Plaster is an independent art magazine covering visual culture and offbeat stories from the contemporary art world. Founded in 2020 as a poster zine and relaunched in 2023 as a print and digital publication, the magazine positions itself as “the art magazine that won’t hurt your head.”

The logotype is based on the sharp, zeitgeisty serif Cirka – informal and connected, yet structurally tight. It sets the tone for a brand that resists academic rigidity while staying firmly rooted in graphic design culture.

Three typefaces define the magazine’s typographic system. Brubeck, a condensed display typeface with loud, expressive forms, is used for headlines, section openers, and large typographic moments that demand attention. Its compressed rhythm and distinctive counters give the magazine an edge in web and social media applications.

For body copy and general content, Brut Grotesque provides contrast and readability. Its pragmatic, slightly awkward geometry lends the layouts a human, non-neutral tone – consistent with the magazine’s editorial voice. Boogy Brut, used for subheads and pull quotes, adds an informal punch with its compact proportions and gestural details. Rather than creating a strict hierarchy, the three fonts interact dynamically, creating shifting layers of tone and emphasis.

Erha is “the world's first functional beverage infusing super herbs and powerful nutraceuticals, proven to optimize wellness for a healthy, vibrant life.”

Graphic design and creative direction by Morgan Light, who comments:

I imagined a future where wellness is explored like space: curious, bold, beautifully designed. That’s why we chose aluminum—recyclable, futuristic, and striking on shelf. We pictured the can not just on Earth, but in orbit—floating between ancient ritual and tomorrow’s discovery. Wordmark created using DaVinci using custom characters. 3D by Marcio Flausino, Saxon Campbell and yours truly. Sound by Giovanni Dubini. Website development by Kevin Cabano. Photographs by Ryan Duffin with props by Julia Rose..

Geneviève Asse: Le Bleu prend tout ce qui passe (“Geneviève Asse: Blue takes everything that comes along”) is an exhibition at the Soulages Museum in Rodez, France, from January 25 to May 18, 2025.

The catalog was laid out by Cécile Joly, a graphic designer based in Montreuil. The texts were written by Alfred Pacquement, Benoît Decron, Malika Noui, Silvia Baron Supervielle, Hector Bianciotti, René de Ceccatty, Marie-Françoise Le Saux, Antoine Laurentin, and Camille Morando. The catalog is composed in Boogy Brut, designed by Bureau Brut and Julien Priez. It was printed on Arctic Volume White matte 170 g/m² (interior), Freelife Vellum Premium White 120 g/m² (interior insert), Sirio Color Celeste 290 g/m² (cover). The photoengraving was done by Comme Pour Moi in Montreuil (Philippe Guilvard), and the printing by Mérico, France. The supporting sans is Saans by Displaay Type Foundry.

The exhibition, curated by Benoît Decron and Malika Noui, brings together around 70 works – paintings on canvas and paper, drawings, and prints.

Published by Bureau Brut and Stéphane Darricau, twen [1959–1971] offers a spectacular exploration of art director Willy Fleckhaus’s work for German magazine twen. From 1959 to 1971, twen was arguably the most influential magazine in the world thanks to its visual audacity and graphic innovation, and many contemporary designers still consider it an unavoidable reference point. Our book retraces this unparalleled editorial adventure by focusing on Fleckhaus’s extraordinary layouts as well as twen’s exceptional history and legacy.

This book presents twen's exceptional visual legacy through more than 300 rigorously selected and carefully sequenced pictures. These are accompanied by original texts from Hans-Michael Koetzle, Serge Ricco and Stéphane Darricau.

The publication (155×230 mm + flaps, 156 pages) was edited and published by Bureau Brut and Stéphane Darricau, in an edition of 1,000 copies. Boogy Brut designed by Bureau Brut and Julien Priez is used throughout. This book was generously supported by the Centre national des arts plastiques (Cnap).

Translations: Raphaelle Dedourge (DE→FR) and Alison Hughes (FR→EN)
Materials: grey cardboard and 90 g/m² Munken Print White 1.8 uncoated offset paper -–Novatech Gloss
Printing: Art & Caractère, Lavaur, southern France
Binding: sewn Otabind binding by Atelier Façonnage, Neuillé-Pont-Pierre
ISBN: 978-2-9580531-2-3

De grâce is a French television mini series in six 52-minute episodes directed by Vincent Maël Cardona from a screenplay by Maxime Crupaux and Baptiste Fillon, and broadcast on February 8 and 15, 2024, on arte.

Qui parle ombre is the newest album by French band Midget! Written by Mocke & Claire Vailler and produced by Atom a.k.a. Señor Coconut, it was released in September 2024 on Objet Disque. Rémy Poncet of Brest Brest Brest took care of the design and used Boogy Brut with Boogy Brut Poster for the typography.

We feel a constant and rising sense of invasion: parasites, notifications, drugs, bodies, catastrophes, aliens. But the line between who invades and who is invaded can be more blurred than we usually think, heavily depending on perspectives.

INTRUSO Magazine challenges readers to step out of their comfort zone and break free from their confining filter bubbles. The magazine gathers investigations, opinions and interviews about topical and divisive issues, to question pre-established boundaries and power dynamics, encouraging dialogue and fostering a deeper appreciation of differing viewpoints.

