Lennert Stok has recently redesigned the identity for restaurant and bar Karma Kebab, located in Amsterdam Noord.

Pascal Labrie, the owner of Karma Kebab, wanted to evolve the brand into something more mature, while also creating room for future extensions and additions to the concept. Together with Lennert, they found the right balance between preserving its original
youthful, festive character and building a fresh, distinctive identity with a unique look and feel that can grow with the brand.

The font chosen for the logo is Kraai, which is inspired by the carved lettering on the Oetewalerbrug, a bridge located in Amsterdam’s Watergraafsmeer district. Additional fonts in use include Input Mono, Bitcount, and the spicy Sriracha Display.

For more information, see the interview with Lennert on Brutal Types.

​​The visual identity for Demonstra: pela poética def, presented at the Fiesp Cultural Center, seeks to graphically translate a collective territory where artists with disabilities create from their own experiences, shifting the public’s gaze on body, normality, and aesthetics. The exhibition articulates multiple languages ​​around aesthetic accessibility and proposes a constellation of poetics that question hegemonic models of representation and belonging.

The main objective was to develop a visual system capable of expressing the corporeality, sensoriality, and symbolic power present in the exhibition, avoiding normative codes associated with disability. To this end, the identity was structured based on three creative principles – exceptionality, sensoriality, and organicity – that guided typographic, chromatic, and compositional decisions.

Through the use of the Ready Active typeface by Plain Form, the words are composed in distorted figures, creating graphic motifs of low legibility of which the understanding is not immediately grasped. This “universal inaccessibility” initially provokes by suggesting placing the non-disabled reader in the place where the person with a disability would be. The shapes of the letters forming the word “Demonstra” were also used as graphic elements on the vinyl decals over the glass doors. All exhibitions texts and artwork captions were composed in Neue Haas Grotesk.

The palette, which blends vibrant tones with dense colors, intensifies the sensory experience, transforming each piece into an expression that complements the poetics conveyed by the works.

Cassette inlay ft. Data 70

Galactic Nightmare is a concept album self-published by Alan Jefferson in 1986. From Trunk Records:

Six years in the making (1979– 1985). A unique 90 minute space epic adventure made in a bedroom in Hull on limited and slightly dodgy equipment. A true labour of love and only previously available on C90 Cassette (with Dolby) via Sci-Fi and computer magazines in the mid 1980s. Totally unforgettable, joyous and full of extraordinary detail and ideas. 2 LP set, matt varnish, full colour artwork, printed inner sleeves with complete storyfile, lyrics etc.

The title on the original cassette release uses Data 70 with a gradient fill. In 2015, independent record label Trunk Records reissued the album on vinyl for the first time. Rather than reusing the original logo, Trunk used the similar Moore Computer for the title and track titles.

[More info on Discogs]

Front cover of the 2015 Trunk reissue ft. Moore Computer

Inner sleeve

A page of concept art and ephemera from the liner notes of Trunk’s reissue. Early designs for the title logo can be seen in the centre, both typeset in Data 70 and as custom lettering.

Letterpress printed Souvenir Ticket for the 2026 Bay Area Printers’ Fair & Wayzgoose. Printed in 2025 from vintage handset metal type, in order from top:

Caslon Bold Extended (1911)
Futura schmalhalbfett (1936)
Lilith (1930)
Figaro (1940)
Hellenic Wide (c.1954*)
Festival Titling (1952)
Gill Sans Cameo Ruled (1935)
Antique Condensed (pinmark from MacKellar, Smiths & Jordan, 19th century)
Ad Lib (1961)
Antique Shaded (1913)
Mistral (1953)
Plymouth (1900)

All borders are cast by Stephenson Blake, printed from new-in-box old stock fonts.

*) Note that Hellenic Wide is a 1950s adaptation of the same letter style as the 19th century Antique Extended.

“The cover design takes an untitled collage by Paul Nash for a 1960s Shell motor guide of Dorset, but introducing a lurid, vibrant colour scheme inspired by oil spills, overlayed with semi-transparent text to reveal the course halftone screen below.”

