Die Filiale der Hölle auf Erden: UKRAINOMANIA – Revue eines Lebens nach Texten und Motiven von Joseph Roth (in English: “A Branch of Hell on Earth: UKRAINOMANIA – A Retrospective of a Life Based on the Writings and Themes of Joseph Roth”) was published by Spector Books as a companion volume to an international theatre production by Volkstheater Wien. Inspired by the writings of Joseph Roth, the publication retraces the author's journey through Lviv and the Galician countryside and documents the development of a contemporary stage production presented in Lviv and Vienna. Through literary texts, essays, photography, and illustration, the book reflects on memory, displacement, cultural identity, and the continuing relevance of Roth’s observations on Ukraine and Eastern Europe.

The publication was edited by Claus Philipp and Tobias Schuster. It includes texts by Jan-Christoph Gockel, Oksana Lemishka, Oleksandra Matwijtschuk, Jurko Prochasko, Joseph Roth, and Karl Schlögel, alongside illustrations by Sofia Melnyk and photography by Jacob Suske and Marcella Ruiz.

It was designed by Lyosha Kritsouk with the typefaces KTF Cirk (Kyiv Type Foundry), William Text (Typotheque) and Suisse Int’l (Swiss Typefaces).

Slanted magazine #47, “Digital Tools”, examines the instruments that shape contemporary creative practice. This issue offers a diverse insight into the global creative scene and uses numerous examples to show how digital tools are used to create, question, and rethink design itself. The spectrum ranges from experimental open-source projects and custom scripts to indispensable utilities that shape creative digital and analog workflows, continuously expanding and redefining creative boundaries.

The issue covers disciplines such as graphic and type design, illustration, 3D, web, generative design, and creative coding. Designers, artists, and developers share their insights in interviews and articles, explaining how digital tools shape their aesthetics, imagination, and authorship. By introducing new workflows and technologies, Slanted magazine #47 inspires both experienced designers and beginners to explore the creative potential of digital design.

Alongside the magazine, a dedicated online platform has been launched, featuring an extended directory of digital tools. In addition to all tools included in the print issue, the website gathers further projects, discoveries, and resources identified during extensive research. Structured by category and continuously evolving, the platform invites exploration, experimentation, and a rethinking of the role of digital tools in creative practice.

The magazine was edited by Jacob Tessmann, Lars Harmsen (editor-in-chief), and Julia Kahl (managing editor). It has 224 pages measuring 16×24 cm. The interior was full color offset printed with spot colors by Stober Medien. The cover uses offset printing with spot colors and hot-foil embossing by Gallery Print. Papers used include Efalin 108 high white fine linen 280g/m² (cover), Zeta diamond extra smooth 120g/m², and Ibo Two 80g/m² (inside) manufactured by Reflex. The Swiss brochure with flaps and open thread stitching was made by Buchbinderei Spinner.

ISBN: 978-3-948440-96-1 / ISSN: 1867-6510

Breakout #2 takes Cihan Tamti’s early explorations into real-world projects from 2022 to 2025, building on the success of Homebound—New Wave and Breakout—100 Posters. Tamti originally started Breakout as a personal experiment—treating Instagram like a graphic design gym and creating a poster every day. Without briefs or constraints, he explored typography, lettering, illustration, layouts, and bold visual ideas. Some of these early works won awards and attracted clients, eventually leading to the publication of Breakout—100 Posters, a book compiling 100 formative pieces.

In Breakout #2—100 Posters, these early experiments evolve into a wider range of projects: commissioned work for clients, community initiatives like the “Local Support Posters” launched during the Covid pandemic, and collaborative projects with other designers. The book presents all posters equally, showcasing a broad spectrum of graphic design techniques and approaches. Breakout #2—100 Posters gathers 100 selected works that demonstrate how thoughtful, original design can communicate powerfully across contexts and inspire creative freedom.

Alongside the standard edition, a small number of exclusive limited bundles are available. Each bundle includes the book paired with additional pieces that extend the project beyond print—such as a screen-printed tote bag and the custom Yolcu typeface.

