First held in 2012, Changwon Sculpture Biennale is the only sculpture biennale in Korea. The 7th edition took place in 2024. Its title, “Silent Apple”, was taken from a line in “A Well-Ripened Apple” by acclaimed poet Kim Hyesoon. From the organizers:

The biennale will be introduced in four venues: Seongsan Art Hall, which has been the main exhibition venue for previous Changwon Sculpture Biennales; Seongsan Shell Mound (Historic Site No. 240), a shell tomb discovered in 1973; Dongnam Ground, a former industrial complex workplace; and the MoonShin Art Museum, shaped by a sculptor. The biennale aims to address horizontality in contemporary sculpture, women and labor, urban history and shifts, and changes in community.

Ted Hyunhak Yoon of Major Minority did the identity and graphic design using AC Affix by AllCaps. To accompany Affix, he used KIMM, a custom typeface designed by Jinhyun Park for the Korea Institute of Machinery & Materials, as display font for Korean text. The website was created by Eunjoo Hong and Hyungjae Kim.

The Korean text typeface used inside the catalog is yet unidentified.

Victor Verhelst and Corbin Mahieu worked on the visual identity of Abrupt festival’s 2025 edition, using AC Visual for the typography. From the festival’s Instagram:

Carrying forward their visual dialogue with the festival, the duo translate rhythm into form: weaving glitches, sparks, and restless motion into a design that pulses with intensity.
A visual journey, echoing the energy of moving between spaces, sounds, and moments, always with an abrupt twist at its core.

About the festival:

Abrupt unfolds across a series of distinctive venues in Brussels. The festival presents a curated selection of live performances, club nights, talks, and gatherings, each one tuned to the shifting frequencies of a hyperdiverse musical landscape.

Organised by the non-profit behind Reset, the temporary brutalist cultural space in central Brussels, Abrupt reflects the organisation’s broader commitment to independent artistic creation.

AC Rhetorik Serif in use together with Salmanazar for the catalog to the exhibition Do Medalheiro Allen ao Gabinete de Numismática (“From the Allen Medal Collection to the Numismatic Cabinet”) published by Museu do Porto.

Luís Cepa on the design:

The book highlights over 300 sets of coins, medals, and banknotes, which form part of the collection acquired by the municipality in 1851 for the establishment of the Museu Municipal do Porto. The origins of this collection lie in the medal cabinet founded by João Francisco Allen (1781–1848) and these artifacts, spanning different periods of history, are presented chronologically (Ancient Greece, Roman, Iberian, Suevic, Visigothic, Arab, up to the emergence of the Portuguese monarchy).

All objects have been photographed and displayed in carefully curated sets throughout the book, with visual scales of 8.5, 6, and 3.5 cm. Coloured backgrounds are used to enhance the texture and metallic composition of each coin. Each item is accompanied by introdutory cientific texts, key characteristics, and an exact transcription of its inscription.

AC Modern Gothic Poster and AC Modern Gothic by AllCaps are the typefaces used for Isadore, a cycling gear brand based in Púchov, Slovakia.

About Isadore:

We all first and foremost are cycling enthusiasts. Some of us like to ride fast, some never go on a ride without a camera slung over one shoulder. Some keep close track of power numbers, some don’t even ride with a computer.

Even if some rides we feel great and some rides suck, riding a bike is deeply tied in with what makes us happy. That’s what we try to convey with our products at Isadore: cycling is just about the pleasure riding a bike, staying healthy, and being good to people and the environment.

Isadore is an unconventional company because its founders are unconventional. Martin and Peter Velits succeeded in going pro though they come from a non-cycling country. They throw that the same adventurous, daredevil attitude into the spirit of the company.

The logo appears to be custom, with similarities to Bourrasque.

Tangible Design Festival presents its event as follows (translated by the contributor):

Tangible is a festival dedicated to all forms of design expression, offering a close look at local specificities. Supported by several partner organizations/designers from the Aix–Marseille–Provence metropolitan area and coordinated by the Fotokino association, it is conceived as a shared program promoting the visibility, promotion, and dissemination of design practices in the region.

Each year, a call for participation invites organizations and professionals to propose and organize events that will enrich the program. Open to all forms of expression (object design, graphic design, urban design, textile design, social design, crafts, etc.), the festival draws on the vitality of the local context while exploring links with related practices: research, crafts, art, and applied arts.

This artist's book explores the diverse reference system of forms and materials, plants, animals and other subjects out of which Claudia Comte develops her biomorphic sculptures.

