The God in Drag calendar transcends Western colonial concepts of time and gender, beginning with the Mexican New Year, in March 2026. Photographer Devyn Galindo describes God in Drag as “an offering for my two-spirit and trans siblings, for our beauty and everything our community is facing right now. In times this chaotic, desire becomes our armor.”

Breaking Cinema. Experimental Film 2010–2023 is a monograph of Cauleen Smith written by Romi Crawford. Superness Modulo is used in several styles. From publisher Mousse Publishing:

Operating in multiple materials and arenas, interdisciplinary artist Cauleen Smith (b. 1967) roots her work firmly within the discourse of mid-twentieth-century experimental film. Drawing from structuralism, moving images, and science fiction, she makes things that deploy the tactics of these disciplines while offering a phenomenological experience for spectators and participants. The book Breaking Cinema. Experimental Film 2010–2023, adds to the growing scholarship on Cauleen Smith’s work, as art historian Romi Crawford elucidates a critical phase of the artist’s career and how Smith recasts film history in the context of the artistic and cultural ferment of Chicago’s South Side.

The softcover has 
96 pages measuring 16.5×10.5 cm
 and was printed in Italy. ISBN 978-88-6749-637-2

ans:wer is a platform for agencies, companies, freelancers and in‐house communication teams who want to work towards advertising and communication that’s free of sexism and discrimination. From the website (translated from the German):

We founded this organization because, as communicators, we have a responsibility. We don't just show the world as it is—we also show it as it could be. Our work shapes images, language, perceptions, and realities. This is where we come in!
Because: Women, queer people, and many other marginalized groups are still forced into restrictive, stereotypical roles in advertising—if they are even visible at all.
We want to change that. With conviction, expertise, and a clear feminist perspective.

Visuals designed by P&B Agentur für Kommunikation from Vienna, using the typefaces Spektra by Type Salon, Milla by Vivian Dehning, and Inclusive Sans by Olivia King.

Stepping Softly on the Earth is a research-led exhibition featuring the work of twenty artists, most of them non-Western and Indigenous. Presented at the Northumbria University Gallery at Baltic, the exhibition invites visitors to reflect on human relationships with land and territory from decolonial and anti-colonial perspectives. It brings together artistic practices that understand the world as a pluriverse – a reality in which many worlds coexist and support one another, where all beings are interconnected and the separation between humans and nature dissolves.

The works address themes such as ancestral cosmovisions, spirituality, inter-species communication, embodied knowledge, oral traditions, autonomy, mapping and legal frameworks. The exhibition title revisits a passage cited by Indigenous activist, writer and thinker Ailton Krenak in his 2022 book Ancestral Future. Krenak refers to a speech attributed to Chief Seattle (c.1786–1866), in which he says that his people “step softly on the Earth” because they are deeply connected to it, and invites colonisers to teach their children to do the same.

The catalog adopts a graphic language structured around expressive typography and a restrained color palette, which together organize the visual identity of the publication. The central element of the design is an angular, fragmented typography, Backslanted, used for the cover and section titles. Its geometric forms approach drawing as much as writing, suggesting multiple visual traditions while moving away from a neutral or institutional Western typographic language.

The color palette is based mainly on two tones, an earthy red and an intense yellow, applied as gradients across page backgrounds and edges. These fields of color evoke natural elements such as earth, sunlight and atmosphere, and function as visual environments that move through the book, creating continuity between different sections. The materiality of the object also reinforces the project’s conceptual framework: the exposed sewn binding and the earthy-toned cover emphasize the physicality of the book, suggesting a tactile and crafted quality. The texts are set in Gal Gothic, a Brazilian sans-serif typeface with subtle stroke contrast.

Graphic designer Lloyd Mst used RT Dromo for the identity, exhibition design and accompanying ephemera of New Agency, —

a live research platform; gathering data, public conversations, design speculation and feedback. This identity explored multiplicity and variety to create unity, rather than a single stripped back form. This flowed through the exhibitions didactics, animated research, data, catalogue publication, signage, survey website and uniforms. The multi-channelled identity aimed to encourage participants to queiry their own agency in aging. Photography by James Whiting and Tobias Titz.

