everyday utopia is a jacquard-woven blanket inspired by A Decolonial Feminism by François Vergès.

Yik Heng Lee (RISD textiles MFA) interpreted the digital design by graphic designers Jacob Marcus and Avrie Allen, indexing graphic pixels into woven structures and form.

Body glyphs are from Nat Pyper's typeface Michiyo Fukaya.

Together we own all that is on earth. In that sense we are all royalty. And kings and queens of this earth. And we all deserve dignity.

This poster design featuring Droog was made as an entry to the 14th edition of Posters for Tomorrow, titled “What is Dignity?”

Ear Candy is a compilation album with songs by various artists signed to Twentieth Century Fox. The cover is a literal take on the title, with a candy bar for each of the seven featured artists and songs. Some of the typefaces were rendered by hand.

Design by George Corsillo with illustration by Fred Nelson and art direction by Tim Bryant Design.

[More info on Discogs]

I made this cover for Istotne Nagr., a Polish DIY label releasing funny electronic music.

Après Skweee is a compilation of a micro-genre called skweee, a slow tempo electronic music made of funky rhythms and chiptune sounds that emerged in the late 2000s in Sweden and Finland. This release is the proof that the genre is still active today in 2025.

I mixed here two display fonts that match the texture and shape of the illustrations. LL Biff is used for titling and Zigzag for the secondary information.

Source: www.bak.admin.ch Nadine Wüthrich. License: All Rights Reserved.

The animation shows a dynamically interlocking 2026 as a visual metaphor for culture in motion. It stands for connection, change, and cohesion – a New Year’s greeting for 2026 from the Bundesamt für Kultur (BAK), the Swiss Federal Office of Culture: culture builds bridges, creates resilience, enables peace, and shapes democracy.

Source: www.bak.admin.ch License: All Rights Reserved.

Romansh version

Source: www.bak.admin.ch License: All Rights Reserved.

Italian version

Source: www.bak.admin.ch License: All Rights Reserved.

French version

Source: bak.ch License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

Here is a poster I did for a Christmas market gathering local designers that took place in a little coffee shop in Nantes in November 2024. I used Pinewood, a freebie digital interpretation of Rustic No. 2, both for the title and as an illustrative element, adding snow on top to make it fit to the rest of the composition. I paired it with Exposure, chosen for the warm feeling of its blurry outlines.

Created as part of the Posters for Gaza solidarity initiative, this poster contributes to the collective effort to support Doctors Without Borders through graphic design promoted by ADG-FAD.

The composition centers on a tree of life constructed through language. Words are woven into form, spelling out a single, unequivocal message: Life for Gaza. Drawing from Palestinian tatreez, the piece reinterprets this ancestral embroidery as a contemporary graphic system, where repetition functions as an act of remembrance and resistance.

The message is clear and direct, standing as a firm visual gesture in defense of life.

Burghi is used in Adobe InDesign 2026 to illustrate the Flex Layout feature. The calendar numerals are from CoFo Kabeltouw. Adobe Clean is the typeface used for the interface typography.

All-caps Flash for the poster signed by D. Wust-Calame, printing: Imprimerie du «Journal de Genève»

Drawing is a common practice in the field of botany to visually describe a plant. Allowing interpretation, even cheating, a drawer dare said, scientific illustration has didactical advantages over photography. From 1960, when Charles Baehni was director of the institution, and during more than 30 years, the Botanical Garden of Geneva in Switzerland employed a dedicated team of women for the task. Their names appear vertically, often along the stem of each illustrated plant: Line Guibentif, Saskia Pernin-Wikström, Suzanne Van Hove, Danielle Wüst-Calame.

Housed by the lake, on the first floor of the historical building called La Console, the “atelier de dessin et décoration” comprised a complementary team dedicated to decoration (advertising or graphic design nowadays).

The series of posters entitled “Tulipes” announces most likely outdoor “exhibitions” of the tulip flower in bold colours with various typefaces leading to a striking effect. Showcased below, these posters symbolise the porosity of practices, the warmth as well as importance of drawing by hand, from that era.