Showcase is the graduate platform and end-of-year exhibition for the students of the University of the West of England (Bristol) in the College of Arts, Technology and Environment (CATE). The platform and its identity was created in 2020 and refreshed in 2023 by Rhombus under creative direction of James Ratcliffe. Originally launched as a digital showcase during the COVID-19 pandemic, the platform was expanded as part of a broader rebrand accompanying the return of the physical end-of-year show. The website continues to serve as a portfolio space for graduates to present their work and connect with potential employers and collaborators.

The identity takes cues from the “white cube” gallery model. A restrained monochrome palette and generous white space position the students’ work as the central visual element across the website and printed materials. Typography is set in Swiss Typefaces’ Suisse Works and Suisse Int’l. From the article “Showcasing creativity” by The Brand Identity:

The typographic direction maintains the professional look of the brand, thanks to Rhombus’ decision to use the elegant, modern and cutting-edge Suisse font family which, Ratcliffe explains, “felt right for an identity that needed to bridge art and education.” Suisse Works is used for the wordmark for its classical flair and ability to “stand alone as a logo without fancy customisation.” The supporting typeface, Suisse Int’l, was chosen for its versatility and legibility, ensuring a clear hierarchy, and its utilitarian ability to maintain accessibility across the extensive website.

The artwork on the poster to the right uses Velvetyne’s Pilowlava.

Atelier Bulk is a French boutique printer specialising in high-quality embellishments – hotfoil, embossing, debossing, and bespoke print finishes for luxury brands. Originally known simply as Bulk, the company faced a perception gap: a name that suggested mass production for a business built on craft and precision.

Bordeaux-based studio Abmo led the rebrand, drawing inspiration from luxury fashion houses to position the printer as a leader in its category. The new designation incorporates the term “Atelier” to signal artisanal character and distance the brand from industrial associations, supported by the descriptive line State of the Art Printing. The visual system pairs an elegant minimalist monogram with a powerful, timeless wordmark – clean and disruptive within a traditionally conservative industry. A unified website replaced the previous fragmented digital presence, integrating all services under a single identity.

White Coffee is a Parisian specialty coffee brand founded by Etienne Ryckeboer and Jenny Martin, with shops across the 3rd, 4th, 9th, and 10th arrondissements of Paris. The brand positions itself at the intersection of architectural minimalism and street culture – raw, sharp and precise.

Bordeaux-based studio Abmo developed the identity and packaging in two phases. The wordmark is set in Cardinal Fruit by Production Type. Suisse Int’l Regular by Swiss Typefaces handles the deadpan neutrality of information, while Editorial New Ultra Light by Pangram Pangram brings tension to editorial accents.

Smack Bang uses Motorino by Typeverything for Dopha's logo to reflect the brand’s flexible, modular approach. Its clean, rounded forms help create a cohesive visual identity that can adapt across different applications as the brand evolves. The design is complemented by the typefaces Proxima Nova, El Camino, BN Hamburg Hand and a yet unidentified type.

Connected Women in AI is a community founded on and driven by a shared mission: to empower women in the field of artificial intelligence (AI).

They envision a future where women not only participate but lead in shaping the technology that impacts us all.

It is more than a network; it’s a supportive space where women in AI connect, learn, and grow together. Whether you’re new to AI or an experienced professional, you’ll find a welcoming environment where knowledge is shared, collaboration is fostered, and meaningful relationships are built.

We want to be part of this movement by shaping the visual communication of the brand. Our idea was to project that it is the community that empowers their voice. Our goal was to convey that the community empowers their voice. We represent this concept by combining a succession of molecules to form the W, which stands for women.

This concept was the centerpiece of our design that helped us to develop a series of visuals, patterns and assets.

Another main component of the brand’s communication is the color palette that has high contrast to emphasize the energy of the message and represent its positivism and power. To balance the vibrant colors, we added neutral tones harmonizing the composition.

Verein Lebensraum Bruderholz is a private initiative by Salathé Architekten Basel proposing to transform the Bruderholz hospital in Basel, Switzerland, into a sustainable residential and working quarter. The project is a study, not a commission. It is intended as a conversation starter about adaptive reuse, published as a website with an accompanying pdf dossier.