The project by Sibling Architecture was presented at the RMIT Design Hub.

The other logo variants appear to be custom drawn.

Live! At Caesar’s Palace is the debut album by the Checkmates Ltd. It was released on Capitol Records in 1967. The cover shows the band name in purple Smoke, featuring a custom drawn castellated T that alludes to a rook piece.

Wikipedia has the following information about the band:

The Checkmates, Ltd. were an American R&B group from Fort Wayne, Indiana. The group, discovered by Nancy Wilson, was named such because the group included both black and white members, and their various skin tones evoked a chessboard; their one major hit was 1969’s “Black Pearl”, produced by Phil Spector.

The album title is in pink and red caps from Helvetica Black.

[More info on Discogs]

The teardrop-shaped letterforms of Smoke, appropriately suggesting an oozing substance, act as a subtle counterpoint to a graphic tightly-cropped close-up of Rick Baker’s gruesome make-up effects on this Super 8 film box art for The Incredible Melting Man.

Though dating back to the 1890s, the moment of glory for Smoke was the psychedelic era. The Doors’ Waiting for the Sun features one example. With its trippy associations, Smoke is perhaps not the obvious choice for a horror movie, introducing a slightly incongruous note into this striking design.

A cut-down ‘digest’ version of the AIP film, this Super 8 reel was released by Mountain/Ken Films in the late 1970s. Operating from an office on Wardour Street, they were one of the major operators in the home cinema market, prior to the advent of home video. Remarkably, via a deal with 20th Century Fox, they were able to release a version of Star Wars in the UK prior to the cinema premiere.

Read more in a 2024 article by Ged Jones on Derann Vaults.

Magnet Headline and Magnet Standard by Frere-Jones Type were the typefaces used by SpeedBox Wasabi. The startup distributed tuning chips which offer a complete “unleashed” riding experience for e-bikes by removing the built-in speed limit or setting one’s own maximum speed. Designed by Meadow Green, a small agency in Prague.

The fourth edition of BoCA (Biennial of Contemporary Arts) took place in 2023. Lisbon and Faro were the cities hosting a new and effervescent program from 2 September to 15 October.

Between commissions, world and national premieres by both established and emerging artists, performing in their own language or taking risks to create for other registers, BoCA built its 4th edition on the idea of “Invisible Present”.

Always aware of the current times – cultural/artistic, social and political – artistic director John Romão said he ‘wants to give visibility to living things that are not seen, either because of social, political, cultural, economic, legal or technological conditioning, or because we premeditatedly don't want to recognise the existence of otherness, to validate identities that inhabit the margins’. It is with this desire that the program reflected on issues related to the migrant crisis or gender identity, claiming the physical presence of what is not seen.

BoCA 2023 used two primary colors, gray and yellow, throughout its identity. It used one primary typeface within its permanent, geometric and mutable logo: Neureal by Laura Csocsán (released on ECAL Typefaces) – including for titles and descriptions. LL Replica by Dimitri Bruni and Manuel Krebs (released with Lineto) was used for displaying longer texts within the newsprint pamphlet and for smaller information.

The posters for the exhibition Every Time I Conjure a Stone I Throw It at Sol Koffler Gallery were designed using the typeface Roumald and were designed by Andrea Mato.

From curator Marley Trigg Stewart:

To look through a lens is to break something open. For the 2025 iteration of RISD’s Photography Graduate Biennial, Every Time I Conjure a Stone, I Throw It, MFA candidates turn photography from a means of observation into an instrument of transformation. The title, drawn from Alice Walker’s The Color Purple, evokes the power of intentional release and return—a dual act that reverberates through the artists’ practices.

Across the exhibition, image making becomes a means to fracture, reassemble, and reimagine inherited worlds. These artists work through and against material memory, which include the textures of time, familial history, faith, and the shifting landscapes where these moments take place. Ultimately, we are asked to reconcile how photography continually remains contradictory—how do we point to a moment that has already left us? Whether through intimate gestures or expansive terrains, the works gathered here suggest the notion of seeing goes beyond the surface area of an image. These artists are conjuring new futures—breaking them open and beginning again.

