The campaign graphics for Øya Festivalen 2026 feature Bootzy Condensed TM. Used across print and social media applications, the system leans on limited color, open space and a ‘steady’ typographic tone.

Sissi Club brings together five artists (HaYoung, Lou Masduraud, Madison Bycroft, Neïla Czermak Ichti, Tarek Lakhrissi) closely connected to the gallery in Marseille. Through video, sculpture and drawing, their works approach the body as an open structure – scar, orifice, fluid, cavity – shaped by myths, gazes, infrastructures and projections. I (as in instinct) is shown from March 7th to April 11th, 2026.

The exhibition proposes the “I” not as a fixed identity but as a point of tension – a state of transformation, where the fissure becomes a condition for recomposition.

Poster design by Studio Veyre – Aurélien Potier and Claude Eigan – using Bastardo Rounded and Garabosse Parangon.

Contemporary music venue Le Moloco wanted to set up a new festival in its region, the Pays de Montbéliard. With small venues, brownfield sites and unusual locations, BO District festival is designed to be itinerant, reaching out to audiences. The event's program gives pride of place to rap and electronic music, while also leaving room for more pop and folk artists. The programme bridges the gap between the different components of this unique region, which is made up of urban centres marked by industry, but also vast rural areas.

We designed the identity around this idea of travelling around the region. For a festival, occupying a variety of venues means making its universe immediately recognisable, for example through signage. We therefore designed a system of customised paper adhesive tape based on the principle of identity: a line running through the BO District territory. This tape makes it easy to materialise spaces, typography and signage.

Protest Grotesk is the typeface used by Neues Amt Altona.

From Stan Hema:

Neues Amt Altona eG is ready for the groundbreaking ceremony. The cooperative construction project, which will start in 2025, combines sustainable timber architecture with a concept that focuses on community and creativity. Co-working spaces, art studios and local meeting places – locations that connect people and enable inspiring interaction – are being developed around the popular creative site of the old tax office in the Hamburg district of Altona.

To mark the start of construction of the ambitious project, the NAA has a new visual and verbal brand identity, developed by Stan Hema. The revised identity combines a clear brand language, cross-media recognisability and the diverse voices of the more than 250 committed members. With heart, soul and conviction, they are designing a neighbourhood that is entirely geared towards people and community.

A ___ Design Show showcases the work of fourteen designers from Concordia’s 2025 Master of Design cohort, spanning fields from graphic and architectural design to sustainability and interaction. The visual identity reflects the exhibition’s theme of concept and craft, featuring each designer’s handwriting to create a collective typographic language. This mix of structure, shown through Goudy Oldstyle, and expression, captured in the handwriting, reflects the diversity of the work itself, human and deeply collaborative.

Made as student project in Johannes Bergerhausen’s course at HS Mainz, What do you dream about? is —

a typographic list of different types of dreams, from children’s dreams to daydreaming, up until nightmares, utilizing six different papers across the six chapters, ranging from light and transparent to thick and dark. the deconstructive nature of the exposed binding, as well as the grid on the wrapping, is used to break up the black and white book content and to further emphasize the experimental nature of the design. this is a list to reflect upon – to read from the beginning or to start in the middle, to use the bookmark and set aside, or to store away for a while.

Stadttheater Gießen, or casually also called Theater Gießen, is a municipal theater and the cultural center of the German town Gießen. With two stages and 700 seats the theater hosts and entertains its guests with plays, musicals, operas, operettes, and dance performances.

Their typography uses CJ Type's geometric sans Dunbar Tall across all mediums including posters, brochures, website, and online presence, as well as for the “STADT THEATER GIEßEN” logo in all caps behind the brand’s iconic squiggle lines. The logotype is set in Dunbar Tall Medium.

Dunbar includes OpenType features catering to German language use, such as stylistic alternates for capital umlauts, as well as contextual ligatures for ch and ck.

The main theater building’s neo-classical architecture with Jugendstil influences from around 1907 reflects a preservation of the traditional entertainment artforms whilst appealing to younger contemporary audiences. The brand's typographic style plays on a similar appeal with its modernity: Dunbar was inspired by Erbar-Grotesk, a typeface designed in Germany by Jakob Erbar who first started exploring sans serif design in the early 1900s, close in time to when the theater in Gießen was built.

The visual identity complements its clean geometric typography with organic interactive squiggle lines unique to each performance. This component was developed by Patrik Hübner as a fluid generative design system.