From Edition Patrick Frey:

Snow-clad marble sculptures of cactuses, pencil sketches of corals and renderings of leaf shapes seemingly suspended in mid-air, interspersed with grids of neon-colored sculptures and alarming newspaper headlines warning of the "ghastly" climate apocalypse that lies in store for us: this artist's book explores the diverse reference system of forms and materials, plants, animals and other subjects out of which Claudia Comte develops her biomorphic sculptures. While cactuses are well adapted to arid conditions, coral reefs, which form bio-diverse ecosystems at the bottom of the marine food chain, are wasting away due to the warming and acidification of the ocean. Leaves, on the other hand, represent photosynthesis, the energy-converting process that gives off oxygen. Comte's supernatural fusion of cactus, coral and leaf draws connections between aspects of the desert, ocean, and forest through various processes of material metamorphosis.

The book begins with an index of Comte's wooden sculptures, on which she confers first-name monikers, as if they were her familiars. Based on sketches, they are carved in wood or executed in marble with the aid of digital media. So marble, a petrified representation of the sea, meets wood, a place of storage for natural terrestrial processes and a constant source of oxygen.

The book’s focus is on our relationship to nature and the havoc we’ve wrought on our environment, which are the principal themes of the artist's practice. Prophecies of doom culled from newspaper articles sound the alarm about the looming climate emergency, for coral reefs aren't the only critically endangered biomes.

See also a previously published post about an exhibition with Claudia Comte’s work.

From Andrej & Andrej:

A new artisan bakery at the bus stop on the main crossroads in the centre of Bratislava – the Subo concept was created comprehensively from the name, visual identity, production and communication method.

A place where once stood a forgettable fast-food chain spot, now smells of fresh focaccias, summer-at-grandma’s evoking pastry and litres of locally roasted specialty coffee. Subo is not just a bakery though, it’s a comprehensive concept that combines a love of good food, a relentless pursuit of an exceptional customer experience, quality architecture and playful communication. That's why several dozen people have worked to make it a reality, us amongst them!

The visual identity is based on the concept of the Subo mascot. The mascot was created from dough, whose basic characteristic is very easy moldability. Therefore, its form is not fixed but changes over time and according to the content it wants to convey. The Bandit font is based on the shapes of wooden plates, which makes it perfectly suited for expressive applications and stamps that we use in our visual identity.

Commons is an ecosystem of tools for sustainable living. This includes an app, a website, a podcast, a newsletter, and social media platform.

From Commons:

We’re a small, passionate team using data to empower people to make more sustainable spending choices. Together, we're influencing brands to operate more responsibly.

From Porta Rocha:

Opened in September 2023 and located at the historic World Trade Center site in Lower Manhattan, Perelman Performing Arts Center (PAC NYC) is the cultural capstone and final piece of the rebuilding of the World Trade Center after 9/11. Envisioned over 20 years ago during the re-imagination of Lower Manhattan under then Mayor Mike Bloomberg, PAC NYC offers a new kind of public space where people from all walks of life are invited to gather, eat, drink, and experience the transformative power of performing arts. Its modular theater spaces can be configured to accommodate a truly interdisciplinary program: from a ballroom-infused production of CATS to hard-hitting contemporary opera to Laurence Fishburne’s one-man tour de force.

In the lead-up to opening season, we embarked on a journey — from brand strategy to naming, design to voice — to invite the world in to a new kind of performing arts center. To establish PAC NYC as this cultural beacon, a brand position of “The World’s Stage” welcomes the five boroughs and beyond. For the PAC NYC team, the audience in the seats were as crucial as the performers on the stage — but given the historical elitism of the category combined with a symbolic site many hadn’t visited since 9/11, the brand had barriers to overcome in order to extend a warm welcome. To succeed, we needed to capture a contemporary mindset and radiate mass appeal.

Translating this into an identity system, we took PAC NYC’s iconic architecture as our starting point: a cube at eye level, a square at aerial view. To mirror this in the logo, each letter was meticulously designed to a square ratio, which becomes the simple symbol that sits at its core with “PAC” and “NYC” set on either side. The logo stands as an icon in its own right and expands into a powerful framing device for a diverse array of content: a way for people to see themselves in the brand and a glimpse into the diverse programming happening within its walls.

To support their many communication needs and ambition for mass appeal, we designed a custom display typeface, PAC Display, that references the form of the building with a distinctly New York vernacular referencing 19th-century Gothic street signage. A flexible approach to typesetting and layouts ensures PAC Display can become synonymous with the institution over time, while adapting to a wide range of interdisciplinary programming without feeling repetitive.

