Clément Le Tulle-Neyret designed the book Magdalena Abakanowicz. La Trame de l'existence / The Fabric of Existence for the eponymous exhibition that was presented at musée Bourdelle in Paris from 20th November 2025 to 12th April 2026.

He used his own interpretation of Akzidenz-Grotesk, CLTN Grotesk (working title), for the main text, in order to add warmth to block text without loosing the spirit of Akzidenz-Grotesk – rough, industrial, and, paradoxically, organic. Akzidenz-Grotesk from Berthold is used for italics.

He paired his typeface with Dutch 801 to embody texts by Magdalena Abakanowicz, and with EB Hymne for the titles, all typeset in full capitals.

The French-language publication has 168 pages with 84 colour and 15 black-and-white images and measures 210×280 mm. It was sewn-bound and printed in 3,000 copies.

The catalog for the semi-permanent exhibition Méditerranées
. Inventions et représentations at the Mucem explores the role of ethnographic and fine-art museums in representing the cultures of the Mediterranean basin.

From the website of designer Anaïs Lancrenon (translated from the French):

A vibrant book structured around colors ranging from warm ochers to blues, evoking the hues of the Mediterranean. Thematic image sections, “motifs” (sculpture, architecture, textiles…), are interspersed with portraits of scientists or artists on shorter pages. Finally, the catalog is also punctuated by interviews with contemporary artists, this time presented vertically in the book to give them a unique status. The cover reflects the richness of the interior; a mosaic of overlapping images that lets our imagination wander through the imaginaries of the Mediterranean.

BST Spyre Epoch Book and Book Italic are used throughout Zao Wou-Ki: Master Printmaker. The 260-page publication by M+ explores the printmaking practice of Chinese-French artist Zao Wou-Ki (1920–2013) and accompanies the eponymous exhibition.

Designed by HATO, the book brings together reproductions of Zao's prints, scholarly essays, a chronology, and excerpts from illustrated poetry books, tracing more than five decades of graphic work. Spyre Epoch provides a distinctive editorial voice, supporting a publication centred on artistic experimentation, cultural exchange, and visual poetry.

Edited by Yann Hendgen and Wu Mo, with publication managing editor Sonia So.

Focal is used throughout this beautifully designed spiral-bound book about an intergenerational dialogue between two artists.

From publisher Book Works:

distinguish the limit from the edge is an intergenerational dialogue between Theresa Hak Kyung Cha and Jimmy Robert. Their connection emerges through the intersection of text and image between selected work from Cha’s oeuvre and Robert’s practice that share the formal strategies of the fold.

Robert’s work utilizes paper as a sculptural material, and his hand sometimes appears to shape the page. For Cha, the fold is present in her compositions enmeshing language through strategies of visual poetry, as in L’Image Concrete feuille L’Objet Abstrait (1976),  and Untitled (après tu parti) (1976) which are both previously unpublished. The possibility of overlaying one’s work with the other, emphasised by the book’s spiral-bound double spine, and reverse fold-outs, forges an intimacy, a shared sensibility, and an encounter with the corporeal. In conversation with editor Jacob Korczynski, Robert refers to Fred Moten’s In The Break, stating, ‘Suddenly time falters. Words don’t go there. And if words don’t go there, then what does?’ 

The designers of Wolfe Hall comment on the binding:

Two distinct book blocks, one for each artist, are bound from either side of a central backing board, inviting the reader to interweave, overlay, and encounter each practice uniquely.

Breakout #2 takes Cihan Tamti’s early explorations into real-world projects from 2022 to 2025, building on the success of Homebound—New Wave and Breakout—100 Posters. Tamti originally started Breakout as a personal experiment—treating Instagram like a graphic design gym and creating a poster every day. Without briefs or constraints, he explored typography, lettering, illustration, layouts, and bold visual ideas. Some of these early works won awards and attracted clients, eventually leading to the publication of Breakout—100 Posters, a book compiling 100 formative pieces.

