The exhibition Campo e Cidade na América Latina is shown at the Centro MariAntonia in São Paulo from November 25th 2025 to May 31st 2026. It presents a selection of architectural and urban planning experiences developed between Brazil and other Latin American countries throughout the 20th century. By articulating technical knowledge and community practices, these agents sought to bring rural and urban ways of life closer together, illuminating housing not only as a construction, but as the basis of social life. By revisiting these reflections and practices, the exhibition proposes to denaturalize the dichotomy between countryside and city and reopen the debate on the persistent inequalities, dependencies, and geopolitical disputes in Latin America, reaffirming the urgency of rethinking the relationships between culture, territory, and housing on the continent.

The design team for the exhibition had the challenge of translating the theoretical density of the material into an accessible spatial narrative. A large number of plaques were designed to compose the large timelines, presenting dates, texts, photographs and drawings. One of the main guiding principles of the project was to bring the materiality of the theme into the exhibition space; cardboard panels with exposed sides and truck tarpaulins were used as supports for the text. The selected typeface was Baste, by Lift Type. Its blocky, rectangular shape with round corners alludes to the aesthetics of construction blocks and the interlocking of machinery. The round corners were also replicated in the outlines of the exhibition panels. It was coupled with TWK Lausanne by Weltkern for the texts.

The cover design is by Atelier Baudelaire and Clément Frassi, based on a project developed with Jérémie Harper (GeneralPublic) in 2017 for the Salon de Montrouge.

Practical Grotesk is used throughout Three Dimensional Type. From publisher Counter-Print Books:

This compilation showcases the limitless possibilities of letter forms transformed into 3D objects of art. Explore the fusion of the familiar and the extraordinary as designers push the boundaries of perception and creativity. Discover the freedom from rules and guidelines, the integration of AI and advanced software tools and the exploration of texture, transparency, volume, form and colour.

With remarkable works by talented designers and insightful project descriptions, this book is both a handy source of inspiration and a snap shot of uncharted territory.

The softbound book has 200 pages measuring 190×265mm.

The spread design is by Counter-Print.

Initially beginning as a branding project, Wade and Leta designed and built the physical lockup for Taubmans’ 2021 campaign, Chromatic Joy. From their case study:

Our multi-layered logo and its system of glyphs existed as physical wall reliefs that, when assembled, would create a giant composition that we photographed for the header of the website. Each of these letters and glyphs were hand painted to showcase the vibrancy and tactility of Taubman’s colors for 2021. We had a lot of fun determining this modular typographic approach as it gave us infinite opportunities to showcase Taubman’s color pairing possibilities with our material approach.

Additionally, we designed our own ideal buildings to supplement the site by pulling inspiration from architects like Kunihiko Hayakawa and Kazuo Shinohara. Everything was nicely linked together with the eclectic palette derived from Taubman’s colors of the year in order to exist on Taubman’s digital annual report website (designed by Sons & Co.) featuring loads of chromatic inspiration and insightful interviews with other colorful creatives such as Yinka Ilori, Camille Walala, and Adam Nathaniel Furman. We’re in there too ;)

Geometer is used alongside what looks like Gordita as well as an unidentified sans similar to LL Circular.

The exhibition Acervo de Histórias: Fazeres em Movimento brings together 44 works created by artists who have taken part in the Espaço de Tecnologias e Artes (ETA – Sesc Santo André) over the years. Everything emerges from processes experienced in workshops, courses, and educational activities. The exhibition highlights productions by 35 artists, artisans, and art educators who participated in ETA at different moments in their trajectories.

Man Ray: When Objects Dream at The Metropolitan Museum of Art is the first major exhibition to examine the radical experimentation of American artist Man Ray (1890–1976) through one of his most significant bodies of work, the rayograph. Man Ray coined the term to name his version of the 19th-century technique of making photographs without a camera.

Featuring 160 rayographs, paintings, objects, prints, drawings, films, and photographs, Man Ray: When Objects Dream highlights the principal place of the rayograph—a type of cameraless photograph—within the context of many of the artist’s most important works. This exhibition includes thirty-five works by Man Ray which are part of the major promised gift of nearly 200.

Cover of Decoratori Bassanesi’s Journal Edition N. 1

A new corporate identity for Decoratori Bassanesi, an Italian producer of craft-inspired ceramic tiles developed in collaboration with international designers.

Filippo La Duca and Stefano Lucchetti, working with art director Federica Biasi, redesigned the identity to establish a sharper, more contemporary visual language grounded in research and innovation.

