Superness semiT and Fluxisch Else are used for the design of A Place to Stay. From publisher Corraini Edizioni:

A Place to Stay is a place to stay without a defined deadline, an elsewhere that contains and connects other places. It is not an isolated space: Cecilia Mentasti started populating it who knows how long ago until it became a place inhabited not only by artists and women artists of the last century, but also by animals, specifically dogs.

The work, which is accompanied by this volume, is a sound installation composed of a selection of 200 stories of Italian artists told to 200 dogs. It is promoted by Video Sound Art and created thanks to the support of the MiC and the SIAE, as part of the ‘Per Chi Crea’ programme. The installation, presented in the spaces of Careof from 10 October to 1 November 2024, is accompanied by a photographic project, which collects the portraits of each dog listening, and by this editorial project.

The artist makes a personal rewriting of art history, selecting little-known works and sometimes reconsidering the role of traditionally neglected figures or those outside traditional art circuits.

What is art today and what role should it play in society? The dog, a recurring presence in art history – devotional icon and witness to social transformations – seems to be the right recipient of this question.

The bilingual (Italian and English) softcover publication has 
136 pages measuring 10.5×15 cm
. It was printed in Italy. ISBN 979-12-5493-132-5

Designed in 2025 for the ceramic artist and educator Skander Zouaoui, this visual identity captures the elegant and collaborative atmosphere of his workshop located at Strasbourg’s Port du Rhin. The graphic identity is realized by Margot Cannizzo Lazaro and features a new logotype, a public signing on his workshop, and Riso printed communication supports.

The project is set in Large (designed by Alexandre Créquer) and Fluxisch Else (distributed by OSP-foundry), and was brought to life through Risograph printing by Pierre Faedi at Gargarismes. To ensure aesthetic continuity, the color palette builds upon the workshop’s initial graphic supports originally developed by Florent Vincente.

Souvenirs invisibles (“Invisible memories”) is the title of Palais de Tokyo’s 2024/2025 autumn winter season program for young audiences. From the museum’s website (translated):

Are there things we can’t see?
Do we all see the world in the same way?
Could we invent glasses to see people's emotions and the passage of time?
Do invisible things have an influence on our daily lives?

In this document for young audiences, you’ll discover postcards of invisible memories from exhibitions.

On the program: the presence of our ancestors, the hum of the earth, a talking stone, an imaginary friend, a magical power, the hidden meaning of images and the secrets of matter.

The leporello with postcards was illustrated by Nina Lechartier and designed by Marie Sourd or Atelier AAAAA, using bb-book A and B by Benoît Bodhuin, accompanied by Fluxisch Else.

(High – Medium – Low Speed)

Produced as a component of the Histoire & Théorie Critique course at the La Cambre Horta Faculty of Architecture, this volume undertakes an exploration of the evolution of the concept of speed in Milanese architecture during the latter half of the twentieth century. The publication comprises three essays that explore pivotal moments in this transformation, beginning with the post-war reconstruction era, characterized by the mass production of standardized buildings, to the protests of 1968, with their radical critique of modernism, and concluding with the 1970s, a period marked by a radical critique of modernism and the use of design as a means of reflecting on and deconstructing consumer society.

The booklet’s central premise – that "we have never been modern" – guides an examination of Milanese architecture's oscillation between the urgency of the present and the search for a lost identity. The concept of speed, understood both as the pace of building production and as a metaphor for progress, emerges as a central theme, shaping and transforming the urban fabric as well as design practices. The result is an original contribution to the history of Italian architecture, offering a nuanced and critical perspective on a period crucial to Milan’s identity and, more broadly, on the role of architecture in contemporary society.

The booklet is printed in folded A4 format and bound with saddle stitching.

From the press release:

(...) MAC VAL (Musée d'Art Contemporain du Val-de-Marne) has undertaken a major investigation into the subject of the “fait-divers”, resulting in a major exhibition bringing together 80 artists from a wide range of backgrounds and formal practices. (...) The inspiration for the theme came from Roland Barthes‘ essay Structure of the Fait-Divers (1964). Described by the semiologist as the “unorganized discard of news,” the fait-divers help us to name and identify the aberrant causalities and coincidental relationships that disrupt everyday life.

The bilingual French-English exhibition catalog for Faits divers was designed by Félicité Landrivon. The typographic design features a range of typefaces, including KTF Rublena, KTF Metro Roman, and KTF Metro Blueline, all by Kyiv Type Foundry. The dot matrix font seen on the cover, the inner flaps and elsewhere is WL Rasteroids by Writ Large. The italic on the cover comes from 205TF’s Exposure, which is also used in upright form for the text inside the book, alongside Fluxisch Else, OSP-foundry’s digitization of the Selectric version of Univers. The monospaced font is GUST’s Latin Modern Typewriter. Credits at the end are set in Transducer by JTD Type. In addition, Landrivon used a few other fonts just once for titles, but these are not displayed here and are therefore not listed.