The design and web development were done by Studio Bosco Ferreira, who used Farmacia by Nguyen Gobber for titles with the stylistic set for circular G, O and Q activated. It is paired with Suisse Int’l by Swiss Typefaces for all further copy. All plans and visualisations were created by Maurin Nissen.

The rebranding of the Voelkel Foundation marked a symbolic transition from VOX Artis, coinciding with its 25th anniversary. Our role was to design a sophisticated, understated identity reflecting the Foundation's curatorial ethos – one rooted in art, education, architecture, and cultural engagement.

We developed a visual identity system including a logo, color system, brandbook, Webflow-based website, social templates, and supervised print production. The typography pairs Suisse Int’l’s quiet precision with the refined elegance of Aimé – together, they carry the identity’s core tension: contemporary clarity alongside a sense of timeless cultural weight. Much like the identity itself, inspired by the idea of a passe-partout, the design frames rather than dominates – just as the Foundation unites the diverse initiatives of the Voelkel family while staying quietly in the background.

This project was about more than design – it was about creating space for values to speak.

Published in 2024, Pink Chilli in a Bowl is a book co-written by Manuel and Isabelle Der Hagopian, archiving views, places and local cuisine of Singapore in the form of photographs, addresses or writings; challenging both imagination and senses of the readers. In the words of the authors:

Neither a tourist guide nor a work of historical records, Pink Chilli in a Bowl is a personal archive of forgotten places and time-honoured buildings that may someday be wiped out—some of which have already disappeared amidst the backdrop of a city that is constantly developing. These pages detail an intangible side of Singapore, encouraging readers to tap into their imaginations and reconstruct their mental map of the island nation in ways that inspire them.

For the design of the book, the authors collaborated with Singapore based branding studio Practice Theory. From the studio’s Instagram post:

Faced with the task of translating the contrasting raw material—Isabelle’s spontaneous observations and her meticulously organised list—what emerges is the palpable tension between chaos and structure that permeates form and content. This push and pull echoes that of the wandering flâneur and the cataloguing archivist.

Such dichotomy governs the flow of the book, the visual interplay amidst light, paper, and space traversing between its strong typography and structured layout. Readers may now envision themselves as flâneurs, navigating through the abundance of pages at their own pace.
This tension is mirrored in its grid-based design, juxtaposed with varying paper stocks, including translucent pages that engage with light and space through reverse printing. Subtle lines further demarcate the grid, forming tangible “stars” that interconnect throughout.

The book’s removable plastic sleeve features a “hidden” list of all the Stars and Constellations, symbolising the fleeting nature of Singapore's heritage. Upon unwrapping, the book’s credits are physically removed, allowing readers to assume authorship and reconstruct their mental map of the island-nation in their own creative vision.

A combination of Swiss Typefaces' Suisse Int’l and Suisse Int’l Mono are used for the book cover and contents, as well as the dedicated website co-designed with the web agency Good Work. Both in the book and online, Suisse Int’l appears set with tightened letterspacing.

Freelance support during the strategic realignment and rebranding process of Maytoni, an interior lighting brand based in Münster. Building on the redefined brand essence and the tagline “Shaping Spaces and Stories,” we developed an evolution of the corporate design. Core elements include a new typographic identity, a revised color system for categorizing lamp categories, and a reimagined visual language. In addition to the graphic implementation of various touchpoints across areas such as traditional business stationery, editorial design, retail, and social media, the collaboration also included consulting on topics such as product development, collaborations, content production, and packaging.

The brand and marketing strategy for European markets was devised by Jan Wagner van der Straten / Maytoni. Carina Mähler worked with Jan Wagner van der Straten on the brand creation, using Suisse Int’l by Swiss Typefaces and Romie Regular by Margot Lévêque. The 3D renderings for the catalog cover are by P1 Studio.

Man Ray: When Objects Dream at The Metropolitan Museum of Art is the first major exhibition to examine the radical experimentation of American artist Man Ray (1890–1976) through one of his most significant bodies of work, the rayograph. Man Ray coined the term to name his version of the 19th-century technique of making photographs without a camera.

Featuring 160 rayographs, paintings, objects, prints, drawings, films, and photographs, Man Ray: When Objects Dream highlights the principal place of the rayograph—a type of cameraless photograph—within the context of many of the artist’s most important works. This exhibition includes thirty-five works by Man Ray which are part of the major promised gift of nearly 200.

