Is Polish design polished—or is polish the design? PLOP #01—Polish Design Revue
explores the tension between Polish identity, global aesthetics, and the endless act of polishing. Through sharp questions and critical perspectives, this quarterly revue investigates what happens when Polish design becomes polished, overpolished, depolished—or something entirely new.

Published by Slanted Publishers in collaboration with Threedotstype and the Polish Graphic Design Foundation, PLOP invites readers to rethink authorship, style, quality, and cultural context in contemporary Polish graphic design. The first issue features works by Martyna Wędzicka, Kuki Iwański, and Paweł Mildner, an essay by Aleksandra Tulibacka, and edgy forms of the Radius typeface.

PLOP is a thought-provoking snapshot of current debates in Polish visual culture—questioning whether polish enhances identity or erases it.

The English-language magazine was edited by Rene Wawrzkiewicz together with Lars Harmsen and Marian Misiak who took care of the design. The saddle-stitched brochure was offset printed and has 24 pages measuring 21×29.7 cm. ISBN 978-3-69202–007-5

Mister Wrocław is a book, an album and a walking guide dedicated to residents, visitors, and anyone interested in the architectural landscape of Wrocław (Poland). The publication revisits the legacy of postwar modernism in the city, following the path of the historic “Mister Wrocław” competition, a public referendum that, between 1960 and 1977, animated the pages of the local press, engaged citizens, and fostered a spirit of creative rivalry among architects.

The book proposes four routes through the city, guiding readers to both iconic buildings and lesser-known structures whose bold original visions have sometimes faded through time or transformation. In this sense, the project functions not only as a guide but also as a cultural archive, reconnecting contemporary audiences with a formative period in the visual and spatial identity of Wrocław.

From a typographic perspective, the publication reflects the same attention to detail and contextual sensitivity that shaped the architecture it documents. Titles are set in Patyk, a new typeface from Threedotstype, developed with an awareness of historical form and contemporary typographic practice. The body text is composed in RL Sezon, designed by Radek Łukasiewicz, another typeface rooted in Wrocław’s design culture. Together they form a typographic dialogue between local history, editorial design, and contemporary type design.

The book concept was developed by Alicja and Maurycy Prodeus (Fandom Foundation). Illustrations by Katarzyna Szybka. Archival research and text by Iwona Kałuża, while Dawid Błaszczyk was responsible for archival work and graphic design. The extended editorial team includes Paweł Starzec, Iza Wiśniewska, and Maciek Czarnecki.

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 World’s Best Typography, Typography 46 brings together the work of the winners of the latest TDC competition for typographic excellence from around the globe in communication design, lettering, and typeface design. For the past seventy years, the Type Directors Club has encouraged the design community to achieve excellence in typography through annual competitions. This high-quality volume showcases the award-winning selection while redefining the boundaries of visual communication.

Curated by the Type Directors Club, this year’s selection features outstanding projects from 33 countries – including Germany, Japan, Georgia, Israel, New Zealand, Peru, Thailand, Ukraine, the United States, and many more. The result is a compelling display of creativity and global diversity in contemporary typography.

In the Judges’ Choices section, each juror highlights their favorite entry, accompanied by personal commentary and insightful statements from the designers – offering readers a deeper look into the passion and process behind the work.

The Young Ones TDC winners provide an exciting glimpse into the future of typography. With their bold ideas and fresh energy, they inspire and challenge the status quo.

A carefully compiled index of the main typefaces used, complete with the names of their designers—makes this book not only a visual delight but also a valuable reference tool.

The World’s Best Typography, Typography 46 is more than just a design annual. It’s a tribute to the power of type, the craft of design, and the global community that continues to shape and advance both.

The book is published by Slanted Publishers and edited by the Type Directors Club, with Griffin McCabe, Joe Newton, and Carol Wahler serving as editors. The design was developed by Slanted Publishers under the creative direction of Lars Harmsen, Pola Małaczewska, and Marian Misiak. Publishing direction was managed by Lars Harmsen and Julia Kahl, who also oversaw the final artwork. The book was released in October 2025, the book measures 21×28.5 cm, comprises 288 pages, and is published in English. It features a softcover with open thread-stitching and high-quality offset printing. Printing was carried out by NINO Druck in Germany, with bookbinding by Buchbinderei Spinner. The publication uses fine papers by Fedrigoni Paper and features the typefaces Heneczek, Radius, and Extract Semislab, all by Threedotstype. The ISBN is 978-3-948440-98-5, and the retail price in Germany is €69.

