The exhibition Petits mondes (“Small Worlds”) at the Hôtel des Arts TPM presents works from the collections of the Centre Pompidou, the Centre National des Arts Plastiques, the Musée des Arts Décoratifs in Paris, and the Mobilier National. It explores the world of childhood, where furniture, toys, decorative objects, and illustrated books stimulate imagination and creativity, promoting children's personal development.

For the visual identity and the catalogue, Marc Armand used Rillus (as the main typeface) and Malamocco (for body text).

Corbin Mahieu and Victor Verhelst collaborated on a bold new identity for Nova, combining unconventional monochrome illustrations and a logotype made with Ursa Mono by Tekio with classy typography featuring Gaisyr by Dinamo Typefaces. On the website, the latter is substituted by Libre Baskerville by Impallari Type.

Nova is a creative fine-dining restaurant in Sint-Niklaas, Belgium, led by chef Guy De Jonghe, and offering an intimate experience for about twenty guests. It features a daily carte blanche menu rooted in local, seasonal, and ethical ingredients sourced primarily through short supply chains and close relationships with local farmers and producers. Nova operates with a strong sustainability philosophy, guided by its public “manifesto of fine food,” emphasizing innovation, zero waste, and a warm, collaborative atmosphere. It offers a refined yet principled cuisine that highlights purity, flavor, and creativity, often incorporating BBQ elements and inventive uses of local products.

Every three years, each department at RISD gets to curate and design a triennial exhibition. For the 2024 Graphic Design Triennial, our small team had just three weeks to do just that with work submitted by over 100 students.

Expiration Date explores graphic design's ephemerality by showing the relationship between designed objects in their originally made contexts, and the work being stripped and placed into an art gallery setting. While reproduction and redistribution is what distinguishes graphic design from other art forms, what was always ephemeral to deterioration is now subject to obsoletion of digital infrastructure and limitations of technological compatibility.

Curation and exhibition design: Deborah Khodanovich (lead), Annabel Gillespie, Barbara Cutlak Soares, Chanya Vitayakul, Manna Patiparnprechavut
Identity design: Andrea Mato (lead), Hyelim Lee, Jeanie Yu, Jolin Chen, Seungeun Jeong, Siyuan Wang, So Jung Yoon
Web design: Avrie Allen (lead), Ashley Lee, Minah Kim, Xiyue Zou
Promotional team: Ammi Kira, Minah Kim, Nadine Hanah Macapagal, Rafael Mediodia, Roye Zhan

Since 2010, the AUTO MATIC OPEN has been an annual open air festival for electronic music in Augsburg, Germany. For the 2022 edition, MMW Studios created a black-and-white identity based on patterns and referencing gritty ’90s rave parties visuals. The b&w aesthetics is reminiscent of cheap photocopied flyers.

The typographic choice reinforces the ’90s techno scene references with Eurostile and Forward used in tandem, always in all cap. Both fonts share very square curves, even if Eurostile does it in a way subtler way than Forward with its straight sides. Forward is often used in a dazzling pattern-in/pattern-out way. MMW created a monogram used almost like a logo composed from the three initials, with the A and the M embracing the upper curve of the rotated O.

If you zoom in on the attendants’ wrists, you can see the custom wristbands featuring the fonts.

Steffen Knöll gracefully showcasing the print

Poster for OHAYŌ, the project presentation of the Master’s students from the Weissenhof Fine Arts program at the ABK Stuttgart, shown from 24 October to 23 November 2025 at Villa Merkel, Esslingen. The poster was designed by the team of Studio Tillack Knöll (consisting of Sven Tillack, Steffen Knöll and Zevako Maryna). It’s a three-color silkscreen print on DIN A0 paper, 
flawlessly executed by Lézard Graphique.

The typefaces used on the poster are HAL Magic (designed by Elias Hanzer and Lucas Liccini and released on HAL Typefaces) for the text and information, and OO Theran (in Black weight; by Laura Csocsán and released on Outline Online) for the bold, dot-matrix type of the title.

Print detail

During production. Photo by Lézard Graphique.

Print detail

During production. Photo by Lézard Graphique.

