For the 2024 edition of Lucca Comics & Games, dedicated to the fantastic worlds of Yoshitaka Amano, the visual identity was developed to support the event’s narrative structure across ouverture and crescendo, reflecting its deep connection to contemporary pop culture and illustrated fantasy worlds.

The typographic system, featuring Ouverture by Zetafonts, was adopted as a key element of the exhibition and overall visual identity. Balancing heritage and a retro-futuristic, sci-fi sensibility with condensed, expressive forms inspired by late 90s visual culture, this typeface is particularly suited to the imaginative universe of Lucca Comics & Games and the evocative, dreamlike aesthetics of Yoshitaka Amano.

Used across the exhibition design, posters, and all communication materials, Ouverture provides a cohesive and recognizable voice throughout the project. Its versatility allows it to shift between impactful display moments and more structured informational contexts, ensuring both visual intensity and clarity across all applications.

The Lucca Comics & Games 2024 logo uses Coco Sharp.

Poster and identity design for the Corri San Mauro.

Once again this year, the race is focused on raising funds for cancer research. For the 2026 edition, graphic designer Piercarlo Tozzi suggested a more pop-inspired design, featuring bold colors and contrasts along with dynamic illustrations, suitable for use in any context. The “mascot” depicted as running legs, reappears in various forms, in animations, on scarves, and on posters throughout the city.

The combination of fonts chosen strikes the right balance. Autarchist Sans, with its boldness, helps create a headline that is both impactful and legible, while Milligram is its perfect counterpart for body text. The chosen fonts also fit the intended fun, pop style, yet keep the more serious message dedicated to research unequivocal and clear.

Nodes. Journal of Art and Neuroscience is a peer-reviewed scientific journal founded in 2011 by Numero Cromatico, an artist collective, research center, and publishing house composed of researchers from both the humanities and scientific fields. The journal aims to explore and disseminate the intersection between art and neuroscience, a topic that has gained significant prominence in recent years thanks to the emergence of neuroaesthetics.

The visual identity of Nodes issue 26 is conceived as a visual soundscape, where music and rhythm take shape. Sound cones synthesized into gradients and circles of varying sizes evoke movement, depth, and resonance.

The visual language, inspired by experimental cinema, alternates between sharpness and blur in a continuous dialogue with typography: Blacker Mono, a contemporary monospaced serif typeface designed by Zetafonts, which becomes a form of musical notation. Within the space of the page and the flow of content, typography and graphic elements transform into rhythm, movement, and sonic memory. The typefaces in use furthermore include Blacker Mono’s proportional sibling Blacker, two type families from Atipo – Basier Mono and Geomanist – Ronzino from Collletttivo, Tinos by Steve Matteson and Monotype Baskerville.

For this issue, Dionigi Mattia Gagliardi was editor-in-chief and art director, with graphic design by Licia Masi. Printed in Rome by Risoma and Tipografare on two paper stocks: Favini Shiro Echo 120 g/m² (interior) and Favini Shiro Echo Raw Blue 250 g/m² (cover).

From Stéphane Bidel:

Olisma is a new brand of dietary supplements and skincare products that promotes not only its products but also a philosophy of life. This approach is underpinned by a strong brand slogan, “Health is everything”, as well as a visual identity focused on usability and education.

Art direction by Pauline Saurus, with Bogart and Aperçu as fonts in use.

Gli Etruschi e l’immagine is a project by illustrator Luchadora (Alessandra Marianelli), developed in collaboration with the Museo archeologico nazionale di Firenze, exploring new ways of connecting contemporary illustration with the visual power of Etruscan art.

Among the series, one of the posters reinterprets the iconic Chimera of Arezzo, a masterpiece of Etruscan bronze sculpture, translating its complex form into a bold, geometric visual synthesis. Starting from the observation of the original artifact, the illustration reduces its features into essential shapes, offering a fresh and contemporary perspective on a historical symbol.

For the typographic layer, Bikeride from Zetafonts’ Quarantype collection was selected. While playful and expressive, the typeface is rooted in ongoing research into contemporary visual languages and historical references, bridging calligraphic gestures and graphic design to support the dynamic character of the composition. Fraunces by Undercase Type serves as the text typeface, its forms echoing those of the display font while adding richness and an extra layer of narrative information.