The system is built around a responsive logotype and typographic framework designed to operate fluidly across print and digital contexts. Echoing the modular nature of the tiles themselves, the typography adapts across scale while maintaining consistency and presence.

The identity uses BST Ritma for the logotype and primary communication, with GT America Mono in a supporting role.

The Insectarium opened in 2023, a permanent installation in the American Museum of Natural History’s Gilder Center for Science, Education, and Innovation. The exhibition was art directed by Catharine Weese. Rayna Weingord served as the lead designer on the Gilder Center from 2021 until it opened in 2023. She worked with Eleanor Kung, Molly Magnell and the AMNH’s in-house team.

Rift and Aglet Slab, both monolinear with round stroke endings, support the approachably educational science center. The condensed proportions of Rift lend it toward titles, while Aglet Slab performs in exhibition-scale paragraphs. Atlas Grotesk is used for smaller-scale body copy, such as in the Insectarium Educator's Guide.

Exhibition poster

In 2025, Museu de Arte de São Paulo Assis Chateaubriand (MASP) presented Frans Krajcberg. Reencontrar a árvore / Rediscovering the Tree. The exhibition brought together more than 50 large-scale works, including sculptures, reliefs, engravings, and paintings, that challenge convention. They reflect the artist’s appreciation for Brazilian nature and his commitment to denouncing environmental destruction.

Curated by MASP’s artistic director, Adriano Pedrosa, and assistant curator, Laura Cosendey, the exhibition provided a comprehensive overview of Frans Krajcberg’s work. Krajcberg was born in Kozienice, Poland, in 1921 and died in Rio de Janeiro, Brazil, in 2017. A pioneer in integrating art and ecology, Krajcberg is known for raising awareness of environmental issues in Brazil. Throughout his career, he conducted artistic research that branched out into themes such as ferns, blooms, reliefs, and shadows. These investigations culminated in works created from vines, roots, remnants of tree trunks, charred wood, and natural pigments. These materials comprise the bulk of his body of work.

The visuals for the exhibition were created by Alles Blau, using Gaya and FT Aktual. The designers comment on the concept for the accompanying publication:

The catalog was designed to carry the weight of the artist’s environmental protest without aestheticizing it.

Krajcberg transformed destruction into sculptural form: charred wood, violated roots, scorched pigment. The design follows that logic. Typography with organic, irregular contours echoes the texture of his work; generous white space and deliberate rhythm between text and image give the material room to breathe – and to press.

The project works within MASP’s established parameters: hardcover, fixed format, a classical approach to texts and reproductions. Within those constraints, the cover’s gradient is extended onto the painted top edge of the book, turning a structural element into a sensory and poetic continuation of the image.

Teaser poster

From Wikipedia:

Marty Supreme is a 2025 American sports comedy-drama film co-produced and directed by Josh Safdie from a screenplay he co-wrote with Ronald Bronstein, loosely based on the life and career of American table tennis player Marty Reisman. Co-produced by and starring Timothée Chalamet, the film also features Gwyneth Paltrow, Odessa A’zion, Kevin O’Leary, Tyler Okonma, Abel Ferrara, and Fran Drescher in supporting roles.

The main posters feature the title in a stretched and manipulated version of Gill Kayo Condensed and corresponding headers in Neue Helvetica Condensed, including its Heavy style. The billing block is set in Bee Two.

Eric Gill, the designer of Gill Sans, initially called the ultrabold style “Sans Double Elefans”. Released as Kayo, derived from “K.O.” (i.e. knockout in boxing), it feels appropriate for the main movie title on the poster, as it is a very prominent typeface used in sports.

The movie logo compared to a resetting in Gill Kayo Condensed with stretched letterforms. Various subsequent optimizations have been made, see for example the horizontals in T and E, the counters in A and Y, or the bottom of U. In the process, some glyphs like R ended up resembling Gill Sans Extra Condensed Bold.

Timothée and Josh Safdie imitating the Marty Mauser pose at the Marty Supreme black carpet in Los Angeles.

Gwyneth Paltrow in front of the movie logo

Gaya Upright and Italic in use by Silvia Minali for Resisting Oblivion. Passion and Activism in the Feminist and Queer Archives of Bologna. The exhibition was shown from May 29 to September 28, 2025, at the MAMbo – Museum of Modern Art of Bologna.