Featuring photographers: Alexa Nikkol Curran, Elliott Golden, Elysia Perkins, Jake Benzinger, Jessica Chappe, Kyle Dong, Lola Owett, Nji Tuma, Renee Cornue, Tomorrow Chapman, Victoria Pépin, Virginia Hanusik, Wen Zhang, and Wenhan Hu

Poster design for the fifth summer festival of Künstler:innenhäuser Worpswede. I worked with layers to connect illustration, typography and color. The bright green and orange create a vibrant contrast, inviting viewers to explore and engage with the design’s rich and varied facets.

Posters for Schronisko na Paluchu (Paluch Animal Shelter), created by Matylda Bruniecka as part of the September edition of the social campaign Ilustratorki & Ilustratorzy dla Palucha.

The project highlights the importance of treating animals with care and respect, not as toys, fashion accessories, or substitutes for human children, but as living beings with their own needs, emotions, and natural behaviors. The illustration portrays animals as companions and friends while acknowledging their true nature, reminding us that genuine love includes accepting imperfection, the scratches, fur, and drool alike.

The campaign’s message, “love wisely”, encourages empathy, responsibility, and understanding. The posters were displayed throughout September 2025 in Warsaw’s Centrum metro station.

The design uses RL Aqva and Granda typefaces, complementing the illustration’s expressive warmth and balance clarity with character.

The University of Ljubljana’s Academy of Theatre, Radio, Film and Television (AGRFT) organized a festival in the first week of October. Students of acting, theater and radio directing, film and television directing, editing, photography, dramaturgy and stage arts present themselves with numerous theater productions, fiction and documentary films, television dramas, performances, radio plays, works created in courses in dance composition, theater singing, and presentations of publications.

The festival is an opportunity for newly enrolled students, the broader university academic community, and the interested public – those who want to see what is bubbling and forming in future co-creators of Slovenian theater, film, television and radio arts – while also offering reflection on today’s world, society and humanity.

The festival’s visual identity was created by designer Črt Mate. The signature typeface, Wesna by Type Salon, draws inspiration from Slovenian posters of the interwar period, with a distinctive italic style that captures attention. The body text is set in Zeitung, designed by Underware.

The Spanish edition of Omdenken: El arte de pensar al revés – Convierte los problemas en oportunidades was published in 2024 by Temas de Hoy, an imprint of Grupo Planeta focused on non-fiction and philosophy.

The cover uses Aqueduto by Naipe. Written by Dutch author Berthold Gunster and translated by María Rosich Andreu, the book adapts Omdenken, originally published in Dutch as Omdenken: kijk-denk-creëer, a long-running self-help bestseller that introduces the author’s concept of “flip thinking,” a method of reframing problems as opportunities.

One of the letters E in the main title appears flipped.

The 2012 graduation publication of the Bachelor of Fine Arts programme at the Zurich University of the Arts (ZHdK) takes the form of a small-format newspaper featuring a selection of works created during the course of study.

The cover, printed in gold on off-white paper, features text fragments by the graduating students – some from their first semester, others from their final one. These quotes vividly reflect the artistic development of the emerging artists.

“I was truly delighted when I began to understand and discovered new connections.”
“I shamelessly use my impatience to fuel my work.”
“Ideas are [...] conceptual thought approaches and don’t necessarily need to be pursued further.”

Fittingly for this moment of transition, the cover features a work by Veli & Amos, photographed at the Qalandia Checkpoint, titled: “HIP HOP!”

Continuum vinyl sleeve

Nathan Ott is a jazz composer, drummer, and leader of the Nathan Ott Quartett. He studied music at the universities of Würzburg and Hamburg and released his debut album in 2018, which was the result of a collaboration with jazz legend Dave Liebman. For the release of his third album Continuum, he founded his own label An:Bruch in 2024, with which he aims to break out of the narrow confines of the music industry in order to pursue an interdisciplinary and multimedia vision.

The first design task was to develop a recognizable typographic language for An:Bruch. In a joint selection process, two very contrasting fonts emerged as the winners: Swear by James Edmondson, published by OH no Type Co., and Magnet Headline by Inga Plönnigs, published by Frere-Jones Type. Both designers happen to have studied type design at The Hague’s highly praised Type and Media program.

