Visual identity for Fond Perdu, an artistic association based in Lille, France. It is created by students from ECV Lille, Tom Choquet, Benoit Cuzin, Élodie Ruffin, and Jeanne Deruwez. For their first event, Fond Perdu organized a design market on January 31th, 2026, promoting local artists and designers.

The visual identity and motion design is realised by Tom Choquet. He used Ring from Alexandre Créquer as the only typeface. The logotype is a custom piece of lettering by Benoit Cuzin, based on Peste from Morganne Borowczyk.

A 1974 promotional booklet for the Army Reserve Officers’ Training Corps (ROTC) unit at Syracuse University.

I got great satisfaction from this project. It was the Vietnam era, and I was solidly against that unnecessary and unwinnable war waged by a lying administration which was killing off so many American youth. This piece walks a line between promotion and parody. The ROTC folks loved it for their purposes, while others thought it somewhat ridiculed soldiering.

Some of the interior spreads are below (the booklet turns sideways inside).

Grrrr . . . A warrior wreaking havoc on the battlefield.

Designed by the Slovenian design studio Ljudje, Indeks is Dacho’s debut album. The cover features a photo of the young rapper and mimics a student record book. Main title is set in Ergon, the stamp uses a typeface named Karlin, designed by Type Salon after a concept design by studio Ljudje, and the artist’s full name is written by hand. There are a few more typefaces making an appearance and extending the typographic palette: Helvetica, Notera and Cactus Jack.

Paperback edition, February 1989

A rare sighting of Obliq, a Letraset release from 1984, used in both of its weights for a science fiction novel by Hal Clement (1922–2003):

The Riddle of Enigma Years of exacting study were coming to an end. All five student scientists, each the best its species had to offer, were one step away from their final degrees. One examination remained: the students were to determine why the tiny planet of Enigma, a planet with so little mass that it should never have had an atmosphere, in fact it did. Everything seemed to be running smoothly until the only Human member of the team, Molly was accidentally blown into one of the deep fissures that pocked the planet’s surface. She found herself trapped in a series of tunnels and caves that only led her deeper into the riddle that was at the heart of Enigma. But as her concerned companions followed her, they found Enigma’s most puzzling anomaly. For in the dark passages they discovered life – life which couldn’t possibly exist.

For the title, the caps were enlarged and shifted down, so that they align with the ascenders and the underline underneath the lowercase letters. Small text is in Univers.

[More info on ISFDB]

Hardback edition, June 1987

Photo studio and designer to be determined

Class Photo Bordermania

Two display typefaces, Algerian and Ravie, both in use for an official class photo of a freshman section in the school year 2009–2010 in provincial Philippines.

Filipino graphic designers and layout artists never shy away from combining two typefaces, oftentimes working with available resources at hand–in this case, typefaces that come bundled with Microsoft Windows. You know what they say: the more the manyer.

This series of five black-and-white posters was designed to promote a fundraising event for a CM1-CM2 class trip. The main poster features the bold tagline “DU POGNON POUR LES ENFANTS !” (“Money for the kids!”) and a bus symbolizing the journey. A recurring text block across all posters explains: “48 CM1-CM2 students dream of going on a school trip. By purchasing here, you help fund their journey!”

The other four posters replace the bus with photographs of items for sale, including an oyster, a sausage-and-fries, a crepe, and a cookie. The typographic palette includes Betwixt, Alte Haas Grotesk, Caramel (X Cicéro), Chaumont Script, and EB Garamond, creating a mix of bold and playful styles to match the fundraising spirit of the campaign.

The posters were designed by Guillaume Pinatel.

Poster for the Antwerp University Association (AUHA) on the occasion of the start of the new academic year. We use the NB International font as background above the Antwerp skyline.

A series of three typographic posters inspired by Christopher Nolan’s film Inception. The project explores how Neue Helvetica—a neo-grotesque typeface renowned for its clarity, neutrality, and rational structure— can embody the blurred boundary between dream and reality. Chosen for its “invisible” qualities and Swiss design heritage, Helvetica becomes the architectural framework of these dreamscapes: stable, precise, yet concealed.

