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.

From the MoMA Design Studio:

This exhibition features one of the last remaining capsules from the Nakagain Capsule Tower in Tokyo. The building, demolished in 2022, was an example of Metabolism—a Japanese architectural movement whose members believed that buildings could adapt over time.

MoMA’s capsule, A1305, anchors the exhibition and is visible to passersby on 53rd street. To pique their curiosity, we worked with the curatorial team to design a street-facing prompt that shares the history and significance of the capsule and invites them in with a question, “would you live here?”

Inside the museum, a bold title wall draws visitors in via a crowded lobby. The rounded typography is inspired by the capsule, and textured vinyl on the title wall directly references the capsule’s stucco-like exterior. Throughout the exhibition, the design balances English and Japanese titles as a respectful gesture to the building’s origin.

The exhibition’s signage combines Baste (from Lift Type) for the headlines with Source Han Sans for the Japanese text.

How can a tech podcast become Silicon Valley’s newest obsession?

For TBPN – the Technology Business Programming Network – the answer began with branding. In 2025, Los Angeles–based creative agency Day Job developed the network’s identity and website, positioning the show somewhere between a financial news channel and a sports broadcast. Drawing inspiration from Formula 1 sponsorship density, forest-green “country club” codes, and lo-fi VHS effects, the system embraced spectacle over startup minimalism. In 2026, Area Technology expanded the identity with a brand refresh and a new suite of live broadcast graphics, intensifying TBPN’s on-air presence across streaming platforms.

At the center of both phases is Record Laser, designed by Image Format and published under Sharp Type's season two catalogue. Used as the sole typeface across the entire system, Record Laser carries headlines, motion graphics, and interface typography without auxiliary support. The decision to rely exclusively on a single display family underscores its range and broadcast legibility, positioning the typeface not simply as a stylistic layer but as the structural and expressive core of a contemporary media brand.

TBPN website

TBPN logo lockup

Functional chyron system with extensive font and color configurations for live broadcast

Vertical card graphics for social media

Fanfic. Vers de nouveaux usages passionnés et graphiques (“Fanfic, towards new passionate and graphic uses”) is a book made by Laurie Liviero as thesis project at Ésac Cambrai in 2025. It was designed using Baste (from Lift Type) and Times New Roman.

Liviero describes her book as follows (translated from the French):

This thesis might never have existed, as it is the successor to many abandoned and discarded topics. It was born from a sentence thrown out into the wind, almost as a joke: Imagine, a thesis on fanfic. Why take the risk? Too popular, too intimate, too loaded with connotations. As if I were going to have to expose myself, no longer able to hide. But behind these doubts, ideas persisted: reinvented stories, reappropriated graphics, shared passions. These issues were ultimately the key, since they now constitute the object you are reading. A testimony that I hope is passionate, critical, and educational, and that I now leave to its own devices. Right here, in the palm of your hands.

X Games is one of the world’s most recognizable action-sports institutions, a global league where skateboarders, BMX riders, skiers, and snowboarders push the outer limits of athletic possibility. Founded by ESPN, the competition has evolved into a year-round ecosystem of events, broadcasts, and digital storytelling, shaping how action sports are seen and celebrated.

Across summer and winter seasons, X Games operates as both showcase and proving ground: a space where athletes meet high and intense stakes, define entire eras through a single run or trick. Its identity must hold all that intensity while remaining clear, immediate, and unmistakable at any scale.

Record Laser appears throughout the identity as the primary wordmark. Its sharp, unapologetically retro-futuristic forms capture the speed and adrenaline core to X Games culture. The typeface’s angular rhythm and high-impact silhouette lend the brand a distinct visual charge, one that feels equally at home on a broadcast graphic, a leaderboard, or a city-scale billboard. For the main titles, the design team choose bold weights of Lateral Extended and paired it with Lateral Condensed and Medium for the lower level of text. Lateral is a super extensive font family by Schick Toikka.

The rebrand was developed by WKND HRS, with contributions from designers including Noé Garsoux, Manas Trivedi and others.

Wordmark construction (detail)

Wordmark construction

Five styles from four of Lateral’s widths and their roles in the typographic hierarchy

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This is a project I developed as part of my DNMADE in Graphic Design at École Estienne, April 2024.

After writing my dissertation, I decided to conduct interviews with professionals working for and within various cultural institutions in order to enrich my thinking within the framework of my degree project. I wanted to interview key players involved in different stages of exhibition creation: a museographer, a graphic designer and a scenographer. Their different points of view, influenced by their roles, missions and objectives, provide complementary perspectives. Comparing and contrasting these often related points of view was therefore essential to understanding the subject.