While the custom typeface and the logo serve as iconic brand gestures people will recognize, other elements like photography and color adapt seamlessly to diverse formats, programming and communication needs. Supporting the identity’s visual system is an equally flexible brand voice, personified as ‘The People’s Host’. With a fluid role in small gatherings and grand entertainment — a host warmly greets friends at the restaurant and introduces the next act to a round of applause — our voice welcomes and challenges, energizes and educates. With a straightforward structure and no added flourishes, it stays accessible to people of all ages and languages.

While each brand element has its own role to play, like any great show, the identity is more than the sum of its parts. PAC NYC opens itself up to audiences and artists, community and culture, to cement its role as a performing arts center of New York, for the world.

From Other Means (with added links):

The Institute for Studies on Latin American Art’s visual identity draws on Latin American contributions to Modernist design history that are not often accentuated. A bold color system is paired with a new typeface reminiscent of the inventiveness of South American concrete poetry. As can be read in the “L” shape of the logo, sometimes a strict grid allows for a play on words.

The Institute for Studies on Latin American Art (ISLAA) is a private research institute based in New York City that has supported Latin American art research for over a decade. Other Means was drawn to ISLAA’s own idiosyncratic collection and groundbreaking research initiatives, which have made new connections between lesser-known movements in Latin American art and canonical design movements in both the United States and Europe.

Figures such as Tomás Maldonado, who developed the Ulm Model and oriented design education towards systems-thinking, were involved in avant-garde movements in Argentina, (like Arte Concreto-Invención) before their more well-known and undeniable contributions to design history.

By some accounts, concrete poetry emerged simultaneously in Europe and Brazil in the year 1953—Augusto de Campos working from São Paulo, the Swiss-Bolivian poet Eugen Gomringer publishing in Ulm, and the Brazilian-born Swedish poet Öyvind Fahlström writing from Stockholm. ISLAA’s exhibitions and events have shed light on the Swiss Concretist Max Bill’s participation in the art worlds of South America, including a seminal exhibition in São Paulo in 1950 that is cited for its contributions to the realm of thought that sprung “Poesía Concreta”.

Building on these transatlantic transmissions, the visual language, and the website, we designed and developed, present the institute with an aesthetic assertiveness that supports the bold research and commitment to new forms of scholarship that ISLAA undertakes.

This exhibition poster uses Affix alongside an unidentified sans.

Youth is used throughout AFP, une épopée photo (“AFP, an epic photo story”). From publisher Fisheye Éditions:

From the mid-19th century to the present day, AFP journalists and photographers have been capturing the major events of our history, as well as the minutiae of our daily lives. By immersing itself in its fantastic silver archives (over 6 million photos), the agency has unearthed hundreds of previously unpublished images that never cease to amaze, surprise and delight us.

These black-and-white photos take us on a journey through several decades, through the curious eyes of numerous photographers, many of whom have remained anonymous.

The Swiss magazine zweikommasieben has been devoted to the documentation of contemporary music and sounds since the summer of 2011. Published biannualy, it features artist interviews, essays and columns as well as photography, illustration and graphics. In addition zweikommasieben curates and organizes a variety of events, both in Switzerland and internationally.

Publisher Präsens Editionen comments on issue #27:

In the graphic design of this edition, longevity enters into a direct contradiction with its material form. Dorothee Dähler chose a thinner than usual type of paper, that becomes contrasted by the stability of its thicker sleeve. In doing so, this issue of zweikommasieben now becomes an object with a longer lifespan.

The typeface used by Dähler is AC Rhetorik Serif by AllCaps.

Cover art for the album Feorm Falorx (2022) by the English electronic music duo Plaid. The vinyl casing is transparent with silver prints and contains a limited colored silver vinyl. The design and typography were created by Laura Csocsán, while the artwork and image layout are by Emma Catnip.

Plaid’s style crosses a number of genres – electronica, dance, ambient, experimental – and is sometimes referred to by some critics as "post-techno." They are known to employ a variety of time-signatures in their music and often create syncopated beats and melodies using a variety of real instruments and samples.

[More info on Discogs]

Early version of AC Bandit by Sylvan Lanz alongside with LL Catalogue by Nazareno Crea, used in the book We, the City. Plurality and Resistance in Berlin and Istanbul. From publisher Jovis:

In the face of uninhibited neoliberal restructuring, Berlin and Istanbul have for the past decade been subject to various forms of political polarization and social injustice. As a result, the struggles for affordable housing, access to public space, fair labor, ecological justice, and the right to live differently have intensified. Various forms of grassroots resistance have put the relationship between local governments and social movements to the test, provoking questions about where and how the city’s political subjects emerge. Blending dialogues, essays, and critical reflections, the e-book investigates the ways in which the residents of Berlin and Istanbul experience, express, and resist the physical, political, and normative reordering of their cities, and asks: Who are We, the City?