In Breakout #2—100 Posters, these early experiments evolve into a wider range of projects: commissioned work for clients, community initiatives like the “Local Support Posters” launched during the Covid pandemic, and collaborative projects with other designers. The book presents all posters equally, showcasing a broad spectrum of graphic design techniques and approaches. Breakout #2—100 Posters gathers 100 selected works that demonstrate how thoughtful, original design can communicate powerfully across contexts and inspire creative freedom.

Alongside the standard edition, a small number of exclusive limited bundles are available. Each bundle includes the book paired with additional pieces that extend the project beyond print—such as a screen-printed tote bag and the custom Yolcu typeface.

Czerny's Symposium. License: All Rights Reserved.

Czerny’s Symposium, issue 001: “Kodoku” is a 204-page publication that revolves around the Japanese idea of 孤独 (kodoku)—exploring how isolation and loneliness creep into the lives of visual artists, writers, and creatives alike. Select contributors offer an intimate insight into their creative process, share how they find resilience in the face of solitude, and reflect upon the emotional journey they navigate in the act of creating.

Pantasia (Wei Huang / Counter Forms) serves as the primary typeface for the visual identity of Czerny’s Symposium—as seen in the logotype and used throughout the publication across section headings, running footer labels, and speaker identifiers in interviews. Herbik (Daniel Veneklaas / Counter Forms) is the secondary typeface used for all body text. Neue Haas Unica (Toshi Omagari / Linotype) provides visual contrast to the previous two serif typefaces as a functional and unassuming sans serif; it is applied to page numbers, artwork captions, and footnotes at smaller sizes, while blown up in scale across pull quote pages.

The inaugural issue was published in 2025 in an edition of 100. The publication includes a foreword and introduction by Junpei Satyapan, along with contributions from Charlie Broadhead, Dakota Butler, Daylen Seu, Ethan Ming, Lola Dement Myers, Shi Hong, and Weihong Zheng.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

The Lack of Forest by Martyna Miller is a moving reflection on life in a landscape transformed by ecological disaster. The book is set in the Tuchola Forest region in Poland, where a violent storm in 2017 destroyed vast areas of woodland and deeply affected local communities. Over several years, the author lived and worked in this environment, observing how both nature and people adapt to loss. The project combines personal experience, field research, and conversations with residents who witnessed the destruction.

The book was designed by Zofka Kofta, who uses the typeface Softcore by Tekio Typefoundry on the cover and throughout the interior. It was published by Pamoja Press in Polish – as Brak Lasu – and English editions. The latter was translated by Weronika Zalewska.

On the Studio Matthews website, we can read:

The 76,000 sq ft IEB features new, modern spaces for collaborative learning, acting as an informal academic hub for undergraduate engineering majors. The building was designed for students with significant input from students. “They told us what they needed and we listened,” said Dan Ratner, the college’s associate dean for academic affairs. “The IEB was created to support the education and development of every student in the College of Engineering and to give them a sense of belonging.” We worked closely with the school’s Office of Inclusive Excellence to curate a dynamic welcome message just inside the entry, as well as inspiring quotes that can be discovered throughout the building’s study spaces.

To design this project, Studio Matthews used the typeface Maax Mono designed by Damien Gautier and distributed by 205TF.

Vivien Gaumand. License: All Rights Reserved.

In 2021, Feed Studio was commissioned to redesign the visual identity of PHI, a Montreal-based art center founded by Phoebe Greenberg in 2007. For 20 years, the institution has shaped Montréal’s artistic landscape by exhibiting leading contemporary artists, including Yoko Ono and Yayoi Kusama. It has pioneered immersive experiences presented on the international stage, most notably at the Venice Biennale, establishing itself as a forward-thinking cultural hub.