Each interview is presented in a coloured section, making it easier to read. The layout of the pages and the binding allow for non-linear exploration, where the reader can choose to follow the testimony of a single contributor or navigate freely between the different interviews, much like one might wander through an exhibition. A list of pictograms is also included to highlight certain vocabulary words and summarise certain ideas, thus offering a more visual dimension to the reading experience. These were used to design around twenty diagrams, which appear between the responses to make the reading experience more accessible."

Selfridges is a renowned British department store known for its innovative retail experiences and commitment to creativity, sustainability, and culture. Founded in 1909 by Harry Gordon Selfridge, it has grown into an iconic brand with stores in London, Birmingham, and Manchester. Selfridges champions progressive values and forward-thinking design, offering a curated mix of fashion, art, and lifestyle, all within architecturally distinctive spaces.

Summer of Sound is Selfridges’ seasonal celebration of music culture, featuring live performances, exclusive collaborations, and immersive in-store experiences. For summer 2025, the campaign includes events like “Dream Frequencies” in partnership with Manchester International Festival, transforming store spaces into vibrant music venues. The programme blends fashion, sound, and community to spotlight emerging talent and global genres. For the campaign online and in the streets of Manchester, they used the new typeface by Image Format Record Laser- They paired it with Eurostile Thin for the captions.

Nexus Station aims to create a space for artistic convergence, dedicated to emerging creators from across France, including illustrators, comic artists, graphic designers, ceramicists, DJs, and more. The association's mission is to encourage exchange and collaboration between a new generation of artists from diverse backgrounds, while making art accessible to everyone. It wants to become a meeting point between artists and their (future) audiences, blending creativity, community, and cultural discovery.

The association is committed to organizing multidisciplinary artistic events such as exhibitions, DJ sets, creator markets, workshops, creative pop-up stores, and more. These initiatives come together over one weekend during the Nexus Station micro-festival.

Its art direction is renewed each year by Hénagone.

DesignStudio reimagined the identity of DNEG, a world-leading visual effects and animation studio. The new branding reflects the company’s cutting-edge creativity and technical expertise. A key element of the identity is DNEG Script, a custom version of Sans Plomb (from Lift Type), developed specifically for titling. It is paired with Attila Sans (from Kometa) for secondary text, creating a balance between bold expression and clarity.

Tortillas are an omelette dish and a Basque institution. For Amatxi, studio Morbo created a brand identity to break with the dish’s exclusivity in pintxo bars. Between tradition and modernity, the identity is based on a custom-drawn wordmark, which can be shortened to a monogram A, and the slogan “tortillas sin hostias” (“tortillas without wafers”).

The visuals are created with Baste (from Lift Type) as the titling font, paired with the 45° version of Bourrasque (form Bureau Brut) to bring rhythm to the typographic compositions.

Description of the project by the designers of Santos Lemarchand:

The terravivaevents socio-cultural space is built on a plot of farmland in Venerque (Haute-Garonne, France). This link to the land is reflected in the name Terraviva, and is reflected in the architectural choices made. Signage, meanwhile, links the building to its users. For us, it’s also an opportunity to extend architectural expression.

To design the identity of this socio-cultural space, Noémie Santos and Antoine Lemarchand chose the typeface Cardone, designed by Fátima Lázaro (205TF) and Baste, designed by Image Format (Lift Type).

The sign painting was done by Romain Lier.

Ingranaggi is a cultural festival organized by Radio Sonora and Filmeeting that brings music and art into the companies of the Bassa Romagna region. It features stages immersed in workplaces and performances that transform production spaces into artistic settings.

For the 10th edition of the festival, we took care of the new visual identity and all online and offline communication. Through social media and print materials, we gave visual form to the soul of the festival, creating an identity that blends industry and creativity.

Some posters, T-shirts and illustrations around the theme of glaciers, mountains and nature for Agir pour les Glaciers (“Taking Action for Glaciers”), a festival that took place in March 2025 in Bourg-Saint-Maurice, France.

Back Forum is the must-attend event for Back Market’s most committed pros. The brand wanted a powerful identity to create a real community, evoking a club and team spirit, just like the major sports leagues: the Back Market Champions League.

Studio OUAM created the identity for the sellers’ club, drawing inspiration from sports clubs and integrating the brand’s DNA through elements such as a flag, a series of badges and vintage typography based on Sans Plomb (from Lift Type) and Ivar Soft (Letters from Sweden). This identity was applied to a variety of media for the evening, including a personalized checkroom.

OSHI is a talent development platform that creates fertile ground for driven musicians and aspiring creative professionals through collaboration and connection. Inspired by R&B, soul, jazz, hip hop and related genres cultures, the visual identity of OSHI is based on a colorful and impactful graphic system.

The typography combines Baste from Lift Type, used for logo and titles, paired with Denim INK from Displaay Type Foundry, used for all other texts.