Creating an exciting cottage cheese brand in a boring (but booming) category.

Cottage cheese is having a boom in popularity. Knowing the market lacked a cool brand, Mili approached us to help create a new type of cottage cheese brand. One that puts curds on the map and makes people actually proud of the product.

We first helped understand the category, identifying all the bland cliches, such as blue colour themes and boring visuals. We created a bold logo type, with a vibrant pink colour theme and an illustration of Mili front and centre to help the Curdi brand become ownable, distinct and unapologetic.

12 Modi di fare all’Amore (“twelve ways of making love”) is a series of strange love positions with a juicy italian text to describe it, designed and published in four color variants by BOLO Paper.

This publication reproduces the original texts from a supplement of the erotic magazine SELEN from June 1995, which in turn was inspired by a book by an anonymous author printed in France in 1790, titled Les quarante manières de foutre dédiées au clergé de France (“The Forty Ways of Fucking Dedicated to the Clergy of France”).

The illustrations are graphic reworkings of some engravings by Gilles Néret, taken from Erotica Universalis, published by Taschen.

The 2023–24 edition of the RUFA Annual Report, conceived as a collective performance, goes beyond documenting the year’s activities to become a shared design act focused on intention, process, and collaboration.

Inspired by Vilém Flusser’s idea that “everything depends on intention (design)”, the report was created through a 48-hour creative marathon involving 50 selected students alongside designers, visual artists, photographers, copywriters, and faculty members. Working together in an open laboratory, the teams produced content, images, data, and narratives that shaped the final publication.

The volume unfolds through ten keywords defining the Academy’s identity, a photographic selection of undergraduate and postgraduate theses, and an overview of the year’s activities, including events, workshops, talks, and international projects. Data Humanism–inspired infographics, based on interviews and questionnaires with students and faculty, complete the narrative.

A die-cut dust jacket revealing the names of the participants and a concluding photographic report underscore the collective nature of the project. The annual report thus stands as both a document and a method, reflecting the Academy’s growth through shared experience, research, and collaboration.

Four-colour printing plus white and fluorescent yellow Pantone on Favini paper.
Typographic composition in Milligram by Zetafonts.

Design by Guido Lombardo, Davide Luccini and Francesco Paolo Incantalupo at Intorno Design, with illustrations by Francesco Fidani. For a full list of credits, see the RUFA website.

Le mie ricette (“My recipes”) – written and illustrated by Testi Manifesti and published by Gigaciao – is a wild ride through Italian pop culture, cinema, design and food where every recipe is a visual manifesto and every page is a celebration of daily cooking, irony, and improvisation.

From the Bavarian meatballs of fantozzi contro tutti (“Fantozzi against everyone”) to the sandwich of chiedimi se sono felice (“Ask me if I’m happy”), and the pastasciutta antifascista (“Anti-fascist pasta”), this book serves up 34 unforgettable dishes reimagined through the lens of nostalgia, politics, and wit.

And while the recipes feed your memory, the typography feeds your eyes: designed using our Altro Serif typeface alongside a generous handful of other typefaces, each page balances bold graphics, playful layouts and strong visual storytelling.

Le mie ricette is not just a cookbook, it’s a collector’s item, a graphic experiment, and a love letter to everyday food, culture and design.

In 2023, the private local radio station Radio Ton in Heilbronn, Germany, underwent the biggest relaunch in its history.

The previous color scheme, dominated by red, was replaced by a 1980s-inspired design. The station opted for two rather rarely used fonts.

Cocogoose Pro is used in the logo, while headlines and body text are set in Platform.

mdlrz.fr is the portfolio website of Maud Laronze:

Maud Laronze is an architect and teacher based in Annecy, in the heart of the Alps. These isolated landscapes, from which she hails, are where the wondrous and the immense intertwine, where attention to fragile balances and the interdependencies of life, to a sense of scarcity and making do with what is readily available, are part of everyday life. This legacy is embodied as a core value in her practice, from the act of designing to that of building, through a heightened connection to materials and an approach of working with precision and precision.

