Garçon(s) is the eighth and deeply personal album by Tom Poisson, honestly exploring themes like masculinity, aging, relationships, Alzheimer’s disease, and desire. For the cover artwork, the concept centered on memory, using childhood Polaroids of the artist and his brother—two boys raised together but shaped by different sensibilities.

Designed in collaboration with the graphic design studio Filifox founded by Philippe Savoir—notable for managing the visual communication of Angers Nantes Opéra for 15 seasons and the Festival de Cannes identity for 11 editions—the graphic challenge was to preserve the nostalgic essence of these snapshots while bringing them into 2026, letting the images speak for themselves without letting the layout overpower them.

To anchor these memories in the present, the design relies on resolutely contemporary typography, reflecting the studio's creative and meticulous approach to visual identity. The album title uses Signal Compressed (Production Type), a clean, condensed font with a subtle vintage feel that structures the composition beautifully. This geometric approach offers a sharp contrast to the texture and raw emotion of the vintage photographs.

In response, Apoc (Blaze Type) was chosen for the text. Lively, rhythmic, and almost dancing through its drawing and ligatures, it brings a dynamic and timeless quality to the layout. Since Apoc already carries the weight of a modern classic, the dialogue between these two distinct styles achieves a perfect balance, subtly enhanced by the chosen color palette to deliver an elegant, culturally grounded design.

Ruby album cover

Jennie dropped her most-awaited first studio album Ruby on March 7, 2025. The album design features three fonts used consistently throughout the album promotion: Vivaldi, Snell Roundhand and Apoc Italic.

[More info on Discogs]

“Jennie” in Vivaldi

“Zen” version of the Ruby photobook

Ruby album roll-out schedule

The Ruby Experience by Jennie. Secondary text on this poster is in Gill Sans.

Ruby listening event in Los Angeles

The catalog for Munich-based artist Justin Urbach presents a subjectively curated series of photographs. These images construct a cosmos that highlights the fragmentation of reality through a pronounced interplay of light and shadow. The book echoes this theme through its printed linen cover, typeface, and layout.

The book interior begins with two consecutive double pages with the title set in Apoc by Blaze Type. Alternates are used on the second page, which supports the theme of the book.

The Apoc typeface, designed by Blaze Type, was selected for the graphic communication of Shay’s three-act concert series in 2024. This typographic choice perfectly reflects the raw and contemporary aesthetic of the project, emphasizing the powerful energy and bold identity of the Belgian rapper. Apoc was used across all visual elements of the trilogy, creating a cohesive graphic identity that complements Shay’s artistic and visual evolution throughout 2024.

Shay, originally from Brussels, made her mark on the French-speaking rap scene with her notable collaboration with Booba on the track “Cruella”, followed by her debut album Jolie Garce, certified gold. Known for her sharp style and magnetic presence, she continues her rise with her third album Pourvu qu’il pleuve, released under her own label, Jolie Garce Records. This album solidifies her status as a rap icon, skillfully blending strength and vulnerability, resonating deeply with her audience.

The concert trilogy kicked off in 2024 with Acte I at the Olympia, which sold out in less than a minute, followed by Acte II during summer festivals in France, Belgium, and Switzerland. The final act, Acte III, took place in November at the Zénith Paris-La Villette, offering an immersive and evolving experience. The project’s creative direction, led by Matière Première with Guillaume Doubet as artistic director, CGI by Mathieu Boudot, and stage design by Pierre Cometti, has crafted a captivating visual universe, enhanced by photographs shot by Foxxatron.

The poster for the film La Dernière Reine (Arabic: الملكة الأخيرة, English: The Last Queen), directed by Damien Ounouri and Adila Bendimerad and produced by Taj Intaj and Agat Films Exnihilo, is a striking visual representation of the story. The typeface used for the French text is Apoc by Blaze Type. It adds a modern touch to the campaign designed by Akakir Studio. The Arabic typeface is yet unidentified.

Set in Algeria in 1516, the film tells the captivating tale of the pirate Aroudj Barberousse, who liberates Algiers from Spanish tyranny and seizes power over the kingdom. Rumors swirl that he has assassinated King Salim Toumi, despite their alliance. However, against all odds, a formidable woman, Queen Zaphira, stands up to him. Blending history and legend, her journey portrays a battle filled with personal and political upheavals for the welfare of Algiers.

Akakir Studio, founded by Walid Bouchouchi in 2016, is a visual arts and graphic design practice dedicated to building bridges between cultures through the creation of vibrant visual languages. Since graduating from the École Supérieure des Beaux-Arts in Algiers, Walid has passionately advocated for universalist design values, fostering a genuine multicultural dialogue. His artistic endeavors often involve designing multilingual alphabets and fonts that merge Arabic, Amazigh, and Latin scripts.