Sara De Giovanni, who has coordinated the project, presents it as follow:

The project, which lasted three months and concluded on September 28, was curated by historian Chelsea Szendi Schieder in collaboration with a group of queer and feminist archives based in the city of Bologna. All these archives are part of non-profit associations that joined forces to highlight through the exhibition the work carried out by archives and human rights associations in combating the processes that attempt to erase the memory of LGBTQIA+ individuals and subjectivities in a society increasingly marked by dangerous currents of homo-lesbo-bi-transphobic hatred.

On the occasion, the museum did not directly produce the exhibition—neither in terms of choices about installation nor about graphic design—but instead offered the associations and archives a space to realize the initiative, endorsing it politically within the broader context of Bologna, a city known for its strong commitment to fighting discrimination and prejudice. The promoting associations did not gain any profit from this project other than the increased visibility of the causes they represent.

The main title is handwritten, paired with Gaya Italic.

The rounded sans used for the location and date at the bottom (and for the information about the other exhibition) is the original version of LL Typ1451.

Information is presented in Gaya (headline) with what appears to be DIN 2014 and DIN 1451 Engschrift.

Formula E is a single-seater motorsport championship for electric cars, the electric pendant to Formula 1. This championships focuses on sustainability and innovation in electric vehicles by reducing the footprint of the races through diverse means and compensating the remaining emissions (though I still wonder how the cars, racers and staff are traveling around the world).

For their rebranding with the launch of their ninth season in 2023, Formula E commissioned a script font, FE Torque, made by lettering artist Rachel Joy Price based on the new logo she designes. It’s used for main titles and to accentuate some words. A custom cut of NaN Jaune was also developed. Named FE Sans, it’s used for all other typographic materials.

The custom cut puts aside the signature touching/closed apertures of Jaune and brings calmer and more traditional structures to some characters such as a monocular a and g, an e with an horizontal bar, etc. The resulting font family is used for all the branding and communication of the FE brand, from the subtitle of their logo, their website, the on-site communication and signage during the races, social media, infographics, etc.

FE Sans also comes with dedicated titling alternates which bring notches – drawn almost like ink traps – to the stems of the capital letters.

See the full case study on the website of lead designer Tom Myers.

Care.com (launched 2007) is an online marketplace for families to find childcare, senior care and pet care, etc. It is also a two-sided marketplace allowing caregivers to find jobs.

The platform launched a rebrand in 2025, directed by Manual. The agency makes the whole identity revolve around three type families: the serif/sans duo Oceanic Text / Oceanic Grotesk as well as NaN Druid Sans. The wordmark itself is set in a customized (by its own designer) version of Oceanic Text, the biggest change being to switch to an asymmetrical construction for the capital C with only one serif on top, whereas the original typeface featured one serif on the bottom as well. The logo symbol is an inclusion of a lowercase c inside a capital one, invoking notions of protection and of – care. You got it.

In terms of type hierarchy, NaN Druid is mostly used for main headings, Oceanic Text for sub-headings and Oceanic Grotesk for all texts. While both Oceanic families share a gentle spirit due to the relative roundness of their structures and details, NaN Druid Sans appears frank with its humanistic (open) structure, sharp ending and slight contrast.

See the full case study.

A designer’s discovery: when Mary Sanche, Senior Graphic Designer at the Royal Tyrrell Museum of Paleontology, was searching for the perfect typeface for the museum’s new First Life exhibit, she had an instant connection with Aldero, describing it as “everything I was looking for!! Love at first sight…”. The resulting permanent gallery, The Origin of Biodiversity in Drumheller, Alberta, focuses on the complex evolutionary timeline of early animal life on Earth.

Beyond initial attraction, Aldero proved to be a practical foundation for the project. Sanche noted that the font “acted as a guide for a lot of our design decisions.” Its robust, clear nature was essential for the exhibit environment, where the main title was even "made into powder-coated aluminum letters" for durability and visual impact.

Aldero is utilized across all exhibit media—from the dimensional titles to small-print body text—to ensure a clear, cohesive, and accessible museum experience. The typeface is available from R9 Type+Design.

Quang San Art Museum is the first private art museum in Ho Chi Minh City dedicated exclusively to Vietnamese fine arts. With a growing collection of over 1,600 historically and culturally significant works, the museum offers a rare lens into the evolution of Vietnam’s artistic identity – from the beginning days of Indochine aesthetics to the dawn of contemporary expression.

M — N Associates, based in Ho Chi Minh City too, created the new identity of the museum in 2025. Their concept, “Layers of Contemplation”, draws inspiration from the structure of a painting itself – where canvas, frame, and gesture form a unified whole. For the purpose of the identity, they created a custom typeface, MN QSAM, a sans serif inspired by the museum’s signature architecture – where sharp structure meets quiet elegance. It features an extended set of alternates for its capital, showing interrupted strokes remembering of a painter brush strokes.

