In 2025, Julien Gosselin took charge of the prestigious Parisian Odéon Théâtre de l’Europe, previously known as Théâtre de l’Odéon. Atelier Choque Le Goff was commissioned to design a new visual identity for the theater. Playing with words, they used big type and expressive layouts, mixing letters and illustrations by Martin Groch on colorful backgrounds. The cast for the new identity is as follows: Insitu, Exposure, and Neue Haas Grotesk.

Homolobby by Krzysztof Tomasik is a vivid narrative that weaves together the lives of a group of men born in the late 19th century, revealing what life was like for homosexual actors in the Second Polish Republic and during the war. The book reveals the backstage of theater, cinema, and cabaret, where themes of non-normative sexuality were subtly conveyed.

The book was designed by Polish book designer Marcin Hernas of studio Tessera. The playful layout combines Ergon for titles and pagination, while the main text is set Dashiell Text.

Ara of Asa is an interdisciplinary multimedia project that explores the visualization of sound through a collaborative performance and exhibition. The title, derived from native Korean (아침의 파도), translates to “the wave of the morning,” referencing the dual nature of waves as both acoustic vibrations and the rhythmic movement of the ocean. It was presented by Dohoon Kim on November 24, 2024, at Wild Beast, CalArts.

The visual identity is anchored by a dramatic contrast between darkness and light to symbolize the transition from night to morning. This is further expressed through an inverted, mirrored layout where the typography is rotated.

To navigate this split environment, the design uses a rhythmic typographic system featuring Carta Nueva and Ogg Display from Sharp Type. Carta Nueva’s ball terminals serve as a poetic metaphor for musical notes, physically manifesting the rhythm of the soundscape. Across the transition of light and shadow, the typography maintains an organic flow that echoes the fluid qualities found in both water and ambient sound.

Poster and flyer series for the successful dance theater production Ascochinga. La vida todavía (“Ascochinga: life still goes on”) staged by the municipal theater company Teatro Comedia in Córdoba, Argentina. Illustrated and designed by Santiago Guerrero, using Reforma 1918 (PampaType), part of the tailored type family originally made for the National University of Córdoba.

The posters were screen-printed at the university studio.

Enpen Teien Shokukaku (縁辺庭苑小区画; “A small plot in a peripheral garden”) was a performance by the student group Tosok from Tama Art University in Hachioji, Tokyo. The event took place at SCHOOL in Mitaka, Tokyo. I designed the poster and flyer for the performance, featuring a layout that mixes an extensive variety of fonts.

For the large Japanese title on the poster, the fonts Iwata Fuku Marugo, Iwata Mincho, Wapuro Mincho, and Gothic MB101 are layered together. The small English title uses Tsukurimashou.

In the smaller text sections, I paired Japanese and English fonts as follows: Chu Gothic BBB with Lo-Res, Tsukushi A MaruGothic with VAG Rounded, and Tsukushi A Old Mincho with Garamond Premier.

The layout for the inside of the flyer repeats the same information while varying the typography. In addition to the poster’s fonts, I incorporated pairs such as DNP Shuei ShogoMincho with Didot, HanaKocho with Garamond Premier, and Midashi Go MB31 with Univers Next.

The flyers are offset printed and have a half-fold format.

Global image direction by Paris-based design studio Feelings for artist Danyl’s first album ZMIG (2026) and the accompanying campaign, including a shirt for shows in fall/winter 2025/2026, a poster for the Sprinter Tour 2026, and an announcement for the concert at Zénith Paris in November 2026.

The collegiate slab serif appears to be Weichi He’s LL Champion (Lineto, 2024). It’s supported by Axel Pelletanche Thévenart’s Dank (Ornamental & Title Type, 2025). There’s also another sans and an Arabic font (for “دانيل زميڨ”) which are yet unidentified.

Simone donne sa langue au chat unfolded as a four-part event series in Châteauvillain (Haute-Marne, France), within the walls of a former boot factory, once called Le Chameau, now reimagined as Simone.

These events invite a shared, participatory reflection on the status of living beings and the space we allow them, at a time when biodiversity is collapsing under human pressure. Bringing together citizens, artists, researchers, and legal thinkers, the event explores how animals might belong within human communities, through questions of place, proximity, and otherness.