This release of "New Look NEIPA" marks something special – a fresh visual identity for Browar Stu Mostów, a Wrocław-based craft brewery whose name means “One Hundred Bridges.” The name isn’t a coincidence. Wrocław is a Polish city literally tied together by over a hundred bridges. Just like its hometown, the brewery connects tradition with innovation, people with craft, and design with flavor. It’s a place where creativity flows as freely as the beer itself, and you can experience it all in their vibrant taproom.

“New Look NEIPA” embodies everything Browar Stu Mostów stands for – bold experimentation, expressive character, and pure enjoyment. Juicy, aromatic, and naturally cloudy, it bursts with notes of white and green fruits from the mix of American Mosaic and New Zealand Motueka hops. A generous Motueka whirlpool addition deepens its tropical intensity and smooth finish.

A new look with a new font: Extract Grotesk, a new chapter – and a beer that perfectly bridges design and taste. Cheers!

Over the past two years, the Fundacja Ładne Historie (Ładne History Foundation), together with local residents, has been uncovering the rich history of Grunwaldzki Square in Wrocław, Poland. Interviews, walks, memories, and workshops all played a part in the process. The project “Grunwaldzki Square – The Untold Story” culminated in March with the release of a zine – the very first community-created record of local heritage. The publication was designed by Ewa Głowacka, using the RL Limo and Neue Haas Grotesk typefaces, and printed by Effemera Press.

Designed by Joanna Jopkiewicz and published by Wydawnictwo Warstwy, this book uses the typefaces RL Grot and Cardea to support its thoughtful and cinematic narrative.
Te wszystkie Raje, Zrywy i Jutrzenki. O małych kinach na Dolnym Śląsku (“All Those Paradises, Uprisings, and Dawns. About Small Cinemas in Lower Silesia”) was released exactly 130 years after the first paid film screening using the Lumière brothers’ cinematograph. Created out of a deep affection for cinema, this publication by Lech Moliński and Jerzy Wypych explores the intertwined histories of film, region, and the shared experience of watching movies.

Lech Moliński’s twelve essays document the cultural role and unique atmosphere of small-town cinemas in Lower Silesia, places like Bystrzyca, Dzierżoniów, Lubomierz, and Złotoryja. The texts combine historical research with personal reflections on the enduring magic of local cinema spaces. Complementing the writing is Jerzy Wypych’s photographic essay, which forms an independent visual narrative. His photographs, taken entirely in and around the cinemas visited during the making of the book, seek to reinterpret rather than simply illustrate the stories told, capturing the fleeting, multisensory nature of the cinematic experience.

This is an important book for lovers of film, regional history, and the emotional and architectural legacy of cinema halls, those that are gone, those that remain, and those still to come.

Animation of the original wordmark done by Pola Małaczewska for Threedotstype

BIG IDEA GROUP – a name this bold demands a typeface that matches its ambition. The designers behind event agency BIG knew exactly what they were doing. Enter Radius by Threedotstype – originally designed for typesetting on curves, this typeface brings a bold presence that naturally draws attention. Its confident, bold letterforms elevate BIG’s branding, from the powerful logotype to the titles of upcoming shows. It’s a clear example of how typography can strengthen and support a brand’s voice.

Etykietki.co is an online catalog of matchstick labels, presenting a collection of Polish labels from 1949 to 1983. The website was created and is run by Dominika Federowicz. All text is set in RL Limo and Outfit.

The website was coded by Oh Studio.

Grupa Projektor opted to use the RL Grot typeface for creating the identity for the exhibition titled Te wszystkie raje, komety i polonie (“All These Paradises, Comets and Polonais”), which took place at the Foto-gen gallery in Wrocław, Poland.