These dynamic patterns mirror the gestures, voices, and movements of the stage, evolving in real-time to reflect the collaborative and exploratory spirit of the Stadttheater.

In 2022 the theater celebrated its visual refresh with a launch event. Visitors could interact to generate their own personalized squiggles, which blurred the lines between audience and performative play.

The logo combines caps with a lowercase eszett. CJ Dunn decided not to include an uppercase eszett. The font is a static version in which the letters R S T look different from the variable font version.

100 beste Plakate 23 highlights the year’s most compelling poster designs from Germany, Austria and Switzerland. From bold typography to experimental imagery, these 100 posters capture today’s vibrant pulse of visual communication.

In 2023, it’s Studio Es from Vienna who designed the visual identity of the competition.

For the type, they chose Signs (by Swiss foundry Maxitype) – a chunky, spirited typeface that communicates with clarity whether static or in motion – and combined it with Pantasia by Wei Huang and Times New Roman in order to create contrast and rhythm in the visuals.

Il se passe des choses (translated as “Things Are Happening”) is a contemporary literary work by Guillaume Chauchat and published by Éditions 2042. The book delves into the fleeting, enigmatic moments of modern life, blending poetic prose with a sharp critique of societal norms. Through a series of vignettes and interconnected narratives, the author captures the tension between the mundane and the extraordinary, leaving readers to ponder the deeper meanings behind everyday occurrences.

The book features 304 black-and-white pages, with dimensions of 22.5×16 cm. Its softcover is dyed in the mass with a single spot color and is typeset in Andersen, designed by Thierry Fétiveau and distributed by 205TF.

This experimental poster series by designer Nacho brings together typographic rigor and raw expression in a striking visual identity for Golda, a photo studio based in Madrid, Spain.

At the core of the project is Pilat, a geometric sans-serif typeface by General Type Studio (2018), used exclusively across the studio’s branding. Nacho builds the entire typographic system on Pilat’s clean, structured forms—establishing a restrained, modernist foundation.

That base is then deliberately disrupted: each printed poster is overlaid with a hand-executed gesture in silver ink, applied using a small bottle. The markings, reminiscent of graffiti calligraphy, inject a sense of immediacy and tension into the composition—challenging the order of the printed grid with a spontaneous, physical intervention.

The contrast between digital clarity and analog unpredictability gives the posters a dynamic presence, reflecting a broader interest in the interplay between control and chaos, identity and authorship.

More than a branding exercise, Nacho’s work here stands as an exploration of visual language and material process—pushing the poster format beyond communication into the realm of personal expression.

The Züri Notebook is much more than an ordinary travel guide. It is designed for incoming students at the Zurich University of the Arts (ZHdK) who are spending an exchange semester in Switzerland – serving as an inspiring guide, a heartfelt companion, and a creative resource.

How does Zurich work? What is there to see, experience, discover? From swimming in the Limmat or Lake Zurich, to hiking trails with breathtaking views, to clubs, art supply shops, and other hidden gems of the city – the Züri Notebook provides answers. It includes facts and figures about Switzerland, its culture, and the ZHdK, complemented by personal tips and recommendations. Recipes for Swiss classics like rösti, fondue and braided bread (Zopf) invite readers to cook for themselves, and a small glossary compares German, English, and Züritüütsch (Zurich dialect).

The book is enriched with personal “places to hang out” – our favourite spots and insider tips. Structured as a dialogue, the notebook features handwritten notes, drawings, and crossed-out comments left by the fictional previous owner, Max, addressed to Sophie, the new owner of the Züri Notebook. Combined with the Executive typeface by Optimo, this charming and personal narrative style lends the book a special depth.

Wild Harmony is a magazine created by garden architects Bart & Pieter and published by Luster. We took the title Wild Harmony literally, using their sketches to build a raw, organic graphic system in a restrained black-and-white palette. The Swiss binding was chosen for its exposed spine, echoing the layered, intertwined quality of plants and grasses. Combined with the imagery, it creates a dense, tactile rhythm – a wild texture that mirrors the richness of their landscapes.

Etwas Aufnehmen (“Get in touch (with)”) is a performance about the sense of touch and the translation between the visual and the tactile. The performance was created through six months of research and exchange with a blind artist, a blind writer, an animal shiatsu expert, a translator of tactile learning materials and a dog (Betty).

Etwas Aufnehmen is a 30-minute performance at a 15-meter-long table with 80 kg of kinetic sand and was premiered at HfG Karlsruhe three times at the end of February 2023.

