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.

Poster for Chapelle Minimaliste, the winter festival organized by La Trinité (from 27 February to 1 March 2026 at the Chapelle de la Trinité, Lyon, France).

Three days of concerts, performances, and talks exploring the extraordinary vitality of minimalist music.

Design by Studio Paul Andali, with Emeric Desgranges providing the motion design.
William Sundfor took the photos in the Chapelle. The street photography is by Tom Jacomelli and Emeric Desgranges.

Visual identity for the second season of La Trinité, the result of a collaboration between Le Concert de l’Hostel Dieu and Superspectives, brought together within the Lyon Trinité Musique association. Together, they inaugurate a new stage dedicated to baroque and irregular music, set within the historic setting of the Chapelle de la Trinité in the heart of Lyon.

This season, nature emerges as a guiding thread. A sensitive presence—by turns flamboyant, silent, untamed, or amorous—a living material that resonates throughout the chapel over the course of the year.

The palette, reduced and saturated, deliberately breaks away from the traditional codes of baroque music, asserting the bold momentum of this first season under a new artistic direction.

The arch, the central motif of the new visual identity, unfolds through its various applications. It embodies La Trinité’s ambition to create a dialogue between early repertoire and contemporary creation.

The team comprised Alain Papazian (art direction & graphic design), Anthony Couret (web), and William Sundfor (photography). The fonts used are EK Roumald with EK Roumald Mono (Erkin Karamemet), AC Modern Gothic (AllCaps), Mercure (Abyme), and Ready Active (Plain Form). Imprimerie Chirat provided the printing.

The exhibition Have You Checked the Children by Diego Marcon was presented at the Kunsthalle Basel from the 27th of October 2023 to the 21st of January, 2024.

The Kunsthalle Basel was founded in 1872 and is Switzerland’s oldest art museum. It is one of Europe’s leading institutions for contemporary art and is committed to bringing emerging artists to the attention of the public.

The exhibition text presented here is based on the exhibition poster by Sina Gerschwiler, a graphic designer based in Basel. While the exhibition texts were put together by the museum’s own communications team, they were designed using the same fonts as the exhibition poster. The fonts used for both the poster and the exhibition text are AC Modern Gothic and Big Caslon Italic. However, it is important to note that significant modifications were made to the title lettering, altering the typeface’s overall appearance. The text typeface is Practice.

Designed by Matthew Carter, Big Caslon is a high-contrast serif typeface for display applications, published by Carter & Cone. It is a digital reinterpretation of the “eccentric” display typefaces made by the original 18th-century Caslon foundry for large-scale applications, offering new uses for the typeface. These display typefaces have a distinctive design with striking stroke contrast, complementing but contrasting with the original Caslon text typefaces.

AC Modern Gothic is a sans serif belonging to the American Gothic style. It is considered a digital revival of the historical typeface Modern Gothic, a design made by the Chicago foundry Barnhart Brothers & Spindler around 1895. The digital version was created by the foundry AllCaps. The design was modernised, with optical corrections to avoid the classically heavy caps look, while maintaining the wide-set frame inherited from the Gothic style to preserve its character.

Practice is a serif typeface “anchored in the research of typographic paradigms” and “introduces a new perspective with an unprecedented sharpness”. It was designed by François Rappo and released with Optimo in 2016.

Vesper Voyage is a capsule collection series by Vesper Milano that embarks on a journey beyond everyday perception. The project explores a philosophy of wanderlust, creating objects with variable uses that invite the audience to travel to another place or time. Produced in small provincial workshops, the artifacts enhance the beauty of blurred memories and are conceived as objects not meant to be forgotten.

The collection’s first project, Noctambulist, sits between day and night, exploring the threshold between the conscious and the unconscious. It features a loose-fit, unisex pyjama and a handmade toothbrush, both made in Italy, alongside a soap with real green frankincense from Oman. The limited bundle includes a poem card tucked inside, guiding its recipient along a path of dreams.