The website was designed and developed by Guillaume Constant and Francis Josserand, using Onlysans by Daria Cohen for headlines and Hagrid by Zetafonts for text.

Get Out is a minimalist black-and-white shoe by designer Michael Leonhartsberger, launched through a crowdfunding campaign to encourage people to put down their phones, go outside, live real adventures, and proudly wear their shoes until they’re completely worn out. Made for people who collect real memories. Because real experiences count for more than likes, doomscrolling, and binge watching.

For the typography, I used my own Gomer, and Bogart from Zeta Fonts. Bogart serves as the global typeface across all body copy and supporting text, bringing readability and a friendly, approachable feel to the design. It pairs beautifully with the vintage-inspired branding.

For visual impact, Gomer took center stage as the display font on packaging and large headlines. Its bold, distinctive personality commands attention and reinforces the brand's unique identity.

The logo development went a step further. I used Gomer as the foundation and then hand-customized it through lettering and animated it in Procreate. By drawing over the original letterforms, I created a wordmark that maintains Gomer’s DNA while adding a personal, imperfect and handcrafted touch.

The cards inside the shoe box feature custom lettering and illustration alongside the brand typefaces.

The fifth edition of Colligo Festival took place in the former Cinema Sidion in Gravina, Puglia, a cultural venue brought back to life to host music and contemporary arts.

With Sangria Creative Studio as a media partner for the second time, a visual identity was developed around the theme of transformation. The visual direction interprets change through fluid, layered illustrations without rigid contours, deliberately left undefined to express evolving identities. The color palette follows the same logic. Blue evokes movement and depth, pink suggests experimentation, and red conveys urgency and intensity. Together, they create a vibrant chromatic language that refuses neutrality.

The typeface Hagrid by Zetafonts plays a crucial role. It was chosen for its strong presence and its ability to support the conceptual direction. Its bold, contemporary and variable forms communicate both solidity and versatility, qualities that reflect the festival’s character and its ongoing metamorphosis. Hagrid becomes a defining element that gives structure to the entire graphic system. The accompanying brush typeface is Bitterbrush by Hanoded.

The poster, the core of the visual project, acts as a manifesto of the festival and its commitment to revitalizing cultural spaces and engaging new generations. Alongside the visual identity, the concept and storytelling were defined so that every graphic and narrative layer communicates a single idea. Transformation as a continuous condition.

Slanted magazine #46, “Cairo”, is a visual journey into the vibrant heart of Egypt’s creative scene. The dynamic design culture of Cairo – and beyond – reveals just how diverse, innovative, and powerful creative voices in Egypt are today.

From graphic design, typography, and visual communication to architecture and product design, Slanted #46 showcases outstanding projects that are shaping the cultural present and future of the region. Whether through progressive branding concepts, experimental approaches, or striking visual storytelling, this issue reflects the powerful creative energy flowing through Egypt. Slanted gives space to designers, illustrators, and artists from Cairo, other Egyptian cities, and abroad—highlighting their work and personal statements. In-depth essays and articles on cultural, social, and creative topics related to Cairo and Egypt round out the issue.

Slanted #46 is a compelling portrait of a design scene in motion—bold, diverse, and brimming with fresh perspectives. On our trip to Cairo, we conducted numerous interviews with people from the creative industries, which have been edited into the short film Cairo Unscripted—Exploring Cairo’s Past, Present, and Creative Future by design studio Ntsal. It is available for free from slanted.de/cairo.

To mark the release of Slanted #46, Slanted is launching a special edition with five stunning photo prints by Markus Lange, as well as a striking hoodie collaboration with Reell and Negmedine Khaled.

Villa Libertad, Une communauté italienne en Argentine is the title of my Master’s degree project made at ÉSAD Pau. It is the result of a graphic and historical investigation initiated from genealogical research conducted in the northeast of Argentina. In the parish archives, I encountered a forgotten priest called Pedro Cisamolo who was living in a town named Villa Libertad and populated almost exclusively by Europeans. Between 1895 and 1901, this individual drew more than a thousand illustrations in those registers: animals, plants, landscapes, people, religious iconographies, buildings, smiling suns, etc.