Print detail

From Bureau Strada:

Poster for a heavy metal concert and performance event at Bad Bonn, in collaboration with Nathan Meyer. The aim was to design a poster that was coherent with the event, while subverting common heavy metal clichés. To provide a contrast to the handcrafted feel of the linocut, the Metaballs typeface by Maxitype introduces more geometric forms, subtly referencing the bone motif of the illustration.

The F4 poster was printed in a black only version, and another 50 × 70 cm version is printed in offset silver and black with a matte varnish by Cric Print in Fribourg. The concert was organised by Maxime Barras & Maxime Papaux, under the name Maxi-Maxi.

HOMI (Christian Hofer & Lea Nathalie Michel) used James Stencil to design the visual identity for the Gib Stoff! exhibition, including poster, flyers and booklet. Gib Stoff! showcases recent textile works by Swiss designers Stéphanie Baechler, Christoph Hefti and Sonnhild Kestler. The exhibition is on view at the Gewerbemuseum Winterthur. The accompanying sans is the museum’s standard typeface, Messina Sans.

The visual identity of the Paço do Frevo museum was revamped in February 2025.

Created by visual artist Joana Lira, together with the studios Alles Blau and Ligatura, the colors, shapes and representations that will accompany us from today on are “an alphabet of free bodies articulated in motion, mixed by graphs representing the sound frequencies of the frevo”.

The project includes print, merchandising, interior and exterior signage, using Maroni as the main display typeface.

On social media graphics, Maroni is supported by Silvana Text. The typeface by Brazilian designer Daniel Sabino is used in roman and italic styles.

Located in Recife, Brazil, Paço do Frevo is a Reference Center for the Safeguarding of Frevo, dedicated to the dissemination, research, leisure, and training in the areas of frevo dance and music. Its objective is to protect, promote, and propagate the practice for future generations and to be a space for the promotion and celebration of carnival culture and frevo throughout the year. Since 2014, Paço has developed exhibitions, activities, research, and events for the dissemination and protection of this Intangible Cultural Heritage of Humanity, which should be revered every day.

The Frevo Vivo (“Living Frevo”) exhibition on the 3rd floor of the museum can now be explored in a 360° virtual tour.

The World’s Best Typography, Typography 46 brings together the work of the winners of the latest TDC competition for typographic excellence from around the globe in communication design, lettering, and typeface design. For the past seventy years, the Type Directors Club has encouraged the design community to achieve excellence in typography through annual competitions. This high-quality volume showcases the award-winning selection while redefining the boundaries of visual communication.

Curated by the Type Directors Club, this year’s selection features outstanding projects from 33 countries – including Germany, Japan, Georgia, Israel, New Zealand, Peru, Thailand, Ukraine, the United States, and many more. The result is a compelling display of creativity and global diversity in contemporary typography.

In the Judges’ Choices section, each juror highlights their favorite entry, accompanied by personal commentary and insightful statements from the designers – offering readers a deeper look into the passion and process behind the work.

The Young Ones TDC winners provide an exciting glimpse into the future of typography. With their bold ideas and fresh energy, they inspire and challenge the status quo.

A carefully compiled index of the main typefaces used, complete with the names of their designers—makes this book not only a visual delight but also a valuable reference tool.

The World’s Best Typography, Typography 46 is more than just a design annual. It’s a tribute to the power of type, the craft of design, and the global community that continues to shape and advance both.

The book is published by Slanted Publishers and edited by the Type Directors Club, with Griffin McCabe, Joe Newton, and Carol Wahler serving as editors. The design was developed by Slanted Publishers under the creative direction of Lars Harmsen, Pola Małaczewska, and Marian Misiak. Publishing direction was managed by Lars Harmsen and Julia Kahl, who also oversaw the final artwork. The book was released in October 2025, the book measures 21×28.5 cm, comprises 288 pages, and is published in English. It features a softcover with open thread-stitching and high-quality offset printing. Printing was carried out by NINO Druck in Germany, with bookbinding by Buchbinderei Spinner. The publication uses fine papers by Fedrigoni Paper and features the typefaces Heneczek, Radius, and Extract Semislab, all by Threedotstype. The ISBN is 978-3-948440-98-5, and the retail price in Germany is €69.

Published following Rosemarie Castoro’s exhibition at MAMCO, this monograph contains new texts, archival documents, and numerous exhibition views, making it the most comprehensive book on the artist to date. Published by MAMCO and JRP|Editions.

