Blac is a seafood restaurant with a warm and lively atmosphere, where wine plays a central role in the dining experience, along with fresh, flavourful cuisine focuses on grilled dishes.

For the logo, the designer used a custom twisted version of Maroni Condensed, playing with the letters and the sea level. The accompanying typeface is Baskervville Italic.

Solæ in use for The Garden, an art exhibition in New York curated by Jeanette Spicer and inspired by “Le Jardin” (1978, translated as “The Garden”) by Monique Wittig, a major figure in feminist and lesbian theory. Drawing on her vision of radical spaces for lesbian existence, the project offers a contemporary interpretation of that utopian framework.

Bringing together darkroom prints, collage, scanned flowers, a card deck, portraits, and video, the exhibition at the Bureau of General Services—Queer Division (BGSQD) emerges at a time of renewed threats to LGBTQ+ lives. Featuring works by Rhiannon Adam, Deborah Bright, Sara Duell, Naima Green, Lindsey Perryman, Sunny Leerasanthanah, and Tray Tsui, The Garden centers lesbian vision, presence, creativity, and connection.

The italic is from Eugénie Bidaut’s Adelphe Germinal. Additional fonts used by designer Sara Duell are Kadabra by Dai Foldes and Victoria Rushton as well as BBB Baskervvol by Bye Bye Binary.

Simmer Studios is a food-themed design studio based in Manila, Philippines, established by young and bright-minded individuals aiming to harness innovation through creativity.

Around 2022, the creative firm used Rockids for their own identity and website, alongside Be Vietnam, Nord Display, and Baskervville, among others. In the meantime, Simmer Studios has rebranded with different fonts.

Written in 1904, Renée Vivien’s first novel Une femme m’apparut opens with a dialogue between two women lovers. In a Symbolist and decadent language, two visions of love intertwine and confront each other – a poetic reminder that our questions about relationships are timeless.

This booklet, which features an excerpt from Renée Vivien’s original novel, has been created by Papier Charbon with the goal of a forthcoming complete reissue of the book. Illustrations by Léna Borsoi.

Both the booklet and the accompanying poster are set in Ninna Regular (designed by Margot Lévêque) alongside a Baskerville [it’s BBB Baskervvol and Baskerville (Storm), see comments] for the body text.

Le Labyrinthe de la Genèse invites you to play the role of a young graphic designer, freshly graduated, in search of a definition for their practice. You will eventually come across a manifesto of factographismes – a term modified and borrowed from literature of the 1960s. During that time, unique literary forms emerged in which writers used archives, facts, and often everyday objects to create factographies.

I wanted to talk about a graphic practice that uses similar methods, while emphasizing, through the journey and encounters, that there is never a single answer. My analysis starts from a particular perspective, and it could have been completely different but no less relevant. In each of these projects, the aim was to guide the readers, offering them the chance to choose their own tools and paths to follow.

The project PDF is available on the Memo dg platform, a site that gathers DNSEP theses from graphic design students across France.

An example of gender-inclusive typography at work: “l’auteur/autrice” uses BBB Baskervvol’s typographic option of showing both male and female versions of the word “author” as equally important.

The 71st Rencontres de Lure, titled “Lure et compagnie” (Lure and co.) was a tribute to the richness of the individual characters that make up an ensemble.

The programme was created fanzine-style to echo the idea of collective work, which was the central theme of last year’s session: copy machine look, rough hand-drawn letters, very simple hierarchy, a single font family (BTP from A is for fonts) and minimum size variation. However, since diversity and inclusivity were also a strong subject, several inclusive glyphs from various fonts can be found everywhere as little stickers stuck where needed in the text. The goal was to make them voluntarily visible and disruptive, as a mockery of criticism about their legibility or discretion in texts.

On the cover beautiful ribbons allowed people to draw their own glyph, sign or letter, acting as a metaphor of the bonds that binds us all together.

The zone mixte (or mixed zone in English) is the space where photographers and accredited media meet during major sporting events. A key place to build stories around competitions and capture landmark images. An area where female photographers are underrepresented.

With only 12% of women photographers accredited* at the Tokyo Olympic Games in 2020, Analog Sport and the Consulat Voltaire collaborated for the realization of the collective exhibition Zone Mixte.

Zone Mixte. Le sport dans l’objectif de photographes femmes features the work of eleven women with a professional approach to photography. It took place at Le Consulat Voltaire in Paris, and we were commissioned to create both the event poster and the exhibition catalogue.

We designed a poster using graphic lines inspired by various sports fields and equipment, creating imaginary playing fields as if viewed from an aerial perspective. The lines extending beyond the frame suggest that we are only seeing a part of them.

The bright and vibrant background is a reference to the lighting spots found on sports fields, as well as the bright flashes of camera equipment. These lights interweave within the letters of the title to both reveal and conceale it, symbolizing a yet-to-be-achieved diversity.

We used two fonts for the project, Authentic Sans by Christina Janus and Desmond Wong, and BBB Baskervvol from Bye Bye Binary, a reinterpretation of Baskervville, a revival of the Baskerville typeface, which serves a perfect exemple of the erasure of women in typography. Sarah Eaves, John Baskerville’s partner and associate, who continued the business after his death, was never credited for her significant contributions to typeface and print design (until 1996, when Zuzana Licko designed a typeface in her honor, Mrs Eaves).