Envato is an Australian online platform for creative assets such as website templates, graphics, stock videos and photos, sound effects, 3D models and more.

From Envato’s press release:

“We wanted our logo to reflect Envato’s upbeat energy and spirit,” says Arlyn Panopio, Envato’s Head of Brand & Creative. “We also wanted to incorporate the creativity of our community, capturing the moment inspiration strikes—that buzz of bringing a creative idea to life.” […]

Our clean, contemporary custom wordmark was designed by Norwegian-based designer Milos Mitrovic—also the mastermind behind our new brand typeface, PolySans. Milos collaborated with our in-house team across continents to transform our vision into reality and represent one of the most essential elements of the Envato brand—our community.

The new wordmark is based on NeuSans. The identity uses styles from all three branches of PolySans, including the Wide and the Mono.

Posters and publication for a two days masterclass about typeface and writing between France and Germany at ÉSAD Amiens. The idea of the poster is to graphically express and explore a tension between fastness and stiffness of a gesture. And in the lines, you can read HAND and TOOL.

Simon Renaud was responsible for the graphic design of the posters and the publication. He used his own typeface Augure, distributed by 205TF.

Naoto is a voluntary association created with the aim of supporting the Regina Margherita children’s hospital in Turin, Italy. Raised funds are donated to the Pediatric Orthopedics and Traumatology Department.

The founders’ desire has always been to present a playful and funny image, which could attract donors, but above all make the hospital patients feel at ease. For this reason the name takes inspiration from Naoto Date (伊達 直人), the original name of Tiger Mask, the manga hero who won wrestling matches to donate the proceeds to children. And let’s face it, children love tigers!

The brand identity designed by Kalla is bold and playful thanks to the F37 Kookie Black font by F37. The Japanese glyphs are custom. Some small text (such as the email on the business card) uses Poppins.

Type is alternated with instinctive and raw traits like those that children draw on paper. Just like the illustrations created by Kalla, they are nothing more than recolorings of the little patients’ drawings.

Swizzy Mono and DaVinci are used for the posters advertising Clueso’s 2024 tour.

Kniff writes about the project (translated from the German):

+49 unknown number. First clear your throat for the call center. All the more surprising when Clueso suddenly greets you from the smartphone. The Clueso. A fixture in the German music world. One who has remained true to himself by reinventing himself once again. For his summer tour, we teamed up with his team of groovy professionals and took on the creative concept and art direction. Posters, social media content and merch – everything that should excite fans’ eyes, once played through. So, always answer when the phone rings. You can only win.

Clueso is a German singer, rapper, and songwriter. He blends hip hop, pop, and rock, starting his career as a rapper in the late 1990s. Known for hits like those on his 2008 album So Sehr Dabei, he’s become a major figure in German music. His introspective lyrics and genre versatility have earned him widespread acclaim and multiple awards.

Title pages of the two volumes. Titles are set in FF Super Grotesk with its alternate a and g.

Texte und Zeichnungen einer künstlerisch forschenden Exploration metaphysischer Themen in Zeiten von maschinellem Lernen (“Texts and drawings of an artistic exploratory exploration of metaphysical themes in times of machine learning”) is my final thesis at the Weißensee Kunsthochschule Berlin.

Inspired by “Wenn die Sterne verlöschen”, the German version of Isaac Asimov's science fiction short story “The Last Question”, I have been experimenting with topics such as immortality, infinity, post- and transhumanism, artificial intelligence, the human body, cosmology and spirituality.

My two-part book is a foreign text collection, paired with my own notes, thoughts and drawings. With content that I have discovered, searched for, found, collected and sorted; stories, theories, essays, visions etc. from science, sci-fi, philosophy and art.

The work has nothing to do with theory or science, rather it is about an orientation towards the poetic, towards an artistic strategy and production. A personal confrontation with the present, with a view to the past and the future. The texts and the drawings are intended to attempt to open up new spaces of thought in their concatenation and to provide access to my thought structure, my universe.

In order to make it clear which contents are mine and which are foreign material, I have decided to use a color coding. So all “personal” contents, i.e. my notes, thoughts, awards and drawings are designed in the color blue — inspired by the infinite.

In my book every text is individually designed. Here, too, I have “quoted” and made the quotation the design principle. This way, the reader will always know when a new text begins or which text boxes belong together. In the best case the reading is linear, but there is also the possibility to read the texts crosswise.