During its first decade, PHI went through significant transformations. It began as PHI Foundation, an avant-garde exhibition space, and expanded five years later with PHI Centre, a multidisciplinary space at the intersection of art, technology, and sound. PHI Studio followed in 2019, focused on creating and distributing immersive experiences.

After thirteen years of growth and evolution, PHI embarked on a rebrand that would bring all its entities together under one cohesive identity.

To meet this intention, Feed Studio established type as the foundation of the visual system. Anouk Pennel and Romain Grucker designed Phi, a clear and versatile bespoke typeface available in three weights with italics, complemented by Phi Caption, an optimized version that improves readability at small sizes. Used across all communication formats, from large-scale wall texts to social media assets, all applications follow a grid system based on the typeface’s proportions.

Feed Studio. License: All Rights Reserved.

PHI's brand guide

But how do you differentiate the entities if they all share the same typeface and grid? Studio Feed introduced subtle variations, beginning with a set of symbols for the logos: a circle for the Centre, a square for the Foundation, and a star for the Studio.

The system extends beyond these visual cues, featuring custom alternate characters. The Centre features circled O, Q, dot-based punctuation and diacritics, while the Foundation adopts squared O, U, o and u. As for the Studio, it relies exclusively on the standard alphabet set, since it has no need for promotional materials.

Feed Studio. License: All Rights Reserved.

PHI's brand guide

With these sets of alternate characters, Feed Studio built a solid visual identity that reflects PHI’s ecosystem. It orchestrates all entities into a harmonious system, while allowing each to play its own voice.

Following the delivery of the 142-page brand guide, art director Michel Ouellette and graphic designer Juliette Duhé became the guardians of PHI’s visual identity. They implemented the design across all formats and entities, maintaining cohesion throughout the system.

Photo: Juliette Duhé. License: All Rights Reserved.

Social media assets for the PHI Foundation

PHI. License: All Rights Reserved.

Rirkrit Tiravanija: Jouez/Play, PHI Foundation, Montreal, 2024

PHI. License: All Rights Reserved.

Rirkrit Tiravanija: Jouez/Play, PHI Foundation, Montreal, 2024

PHI. License: All Rights Reserved.

Rirkrit Tiravanija: Jouez/Play, PHI Foundation, Montreal, 2024

PHI. License: All Rights Reserved.

Rirkrit Tiravanija: Jouez/Play, PHI Foundation, Montreal, 2024

Photo: Juliette Duhé. License: All Rights Reserved.

Social media assets for the PHI Foundation

Adil Boukind. License: All Rights Reserved.

Horizons VR, PHI Centre, Montreal, 2023

Adil Boukind. License: All Rights Reserved.

Horizons VR, PHI Centre, Montreal, 2023

Adil Boukind. License: All Rights Reserved.

Horizons VR, PHI Centre, Montreal, 2023

In 2025, PHI Foundation and PHI Centre unify under a single entity and sign their first exhibition under the name of PHI, with the mission of becoming a centre for artistic creation and innovation. The typeface remains unchanged, preserving the visual continuity of the identity, and simplifying the system by removing the alternate characters.

PHI. License: All Rights Reserved.

Nico Williams: Bingo, PHI, Montreal, 2025. For this exhibition, the title adopts a new typographic variation: letters adorned with colored fingertips, reminiscent of the pearls the artist uses in his artworks.

Over the past 20 years, PHI has continually evolved, relying on a solid identity system to ensure consistency throughout transformations. Today, it is stepping into its next chapter with the PHI Contemporary, set to open in 2029. With a revised name and mission, the visual system enters a stage poised to stretch, reshape, and spark unexpected synergies.

Vitamiin in use for Hüvasti, noorus! / Bye-bye, Youth! – an exhibition and a publication by the Estonian Health Museum, curated by Ülle Kask and Anna Rinaldo. Graphic design by Viktor Gurov with Martin Merirand, exhibition architecture by Valge Kuup Studio.