From Wolfe Hall:

Josephine Berry’s latest title explores the devastation left in the wake of modernity and how globalisation is revealing a fragile and unfamiliar planet. Surveying a body of planet-facing art, communal practices and activism, this book investigates art’s power to break with capitalist realism and petroleum landscapes, finding new ways to reimagine life on Earth.

The typographic language of the book references both vintage petrol advertising and the language of protest by styling monumental, heavy-weight, condensed lettering for chapter title pages and headers.

The main text is set to feel like a road. Each justified paragraph weaves from left to right, meandering across the page, disrupted by contextual imagery, bold footnote numbering, and a bright pink thread ties the sections together.

Wolfe Hall used Waldenburg in Condensed Medium, Condensed Heavy, SemiCondensed Heavy and Book styles.

Planetary Realism was edited by Leah Whitman-Salkin and published in March 2025 by Sternberg Press.

“歩む” (“Movin’ On”) is the third song by Indonesian J-Pop alternative rock music group Thousand Sunny, released on 14 November 2025 with video clip animation done by Pedro Musa (Senimator Studio). Japanese lyrics on this video clip use the Japanese rounded sans-serif (Gothic) typeface Kiwi Maru by Moji-Waku Research while Indonesian and Japanese (Romaji) lyrics are in Noto Sans.

mona is a student rebrand project created at ArtCenter College of Design as part of the Communication Design 4 class taught by Wendy Thai. This fictional project reimagines the Museum of Neon Art through a renewed visual system, positioning it not just as a museum, but as an experiential portal.

The Museum of Neon Art is no longer just a museum—it’s a charged space where science, art, and motion converge in an electrified dance of discovery. Visitors are invited to step into neon’s full spectrum: immersive, transformative, and alive. Through art, storytelling, and sensory experience, the identity celebrates neon’s curious spirit and ethereal presence, awakening awe while honoring its vibrational energy. This is neon reborn, where energy becomes art.

The identity uses Lexend as the primary typeface for its clarity and contemporary warmth, supporting accessibility and readability across the system. MuseoModerno is reserved exclusively for the logomark, its fluid, futuristic curves embodying neon’s movement and luminosity.

Richly illustrated and printed in two colors (purple and pink), Tous les dictionnaires sont des monstres (“All dictionaries are monsters”) is a text by Sébastien Dégeilh. It details Paulo de Cantos’ approach through a dictionary that is surprising both in the texts it contains and in the graphic and visual forms used, demonstrating great inventiveness and audacity for the time. Paulo de Cantos’ work remains little known to lovers of graphic design and book arts, despite his iconoclastic, avant-garde, and prolific output.

This is the fifth issue of La petite collection, designed by Roman Seban. As with every issue, the number is printed on the cover, typeset in his own Bertin typeface. The body text is typeset in Kelvin by Thomas Bouville, while the drop caps and quotations are from Tifo by Romain Tronchin. All of these fonts are available from 205TF.

La petite collection is co-published by the Association Presse Offset and the École européenne supérieure d’art de Bretagne (EESAB), site de Lorient, in partnership with type foundry 205TF.

To reimagine the visual communication of Sydney New Year’s Eve – one of the world’s most watched celebrations – Sydney-based Frost*collective created a bold and flexible design system to capture the event’s energy, diversity, and global reach.

Maroni plays a key role in this refreshed identity, bringing structure, clarity, and singularity to a system designed to scale across formats and evolve over three years. The accompanying sans serif is Inclusive Sans. Paired with strong graphic forms, a vibrant colour palette, and accessible iconography, Maroni helps express a contemporary, joyful and unmistakably Sydney brand.

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.

What this world need is sweet and radical love: this oversized shirt made from 100% organic cotton comes with a pink screen print featuring xx Treasure on the back. The label is set in xx Queen and xx Liberté. It’s available from studio muchogusto’s webshop.

For Eaux troubles, an exhibition by French artist Marie Guillard at Slow Galerie in Paris, graphic designer Hadrien Herzog used the serif typeface 00 Wagram by D0UBLE ZER0, set with OpenType alternates, alongside custom bubble-style lettering.

The type treatment combines the structured characteristics of 00 Wagram—referencing office-era serif fonts such as Times New Roman and Georgia—with the rounded, hand-drawn forms of the bubble lettering.