The logotype and all printed assets are set in all-caps Modern Gothic. The signet is a bespoke reinterpretation of the lowercase v from Magnificat, originally sourced from a Letraset sheet, intended to function as the brand’s double-v initials. It is deployed consistently across the identity: embossed on envelopes and cards, and integrated into the labeling system.

Creative direction by Vesper Milano. Design by BIFFIPOL with type design assistance from Michelangelo Nigra.

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.

glug is a sensory throwback for the modern palate. A wine bar living inside an old arcade with classic cabinets, natural wine, and curated simplicity. Good things take time.

This Master’s degree project, realized at Elisava, goes beyond branding. It was created together with Shaina Suri. The digital motion was guided by Gerard Mallandrich.

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.

After years of touring and releasing singles, emerging house DJ and producer sunflwr was preparing to release his debut album head it in a dream at the top of 2025. He approached Wish You Well, a multidisciplinary creative studio, to assist with developing design direction for the vinyl LP he wanted to release as part of the rollout. In collaboration with photographer Zachary Ruddell, who spearheaded the album’s front cover, Creative Director Jaye Thompson drew inspiration from sunflwr’s signature blend of dreamy indie dance and atmospheric house music, to translate sound into form. For the LP’s backside, he developed a uniquely hypnotic typographical treatment, built around chromatic distortion and circular rhythm, echoing the entrancing qualities of the album’s production. The result is a design that feels like a visual vortex, inviting listeners into sunflwr’s vibrant sonic world.

Beyond the LP sleeve, the design direction expanded into a broader visual ecosystem. Wish You Well equipped sunflwr with animated assets and motion graphics derived from the core typography and creative direction, allowing the identity to live across announcements, social content, and rollout moments. This approach ensured the album wasn’t just released, but revealed through multiple touchpoints for fans to engage with the project beyond the music alone.

Following the release on Unbelievably Spectacular, the album charted on NACC’s year-end Electronic and Chill lists and has since generated approximately five million streams across major DSPs. While vinyl sales data is limited, multiple physical drops sold through, signaling a strong demand and resonance with fans. Beyond performance metrics, the project established a cohesive visual identity at debut, helping position sunflwr as a distinctive voice within the electronic and chill music space.

For Wish You Well, the project exemplifies the studio’s belief in building worlds, not just assets. Where music, design, and craft work together to create lasting cultural presence.

[More info on Discogs]

Sunnfjord Miljøverk (Sunnfjord Environmental Agency) is a municipally owned waste management company serving Sunnfjord, Fjaler, Hyllestad, and Askvoll in Norway. Responsible for around 29,000 residents, it collects and transports waste to a main facility at Einestølen (Hesjedalen), where materials are sorted and prepared for reuse, recycling, or safe disposal. Several recycling stations and an administrative office in Førde support efficient service throughout the region.

The recent visual identity for Sunnfjord Miljøverk, designed by Feed design studio in Oslo, underscores the company’s mission to promote environmental responsibility and community well-being. The design employs a thoughtful pairing of typefaces: Youth from AllCaps and Store Norske Skandia from Skriftkompani. Youth brings a fresh, contemporary energy to the brand, signalling optimism and forward-thinking ideals, while Store Norske Skandia provides clarity, approachability, and a sense of trustworthiness. Notably, Skandia was designed by Arve Båtevik, whose name is derived from Båtevika, located in the area where Sunnfjord Miljøverk operates and serves the local community through its waste management services. This typographic connection adds a layer of regional identity to the visual system.

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.

Description of the project by the WestLicht Museum;

Tagada is not just one of the most iconic rides at Vienna’s Prater amusement park – for teenagers on the cusp of adulthood, it’s a rite of passage and a place of retreat. It’s where they meet up, smoke, flirt, make out, perform, test their limits, and measure themselves against others. On the spinning disc, they experience fleeting moments of weightlessness – both literally and figuratively.

In the summer of 2020, during the COVID pandemic, Florian Rainer spent time with these teenagers, capturing their world in a photographic coming-of-age story.

From the author's perspective, there are two stages – the disc above and the plaza below. The book architecture reflects this: instead of left and right pages, it reads as ‘Top’ and ‘Bottom.’