From the museum’s website:

No one remains indifferent to aging. Each person has a deeply personal and unique relationship with it. For some, it signals a gradual retreat from active life, while for others, it brings newfound freedom and the joy of new challenges.

Candid reflections by Laura Kalle, Marju Karin, Haide Männamäe, Toomas Tross, Valner Valme, Tõnu Õnnepalu, Helgi Põllo, and Margus Mikomägi offer a chance to connect with different aspects of aging and to seek balance and meaning at every stage of life.

The exhibition Soane and Modernism: Make It New, curated by Dr. Erin McKellar, was on display at London’s Sir John Soane's Museum from February 12th until May 18th, 2025. The show explores Soane as a precursor to the architectural modernist movement by juxtaposing his work with drawings (on loan from Drawing Matter Trust) from celebrated modernists such as Le Corbusier, Jørn Utzon, Ove Arup and Aldo Rossi, to name a few. Drawing Matter also digitally published a series of texts, that describe all of the modernist drawings on loan to the exhibition.

The exhibition design was created by Studio Bergini and typeset in HAL Matex by HAL Typefaces and OT Capitalis Monoline by Omnitype. The exhibition shots are by Gareth Gardner.

Here is a blurb on the show from the museum’s website:

Sir John Soane has often been referred to as the first modernist architect due to his emphasis on light, open space, abstract forms and restrained use of ornament.

Soane and Modernism: Make It New is the first exhibition to investigate Soane as a forerunner of architectural modernism. The exhibition brings together drawings from Soane’s collection, some on display for the first time, in dialogue with works by celebrated modernists including Le Corbusier, Frank Lloyd Wright, Adolf Loos and Ernö Goldfinger.

It also investigates two case studies which share affinities with Soane's work: Álvaro Siza’s Bouça Social Housing in Porto, Portugal, and Tony Fretton’s Lisson Gallery in London. All modernist drawings have been borrowed from Drawing Matter’s important and extensive holdings, selected in collaboration with the team at Drawing Matter Trust.

Blason is a small yet extensive publication gathering more than 100 photographs of coats of arms collected in France, as well as elsewhere in Europe, during the summer of 2025. This curatorial work marks the beginning of my DSAA diploma project and my dissertation at ENSAAMA, both dedicated to this same theme. The investigation explores how these symbols appear across different media, using a range of techniques: embroidery, stained glass, engraving, stone, wood… Each spread thus connects a context, a technique, a material, and a coat of arms.

In Un material para imaginar, architect and researcher Oriol París Viviana traces five decades of Escofet 1886’s contribution to the industrialization of architectural facades. The book revisits the company’s most influential projects to show how concrete has evolved from a structural component into a medium of expressive and technical possibility.

The publication gains much of its character from the visual direction by me, Meritxell Casamira (Casamira), with a design approach that reinforces the book’s central theme. Drawing on the austere vocabulary of brutalism, I’ve build a graphic environment that mirrors the material it examines. The layout embraces weight, texture, and clarity, turning each spread into a distilled reflection of concrete’s physical presence.

The design avoids ornamentation in favor of precision. Photographs, drawings, and text are orchestrated with deliberate restraint, creating a rhythm that guides readers through Escofet’s legacy without overshadowing it. The result is a publication that reads as both a historical document and an interpretive object – one that allows the material’s quiet force to emerge through structure, scale, and visual balance.

Through this lens, the book becomes more than an academic tribute. It stands as an example of how editorial design can translate architectural thinking into a tactile reading experience, giving concrete not just a narrative, but a voice.

The design of this third volume for Galpão da Lapa was developed in close connection with the exhibition design for Apaixonados (“Passionate”). The show brought together works by contemporary Brazilian artists in a display that emphasized interaction, both among the artworks and with the space, sometimes by affinity and sometimes by contrast. This dynamic was spatially translated into a layout of curved concrete-block walls, shaping the exhibition space into zones of pause and interaction, where voids, textures, and shadows also played an active role in the narrative.