From JRP|Editions:

This monograph on Rosemarie Castoro (1939–2015) spans the New York-based artist’s entire practice. She called herself a “paintersculptor,” and is known for her singular take on the modernist narratives of Minimal and Conceptual art. In her SoHo loft—where artists such as Lawrence Weiner, Sol LeWitt, Agnes Martin, Carl Andre, and Yvonne Rainer met—she developed a willfully complex practice, emphasizing the analytical and inter-personal, and favoring transgression and metamorphosis over orthodoxy and linear progression. She was a central figure of the New York scene of the 1960s and 1970s, participating in numerous landmark exhibitions, and appearing in several of Rainer’s performances.

Designed by Gavillet & Cie, the book uses François Rappo’s Tiny Gothic.

IF is a contemporary arts and literature magazine. This special issue – No. 58 – on the Actoral cultural center in Marseille features contributions by Madison Byroft, Felix Touzalin, Alexandre Gouttard, Perez Sound, Terraja Tatu, Studio Prouvost Social Club, Alberto Cortes Ruiz, Anne James Chaton, Liliane Giraudon, Kubra Khademi, and Martin Mongin.

The magazine was edited by Hubert Colas, designed by Clément Wibaut, and printed at Media Graphic Rennes.

En Pleine Nature is a Michelin-starred gourmet restaurant just outside Toulouse. The ecologically committed gastronomic enterprise uses local produce that is also sold in the affiliated bakery, wine cellar, and deli.

Chef Sylvain Joffre keeps his promise: his fresh, subtle and fragrant cuisine is born “in the wild”. This authentic cook-gardener-gatherer makes the most of the vegetables and herbs in his kitchen garden, as well as scrupulously selected regional produce. His sincere style precludes any fancy tricks: beautiful produce is worked in all its truth, magnified with juices and coulis, emblazoned with plants and flowers from the garden… all with the constant concern of keeping prices down. As for the decor, it’s a sober interior, or a pleasant terrace shaded by parasols. Highly committed to respecting nature, the chef also offers an adjoining boutique with viennoiseries, brioches and breads made with organic flour. He describes his culinary vision with the following words:

The cuisine is inspired by nature (the chef's vegetable garden, foraging…) and by the work of local producers, highlighted in the surprise menu. To set an example and raise awareness of environmental issues among customers and staff alike, we are reducing the use of imported products as much as possible, and gradually introducing actions in favor of sustainable development.

Issued on the occasion of the (West) German federal election on March 6, 1983. Die Grünen (“The Greens”) reached 5.6 per cent of the votes and were represented for the first time in the Bundestag, the German parliament.

The font used on the iconic sunflower poster is Frankfurter, with the smaller type (“ökologisch · sozial · basisdemokratisch · gewaltfrei”) in the lighter Medium weight, the only member of the family to include a lowercase.

Published by Bundesbüro der Grünen, Bonn. Designed by Grafik Werkstatt Bielefeld.

This cover is for the German release of Cockney Rebel's UK smash hit single Judy Teen. ITC Avant Garde and Pin Ball make a pretty good pair! Artwork by Roberto Patelli.

Bucharest based printing and design atelier Fabrik is specialized on different printing techniques including offset, digital print, and letterpress. The single page website shows a great composition of their work combined with headings in Futura Passata and continuous text in Satyr.

Exhibition about sport with a very nice use of Pipo, in the Pass science museum in Frameries, Belgium, by duo Éric Verrier (scenography) and Bruno Souêtre (graphic design).

With an upside down z in the first word. 

From Domenic Lippa and Pentagram:

“… The theme for this year was an obvious decision considering it is the Festival’s tenth year. As with previous years we collectively agreed on a strong and bold execution of the theme by just concentrating on different ways of saying 10 – whether by using the numerals, symbol or the word itself”

To reinforce the message that this marks a decade of success, Lippa and his team chose a strong typeface, Poplar, translating it into London Design Festival’s iconic red and white.

Advertising Agency: Pickle Lintas, New Delhi, India
Creative Director: Sujit Das
Art Directors: K.Deepak Kumar, Rajnish Tripathi, Sachin Saj
Copywriter: K.Deepak Kumar