The title uses a modified FF DIN Round, inspired by the neon lettering on TAGADA’s ticket booth. Body and ancillary text are set in AC Youth from AllCaps, whose late-’80s energy we felt was ideal for the project’s funpark vibe.

The Chapelle Sauvage Festival, the second highlight of La Trinité’s 2024–25 season, offers three days of sonic exploration of nature, bridging early and contemporary music: concerts, performances, talks, and DJ sets for all ages – all taking place in one of the city’s most beautiful venues.

A visual that seeks to awaken all our senses: listening to great tits sing, watching Alpine swifts take flight in the distance, smelling the scent of lily of the valley, and blowing on a dandelion.

The Preview Seoul is an annual art fair in Seoul dedicated to emerging galleries and artists. Founded in 2019, it provides a platform for independent exhibition spaces and first-time collectors. The 5th edition took place in 2025 at the former National Theatre in Yongsan, Seoul, with around 38 galleries and over 200 artists participating.

The visual identity designed by Jun Ki Hong (jun.works) emphasises the art fair’s 2025 theme of “change” and “newness”, defined to capture the sense of transition and bold reinvention, highlighting the shift of the event into an unfamiliar space while celebrating the fair’s growing presence. Bold typography and directional motion behaviours evoke the sensation of being propelled forward—signalling both movement and momentum—while the dynamic visual system captures the excitement of entering a new chapter.

The main Latin display typefaces in use are Generation Mono by Nguyen Gobber, Play Extra by Out of the Dark, and Bandit by AllCaps, while Helvetica Now by Monotype was used for body copy. For all Korean text, the display typeface in use is Neutronic Hangeul by Minjoo Ham 함민주, together with UDGothic by JoonFont for body copy.

The event was hosted by ShinhanCard and organised by ARTMEETSLIFE (AML), with photography by Dan Ah Studio and Jimmy Pictures. Artworks shown are courtesy of the participating artists and galleries.

The latest volume in the Type in Use series by Victionary (2024–2025), this book highlights the use of display typefaces, renowned for their boldness and attention-grabbing qualities. They are adaptable across diverse design contexts, seamlessly integrating into print, digital, and beyond. Display in Use brings together the best fonts for big canvases, and provides a reference point for inspiration seeking designers and typographers.

The book was designed by Ben Lee at Victionary. While the D on the front cover is from AC Visual, the back features Dina Chaumont Display. This lowercase-only monospaced typeface is built around the DIN A ratio. This format is used in portrait and landscape; thus two different widths coexist. The letters are designed to fill the surface as much as possible in both cases. This feature gives a distinct appearance and plays on formal and dynamic variations. Instantly recognizable, expressive and playful, Dina Chaumont Display perfectly embodies its role.

The monospaced font used on the spine and also for the info on the typeface pages (not shown) is unidentified [edit: it’s Fraktion Mono, see the comments].

Dina Chaumont Display is also used for the contents page.

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.

CBMO (Crystal Bridges Momentary) is a quarterly publication designed to reflect the distinctive character of Crystal Bridges Museum of American Art and its Momentary events space in Bentonville, Arkansas. The museum, renowned for its celebration of the American spirit, resides on a lush 120-acre property featuring innovative architecture by Moshe Safdie, which harmonizes with the natural landscape.

Designed and art directed by New York design studio Gretel, CBMO launched alongside the 2023 Annie Leibovitz exhibition. The magazine captures the museum’s seamless blend of art, nature, and architectural beauty. Drawing inspiration from Safdie’s use of convex walls and the flowing ravine beneath the museum, the design incorporates editorial frameworks that mimic the curvature and fluidity of the space.

The typographic approach further reinforces these themes. Aro by General Type Studio is used for striking display elements, while Rhetorik Serif by AllCaps provides an elegant foundation for body text, headers, and captions. Complementing these, Halyard Display by Darden Studio lends versatility to headers and captions. Together, these typefaces create a visual rhythm that mirrors the museum’s architectural lines and the natural flow of its surroundings, offering readers a curated journey through the museum’s collection and events.