256 pages, 268 images, 20×27 cm. See more images on the designer’s Instagram account.

The title on the right pairs KTF Rublena with Exposure Italic and handwriting.

Outlined KTF Metro Roman for “Murder is a design hobby”

Text page set in Exposure

The list of contributors on the left combines KTF Rublena with Fluxisch Else.

Latin Modern Typewriter for the description of the MAC VAL, with Transducer for the credits

The alphabetic list of words on the back cover uses all-caps WL Rasteroids.

L’art queer de ne pas réussir à traduire “L’art queer de ne pas réussir” is a collection of annexes to the text The Queer Art of Failure written by Jack Halberstam. Halberstam views failure as empowering events that can serve as critiques of capitalist and heteropatriarchal norms.

As the title suggests, I failed to translate this text. However, from this book, which seemed so desirable and yet almost unattainable, I tried to grasp what I could in order to redistribute it into the six objects contained in this folder (including, among other things, a discussion with Léo Love Gentil about the collective dansmalangue, a translation of Chapter 1 of TQAOF, and a SpongeBob Survival Kit). This project experiments with the content of the book itself, putting it to the test in order to imagine it beyond the mystery it holds.

TQAOF was written in 2011, and Jack Halberstam uses a concept he calls “Low Theory”, with which he seeks to analyze popular culture objects to reach a broader audience. The project is almost exclusively composed in Fluxisch Else (distributed by Open Source Publishing) and Adelphe by Eugénie Bidaut (available on the Typothèque Genderfluid by Bye Bye Binary). The two are supported by cameo appearances by a handful of other typefaces.

The project pdf is available via are.na.

Le Labyrinthe de la Genèse invites you to play the role of a young graphic designer, freshly graduated, in search of a definition for their practice. You will eventually come across a manifesto of factographismes – a term modified and borrowed from literature of the 1960s. During that time, unique literary forms emerged in which writers used archives, facts, and often everyday objects to create factographies.

I wanted to talk about a graphic practice that uses similar methods, while emphasizing, through the journey and encounters, that there is never a single answer. My analysis starts from a particular perspective, and it could have been completely different but no less relevant. In each of these projects, the aim was to guide the readers, offering them the chance to choose their own tools and paths to follow.

The project PDF is available on the Memo dg platform, a site that gathers DNSEP theses from graphic design students across France.

An example of gender-inclusive typography at work: “l’auteur/autrice” uses BBB Baskervvol’s typographic option of showing both male and female versions of the word “author” as equally important.

Text on the booth’s light box sign is set in Persona and a yet unidentified script

On the occasion of the Nitto ATP Finals (12-19 November 2023), Tennis association ATP and digital art platform Artchild partnered to launch a limited edition tennis poster, designed by acclaimed artist Honor Titus.

The poster was available online and on site during the 2023 Nitto ATP Finals. The on-site poster booth was designed by Dum Dum Studio / Christina Rodriguez and was dressed up in posters using a few handfuls of typefaces.

The capitals of the top four lines are a mix of Affigere and at least two more sans serifs. The bottom line is set in Persona and three more yet unidentified typefaces.

The smallest typeface on these posters is Fluxisch Else, a deliberately imperfect version of Univers; “extra” is set in Hypocrite.

The script typefaces on this poster are Ballet and Jane Austen, complemented by ITC American Typewriter Condensed.

“Un Uomo” is in Antique Book Cover, “E Una Racchetta” in Snell Roundhand. The bottom line pairs Serial B with Windsor Elongated.

A combination of ITC Avant Garde Gothic Condensed, Tzigane and Serial D

The newspaper-like masthead uses Leipzig Fraktur Bold. The big text is set in Century Schoolbook. Dalliance Script is used for the date and URL. The smaller texts are set in a combination of ITC Avant Garde Gothic and Airstream NF. The script used for Honor Titus’ name is Snell Roundhand.

Ariane Bosshard and Olivier Huz chose the font Helvetius, created by Matthieu Cortat, to design the layout of the artist book Untitled Reloaded by Jacob Bendjama and Sébastien Leseigneur, published by Micronaut Éditions.

Huz & Bosshard used two secondary sans serif fonts in the colophon: Futura Renner’s old style figures for the page numbers and the print run, Fluxisch Else (AKA UniversElse) for the artists’ initials.