To conclude, when I was conducting my research for proper dates and names, working in this very institution as an in-house typographer, I spotted this remark in one article by Line Guibentif from 1984: “Made with simplicity and economy of means botanical illustration should be as easy to read as clearly typeset text.” (translated from French by the author).

Acknowledgments: Samuel Anderegg, Pierre Boillat, Patrick Bungener, Martin Callmander, Sylvie Dunant, Mona Mahmoudian, Raoul Palese, Nathalie Rasolofo, Rodolphe Spichiger, Gisèle Visinand

Letraset’s Desdemona for a poster signed “SaskiaW”. Note that the 9 is an upside-down 6.

All-lowercase Baskerville Old Face

All-lowercase Monotype Grotesque and Helvetica for a poster signed “Line G.”, printing: Imprimerie du Journal de Genève

Hand-rendered (?) Cooper Black with non-standard forms for U (inspired by ITC Souvenir?) and P. “Rocailles” is shown in an unidentified wide slab serif. Volta fett with a trimmed R leg and unbracketed serifs would come close [see also the comments]. This poster is signed “SaskiaW” and was printed by imprimeries populaires. Smaller text is in Helvetica.

Zipper and Helvetica for a poster signed “SaskiaW”, printing: Imprimerie du «Journal de Genève»

Artistik for a poster signed “D. Wust-Calame”, printing: Imprimerie du Journal de Genève

More Helvetica, including stacked glyphs for the months for a poster signed “D. Calame”, printing: Blanc-Wittwer SA (not part of the Tulipes series, provided here as a bonus for the eyes)

Sacred Ethereal Feminine Energy is a 3D-knitted tapestry by artist Yamuna Forzani and type designer Céline Hurka produced at the Tilburg Textile Museum in 2023.

The artwork features various weights of a custom version of the variable font family Tonka as well as a new in-progress variable typeface called Yamuna Bottom, developed by Céline and Huw D. Williams. Tonka’s variable weights and widths adjust to the width of the tapestry.

Yamuna Bottom was gifted as a birthday gift to Yamuna by Huw and Céline. It is a variable version of the 1960s typefaces Scorpio & Hoopla and is not available for retail. Yamuna has always liked Lorvad’s digital version Bell Bottom Laser. The custom version shifts the weight on a horizontal axis up and down, creating fun patterns if repeated.

This work is the starting point of a longer collaboration bringing textile art and variable type together to celebrate the beauty of female friendships. The tapestry is available in three colors and measures 170×150 cm. It has been shown at various fairs and exhibitions since 2023, such as Villa Museum Amsterdam, Affordable Art Fair Amsterdam, and Object Rotterdam. It’s available for purchase on request.

Front and back cover for the 11th issue of Mosaïque magazine entitled “La fabrique du silence”. The artistic direction behind the covers and the magazine is realised by Alexandre Créquer, the 3D work for the padlocks and keys are created by Valentin Gaubert and Yann Genty. The title is set in Mosa Thin, while the subtitle and additional information appear in Neue Haas Grotesk. The logotype is a custom lettering designed by Alexandre Créquer.

Julie Bassinot is a graphic designer specialising in editorial practices and working as a teacher. In 2024, she led creative workshops with children from the Claude Nougaro school in the commune of Damiatte in France as part of the Création en Cours programme run by the Atelier Médicis. Here is how she describes what they did together (translated from French):

For four months, a cooperative of child researchers was organised. It met to observe the natural elements that transport seeds, grow wheat, power mills and print images. We practised and experimented with our hands, gathering stories in the fields and bakeries, as we met people and let our imaginations run wild. We worked with what already exists, close to us, in cooperation with natural forces and local people. We met Claire, a farmer-baker, and Pascal, a farmer. We tried to preserve the best of what we have, to connect agriculture and writing: the cultivation of the land and that of the mind.

Wheat, bread, mill: three figures as a way of introducing children to abstract concepts such as cultures, diversity, resources, commons, etc.

On July 20, 2024, Blink-182 played a show at the Bon Secours Wellness Arena in Greenville, South Carolina. Brazilian illustrator and poster designer Pedro Correa paired his intensely detailed illustration style with two different typefaces from PintassilgoPrints. Both Pieches and Skaligari do an excellent job of echoing the music—wild, kinetic, and loud! The result is a poster where type and image come together in cacophonous rhythm, capturing the feel of a live rock concert.