Deadlift is a booklet designed to accompany the exhibition by Nadia Perlov, presented at Kunstverein Grafschaft Bentheim. The exhibition brought together sculptural installations, archival material, video, drawing, and collage to reflect on the layered history of Jerusalem’s Mamilla Cemetery and its transformation over time. The publication extends this atmosphere into print, functioning less as a conventional catalogue and more as a quiet spatial and narrative companion to the works on view.

Netbus, used for the titles in both the booklet and the exhibition poster, anchors the visual identity with a firm presence. Its carved, somewhat archaic character subtly echoes the historical depth of Jerusalem and the ancient origins of the cemetery. Bookmania carries the body text as well as the captions, lending the publication a warmer, literary tone that supports the archival and essayistic material. Suisse Int’l appears in the numerals and conversational initials, introducing a neutral structural layer that organizes timelines, references, and shifts in voice. Together, the three typefaces establish a restrained hierarchy that mirrors the exhibition’s balance between material weight and historical fragility.

Visual identity for STUDIO MARIE AIGNER X CAMBIO at Salone del Mobile Milano 2025. The assignment included exclusive print invitations, guerrilla marketing, and the claim.

To make the collaboration visible—with a focus on sustainability in the areas of acoustics, design, and fashion—selected guests were invited in advance to recreate Studio Marie Aigner’s icon: with Cactus Carl, visitors could immerse themselves in the 3D world of the interior design fair in Milan even before arriving.

On site, Cactus Carl could be followed throughout the city, and via a QR code on stickers, visitors could find information about where to locate the installation LOOKS GOOD, FEELS GOOD, SOUNDS GOOD.

The claim captures the shared values of interior designer Marie Aigner and the denim label Cambio.

Until May 2026, the Centro Cultural TCU in Brasília is displaying an exhibition exhibition featuring works by Brazilian artist Tarsila do Amaral (1886–1973). The unprecedented show features more than 60 works, thematic curatorial centres and free educational activities.

Graphic designer Luisa Malheiros chose Maroni’s Regular weight and used it for the interior and exterior signage, as title typeface on the poster, as well as for other communication. The accompanying serif on the poster is Suisse Works Bold, and the sans used for exhibition texts appears to be Suisse Int’l.

Motion design poster

This identity for the fictive Cosmic Trips Festival was conceived as a student project in the Graphic Design program (4th semester) at TH Nürnberg.

In 3024, the innovative team at Orbit Horizon partnered with Future Sphere to launch a groundbreaking event unlike any other: Beyond – A Cosmic Trips Festival, immersive journeys around our universe.

Beyond offered visitors a glimpse into the future of art, technology, and exploration. Highlights included an inspiring flight presentation with AR-reality flight tests, introducing visionary concepts that left the crowd buzzing with excitement.

Designing the identity for Beyond – A Cosmic Trips Festival, I used AI tools to craft futuristic videos, merchandise, and media that brought my vision of cosmic exploration to life.

For the typography, I used Editorial Old from Pangram Pangram, Rene from Fedor Abroskin Typefaces (via tomorrow.type.today), and Suisse Int’l from Swiss Typefaces.

I used AI tools to craft futuristic videos, merchandise, and media that brought my vision of cosmic exploration to life.

Web design

Logo design

Poster design

Banner design

The VIVE (Vittoriano e Palazzo Venezia) is a national museum institute in Rome, established in 2019 and active since 2020, under the Italian Ministry of Culture. It brings together two iconic landmarks in the heart of the city: the Vittoriano, also known as the Altare della Patria, and Palazzo Venezia, along with the Central Museum of the Risorgimento, the panoramic terrace, and the Library of Archaeology and Art History. Dedicated to preserving and showcasing architecture, artworks, and collections central to Italy’s history and identity, VIVE combines research, conservation, and public engagement through exhibitions and educational activities.

From its establishment, VIVE has adopted a clear visual identity developed by the Trieste-based studio TassinariVetta. The logo and overall visual language favor a minimalist approach that evokes modernity and a sort of architectural precision. These values are reflected in the consistent use of the Suisse font family, beginning with the logotype, which combines Suisse Int’l Bold and Suisse Neue Medium.