Zagreb’s Žarište is a venue for contemporary live music, comedy, and theater. The visual identity, designed by the DISKO collective, blends cabaret-inspired flair with art deco sophistication to reflect the event’s dynamic energy. Bold typography and geometric patterns take center stage, creating a striking aesthetic that captures the vibrancy of the music event.

Rich, saturated colors and rhythmic compositions evoke both nostalgia and modernity, aligning perfectly with the eclectic spirit of Žarište. The design serves not only as a visual statement but also as an integral part of the event's identity.

Théâtre Joliette is a theater in Marseille, South of France. For the 2024/2025 season, design studio Super Terrain further developed the visual identity introduced for the previous season (see the post on Fonts In Use). The design comes with its season program and expressive posters.

The typography combines Baste from Lift Type (used for logo and titles) and Miller by Carter & Cone (used for all other texts).

The fresh interface design of Amigo & Amigo mirrors the lightness, playfulness and empathy of the interactive light art studio, which specialises in installations for public spaces.

Their website, designed by A Friend of Mine, features vibrant images and videos documenting their work. Sans Plomb appears as the logo and headline typeface next to the expressive Easy Grotesk for body text, supported by Quadrant Text Mono in capital letters for navigation.

Théâtre Joliette is a theater in Marseille, South of France. For the 2023/2024 season, design studio Super Terrain has introduced a very cool and sunny new visual identity. The design comes with its season program and expressive posters. The typography combines Baste from Lift Type (used for logo and titles) and Miller by Carter & Cone (used for all other texts).

Source: www.flickr.com Kit Karzen/Harris for President. License: All Rights Reserved.

The Kamala Harris 2024 campaign identity, designed by Wide Eye Creative, is built around Sans Plomb, a condensed gothic not unlike the Bureau Grot used by Wide Eye for Harris’s 2020 primary bid – in turn inspired by Shirley Chisholm’s 1972 campaign. This time, though, the typeface is from a French foundry, rather than from Anglo-American origins (Stephenson Blake via Font Bureau).

Source: fontsinuse.com License: All Rights Reserved.

The logo for Kamala Harris’ 2020 campaign used Bureau Grot and an atypical asymmetrical layout.

It’s not clear to me why they made the switch. From a design point of view, the caps aren’t significantly different from Bureau Grot. Perhaps they liked the more constructed, “modern” feel? Personally, I would have gone back to Chisholm’s pick, the all-American Franklin Gothic, which has no shortage of contemporary versions for any use case. (At the risk of friendship bias, I recommend the interpretation from Fonts In Use cofounder Nick Sherman.)

The symmetrical layout for “Harris/Walz” is a much more conventional approach compared to Harris’s 2020 logo, which took a different road than most US presidential campaigns. The new look reflects her move to the center (no pun intended) for a broader audience.

Source: www.flickr.com Eric Elofson/Harris for President. License: All Rights Reserved.

Not the best kerning on this rally sign (AY). The font, Sans Plomb Super, doesn’t deliver that big of a gap out of the box, so something went awry in the typesetting.

Source: kamalaharris.com License: All Rights Reserved.

Source: kamalaharris.com License: All Rights Reserved.

Source: store.kamalaharris.com License: All Rights Reserved.

The supporting face for “WALZ”, running text, and other small bits like “YES SHE CAN” merch is Balto, Tal Leming’s contemporary take on the American gothic genre, such as Franklin Gothic and News Gothic.

The Harris web store adds Sara Solskone and Jonathan Hoefler’s Decimal, a continuation of the Biden/Harris 2020 campaign. Seeing Solskone’s name makes me wonder if maybe there was a missed opportunity to also choose a typeface by an American woman for the main mark. For example, Program by Zuzana Licko, or Utile Narrow by Sibylle Hagmann.

Source: store.kamalaharris.com License: All Rights Reserved.

Source: kamalaharris.com License: All Rights Reserved.

The logo used in this web pop-up is the early version before it was redrawn (see below).

Source: www.instagram.com Jonathan Hoefler. License: All Rights Reserved.

A refined version of the Harris/Walz logo (white outline) launched around August 11. The biggest changes were relieving the pinched curve at the top of the S and enlarging “WALZ” just slightly to the left for optical centering.

Hoefler, whose typefaces (or those of Hoefler & Co.) have been part of the logo for “every Democratic president in the twenty-first century”, recently revealed that the mark was refined on August 10–11, a few weeks after its initial launch. The work – which involved some redrawing and better “WALZ” centering – was done by Leming and Scott Dadich under the direction of Wide Eye’s Alayna Citrin.

Hoefler also commented that, “Trump has used Gotham for years, and NEVER bought a license. Color me surprised! We talked to a white shoe lawfirm in NYC about taking action, and was told, with a laugh, ‘take a number.’”

Ironically, it was Barack Obama’s 2008 run that made Gotham (and its lookalikes) a default for US political campaigns, regardless of party. At least Harris is diverting a bit from that 15-year-old trend.