This discovery was the point of entry into the history of the migratory and colonizing policies of 19th century Argentina. The law of 1876, in particular, is considered a turning point because it allowed, at the expense of the Argentinian Government, the coming of thousand Europeans who upon arrival were offered land to cultivate. Thus, in many provinces, colonies – as an artificial urban centers – were established. Villa Libertad is one of them, the first national colony of the Entre Ríos province.

This editorial project is made up of two complementary books. The first relates a historical study rooted in 19th century archives and more recent works conducted by Alejandro Fernández, an Argentinian historian. This book, through the faithful translation of these documents, contextualizes the founding and development of the Villa Libertad colony from 1872 to 1901. The second book compiles the huge amount of illustrated signatures made by Pedro Cisamolo in the parish archives. From scribble to calligraphy and finally to a whimsical bestiary, the evolution of his signatures eventually builds a singular repertoire of scriptural and figurative forms.

To emphasize the historical link between Italy and Argentina, typefaces from both countries were used. Titles and section markers are set in Borges Gris from the Argentinian foundry PampaType, and the body text in Etrusco Now, from the Italian foundry Zetafonts.

Made as student project in Johannes Bergerhausen’s course at HS Mainz, What do you dream about? is —

a typographic list of different types of dreams, from children’s dreams to daydreaming, up until nightmares, utilizing six different papers across the six chapters, ranging from light and transparent to thick and dark. the deconstructive nature of the exposed binding, as well as the grid on the wrapping, is used to break up the black and white book content and to further emphasize the experimental nature of the design. this is a list to reflect upon – to read from the beginning or to start in the middle, to use the bookmark and set aside, or to store away for a while.

This collection of love poems by Rainer Maria Rilke was published in September 2025 by Büchergilde Gutenberg. The embossed hardcover (124×188 mm) has 64 pages and a ribbon bookmark. Typesetting and book design by Clara Scheffler.

I recently discovered Blackest in the Gold Pack from Zetafonts.

The small type on the title page is ATF Garamond or similar.

Marcovaldo is the main typeface used for Re Pomodoro by Margherita S.p.a.

From design agency The 6th:

Re Pomodoro is a fresh pizza brand sold in supermarkets but made with artisan process and selected top-quality ingredients. Every pizza is hand-stretched and hand-topped (“stesa e farcita a mano” in italian) so we designed a logo stressing this uniqueness: the final “o” becomes a pizza throwned up by the pizza-maker hands.

The logo Re Pomodoro too seems to come out from a wood-fired oven and the top quality ingredients are designed recreating ancient hand-made labels.

The QR code on the label sends back to a landing page explaining everything about the product: production, ingredients, cooking tips, etc. So everyone can enjoy at home the authentic pizza taste just like in a pizzeria!

Additional fonts include CA Negroni, Boogie School Sans, Spagheti Script, and Cervo.

Işıl Gün is a Turkish stylist and set designer based in Milan. Each of her projects reflects a sophisticated, eclectic, and irreverent eye, shaped by a unique style that blends retro influences, surrealist elements, bold textures, and strong contrasts—always with an elegant and unmistakable touch.

She partnered with DilloStudio who designed the new identity directly from this coexistence of opposites: a vibrant and varied palette creates unexpected and lively combinations; geometric patterns echo the aesthetics of the 1970s, while surreal compositions mix illustrations, classical busts, animals, and natural stones in a dreamlike, personal language.

The logo features Blackest by Zetafonts, a typeface that merge radical design references with nods to Turkish visual culture. GT Alpina Condensed by Grilli Type and Fragment Mono by Wei Huang are used respectively for headlines and paragraphs.

Design by Mattia Finardi with direction from Marco Fogaccia. Web design and development by Daniele Capelli.

Sutor Basket is the basketball club of Montegranaro, Italy, currently competing in Serie B. Throughout the year, I was responsible for all graphics related to the league season. These included player introductions, fixtures, gameday visuals, score updates, MVP announcements, and more.

In addition to social media communication, a matchday booklet was created for home games. In DIN A4, the booklet included the league table and fixtures of the day, team rosters and upcoming events. It also featured a special interview with a team member.