Speedy’s E-bike Rescue provides “members in the Greater Seattle area with the uninterrupted joy and freedom of e-biking, backed by an invisible safety net.” The visual identity uses Gaya Italic for the logo, paired with a bunny mascot and Authentic Sans and New Spirit for text.

Matchstic created a powerful, beautiful, and utilitarian brand system for SEI Consulting. In this a text-forward visual identity, typefaces Lang and Lang Gothic play a central role.

Read more about the branding on Matchstic’s website.

Nijerusalem is a collaboration between Nigerien synth pioneer Mamman Sani and Berlin-based electronic artist Tropikal Camel, released on vinyl and in digital format by Batov Records, London. From the Bandcamp page:

This album is the result of a serendipitous meeting at the Nyege Nyege Festival in Uganda. Both artists shared a residency and studio space, which led to long recording sessions together over the course of two weeks, capturing the organic fusion of Mamman's synth melodies and Tropikal Camel's percussive electronic beats. Despite their divergent backgrounds and ages, Mamman at 73 and Tropikal Camel at 44, they found equilibrium in their collaborative process.

The artwork for the album and two single records was designed by Avi Bohbot, who found a typographic match for the album’s musical patterns in Alterego, designed by Pieter van Rosmalen and released at his Bold Monday foundry. Information is set in Neue Haas Unica.

Alterego is constructed with nothing but horizontals and vertical lines on a grid. Most letters share the same four-verticals width, with some exceptions. On the cover M measures an extra column, and two columns are enough width for the I. Nevertheless, the cover’s stacked lines of Alterego do not form a typographic brick wall. Instead, the result looks organic because what stands out as much as the grid is the uneven distribution of its deviations. The placement of gaps (counters), intersections and subtle deviations in its rhythm such as the slightly shorter middle arm in the E or the dots in the S make all the difference between typographic Schmuck and a legible typeface (setting it at a small size and pinching your eyes helps).

Excerpt from Bandcamp:

Renée van Trier is a transdisciplinary artist that mourns the loss of the comfort of disconnected life. Her songs will soothe our anxieties, heal our torments and make us smile for weeks. The sixth CAF? release is skipping between genres such as songwriting, punk, breakcore, jungle, hardcore and parody. Have fun!

TWK Everett (by Nolan Paparelli) was used on the back cover of the sixth release of the independent music label CAF? titled Something of What We’ve Lost. The vinyl features artwork photography, drawings and handwriting by Renée van Trier herself and was designed by Julien Fischer and Pablo Perez.

Futura Display in use on the Dutch sleeve of a single by English singer Billie Davies (b. 1945). The artist name is set in all caps, while the song titles are in all lowercase letters.

[More info on Discogs]

Typographic sleeve for a French 7″ single with film music by Ennio Morricone. À l'aube du 5ème jour is the French title of The Fifth Day of Peace (original title: Gott mit uns / Dio è con noi), a WWII drama directed by Giuliano Montaldo (1930–2023) in 1970. The B-side has the title track from Le carnaval des truands (1967; original title: Ad ogni costo; English: Grand Slam), a heist movie also directed by Montaldo.

[More info on Discogs]

For realizing the identity of No Fall Zone – The Freeride Podcast, the brief called for an aesthetic that would stand out among the various social communications of the Freeride World Tour (FWT), so that it could have greater relevance and also live on as a stand-alone project. To do this, three main components were worked on.

The palette differs from the canonical FWT palette, using new, very bright, attention-grabbing colors. These colors are presented in the background by applying a gradient map to the image, introducing a new use of images that are usually without effects and rarely present as the background of the entire asset.

The sans used for the subtitle and communication in general, remains FWT’s standard typeface, GT America, although exploited differently: all compressed weights are abandoned, in favour of regular and bold: in all caps and with the addition of some ink bleeds in the subtitle, in lowercase and clean for communication. The logotype of the podcast is created using Darrell Flood’s Crazy Guy, with some minor changes to the proportions.

To add a subtle nod to the FWT branding, the typical grid of dots was then added.

A series of posters by Parisian graphic designer Pierre Jeanneau, made for Joël Pommerat’s theatrical creations Contes et légendes and La Réunification des deux Corées at the Théâtre de la Porte St Martin in the 10th arrondissement of Paris.