The A2 poster consists of four A4 designs, each able to stand alone. Designed in two colors (plus white background) by Fabrication Maison, it was printed by Lézard Graphique.

Stéphanie Desjeunes is responsible for the visual identity and artistic direction of the 2025 edition of Départ d’Incendies, a performing arts festival in Paris, featuring theater, dance, and contemporary circus.

The visual system is based on a series of illustrations and Tartuffo (from Lift Type) and its ligature system.

Source: www.instagram.com Arabako Lautada. License: All Rights Reserved.

Design for the two-day festival marking the end of the concert tour by the musical duo Dupla. All promotional material exclusively uses the Basati typeface by Blancoletters, in its various weights. The typeface is applied consistently across the compositions supporting the poster’s focus on local culture and public celebration.

Source: www.instagram.com Arabako Lautada. License: All Rights Reserved.

Source: www.instagram.com Arabako Lautada. License: All Rights Reserved.

Source: www.instagram.com Arabako Lautada. License: All Rights Reserved.

Source: www.instagram.com Arabako Lautada. License: All Rights Reserved.

La Pierrot is a drag performance evening at the crossroads of cabaret, clowning, and melancholy, taking place on December 4, 2025, at Le Grand Huit in Rennes. Conceived by Bleu Déclin, the event also brings together Fragile de France and Anne-Marie Kondom for three performance sets with distinctive aesthetics, exploring extravagant, sensitive, and hybrid figures.

Envisioned as a suspended moment, La Pierrot draws on the imagery of contemporary cabaret and the sad clown, blending humor, poetry, and vulnerability. The scenography and characters are part of a strong visual exploration, in which costume, makeup, and the body become graphic mediums in their own right.

The evening is part of the Fulmine creators’ market.

Poster for a performance at REDCAT, the first-ever retrospective of Vertical Blanking, a video art, performance, and experimental music duo consisting of ia Kamandalu (formerly Kim McKillip) and Michael J. Masucci. REDCAT is the Roy and Edna Disney CalArts Theater in Los Angeles.

Bålder Quartet is a Finnish string quartet playing classical music together since their launch in 2018. In January 2026 they revealed a new visual identity, designed by David Matos / Shutupandance using Poppins throughout, plus Bloyd for the logo.

The stacked lines symbolise the core composition of a string quartet. It alludes to the two violins, the viola and the cello (and, by extension, the four musicians). Each line can also be seen as representing the four strings, common to all instruments in the quartet.

The logotype can take on different shapes by shifting characters, together or individually, along their vertical axis (i.e. baseline), evoking the sensation of sound, music, and rhythm. It can be animated in several ways — for example, reacting to sound as a backdrop projection in live settings.

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In the tradition of Waulking songs, the Words Don’t Come Easy Festival seeks to create spaces for encounter and reflection on the forms of knowledge transmission and circulation.

“Words […] Don’t Come Easy to me” – the opening lyrics of F.R. David’s song – resonate with other contexts. Sometimes, words don’t come easily to me; they can take time to reach me, when they are carried on the wind, or by the voices of queer people, of minority groups.

Work songs, blending voices, synchronized gestures, and words of resistance, have long been used in working-class communities to bolster courage or pass on skills. This is how we discover the Waulking songs that accompany the practice of fulling.

Within this cozy space, two days of exploration and exchange will unfold thanks to a selection of books to consult and files to exchange, a lively writing workshop, a sprawling show & tell, an epic concert, an enveloping conference, a woven reading and a crispy cooking workshop.

An event organized by Alice Laurichesse in collaboration with Lucie Bouchet, Antinéa Chapon and Marcus Malinvaud.

The typography uses Garabosse Mignon·ne and Perle, with initials from Cordier Script.

Poesia no Centro is a poetry festival promoted by Megafauna, a bookstore in São Paulo, Brazil. The visual identity and scenography allude to the city’s signage and urban cacophony, anchored in the use of the Plaak typeface by the type foundry 205TF, also present in the bookstore’s visual identity.

The graphic design consists of a simple structure of boxes and vertical bars with moving typography superimposed on the work of guest photographer Mauro Restiffe. In the scenography, the lines become industrial shelving structures, the boxes become animated LED signs and the photographs become large-format posters.

The program booklet uses FF More and Acumin for text.

