, both opposed, but complementary. — Balmer Hählen

BRRR is part of the LAB collection, available from Swiss Typefaces.

The poster as seen in the Soirée graphique exhibition in Bern …

…and in the Soirée graphique magazine.

Salatoimikud [Üheksakümnendate kartoteek] / The X-Files [Registry of the Nineties] is an exhibition at the Kumu Art Museum of Estonia that tries to delve into the more cryptic, overshadowed and lost aspects of 1990s Estonian contemporary art scene.

Graphic design makes a reference to 1990s disruptive design, emerging from post-rock subcultural scenes. Particularly to David Carson's (in)famous interview with Bryan Ferry from 1994 and to Estonia's cult post-rock band Metro Luminal's cassette sleeve from 1995, both of which replaced the readable text with cryptic digital pictograms. In the case of X-Files, the Wingdings dingbat font is used – as it is an all-time favorite of the paranoia and conspiracy theoreticians. Exhibition headline and chapter names are revealed both in Latin alphabet and in dingbats; the entrance's wall exposes the pictogram-pattern which is actually a fully encrypted essay, amiable to be read by anyone who can decipher it.*

*Writing on the wall: Hasso Krull, The Culture of Interruption (Katkestuse kultuur), 1996.

Source: www.swisstypefaces.com Photo: Swiss Typefaces. Swiss Typefaces. License: All Rights Reserved.

Lovers of type, rejoice! The second issue of Type Life brings a cornucopia of visual inspiration that will warm the cockles of the typographer’s heart. On 36 pages – a whopping 16 more than in the inaugural issue – Swiss Typefaces presents insights into their cosmos of style, fonts, and fashion. Type Life is the only place where you’ll find both Rihanna and Rudolf Koch, where social media snippets are framed by engravings from the Caslon type foundry, and where a douk-douk knife ends up next to a 15th-century Danse Macabre. As usual, Type Life doesn’t make many words, and instead shows plenty of letterforms. Printed in no less than seven Pantone spot colors, the publication features rotated and mirrored words, slanted roman page numbers, radial gradients and all the other things your design prof wouldn’t approve of.

Source: www.swisstypefaces.com Photo: Swiss Typefaces. Swiss Typefaces. License: All Rights Reserved.

Left: Sang Bleu magazine issues Zero (2007), III/IV (2009), 5 (2010), 6 (2012). Sang Bleu Uniqueness, limited edition project for My Design District (2008).
Right: SangBleu Sex (private) and an early version of SangBleu Kingdom typefaces. Spreads of Sang Bleu magazine issues 5, III/IV and 6.

At the center of issue 2 is Sang Bleu. That’s the name both of a typeface from Swiss Typefaces, and of an independent multi-disciplinary media platform and creative agency. The two were initiated together and share a common history. From the very first incarnation in 2007 to the new SangBleu typeface completed in 2017, the SangBleu typographic identity has built a legacy for itself. Many SangBleu fonts debuted in the Sang Bleu magazine, a publication about fashion, tattoo culture and more. Some of them later made their way into the Swiss Typefaces catalog of retail fonts, others remained private, like the runic-looking SangBleu Sex. Yet others were at one point available for licensing, but now are retired, like the supertight SangBleu G-String.

Source: www.swisstypefaces.com Photo: Swiss Typefaces. Swiss Typefaces. License: All Rights Reserved.

Left: Vogue Türkiye cover using SB Vogue Turkey (custom typeface) and BRRR, September 2012 (SWTY remix). Right: Vogue Brazil cover using SB Vogue Brazil (custom typeface), June 2011 (SWTY remix).

Source: www.swisstypefaces.com Photo: Swiss Typefaces. Swiss Typefaces. License: All Rights Reserved.

Left: SB Vogue Brazil and SB Vogue Turkey (custom typefaces).
Right: Rihanna by Mariano Vivanco and SB Vogue Brazil (custom typeface), Vogue Brazil, May 2014.

Since 2010, Vogue Magazine commissioned several custom versions of the SangBleu typeface from Swiss Typefaces, for their Brazilian and Turkish editions. SangBleu Vogue Turkey is based on the Sans, with the dots of Ü vertically arranged within the interior shape, so that all-caps headlines can be set big, with minimal line-spacing. SangBleu Vogue Brazil is derived from the Serif, with longer serifs and luscious swash capitals. Type Life shows reproductions of covers and feature pages, next to remix versions that give a hint what Vogue would look like if Swiss Typefaces were in charge.