With contributions by Hilal Alkan, Kristen Sarah Biehl, Ayşe Çavdar, Matthias Coers, Özge Ertem, Tuba İnal-Çekiç, Aslı Odman, İlayda Ece Ova, Sister Sylvester, Sema Semih, Anna Steigemann, Banu Çiçek Tülü, and Urszula Ewa Woźniak

For her installation “Even Cacti Can’t Take the Heat”, Claudia Comte used Modern Gothic Poster. The installation is part of the exhibition The Liberation of Form. Barbara Hepworth – A Master of Abstraction in the Mirror of Modernism, held at the Lehmbruck Museum, Duisburg from 2 April to 20 August, 2023.

About the exhibition, the Lehmbruck Museum writes:

The exhibition opens up new perspectives on Barbara Hepworth’s work and traces the connections to her contemporaries and her influence up to the present day. Works by artists such as Claudia Comte, Tacita Dean, Julian Charrière, Nevin Aladağ, Nezaket Ekici, and Laurenz Theinert update Hepworth's ideas and reinterpret her formal and aesthetic qualities.

Rhetorik Serif by Sascha Bente in use by Federico Barbon for the photography and conversation book Il suo buio speciale (“Its Special Darkness”).

Through thirteen landscape photographs, thirteen individual portraits and thirteen conversations, Mattia Balsamini and Pietro Minto embark on a journey of research into the identity of northeastern Italy, a territory that has undergone a profound cultural and social transformation in the last fifty years.

Il suo buio speciale is a collaborative project: born during the residency at Villa Filanda Antonini, the book maps an anthropogeographical landscape through images, faces and words of thirteen distinguished Venetians who have distinguished themselves in the arts and sciences. The portraits and landscapes photographed by Balsamini become, alongside Minto’s words, a tool through which to enter into dialogue with the territory and tell the story of a place that has always been characterized by the competitive logic of making, of producing, and that today, having exhausted the possibilities of exploiting only material resources, must transform sweated labor into another kind of commitment, giving new and legitimate dignity to “thinking.”

Rhetorik Sans and Rhetorik Serif by Sascha Bente in use for a book designed by Jan Brož and published by NAMU Prague.

Jussi Parikka: Od archeologie ke geologii médií (English: “Jussi Parikka: What is Media Archaeology?”) examines the theoretical challenges of studying digital culture and memory and opens up the sedimented layers of contemporary media culture. Parikka contextualizes media archaeology in relation to other key media studies debates including software studies, German media theory, imaginary media research, new materialism and digital humanities.

AC Visual by Jan Novák paired with Rhymes by Jakub Samek and Bitstream’s Swiss 721 for the November/December issue of frieze Magazine (No. 231). From frieze’s website:

‘What if artists were in control of the funding and distributing the money that powers are?’ – Bhavik Singh

In the November/December issue of frieze, senior editor Terence B. Trouillot convenes a roundtable discussion with artists and writers on decentralized autonomous organizations (DAOs). Skye Arundhati Thomas profiles artist Danielle Brathwaite-Shirley, whose games, installations and videos centre around Black Trans experience⁠.

Kolektiv by AllCaps in use for a photo book, designed by Berlin-based designer Florian Lamm of Lamm & Kirch.

The work of Ute Mahler and Werner Mahler was published in an edition of 100 copies on the occasion of the exhibition opening at Galerie Springer and Akademie der Künste. The book is showing a commissioned work for the Frankfurter Allgemeine Zeitung as well as new photographs from the series “An den Strömen”.

A customised version of Modern Gothic by AllCaps is used for a photo book, designed by Berlin-based designer Florian Lamm of Lamm & Kirch. Words from VfmK:

Tomoko Kawai is a Japanese artist based in Berlin. In the series of photographs, “Intimacy of Paradise”, she unleashes the modern illusion of animality, and as she captures zoos and environments in which animals and plants are staged, she brings us to thresholds in this illusion. The more the imitative efforts are perfected, the further they withdraw from the reality of the manifold animal spheres. These photographs are a disconnection from animals and nature that arises from a human-centered approach and a collision that gives rise to a split within humanity. In the contradictory human ambivalence, Kawai is searching for a way to reconnect with the natural world.

Awarded the German Photo Book Prize 20|21 in silver.