The media presented in this post use exclusively different variants of Swear for the reading text, while the headlines predominantly (but not exclusively) use Magnet Headline, which has a special feature in the form of a right-leaning italic. This italic is also used for the An:Bruch logotype. While Magnet Headline pushes condensedness to its extreme, Swear is rather broad in proportion.

The visual identity was applied to the two first productions by An:Bruch, the album Continuum by the Nathan Ott Quartett and the performance Resonant Bodies, which Nathan Ott developed together with choreographer Hannah Schillinger. The film footage for Continuum was shot and edited by Nadja Höhfeld, and that for Resonant Bodies by Kai Ehlers.

Continuum vinyl fold

Continuum vinyl labels

Continuum CD

Continuum CD booklet

Continuum CD booklet

Continuum CD booklet

Continuum CD booklet

Flyer for the launch festival

Advertising in a jazz magazine

The exhibition Text to Image was held at the Korea National University of Arts in Seoul in summer 2025.

The moving posters were created by conceiving the location’s media wall itself as a frame, and interpreting the content displayed on the screen as a kind of portrait, based on the text by curator Dongjong Lee. To convey the sense of an analog frame, I used commonSans from notyourtypefoundry – designed to evoke the effect of ink bleeding on paper – and hand-lettered the Korean text harmonize with it.

The exhibition title was designed by combining commonSans with Arial, a typeface that has recently come to function as an image in its own right.

Alias Ano in use for Way Out West 2025. As well as on-site and web graphics as previously, Ano was used for glow-in-the-dark wrist bands.

Transforming words into actions

The State of Illinois Department of Human Rights (IDHR) and the Commission on Discrimination and Hate Crimes (CDHC) launched a statewide service to support people targeted by hate. It had a phone number. What it lacked was the public’s awareness and trust. My team at Span was brought in to change that.

Working alongside UIC’s Institute for Healthcare Delivery Design (IHDD), we renamed, rebranded, and reintroduced the service to the public. The result was Help Stop Hate – a trauma-informed, multilingual, statewide service and campaign that reframed reporting not as retaliation, but as care in action.

Initially piloted as Illinois v. Hate, the helpline's name implied conflict and positioned the state as the protagonist. Moving away from tension to solidarity, the renamed service Help Stop Hate is a three-word promise. Help centers care. Stop signals urgency. Hate names the problem—without euphemism.

Three cuts of Grilli Type’s GT Planar were used, allowing ‘Help’ to lean forward into action, ‘Stop’ to lean back in urgency, and ‘Hate’ to sit still—unignorable. The visual language draws on civic forms: rigid diagonals, grounded color, modular composition. Designed to function everywhere from Chicago CTA ads to community newspapers and rural county billboards.

To reach survivors—not just residents—we kept the value proposition simple and kind. “Report hate, get support” is about access and letting people know: they are not alone.
This is where the secondary type Grenette come in with a quiet strength. Its rounded serifs and open forms contrast the sharpness of GT Planar, with enough tension to hold your attention. It reads almost tender, full of warmth and charm with a subtle nuance that feels hand-touched.

The Not in Our State campaign launched in the seven most spoken languages in Illinois: English, Spanish, Arabic, Polish, Hindi, Tagalog, and Mandarin. To complement the primary sans and serif styles of the identity, each language pairing used two typefaces. For Arabic, we selected Noto Sans Arabic and Noto Naskh Arabic. Hindi used Noto Sans Devanagari alongside Noto Serif Devanagari. Mandarin was set in Noto Sans SC (see Source Han Sans) and Noto Serif SC (see Source Han Serif).

Hasse mit Liebe is the podcast for anyone who wants to view the world through a smart, feminist lens – with attitude, but without losing themselves along the way. Journalist Kerstin Hasse dives into equality, politics, and pop culture – sometimes solo, sometimes with like-minded guests – always personal, pointed, and unapologetic.

As striking as a magazine cover. But is pink too on-the-nose for a feminist podcast? Maybe not, especially when paired with GT Planar – bold, leaning to the left, and sharp, just like the podcast. A playful, confident identity for a show with substance.