The book seeks to reflect this same spatial and poetic logic in its graphic and material structure. The dust jacket, featuring a die-cut pattern derived from the architectural design, acts much like the perforated walls of the exhibition: at times revealing, at others concealing images and information, creating layers of reading and points of contact between content and materiality. The choice of papers was fundamental to support this concept.

We selected a black 290 g/m² paper for the dust jacket for its solid color and natural texture, which allows for precise die-cutting without exposing white corners, while preserving structural integrity – reinforcing the idea of shadow and material presence, also central to the exhibition design – while alluding to the negative spaces formed by the curved walls. For the cover, a warm gray 120 g/m² paper was chosen for its texture and subtle tone, echoing the color of the exhibition walls and allowing for black offset printing of the title and artist names, partially hidden beneath the dust jacket, which carries only a white silkscreen print on the spine.

Inside, the book alternates between a coated paper – ensuring high-quality image reproduction – and an uncoated off-white paper for the first and last sections. These opening and closing pages feature more abstract, black-and-white details of the artworks, marking the beginning and end of the book with purely graphic interludes.

These choices align with the architectural concept of Galpão da Lapa, a former 19th-century industrial warehouse in São Paulo’s Lapa neighborhood, repurposed to host temporary exhibitions of Brazilian contemporary art. The publication is part of a bilingual series (Portuguese and English) documenting the exhibitions held in the space. Each volume was designed to establish a specific graphic relationship with the curatorial and spatial proposal of its show. In this edition, the book assumes a more tactile, sensorial character, functioning not only as a visual documentation, but as a physical object that carries, within its materiality and graphic structure, the concept of the exhibition and the identity of the space itself.

The book was one of the winners of the AIGA 50 Books | 50 Covers of 2024.

Photos: Nino Andrés and Allec Gomes

Dongtan Station Art Station_MARS 151 is an art project that imagines a journey from Hwaseong, a city on Earth, to Mars, a planet in the universe. Through this journey, visitors are invited to envision a sustainable future through art.

In Korean, the name of the city Hwaseong (화성) refers both to the city where Dongtan Station is located and the planet Mars. This shared pronunciation creates a poetic link between reality and imagination.

The number 151 refers to Dongtan Station’s address (151 Dongtan-yeok-ro), a major transportation hub, while MARS symbolises an alternative planet envisioned by humanity.

Over three weeks of exhibitions, performances, lectures, and children’s workshops, Dongtan Station was transformed into the boarding platform of the Eco Spaceship MARS 151.

The project’s visual identity, designed by studio moonanhan, features a dynamic key image that conveys a sense of motion through time and space. The accompanying poster series combines tactile visual textures that invite multiple interpretations in line with the exhibition’s concept. Recognising the symbolic importance of Dongtan Station within the project, the design also visually emphasises B4, Dongtan Station.

For the main title, Hofmann by Nguyen Gobber was selected for its bold, futuristic character. The fluid curves of these Latin letters are contrasted by the rather straight geometric lines of the figures, which are set in Slight Chance by David Jonathan Ross. Dates are set in PF Expo by Parachute Type Foundry, and all Korean text was set in Noto Sans KR by Sandoll, and Pretendard by Hyung-jin Kil.

“Cuisines Cultes”, or “Cult Cuisine“ in English, is the fifth issue of the book-like magazine by French publisher Les Belles Lettres. It is dedicated to the rituals associated with food, from the prehistoric age to the future. It is filled with articles, recipes, photographies, short stories, and so on.

The offset printed and gold stamped publication features Self Modern in Regular, Book and Italic for the titles and texts, along with Almanach for the captions, and Karrik on the backcover.

The Chinese text “民以食為天” appears to be set in Hiragino Kaku Gothic.

The typeface used for Greek text is yet unidentified.