Descent and Ascent: Titles and slogans fragment and fade, suggesting the tension between the real and the imagined.

Limbo Effect: Repetition and layering of different Helvetica weights create instability and suspension, evoking the deepest dream level.

Infinite Loop: A closed composition of repeated text forms a tunnel-like structure, recalling the recursive, endless architectures in the film.

This work was created as part of the Typography course at LABASAD (Barcelona School of Arts & Design), under the guidance of professor Marc Salinas.

The brochure Anleitung für den Austausch (“Guide to Studying Abroad”) is intended for students of the Zurich University of the Arts (ZHdK) who are planning a semester abroad or an international internship. It offers hands-on guidance and helps clarify key questions: What options are available to me? In which semester can I go abroad? How do I secure a place? Am I eligible for a scholarship?

The brochure is complemented by an essay by Nils Röller titled Being Smart, Being There. In addition, students share personal insights into their exchange experiences in Marseille, Hong Kong, Stuttgart, New York, and Buenos Aires.

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.

Each year, the ANRT (Atelier national de recherche typographique) in Nancy, France, publishes a poster for its call for applications. The poster must be designed by a student and is chosen by the teaching team.

The 2025 poster was collectively created by the six students of the 2024–2026 class (Lothaire Arnoux, Louna Bourdon, Franco Jonas, Coline Malaman, Nunzio Mazzaferro, Myrthe Van Rompaey) in collaboration with Studio Helmo. The folds of the poster are designed to play with the texts in different languages (French, English, Spanish, Italian and Dutch) when handled. The text is set in Milling (Tanguy Vanlaeys, 205TF), while the shapes forming the large letters A N R T are created through the superimposition of the front and back sides of the poster and are based on the typeface Prélettres (Éloïsa Pérez, Poem).

⌘E (Command E) is the student magazine of the Media Design program at DHBW Ravensburg. The fourth issue evolved from a second semester graphic design project on the exciting topic of “chaos and control”. In keeping with this, ⌘E4 was developed as a non-linear concept and realized in six aspects: Norm, Context, Development, Communication, Perspective and Perception. Each aspect is treated and visualized as a separate episode. Held together by a slipcase, the loose episodes invite you to rearrange them again and again and create new thematic references. The entire magazine is thus to be understood as either/or, back/forth, or open/closed – as an embodiment of “chaos and control”. The choice of two types of printing – digital and Riso – symbolizes the influences that the content and design have on each other. ABC Monument Grotesk is paired with Kepler (not shown here).

Inspired by the space and featuring poignant leading questions and successful alumni, this limited edition book aimed to capture the crossover of entrepreneurial spirit and technological wonder on display at The Garage.

The prospectus featured four unique laser-cut outer layers, digitally printed in white and applied to the bound book body. These were produced onsite at The Garage and affixed during the print run at Graphic Arts Studio. Short sheets featuring photography of successful alumni were inserted throughout adding depth and dimension to the format and information.

The Community Classroom in Florence, Massachusetts, offers in-person tutoring, guided homework support, academic coaching, and other services.

Their website and physical space use Merriweather and Crimson Text to brand the business.

When I was asked to design the brochure for the Gerrit Rietveld Academie in Amsterdam, I was heavily invested in the architectural space of the school’s buildings for a wayfinding system I was working on. The main building, Rietveld's biggest and last architectural work, was designed in between 1950 and 1963 and currently hosts most of the Bachelor courses and workshops of the academy. Two other buildings on the academy grounds, the Benthem-Crouwel building and the Fedlev building, were constructed in 2003 and 2019 respectively.

I found the intersecting planes of the architectural shapes of each building to resemble the different backgrounds, both cultural and artistic, of all who cross paths and cross-pollinate in this small academy. The zigzag brochure can both be read as a booklet and as well as a fold-out, mirroring the welcoming, living room atmosphere created by the GRA students and staff alike. The brochure is printed in Dutch on the front, and English on the back.