Source: www.swisstypefaces.com Photo: Swiss Typefaces. Swiss Typefaces. License: All Rights Reserved.

A preview of an unreleased script typeface [edit: this typeface was released in 2022 as Raskal Oner]

Swiss Typefaces doesn’t do scripts, right? Wrong! SangBleu Snakes is a script variant of SangBleu, or, more precisely, a partly connnected cursive, with swash alternates, crazy ligatures, and twitchy strokes that look like the typographic equivalent of static noise. This experimental font is here shown in detail for the first time, together with an in-use example from 2014, when it appeared on a limited-edition series of skateboards. [edit: this typeface was released in 2022 as Raskal Oner.]

Source: www.swisstypefaces.com Photo: Swiss Typefaces. Swiss Typefaces. License: All Rights Reserved.

Contribution by Studio Jimbo

Source: www.swisstypefaces.com Photo: Swiss Typefaces. Swiss Typefaces. License: All Rights Reserved.

KRSNA vs. Caslon.

Each issue of Type Life features a guest artist. This time it’s Studio Jimbo from Paris. In their contribution, letterforms from the SangBleu and KRSNA typefaces dissolve in a blizzard of halftone dots, with a death’s head staring at you from the eye of the storm. This leads to an introduction of the all-new SangBleu typeface, released in October 2017 in five full-featured collections – Empire, Kingdom, Republic, Versailles, and Sunrise – each in a range of weights with matching italics, in Latin and Cyrillic, spanning 45 styles in total.

Source: www.swisstypefaces.com Photo: Swiss Typefaces. Swiss Typefaces. License: All Rights Reserved.

Left: Engraving found in Caslon Old Face Roman and Italic, published by H.W. Caslon & Co., 1924.

The fonts are accompanied by a prestigious book release. SangBleu Typeface: The King, His Court, The Explorer & The Gift is more than a formidable printed specimen: It includes a short novel by Daniela Party, specifically written for this purpose. Set in the 17th century, it narrates the story of Metzli, an indigenous Mexican woman who is captured and sent as a gift to Louis XIV, the Sun King – a gift that would set off a series of macabre events involving witchcraft, lust, envy, and death. The book is available in a limited edition of 1,000 copies.

Source: www.swisstypefaces.com Photo: Swiss Typefaces. Swiss Typefaces. License: All Rights Reserved.

Source: www.swisstypefaces.com Photo: Swiss Typefaces. Swiss Typefaces. License: All Rights Reserved.

SangBleu Typeface book, SWTY Publishing, 2017

Finally, the back cover offers a glimpse into Euclid, which has been expanded with four new collections. Chances are that this typeface will be featured in depth in an upcoming issue of Type Life. For more info and availability, visit Swiss Typefaces.

Stars are starving on this website. And then there's the case with René Moor from moor.text: As a proven office gypsy, he delivers texts and quirky ideas that he likes to scribble on colorful cards. Together René and Büro a+o have already brought many a project to the series. Last year, a nasty man hacked his website – that was the chance to make a new appearance tasty for him. And he bit.

The cornerstone of the website is an exciting concept. We particularly liked the close teamwork between René, our programmer Roger Burkhard and us. The result is an independent visual appearance. Because the man is a copywriter, text, text... and text dominate the website completely. This results in a very conceptual screen design – reduced to the font "Brrr" by Swiss Typefaces. In its refreshingly idiosyncratic way, BRRR shapes the appearance and logo.

If you get involved with the website, you can discover a lot. Be it the short text jewels on the start page, selected and sorted projects from the last few years or the funny colorful mini-stories in the blog. Pretty is also the chat, where you can chat online with René in the style of the 90s. And if the textures become too much? Then you just watch, as the stars in the background of the website burn up and burn up.

Three medium weights at work: BRRR Medium in use for logo and headlines; GT America Medium for body text and GT America Mono Medium for captions.

The Rodchenko Art School is a part of the Multimedia Centre of Actual Arts incorporating the Moscow House of Photography and the Multimedia Art Museum, Moscow and established by the Department of Culture and Education of the City of Moscow.

This is the website for the Producing and shooting fashion editorial course.