The publication features 71 different fonts in total. Eight of them are shown in the included images, see the captions. The fonts that were used but aren’t depicted here are Akkurat, Aquinas, Arnhem, AT Apoc, AT Oroban, Azzurro, Beatrice Display, Big Caslon, Blazenburg, Brown, Century Schoolbook, Century Schoolbook Monospaced, Chap, Circular, Cirka, Courier Prime, Dia, Digestive, Druk Wide, Elastik D, Favorit, Five Years Later, Futura, Galapagos, Gotham, Gräbenbach, Grafier, GT Amerika, GT Pressura, GT Sectra, GT Walsheim, GT Super, Happy Times At The IKOB, Helvetica, IBM Plex Mono, ITC Franklin Gothic, Lausanne, Lexicon, Lucida Grande, Lyon, Lyyra, Meriva, Mineral, NB Architekt Neue, NB Grotesk, Neue Machina, Nitti Grotesk, Noe, Pensum, Rando, Sang Bleu King, Saol, Scto Grotesk, Serifbabe, Suisse Int’l, Suisse Int’l Mono, Suisse Works, Terminal Grotesk, Times New Roman, Tiny, Value Serif, Whyte, and ZXX.

In the second part of the book there are 112 drawings, where I have illustrated 112 terms from the texts. The respective terms are colored in the texts. The respective figure number is usually close to the term and can be looked up parallel in the drawings book. They are abstract illustrations of some of the most interesting keywords from the texts. Thus the drawings have helped me to better understand the contents of my selected texts. However, they are not a scientific representation but a personal interpretation. In addition, I had the drawings analyzed by an artificial intelligence.

I have used very durable materials in my entire design and the book format is also based on the infinite number sequence of Fibonacci, namely in a ratio of 1:1.618. The paper has a high durability as it is wood-free, there is thread stitching — the most durable way to bind a book.

Around the two books there is a transparent rubber and they are vacuum packed together. It was also a conscious decision to design the book as a raw book block without cover. It should draw attention to the incompleteness and incompleteness. To draw attention to the fragile personal.

All in all, my project is an investigative activity, which when and then confirms or redefines my views on the relationship between man and the universe and man and machine. In addition, overarching associations also arise. My attitude is fundamentally characterized by curiosity and a thirst for knowledge, which is not lacking in an appropriate skepticism towards the thematic complexity, but which always ventures out into new branches.

The index is set in the monospaced Nitti.

Pages 358/359 feature text in Times, ABC Favorit Mono, Suisse Int’l Condensed and Nitti.

This blue double-page spread is set in FF Super Grotesk again.

The typefaces used on pages 320/321 are Rosart and Ogg Display, with more FF Super Grotesk and Nitti.

Nitti is used for the index of drawings.

Page with a drawing and text in Product Sans and FF Super Grotesk

NYC-based designer Andrew Benjamin Morris worked comprehensively across the identity, art direction, illustration and website of healthcare brand Mindful Health. He harnessed the intersection of healthcare and wellness as an aesthetic and conceptual throughline across the brand. Intending to rid mental healthcare of the negative stigmas still often associated with it, Andrew took a kind, holistic approach to the brand, led by the notion of balance – from its poised logomark, representing the interconnected nature of physical and mental health, to its striking use of type.

Opting for Jérémy Schneider’s voluptuous display font Voyage at the wordmark, Andrew utilised its interplay with the forms, contrast and character of Jérémy Landes’ NaN Jaune as the brand’s primary typeface, to embody Mindful Health’s unique intersection. The visual identity uses its Midi and Mini optical sizes, the latter is used on the website, paired with Source Sans. Its ultimately playful shapes and distinctive ink traps not only bounce off the unrestrained, expressive illustration library to create captivating, tranquil visual spaces but offers the brand a typographic encapsulation of the concept behind it: sincerity and play in balance.

We can’t assess if Andrew realised it when licensing them but the two fonts, on top of sharing a similar approach to the apertures of round letters curling inside to close themselves, were designed by two designers wearing the same first name.

New York designer Aaron Garz created the graphic system for the 2023 program of Gil Evans Project at Birdland, an emblematic jazz club in Manhattan.

The system is based on a dark gold / black / white trichromy, the use of cut-out black-and-weight portraits, scribbles reminding of etching or scratched film and expressive typography featuring NaN Tresor. Garz’s skillful use of the swash alternates of Tresor caps reminds us of silent movies title and credit screens.