This catalog was published on the occasion of the exhibition Tom Otterness. Sculpture: 1996 – 2017, held in the Marlborough Gallery, New York, 2019. The exhibition was curated by Max Levai. For the design of the catalog (12″×12″, 86 pages) I used an early version of Prospekt-Grotesk.

Kuturar: Live at the Mammoth Museum consists of a recording of a performance by Yakutsk-based stoner rock band Kuturar in the P.A. Lazarev Mammoth Museum, interspersed with videos about the museum collection.

The typography concept is grounded in the idea of weight – both literal and symbolic. The music of Kuturar, a Sakha (Yakut) metal band known for blending ancestral themes with experimental heaviness, embodies raw mass and density. This visual identity translates that sonic gravity into typographic form.

The design employs Alte Haas Grotesk and Apple Garamond Light, creating a tension between a solid, utilitarian grotesque and a refined serif. The pairing reflects a dialogue between the primal and the cerebral, echoing Kuturar’s fusion of ancient echoes and modern distortion. Wreckage Grotesque is mixed in for its tactile, fibrous quality reminiscent of mammoth fur.

In the final credits sequence, typography becomes the gravitational anchor of the composition, organized around a photograph of mammoth bones – a visual counterpart to the band’s thematic core. The same sense of heaviness is mirrored in the video thumbnail, where the shadow of the lettering physically “presses” on the typography, reinforcing the concept of weight and permanence.

The lettering was generated using AI tools Midjourney and Firefly, merging technological precision with organic texture to create a hybrid typographic expression – one that feels both ancient and futuristic.

The Spanish Pavilion at FILBo 2025 is conceived as a series of landscapes connected by the movement of mobile libraries. Common in rural areas, these institutions constitute essential infrastructure for universal access to knowledge. Modest in scale and materially austere, they operate outside the logic of economic profit, linking readers in peripheral communities through their circulation. Historically, mobile libraries have played a vital role in both Colombia and Spain, providing access to books for broad segments of the population and often serving as a first point of contact with reading.

The Pavilion understands the mobile library as a form of architecture that links two kinds of knowledge: the written word, inscribed on the pages of books, and orally transmitted craft knowledge, embodied in materials such as handmade felt, macrame, netting, or fique. This dual condition resonates with universal semantic connections between words like text, textile, and tale—coincidences that appear in Latin (textum) as well as in Amerindian languages spoken in Colombia, like Wayúu (süchi).

The visit to the Pavilion unfolds as a sequence of welcome, gathering, and farewell, articulated through different program elements. A large entry plaza introduces visitors to the curatorial proposal. From there, they access a series of spaces: an exhibition of Spanish photobooks; another on historical memory and graphic novels; a 240-seat auditorium; an 80-seat forum; and a large bookstore-reading area. Visitors exit through a second plaza that opens onto a terrace-canteen.

To design this project, Murray Branding & Design studio used Garaje (Thomas Huot-Marchand) and Renotype (Radim Peško) , two typefaces distributed by 205TF.

Photos by Javier Agustín Rojas (Pavilion) and Alexander Gümbel (artisans’ process)

Design and Disability is a major exhibition at the Victoria and Albert Museum in London celebrating design for and by disabled people. Spanning DIY inventions, grassroots organising, and individual contributions from disabled, deaf, and neurodivergent practitioners, it showcases the shaping of social change from the 1940s to the present day.

In keeping with this ethos, the exhibition offers a wide range of accessibility features, including a British Sign Language (BSL) video tour, an audio tour, audio descriptions and a dedicated Braille guide. The exhibition captions are written in short, accessible sentences and set in Zed Text Semi-Wide and Zed Icons. Section titles are shown in CirrusCumulus.

Zed Text was developed and tested in collaboration with visually impaired readers to ensure optimal legibility, with inclusivity at its core. Zed Icons, a companion typeface, provides over two thousand symbols designed to transcend language barriers. The accompanying Braille guide is also set in Zed Text and incorporates Braille characters informed by research into tactile readability.