The illustrated architectural works are accompanied by the display typeface Anthony, published by Velvetyne. The lettershapes, existing out of small building blocks, give the right balance between playfulness and friendliness that is representative of the atmosphere at the academy, while remaining legible and accessible.

Supporting the display typeface is Mack, a welcoming and comfortable to read sans, published by Blaze Type, which takes its inspiration from the geometric typefaces that were being made around the time of Gerrit Rietveld's architectural works.

The booklet is offset printed in two colours on 90gsm Bio Top by Libertas Pascal in Utrecht in an edition of 3,000 copies.

The Plattform™ is an initiative for academic exchange at HfG Offenbach. It is an opportunity for exchange, toolkit, get-together, network and workshop. With a clear focus on collaborative learning, mutual feedback, space for questions, disclosure of processes and sharing of resources.

Real Talk is a lecture evening on internships in the field of art and design. Three students gave an insight into their portfolios, talked about their internships and answered questions about application processes, working hours, experiences, … Open to all semesters, departments, subject areas, specializations. No more gatekeeping!

For HEAD Genève’s Welcome Week 2024/25, Swiss studio Trojans Collective designed the visual communication applied to posters, various digital formats and animations for social media, as well as content for campus screens. The design agency states:

We worked with a pale pink and black palette, using a typographic structure based on a pyramid-like composition.

The display font used is Baustraße designed by Fantasia Type and distributed by Future Fonts.

The accompanying sans is yet unidentified. The HEAD Genève logo uses the school’s standard typeface, Executive.

New identity for the campaign “Study in Antwerp” by the University of Antwerp. The typography uses Forma DJR Mono in various weights.

DAS - Design Anthropology School is an innovative graphic institution in Ho Chi Minh City, Vietnam. Offering a range of programs, including long-term, short-term, and online courses, DAS inspires creativity and originality. Our dedicated faculty empowers students to explore new ideas, develop unique perspectives, and excel in the dynamic field of graphic design.

DAS nurtures students, symbolized as small fishes, providing the skills and confidence needed to navigate the design industry. In a flexible and creative learning environment, DAS guides students toward successful careers. The branding design, inspired by the school’s lenticular glass walls, reflects the ever-evolving nature of the industry. This visual metaphor highlights the need for adaptability and openness to change in the dynamic design landscape.

The branding design system of DAS is carefully crafted to create a clean and professional look, with a touch of playfulness and creativity. The minimal and spacious layout is a key element of the design, providing a clean and uncluttered aesthetic. The high contrast in typography enhances the modern and contemporary Swiss design, which is commonly linked with trustworthiness and professionalism.

The lenticular glass sheet is a versatile material applied to various brand items such as gift boxes, coasters, and certificates. These designs further amplify the concept of transforming light and underscore the school's dedication to producing visually dynamic and innovative designs.

About Baret Scholars, via ICGS:

Named after Jeanne Baret, the first woman to circumnavigate the globe, Baret Scholars is a global gap year program that brings together a cohort of 180 just-graduated high school students from around the world to journey across seven regions (North America, South America, Europe, Africa, Middle East, India/Southeast Asia, and China/East Asia), over 200 days, in a semi-structured and self-guided gap year experience. These scholars will explore their personal interests in different regions via prominent local speakers, curated traveling Fellowships, and optional volunteer opportunities.

Baret Scholars’ mission is to provide students with a comprehensive and holistic understanding of the world, paving the way for years of fulfillment and achievement. The program serves as a foundation for the scholars’ future, fostering cultural literacy, a global perspective, and a desire to create a better world.

Luke Hayman and his team at Pentagram were commissioned to design a book about scholarships, gap years, and studying abroad. The typography combines Guyot (in Text and Headline sizes) with Founders Grotesk (in regular-wide and Condensed widths). The illustrations are by Adam Simpson (London).