The studio embodies a contemporary vision of graphic design, focusing on crafting authentic narratives—visual identities that are stripped of folklorism and firmly rooted in the cultural context of each project. Based in Marseille, Paris, and Algiers, Akakir Studio effectively bridges both banks of the Mediterranean. Its diverse clientele includes cultural institutions, museums, international festivals, and independent artists, all committed to creating and enhancing meaningful connections.

The bilingual title on a card

Adaptation of the poster for a booklet

To inspire resilience and creativity, Barcelona-based designer Álvaro Donquiles created a series of posters in 2021, titled Do Not Desire: Issues of the Digital Era. In doing so, Álvaro Donquiles encourages people to keep moving forward in their lives – maintaining mental well-being is a formidable task.

The typefaces used in this project are Surt and Apoc by Blaze Type, highlighted by photographer Jorge Losse. The initial R is from Friedrich Peter’s Vivaldi.

Julian Lagoutte recently collaborated with the Musée Magnin to design a vibrant and welcoming poster marking the museum’s new free admission policy. For this project, Julian utilized the elegant Apoc typeface by Blaze Type to complement the handwritten information. The design depicts the museum’s inner courtyard, drawing inspiration from Archigram and Grapus. Over the coming months, the campaign will feature large-format posters and flyers across Dijon.

The Musée Magnin, located in a 17th-century townhouse in Dijon, houses an exceptional collection of French and Italian paintings from the 17th and 18th centuries. Once the residence of the Magnin family, the museum offers visitors an intimate experience with its carefully curated display, presenting art in a personal and historical context.

I’m Pierre Rousteau a.k.a. Pierre de Belgique, a graphic designer and art director based in Paris. This is the poster I designed for the music short film River into Lake – Tarot directed by Alice Khol. For the typography, I paired Apoc Revelations Italic and Albertus Nova.

CRC Studio designed a special edition to commemorate the 150th anniversary of the 1870 revolt in southern Martinique led by former slaves in their fight for fundamental rights. Made in partnership with the Collectivité Territoriale de Martinique and the Campus Caraïbéen des Arts.

Anıl Aykan and Sara Ozvaldic at Barnbrook provided the design for this “fascinating, clear, and detailed historical analysis of the eclectic and beautiful visual and material culture of paganism.” They used Kaftan Serif (with condensed proportions) for the title, paired on the cover with Albertus Nova for the subtitle and Apoc (with alternates) for the author’s name. The interior features a range of additional typefaces, see the image captions.

The book was published by Thames & Hudson in 2023. From the description:

Focusing on a curated selection of pagan art and artifacts, this book explains the iconography and mystic power of pagan ritual objects from around the world. Ethan Doyle White identifies three critical elements of paganism from classical antiquity to today: polytheism, affiliation with nature, and witchcraft and divination. Fundamental symbols are identified and examined closely, and central myths and allegories are clarified to provide new insights into the philosophies and beliefs of pagans.

Pagans begins with an introduction that clarifies what we mean by “pagan.” It traces the pre-Christian origins of paganism, the development of the different aspects of pagan belief over centuries, and how materials from the pre-Christian religions of Europe, North Africa, and West Asia are built into the practices of today’s Pagans.

The book is organized into three broad sections—“Ancient Ways,” “Ritual,” and “Community”—each containing three themed chapters.For each chapter, illustrated text is interspersed with double-page presentations of the key figures, stories, and iconography relevant to each theme. Readers will not only come to understand the many symbols that define pagan religions and practices but will also discover the beliefsand philosophies of pagans from around the world, from polytheism to pantheism and from magic and ritual to ideas about the afterlife.

Another typeface used in this book (but not shown in the included images) is Gill Facia.

Title page with frontispiece

Albertus Nova is used with initials from Black Mamba for the section titles.

Chapter openings use all-caps Kaftan Serif with Black Mamba initials for the title, all-caps Albertus Nova and Apoc for text, and Gill Sans Light for the rotated credit lines.

Body copy and marginalia are set in SangBleu Kingdom, with Apoc Italic for captions. The drop-cap E is from Infidel, which “is based on letters from the Lindisfarne Gospels and other similar manuscripts and bibles from the middle ages.” [Barnbrook]

“Decoding” features Albertus Nova with its alternate uncial-like E.

The chapter title for “Ritual” uses Serpiente Display.

The exhibition Unendlich still… Zeitgenössische Kunst auf evangelischen Friedhöfen in Bayern, curated by the Art Department of the Lutheran Church in Bavaria, showed contemporary art at six cemeteries in different Bavarian cities from May 1st to September 30th 2022.

The fading multicolored clouds counteract the exhibition’s topics death and grief. The title’s typeface Apoc by Blaze Type is combined with DM Sans by Colophon.

