The exhibition Marronnage, l’art de briser ses chaînes presents several ethnographic and cartographic missions from the 20th century in French Guiana and Suriname, and places them in dialogue with the works and statements of contemporary artists and photographers from Guiana and Suriname.

Through a wide selection of objects and artworks, Marronnage, l’art de briser ses chaînes reveals the vitality and diversity of the Maroon arts, while raising public awareness of an aesthetic that reinvents itself and plays with categories: heritage/creation, art/crafts, primitive art/contemporary art, etc.

The exhibition was curated by Geneviève Wiels and Thomas Mouzard and shown at the Maison de l'Amérique latine, Paris, in 2022.

Graphic design and signage by Arthur Calame (@Calame.bureau), using the custom designed Maroni together with the upcoming WS Kateka by Raphaël de La Morinerie. The subtitle is set in caps from Kris Sowersby’s Founders Grotesk. Scenography by David des Moutis.

Permea (Experimental Program for Mediation and Education through Art) is a master’s program created by the Consorci de Museus de la Comunitat Valenciana together with the University of Valencia. It addresses in a holistic and experimental way the knowledge involved in the creation of artistic mediation projects, both in the institutional spaces of art and education as well as in other social contexts.

The visual identity had to reflect the character of the master’s degree; less childish and festive and more theoretical and intellectual. To achieve this, we proposed a contemporary set of elements that invites students to intervene in it through images that are generated during the course and that do not require large resources in production.

The identity is structured through a single typeface: Oblong Sans, a friendly grotesque that through a subtle inverted contrast and other unusual details, manages to offer the right space for experimentation and play, while offering a contemporary image. In addition, in order to communicate the idea of dialogue, some typography is arranged as if it were a conversation.

On the other hand, the identity makes use of transparency in several applications. Texts and images from a different nature are mixed with color masses seeking to enhance and take advantage of the program’s name, as well as reinforcing the ideas of exchange and transmission that work as an allegory of mediation and education.

For my design and photography portfolio website, I used Taklobo as the animated display type on landing and in the footer. Body copy is set in Forma DJR, while tags and captions are set in NT Bau Mono.

The site’s layout site is set in a strict modular grid, using a 24 pixel baseline grid for vertical rhythm. Projects included on the site are Arabic typography experiments, user experience and research projects, 3D visualisations, and service design.

New York-based designer Hannah Nathans works with an everchanging selection of typefaces to promote performances from the Riverside Choral Society. Etude by Emily Atwood is used as the typographic voice for Mozart’s Requiem. The one for Bruckner’s No Common Mortal is Right Grotesk by Alex Slobzheninov. The bold condensed sans used for “Beethoven, Brahms, and Thomas” is yet unidentified. All designs are supported by Neue Haas Unica.

Riverside Choral Society is a vital presence in the cultural life of New York City. The group has performed major works by Beethoven, Brahms, Mozart, Schubert, Haydn, Fauré, Stravinsky, and many others in New York City's most exciting performance venues.

Cylindre is a studio for design and graphic research, founded by Vincent Desclaux, and active on the axis Paris—Montreuil. In December 2022, it launched a spinoff dubbed Cylindre Club. On this playground, Cylindre designs and distributes graphic objects related to bikes and bicycling, as expressed by the slogan “wheely good stuff”. All of this is done with a focus on crafts and collaboration, for a “super-local and meaningful production”.

Just like routes are central to biking, space and time play an important role in Cylindre Club’s process, too. The club members love detours and getting lost in maps. This geographic aspect is found back in the presentation of the online store. For all products, the involved providers and partners – think printers, textile companies, and other craftspeople – are not only credited. They are listed with the distance it takes to travel by bike to the respective facility: while the sticker manufacturer is located in Nantes (350 km), the trusted Risograph print studio can be found in nearby Paris (7.2 km), and the embroidering service of choice is just around the corner in Montreuil (500 m), etc.

This way, Cylindre Club maps out their network and shares the acquired know-how for a graphic production that’s local and sustainable. The experience is progressive, and Cylindre Club points out they’re always on the lookout for new recommended addresses.

The club’s identity is based on two typefaces. Kreuz was designed by Emmanuel Besse of Large, Paris (7.0 km), and published by Production Type, situated a short sprint further to the west (8.4 km). Built around the visual metaphor of nuts and bolts, Kreuz is an obvious choice for a project concerned with crafts and bikes.