On top of their custom font, the identity features the type system NaN Serf Sans (primarily) and NaN Serf (more sporadically). The humanistic sans NaN Serf Sans, with its open counters and high legibility complements MN QSAM perfectly for all running texts, small signs, the website UI… This project shows M — N Associates coming back once more to NaN for fonts with a good support for the Vietnamese language out of the box.

Visual identity and signage for the PFA Awards 2025 developed by The Lift Agency. The award is for the best footballers in the top English leagues as voted by the other players.

The typeface in use is Realm by Approximate Type.

Ultramorbidi is a Bremen-based duo that –

“one, i like it like FLOSS”

“two, free libre open source”

“three, and it’s got no boss”

“WE DE-CEN-TRA-LIZE, fedilike that!”

Henning Larsen Architects and Arba Grafisk have developed the signage system for the new Oslo University Hospital, Radiumhospitalet. Radiumhospitalet is one of the four campuses of Oslo University Hospital in Oslo, Norway, and is dedicated to cancer treatment.

All signage is set in the Medium weight of Store Norske Ja, available from Skriftkompani.

Pepsi also extended its “Love It. Live It.” campaign to a series of limited-edition cans, distributed in over sixty countries.

In 2018, as part of its official partnership with the UEFA Champions League, Pepsi launched the campaign “Love It. Live It. Football.” using the Sofia Pro typeface family as its primary typographic element. This worldwide campaign featured iconic players such as Lionel Messi, Marcelo, Toni Kroos, Carli Lloyd, and Dele Alli. The slogan “LOVE IT, LIVE IT” appeared in all-caps Sofia Pro Black, giving the brand a bold and cohesive visual presence.

Pepsi rolled out this typographic identity across all visual materials, including packaging, limited-edition cans, and a commercial aired in multiple countries. The ad showed the players taking part in an impromptu street match using paint-filled blue balls, symbolizing the energy and passion of football.

To enhance the visual impact, black-and-white portraits of the players were shot by photographer Danny Clinch and then transformed into unique artworks by local artists from the players’ home countries.

The logo for the UEFA Champions League Final in Kiev (not part of Pepsi’s campaign) is based on Oksana Text.

In 2018, during the UEFA Champions League final in Kyiv, Pepsi brought its “Love It. Live It.” campaign to life through a unique immersive experience designed by creative director Edmund Sorrell. The core concept offered a 360° interactive journey, taking fans from spontaneous street-style play to the intensity of the stadium, allowing them to experience football in an authentic way and feel closer to their football idols.

A 360° interactive football game takes players from honing skills on the streets to the pressure of the stadium.

Pepsi also extended its “Love It. Live It.” campaign to a series of limited-edition cans, distributed in over sixty countries. Each can featured the portrait of a star player such as Lionel Messi, Marcelo, Toni Kroos, Carli Lloyd or Dele Alli, combined with graphic elements inspired by their cultural backgrounds. Designed as collectible items, these cans reinforced the campaign’s visual identity while offering fans a tangible way to celebrate their love for football.

Totem created with Sofia Pro for the VIP hospitality at UEFA Champions League Final in Kiev by Design Group Italia.

Les lettres sont de belles manières de voyager (“Letters are a great way to travel”) is a graphic project carried out as part of the “1% for art” initiative for the extension of the Maurice Genevoix high school in Ingré, located in the Centre-Val de Loire region.

This project is based on the creation of a typeface family designed for the users of the high school. To support the project and see these fonts in use, various graphic objects and interventions, at different scales, were produced. The library’s signage uses the Genevoix typefaces in the form of adhesive foil letters. Then, a freer intervention exploits the potential of the typographic forms through the play of letters and colors as window stickers, tinting the light that enters the high school corridor. The name of the high school is also typeset in Genevoix Display on two sides of the facade.

The exhibition Stephen Jones, chapeaux d’artiste at the Palais Galliera presents the work of this British designer – unquestionably one of the greatest contemporary milliners – from his first collections in the 1980s to the most recent.

For the first time in over fourty years at the Palais Galliera, an exhibition is devoted entirely to an accessory, the hat, elevated to a work of art. The exhibition focuses on Stephen Jones’ creative process, the sources of inspiration behind his pieces and the place of Paris in his work.

Graphic designer Camille Guitton was commissioned to create the exhibition design. She chose to work with Selva for the titles and ES Peak for the body text.