The exhibition refers to “the 20th century belonging to film – both in terms of artistic exploration and as the most popular form of mass entertainment. For most of that century, film was inextricably linked to the cinema hall. In order to experience the power of moving images, viewers had to leave their homes and go to a specially adapted screening space.”

Experiments change our perspective. This experiment serves as a starting point for discussing the role of language and letters. The show HAHAHA / AHAHAH: Practical and Impractical Typographic Exercises show is part of the Bydgoszcz Design Days 2024 that took place at Młyny Rothera.

Through a series of algorithm-generated posters, the show reflects on the evolving nature of language and the interplay between artistic expression, technology, and unpredictability. The posters were created using p5.js and AI and are based on statistical data about various aspects of languages.

The designers and authors of the show (Pola Małaczewska, Marian Misiak & Honza Zamojski) have used all typefaces from the Threedotstype library for the posters, along with an unreleased font.

New website and graphics for Mothers*, Warriors & Poets, a group of visual artists and curators exploring the topic of care work. Designed by Studio Cabrio, using Radius from Threedotstype and TT Commons from TypeType

From the website:

Women*, especially mothers*, continue to perform the majority of un(under)paid care work. This inequality is exacerbated in the art industry, where the gender pay gap is higher than the average for society as a whole. Discrimination on the basis of care work is widespread, and children are often seen as career killers for their artist mothers*.

Mothers* Warriors and Poets are a group of visual artists and curators from Stuttgart (Anna Gohmert, Renate Liebel, Marie Lienhard), Karlsruhe/Istanbul (Didem Yazıcı ) and Freiburg (Dr. Sascia Bailer) who worked together for the first time in 2020 (Corona).

In exhibition and discourse formats, M*WP creates a platform for invited artists to network, exchange positions and show good art. Synergies are bundled and a gender-equitable art sector in Germany is sought.

Poetic note from Kalina Zatorska, author of Kontrowersy (translated to English):

Kontrowersy were created out of the need of the moment.
If they find a sponsor/fan/recipient –
they will continue to be published.
If it is not found –
they will continue to be published.
Until it will be found.

The third edition of Kontrowersy was designed by Łukasz Walawender. Radius by Threedotstype is used throughout the entire issue for bold headlines and small captions. The magazine logo is set in Tungsten from Hoefler & Co.

Editorial design by André Cruz for RS79 Toronto by photographer Pedro Lobo, designed in September 2023 for wine sellers Niepoort, printed at Gráfica Maiadouro with Fedrigoni paper. The book is set in Radius by Threedotstype and Söhne by Klim Type Foundry

From the designer’s website:

Pedro Lobo’s book is a visual journey documenting the Rolling Stones’ 1979 charity concert in Oshawa, Toronto. This unique event, born from Keith Richards’ legal challenges, became a pivotal moment in rock history.

Faced with drug-related charges in Canada, Keith Richards orchestrated the band’s return for a free charity show. The result? Absolution and a legendary performance.

In RS79 Toronto, Lobo’s lens immortalizes the night’s energy, the crowd’s passion, and the Stones’ raw performance. It’s an unexpected visual testament to unity, redemption, and the universal language of music.

Poster for a dance piece by Emma Tricard and Cécile Bally shown at Ballhaus Ost, Berlin. Based on a photomontage by Amélie Laval.

The Flood / Die Ausschreitung / Le Débordement is a science fiction book written by Clay A.D., based on ideas and texts plotted and edited by Emma Tricard and Cécile Bally during public workshops.

216 p., 10×18 cm, perfect binding, four-color printing.

A Karakter Publishing house founder and progressive book designer, Przemek Dębowski created a custom line of products with unique graphics that show a Polish ironic slogan. “Zawsze kurwa cos” could be translated as “Always some fucking problems”. The graphics have been aplicated on T-shirts, cups, and posters.

Radius by threedotstype is a variable font with three axes, allowing the user to optimized the letterforms for typesetting on curves.

Radius (Threedotstype) and Denim (Displaay Type Foundry) in use for Visible Invisible. The exhibition was part of the second edition of BAP! (Biënnale d’Architecture et de Paysage), curated by Nicolas Dorval-Bory and Guillaume Ramillien, and on show in Énsa Versailles from 14 May to 13 July 2022.