You can see an animated version of the poster on Pedro’s site.

Fanart of Hololive English (sometimes abbreviated as HololiveEN or HoloEN) vtuber Calliope Mori, made by Zhvowa.

For the English text “Calliope Mori”, they chose Teko (by Indian Type Foundry) – an open-source industrial gaspipe typeface that currently supports the Devanagari and Latin scripts and is perfect for use in headlines and other display-sized text on screen. They combined it with Makinas by Moji-Waku for the Japanese text “森美声” that is set vertically to reflect its deep roots in cultural traditions and aesthetics, in order to create contrast and rhythm in the visuals.

Alternate version

In 2024, Naipe Foundry released a limited-edition T-shirt campaign celebrating their motto: “Sin prisa pero sin pausa” (in English: No rush, but no pause). The design featured a giant letterform being carefully sculpted by a turtle, a sloth, a koala and a snail, emblems of Naipe’s philosophy of slow and steady process.

Photography by Débora Rodam and Illustrations by Dominique Kronemberger. Designed by Naipe Foundry using a combination of Naipe’s own typefaces. The headline text arching above the illustration is set in Borogodó; “Naipe Foundry” is set in an unreleased serif typeface, while the caption and roman numerals within the illustration are set in a beta version of Uai and the website URL (outdated by now – find us at naipefoundry.com) is set in Pacaembu.

Photo: Débora Rodam Illustration: Dominique Kronemberger

Photo: Débora Rodam

Photo: Débora Rodam

Photo: Débora Rodam Illustration: Dominique Kronemberger

Photo: Débora Rodam

Illustration: Dominique Kronemberger

Photo: Débora Rodam Illustration: Dominique Kronemberger

Photo: Débora Rodam

Digital artwork (front and back side) for Gato Tomato’s self-published album. The project used Cheee Pickles and Cheee Small from OH no Type Co. and the illustration cover is made by Stefano Adamo.

Originally published in Mercurius magazine (2024), this piece contextualizes how I approached my gender identity during the formative years of my childhood.

Brackets were used to produce a cocoon-like structure with letters containing the word “male” and an inner core encasing the text “fe-” representing my spirit.

Altogether, to embody the word “female."

The first-edition jacket for The New Journalism depicts a stylized floating skyscraper. Behind each of its twenty-one windows, there’s the silhouette of a New Journalism author hammering away at their typewriter. The fantastic airship is moved by a gigantic pencil, obviously at some speed, as the motion lines indicate. Dozens of open books flutter around the flying building in strict formation like a well-organized swarm of butterflies.

The typography brings together the shaded caps of Marble Heart for the title (with “Journalism” highlighted by the yellow pencil body), Franklin Gothic Extra Condensed for the names of the anthology editors, and all-caps Windsor Elongated for the names of the featured authors. “By Tom Wolfe” probably is lettering.

I’d love to learn who designed this! Gloria Adelson is credited for the book’s interior, but I don’t think this extends to the dust jacket.

The back lists the twenty-three texts included in the anthology in two weights of Helvetica. Two authors, Hunter S. Thompson and Wolfe himself are featured twice.

A safety campaign for Transport for London, designed to spotlight potential hazards across the network. Led by Ali Augur at VCCP London, the design and art direction made the most of short, punchy headlines within a portrait format. To emphasise impact, Obviously was used for its variable weights. The font is robust even when skewed or angled, always holding its strength and clarity.

Illustrator Andrew Hudson was brought on board to create the textured and colourful visuals that run throughout the campaign, adding depth and personality to the message.

Launched in Spring 2020, Pioneer Works Broadcast is a virtual and annual print magazine that encourages radical thinking across the arts, sciences, music, and literature. Broadcast reflects the spirit of Pioneer Works and extends beyond the space’s physical walls in Brooklyn through narrative-driven journalism, essays, criticism, ruminations, video, audio, and much more. For their Death Week Series, they used Ceraph by Emma Piercy, available at Sharp Type.

Screenshot from the Pioneer Works Broadcast website, which uses faux-bold Times for the smaller texts; the headline is set in Ceraph.