With the jacket photograph by Ted Dayton and typeface Garage Gothic by Frere-Jones Type, Then Again is Diane Keaton’s memoir about her relationship with her mother, who shaped much of Diane’s life. Over the course of her life, Dorothy kept eighty-five journals—literally thousands of pages—in which she wrote about her marriage, her children, her parents, and, most probingly, herself. Diane has sorted through these pages to paint an unflinching portrait of her mother—a woman restless with intellectual and creative energy, struggling to find an outlet for her talents—as well as her entire family, recounting a story that spans four generations and nearly a hundred years.

The first illuminated characters, primarily created for big-city entertainment enterprises, consisted of electric bulbs arranged to form the outlines of letters. BVH BDot imitates this idea and is a perfect fit for KOSMOLINO, the children’s program of Theater KOSMOS in Bregenz, Austria.

From the website of designer Anuschka Fink (translated from the German):

Hubert Dragaschnig once said:
“A theater production requires many different stars – whether it’s the office, administration, stage design, music, acting, directing, technical crew, wardrobe, makeup, etc. – and when all of these serve the same sky, namely the author and the play, a cosmos emerges.”

Inspired by this, I designed a graphic concept for both Kosmodrom and Kosmolino. The two visual identities were meant to share similarities while still remaining distinct and striking. The stars – or the light – of the stage backdrop became a key design element. Reduced to a single “dot,” it symbolizes the stars of the theater cosmos.

The most positively talked-about event at Eurovision 2025 in Basel was the epic showdown between fan favorites Käärijä (Finland, 2023, in green) and Baby Lasagna (Croatia, 2024, in blue). The returning runners-up duo performed a mash-up of their own Eurovision hits – “Cha Cha Cha” and “Rim Tim Tagi Dim” – before launching into their brand-new part-Finish, part-Croatian collaborative single “#eurodab”. The performance quickly spread online, with critics calling it a “delirium-inducing” performance, creating another viral hit from two performers who often tend to overshadow the winners of their respective seasons.

The at the core of performance’s staging was the exclusive use of OH no Type Co’s Obviously Variable – flashing, squishing, and darting all over the LED screens surrounding the stage, with extra effects added in above their heads for broadcast. The graphics for the first part evoke a classic arcade video game esthetic, with visuals popping up during their segment to say things like “Round 2” and “5x Combo”, before launching into a technicolor mashup for “#eurodab”. Set designer Florian Wieder and lighting designer Tim Routledge created a spectacular show environment that captivated audiences across Europe and beyond.

Since 2003, the HFBK Hamburg has been publishing a printed magazine, initially as a newsletter focusing mainly on university topics, and since 2009 under the name Lerchenfeld, which has since grown into an impressive magazine. Lerchenfeld reports on current trends in art, exhibitions, events, and projects related to the HFBK. Essays, interviews, and other texts present positions on issues in art, culture, and science.

The magazine’s design changes every year and is created by the respective graphic design class. The images shown here are from nos. 73 to 76, all published in 2025.

The digital versions are available for download.

Crystal and Atacama typefaces in use by Swiss designer Ilaria Citti for the first issue of the dance publication KRUMP SEEN. Started as her Diploma project at ECAL in 2023, it was launched in June 2025. Ilaria Citti comments:

As a Krump dancer, I noticed a lack of editorial content dedicated to this dance form. Originating in the disadvantaged neighbourhoods of South Central Los Angeles in the 1990s, Krump is a way for dancers to express their anger, aggression, frustration and pain in a positive way. This magazine highlights the spirit of this dance through its codes: its community spirit, its vocabulary, its music and its competitions. By meeting the key players in this scene in Switzerland, I hope to offer an authentic perspective on this movement.

Poster design by Paula Scher of Pentagram, featuring Garage Gothic typeface by Frere-Jones Type.

Shakespeare’s Taming of the Shrew was presented by the New York Shakespeare Festival/Public Theater at the Delacorte Theater in Central Park from August 10th through September 5th, 1999, together with Molière’s Tartuffe.

From Playbill:

Tartuffe concerns a venal and libidinous religious hypocrite who holds a household under his thrall until being exposed for what he is. When first presented in 1664 France, the sharp satire created such a furor that the pious of Paris suppressed the play. It was not performed for another three years, and then in an altered version.