The Vada brand was launched in 2013 by Katie Caplener who serves as creative director and chief designer ever since. The name is a tribute to Caplener’s maternal grandmother; in fact both her grandmothers had a preference for jewelry. Vada jewelry is produced in small batches in Austin, Texas. Apart from original designer pieces Vada also sells carefully curated vintage jewelry. In 2020, the brand extended its scope to highbrow eyewear crafted in Japan, with each model displaying it-piece quality.

Katie Caplener describes her inspirations as ranging from ancient art to modern dance and from neoclassicism to New Wave. Equally eclectic is the appeal of the website. Appropriate for the business, the design is driven by fashion photography to which colorful backdrops are added that display a gradient and slowly change their color. As a third element, four different typefaces are used on the website that each have a distinct tone to them and in their combination underscore the magazine-like approach.

There is Matthieu Salvaggio’s spiky condensed roman Apoc (Blaze Type) and Berton Hasebe’s extended sans serif Druk Wide (Commercial Type), both used for display and headlines. Then there is Toshi Omagari’s Neue Haas Unica, Linotype’s tribute to Swiss style, used for the reading texts. And last but not least you will see the geometric grotesque Stratos, designed by Yoann Minet and released by Production Type, which is used for the navigation elements.

As Stratos is exclusively used in caps on this site, you won’t be able to see one of its most interesting features: while its capital letters are of condensed proportion, its minuscules display normal width and a strongly geometric flavor.

The interdisciplinary exhibition Steinliebe – Lyrikliebe combines sculpture, poetry and music. Sculptures by Robert Firgau meet love poems from five centuries by Paul Fleming and Heinrich Heine to Rainer Maria Rilke and others.

Exhibition and graphic design by tanjarrrh, using two typefaces by Blaze Type.
Risography by Banana Copy, Düsseldorf.

Description of the project by design studio TwelveAfterMidnight:

12 Artists
12 Months
144 Pages

Issue 09: Another Instrument, Another Garment. September 2023

Another instrument, another garment — through this publication the tools used to create an item of clothing are indexed and observed, each entry now one part of a wider instrument, and in doing so, become a garment in their own right.

The featured artist, Emma Jack, designed and made the custom leather bag strap.
Texts are set in Apoc Revelations and Untitled Sans.


Design studios Freskue and Estudio Marina Goñi chose Apoc as the main typeface for the website of the 10th Serifa Laris design conference. From the article on type.today:

In April 2022, Getxo, Spain, hosted the 10th design conference Serifa Laris. The designers have not only shared their practices, but also told about the projects that might have an impact on local art and design communities — for example, there was a presentation of a mentor programme aimed at young design studios and a series of edutainment workshops housed in independent galleries closed for renovation.

Apoc, designed at Blaze Type and featured on our tomorrow storefront, lies at the heart of the conference’ identity.

Cover for Gute Nacht, Harry by Heinrich-Heine-Institut, a vinyl record released by the institute as a part of a reading series with jazz music. The typefaces in use are Surt and Apoc by Blaze Type.

Portuguese design studio Ilhas has conceived the new website of the composer, sound artist and performer Fernando Mota.

About the project:

Fernando Mota has developed a multidisciplinary language, joining music, theater, visual arts and poetry in the creation of objects of different natures such as performances, installations, films and various releases. His universe is made from the intersection of different languages, geographies and tools as well as the constant sound exploration and the construction of experimental musical instruments from different materials. The design for the website should be able to invoke this multiplicity of languages. Hence, ilhas studio designed a layout with a dark background where the various materials generated by Fernando Mota can live together.

The website shows an elegant and functional combination between Apoc (Blaze Type) and Agrandir (Pangram Pangram).

Apoc is used for the visual and web identity of Círculo, a start-up that addresses beauty in an integrative way. Apoc is supported by the sans-serif Lato. Designed by Cocota Studio.

Dom Metenkova Photography Museum is the only photographic museum in the Ural region. It displays both historical expositions and projects of those authors who currently work with photography and demonstrate a modern view on visual art.

The basic logo element is the letter M from the photographer’s personal stamp, and the monogram on the gates of his house. The blurry circle means playing with an image of an eclipse from Metenkov’s photo collection.

The primary typeface is the elegant, expressive Apoc from Blaze Type. It refers to a text found in a passe-partout with unusual sharp serifs. We paired Apoc with the restrained monospaced PT Mono from Paratype. The pair reflects that the museum team is rethinking history in today's context and combining the art of photography with related practices.

Polish graphic designer Renata Motyka designed this poster for an edition of Climatekeys, a series of events about climate change and art, taking place at the Nowy Teatr in Warsaw, Poland. From the theater website (auto-translated):

Piano recital by Joanna Wicherek and a lecture by a climate education expert. A concert and educational project launched by English pianist and composer: Lola Perrin. […]

The artist's idea was to organize a series of piano recitals, combined with spreading awareness of climate protection. Perrin's original idea quickly became an international format from which many pianists around the world are drawing.

Apoc (Blaze Type) is used for the main title, all other information is set in Arial.