If Kreuz is the mechanic, its counterpart is the pacemaker. Superette, a script typeface distinguished by a drastic slant angle, adds velocity. Superette hails from a more distant source: conceived by Canadian type designer (and avid cyclist) Ross Milne, its initial inspiration draws from a peculiar style of semi-connected script lettering on the fruit and farm signs spotted in Île d’Orléans in southern Québec. Superette is available from Commercial Type, a foundry based in New York and London.

This typographic team of two features in the logo and the website. It’s also used to render the punny texts on the posters, shirts, buttons, and other items offered by the club.

Embroidered bike patches in the making at Broderie Lévêque (500 m)

The Cylindre Club logo is getting ready for hot foil stamping, handled by Letterpress de Paris.

A3 poster with bike badges (detail), Riso printed in five colors by Studio Fidèle (6 km), combining Kreuz and Kreuz Condensed

Pinback buttons ft. Kreuz Condensed and Superette Light. The URL and the slogan is added in Kreuz Extended.

“Rings of Temper” badges, printed in neon colors by h2impression.fr (8 km), featuring Superette Shaded

This longsleeve by Lyon-based clothing brand Reception is named “Antica Focacceria San Francesco” after a restaurant in Palermo, Italy. The art on the back is by Clément Bertrand, making early use of Moore for “Mob”, combined with two weights of Herbus (Bold for “Sicilian Tour”, Regular for the city names). The front has the Reception logo in West Cooper Nouveau Swash and the restaurant’s address in a standard Fraktur.

e-Types had the pleasure of creating the design and layout for the book Damer der var for meget (in English: “Women Who Were Too Much“) by Sara Alfort. The book is a collaboration between Gads Forlag and the Golden Days Festival 2022 (Copenhagen, Denmark), in which the year’s theme is Trail Blazing Women.

The book pays homage to the wild, fantastic and brilliant Scandinavian women who made their mark between the years of 1884 and 1919. It tells the story of how each of them grabbed life by the balls and made no apologies for who they were and what they were about. It’s because of women like them that the women’s suffrage movement took place, and why we have the society we do today.

When creating the design e-Types wanted to achieve an expression that emphasised the over the top, larger than life character of the book and the women in it. Through the use of the bold green colour and the elegant typeface, they created a loud, proud and feminine voice that could capture people's attention and tell the stories right.

Set in the unreleased Five Serif Display and Five Serif Text, plus Studio6, all by Playtype. The beautifully marbled endpapers are by Otaki Studio.

Poster for Musaïka festival

Poster and program for the eleventh edition of the Musaïka festival that took place in Mulhouse, France in May 2022. For the typography, I paired Antique Olive Nord and Compact with Compagnon. The logo is custom drawn, but was subsequently developed into a fully-working font named Musaïka.

Program of the Musaïka festival

Through a long-lasting artistic collaboration after our own hearts, artists Brad Davis and Janis Provisor’s Fort Street Studio has brought the ancient practice of Chinese carpet weaving to an international audience. A Tale of Warp and Weft chronicles their joint discoveries and explorations throughout a shared career, craftily designed in parallel to the act of weaving itself. Hardcover editions also include a cloth fabric spine featuring a sample of their work.

Ania et Lucie have rebranded Mansur Gavriel (founded 2013), using English Egyptian (Abyme, 2017) for the logotype:

Mansur Gavriel is a luxury accessories brand creating modern pieces that are the embodiment of high-quality materials and artisanal practices. The new identity is an evolution of the colourful, artistic and nature-rich brand, fuelled by a primary colour palette, expressive painterly touches and a dynamic graphic system able to evolve and adapt for different applications. The reworked logo and new MG monogram were created as a series of iterations to work across the brand’s many touch points – product, digital, social, and print campaigns. We commissioned Canadian artist Allison Katz to create a hand-drawn secondary logo, as well as an ornate orange tree crest, a special symbol for the brand since its inception. The ambition for the project was to establish a bold new direction for Mansur Gavriel, transitioning from its previous ‘millennial pink’ identity and more toward the artistic and elevated vision of its founders.

See more on the designers’ website.

Visual identity and art direction by Sitoh Inc. for all day place shibuya, a hotel located in the Shibuya Ward district of Tokyo. Lausanne (by Nizar Kazan) is the font in use for all English language communication. The Japanese counterpart uses Yu Gothic.