This typographic choice is extended across the monuments’ visual system. Suisse Int’l is used for signage, ephemera, and public-facing communication, both online and in the street. A notable example is the long-running lecture series “VIVE al Centro di Roma”, whose first posters and subway ads showcased the new identity throughout the city.

On the website, designed by the agency Vergani&Gasco, Suisse Int’l is paired with Suisse Works rather than Suisse Neue. While all three belong to the same family, the choice introduces a functional distinction: Suisse Neue remains tied to the identity mark, whereas Suisse Works serves as a dedicated text serif. The shift preserves typographic continuity while separating symbolic branding from editorial usability, allowing the digital content to prioritize clarity without altering the core visual language.

The visual identity is here seen applied to the monuments' entrance tickets. Same typesetting, five different color codes for each of the five museums making up VIVE.

Studio Loutsis used Caslon Ionic as one of the display typefaces for the Tenth Anniversary issue of AN Interior, and mainly for “The Future of Vision” feature. They use it large and for the text – together with Suisse Int’l – and mixing the upright with the italic. Other sections of the issue also feature other typefaces including Terza Display and KTF Rublena.

Caslon Ionic and Suisse Int’l for the section opening to “The Future of Vision”

Caslon Ionic used for text

Terza Display with Suisse Int’l

Terza Display for the title of an article on Kwong Von Glinow’s renovation of MD Anderson Hall

Terza Display for a feature on nightclub design by Studio MBM and Yakka Studio

Suisse Int’l is also used as display typeface.

KTF Rublena with stacked letters for “Milano Magico”

Founded in 2015 and currently based out of New York City, Pomegranate Press is an independent publishing house specializing in limited edition publications of contemporary photography through books and other ephemera. In August 2025, to celebrate their tenth anniversary, Pomegranate Press organized Breathless in Glowing Air, a large group exhibition at London's 10 14 Gallery featuring work from 62 photographers. A similar exhibition was also held in November in KAMP Gallery in Portland, Oregon.

A book, sharing the same name as the two anniversary shows, was released in a limited run of only 250 copies. Featuring 100 images from the exhibitions, the book includes work from Brian Karlsson, Morganne Boulden, Caroline Tompkins, Heather Sten, Oji Haynes, Matthew Genitempo, Carlos Jaramillo, Julian Klincewicz, Lucia Bell-Epstein, Will Matsuda, Lisa Sorgini, Andrés Vargas, Andy Jackson, Jess Tran, Andres Sanjuan, Peyton Fulford, David Brandon Geeting, Marcus Maddox, Samone Zena Kidane, Steven Molina Contreras, Scott Rossi, Sinna Nasseri, Marisa Chafetz, Eric Chakeen, Daniel Jack Lyons, Christian Michael Filardo, Lina Sun Park, Henry Archer Grade Solomon, Jingyu Lin, Daniel Dorsa, Jerry Hsu, Pia Paulina Guilmoth, Rosie Marks, Kyle Berger, Daniel Arnold, Mikayla Jean Miller, Chris Llerins, Tamara Blake Chapman, Kirk Lisaj, Daniel Rampulla, Matt Eich, Jack Bool, Tyrone Williams, Allan Sallas, Rose Marie Cromwell, Chris Maggio, Willem Verbeeck, Sarah Walker, Juan Brenner, Andrés Ríos, Jacob Ogden, Melissa Alcena, Henry O. Head, Meghan Marin, Brad Ogbonna, Alana Celii, Stephanie Stamatis, Clark Hodgin, Enrique Escandell, William Mullan, and Adam Powell.

The book, designed by Jesse Feinman, is 116 pages, measures 7.5×9.5 inches and comes in a linen-bound hardcover with silver foil text using Carta Nueva by My-Lan Thuong, available from Sharp Type. The delicate calligraphic letterforms pair nicely with the intimate and raw photographs celebrating everyday life and love.

Copies of Breathless in Air are still available for purchase from Pomegranate Press and KAMP.

Poster for the show in London. The title in Carta Nueva is paired with Suisse Int’l and Junicode Italic.

Poster for the show in Portland