Released by Corner in 2020, Paixão: Uma Viagem pelo Futebol Inglês (“Passion – A Journey Through English Football”) is written by journalist Plácido Berci, narrating the evolution of English football. The fat sans serif used for the title is Graúna from Typeóca; supporting typography pairs two typefaces from Atipo: Argesta and Silka.

Buscoresi is a search engine for university residences in Spain made by former residents. It's a place to find a home for students.

Kinoto Studio’s rebranding proposal was based on speaking to two audiences at the same time so it had to be fun and playful for the students looking for their first home but also professional for their parents that are the decision-makers.

The branding has two typefaces, Galaxie Polaris (Constellation) and New Kansas (Newlyn) that live together in an organic way.

The new look is currently in the process of being implemented. Some of it can already be seen on Buscoresi’s Instagram account.

Wulkan Display embroidered on various clothing items by Hey Studio for their in-house goods brand Hey (Hey Shop).

Mainly Afternoon designed social media campaign visuals and a publication for The Feral Palace. The concept behind the visuals explores the contrast between urban and feral, as well the particularity of the abandoned location, where the palace of justice was planned to be constructed. An overview image with punchy yellow is used to communicate the “Open Call” and a more zoomed-in pattern-like version for all related to “The Feral Palace Talks.”

EH Normal is used both in its default “City” form, and with its “Jungle” stylistic set turned on – showcasing loopy alternates for its capital glyphs. The accompanying monospaced sans serif is IBM Plex Mono.

From charity Migrant Offshore Aid Station (MOAS):

In support of Refugee Week 2022, MOAS has been working with the Manchester based Studio Treble and a network of talented artists and creatives to generate a suite of artworks in the theme of ‘Family Reunification’ – a key part of MOAS’ work in the promotion and support of ‘Safe & Legal Routes’ for migrants and refugees worldwide.

This creative piece To-gether visually represents MOAS’ work through the metaphor of a piece of paper. Taking the audience on a journey; from a single A4 sheet that was trimmed and separated, to being bound back together and reunited in a whole new format. Highlighting the fact that family and friends, belong, to be loved, to-gether. Animation was introduced to elevate the story behind the concept and format.

Neue Haas Unica was chosen for its functionality, relaxed friendliness and clarity, without detracting attention away from delivering an important message.

Auteur is a German luxury skincare brand, launched in 2020. They aim to promote self-expression and ageless beauty, far from the standards of the make-up industry.

For their branding, Holiday chose the strength of GT America from Grilli Type, the authenticity of PF Regal Text from Parachute Fonts, and the delicacy of Selva Script from Colophon Foundry. The typefaces are used across their packaging, website, social media campaigns.

The artwork for Raphael Gualazzi’s new album, designed by Leonardo Pellegrino, is an ode to the Bar del Sole in Urbino (Italy) where the pianist began his career. The typefaces chosen – Brass by Fantasia Type and Blitz Script by Out of the Dark are a tribute to the vernacular typography common to Italian signage from the 1950s and 1960s.

Photography by Paolo Zerbini. The album was released by Sugar Music.

Hooded sweat detail

“Offenbach ist nicht Berlin” is the title of a poster and accompanying apparel for German techno club Robert Johnson. The club’s founder, Ata Macias, and Cinthie from Elevate Berlin initiated the idea, in part to support the venue during the Covid-19 crisis. The collection consists of an A0 print on affiche paper, and a limited edition T-shirt and hooded sweat. Artwork and motion design were created by Lucas Hesse, using an early version of Oldschool Grotesk Compact.

From the press text:

New York ain’t Berlin, Paris ain’t Berlin, Frankfurt ain’t Berlin – and neither is Offenbach. Yet we take pride in running a club for 23 years now that most of you wouldn’t expect to be situated in Frankfurt’s not-so-popular neighbor city.

But this isn’t about favoring one city over another. This is about connecting the dots, this is about cooperation. Thus we invited Berlin DJ, producer, record label, and “Elevate Store” owner @cinthie_dj to join us in presenting a lovely t-shirt in classic »Berlin-black« and its snow-white companion poster.

The Robert Johnson logo was designed in 1999 by Double Standards, based on the typefaces used on British numberplates.

A0 print on affiche paper

Dancer at Melt Festival

Visual identity for the Italian Il Capri Hotel, “a neo-gothic style pink palazzo set in the pulsating center of Capri”. Söhne by Klim Type Foundry is used throughout in two weights, mixed with ancient-inspired and pop illustrations.