Each issue of the magazine won’t be limited to a single topic, instead it will be a collection of opinions and essays around every kind of invasion we experience everyday. Issue 2’s lead article is a moving story about how devastating AIDS was to families and communities in the 1980s, while the lead photojournal takes a look back at the infamous 1978 mass murder-suicide in Jonestown.

The logo is based on Tiny by Velvetyne. Continuous text and headlines are set in Suisse Int’l by Swiss Typefaces. Inserts are set in Messina Modern by Luzi Type. Navigation, footnotes, credits and tags are set in Suisse Int’l Mono. The article “Every temple needs its sacrifices” additionally uses Armag by Blaze Type, and “How to raise your kids and their followers” adds Compagnon Light Italic by Velvetyne.

Beside the mentioned typography, in the Index spread we featured Boogy Brut by Bureau Brut, GoodDog New by Ethan Paul Dunham, Cooper Black by Oswald Bruce Cooper, Modula Ribbed by Zuzana Licko, and ITC American Typewriter by Joel Kaden.

This issue counts 104 pages and measures 23.5×33.5 cm. Printed on Cyclus Offset 90g/m² paper. It was made as a student project at Elisava, Barcelona, in 2023.

Toda una alegría is Adriano Galante’s solo debut music album, released in 2023 under the label Halley Records. This inaugural project marks a significant milestone for the Barcelona-based singer-songwriter. With latin and bossa-like melodies and heartfelt lyrics, Galante’s album embodies a captivating musical journey that resonates with audiences. Many songs are short, but a lot happens during their brief minutes. This music demands work from its listener, but amply repays the effort.

The album art and promotional materials showcase the distinctive use of the Boogy Brut font family, the outcome of a collaboration between Boogy Paper and Bureau Brut and released in 2020. Design by Alonso & Moutas, with photography by Sílvia Poch.

For Maryse Quinton's book Habiter autrement, Dune Lunel Studio chose EB Trainer Grotesk distributed by Électro-bibliothèque for a display use but also for a deck use. The accompanying serif is Boogy Brut by Bureau Brut.

240 pages, 190×255 mm, softcover. Published by Éditions de La Martinière in 2021.

For the latest LP of Belgian Metal musician Marc De Backer (aka MNGLT or Mongolito), Atelier AAAAA used a collection of typefaces mixed together in a surprising harmony, accentuated by the monochromatic black printing on a linen cover.

MNGLT’s logo is set in a fake-Hebrew typeface, DS Sholom, which he has been using since at least his 2012 album Acedia. The LP’s title, Pure, as well as most information is set in multiple widths of Jérémy Landes' NaN Success Titling, while smaller credits show both Julien Priez' Boogy Brut and Boogy Brut Wild Black, both chosen for legibility reasons, albeit opposite ones. Overall, a very calligraphic energy leaks out this collection of four different type families.

It can be noted that Priez and Landes are former classmates of the Estienne type design program in Paris.

Cover painting by Valère Bernard, 1898. Photo by Sarah C. Artwork by Atelier AAAAA. Sikscreen by La Défaite.

[More info on Discogs]

Flower Power is a collection of unique T-shirts designed by Martès in collaboration with Boogypaper and Bureau Brut.

This joint work emerges from the original typeface Boogy Brut which is the very core of the project. The aim was to expand its horizons by developing a whole apparel series around its formal features, and cultivating a cross-disciplinary practice while combining everyone’s expertise.

The set makes use of various styles of Boogy Brut in multiple weights and sizes, including Boogy Brut Poster as well as Boogy Brut Wild Black and Boogy Brut Wild White.

From Yoan de Roeck:

Football club Paris Saint-Germain was founded in 1970, successing the historic football club of Saint-Germain-en-Laye, installed at the Parc des Princes stadium. To celebrate the 50th anniversary of “the youngest of the greatest football clubs” an editorial team was assembled with the goal of telling the history of PSG from its supporters’ point of view. The result, extraordinary in terms of volume and content (over 500 full-text pages plus 4 four-colour inserts showing pictures selected from the club’s archives – most of them appearing for the first time in print), was published by publisher Solar Éditions in November 2020.

The density of information and a huge amount of statistical data (prize list, result tables) forced some of the very first design decisions: working with two distinct typefaces and two distinct colors.

As the budget allowed duotone on whole pages, traditional black ink was replaced with the club's historical dark blue. A pure red is chosen as secondary tint, alluding to the vertical stripe added on shirts by fashion designer Daniel Hechter, president of PSG, in 1973 – a visual device inspired by a decorative branding on a Ford Mustang he had seen once!

Meanwhile, selecting the pair of typefaces followed simple criteria: a functional and horizontally thrifty serif as a text face and a sans serif dedicated to quantitative data, playing very opposite roles (bold and condensed, almost always set in red and all caps).

Since the sans serif is only used in small sizes within tables (dates, scores, etc.), its formal details are less relevant than its general behaviour: Berthold’s Akzidenz-Grotesk (Condensed) was finally selected, because its shapes were as far removed as possible from those of Futura, the corporate typeface of the CANAL+ group, who owned the club during the 1990s and until 2006. In addition, AG brought a nice surprise: the eternal letter spacing problem posed by its 1 and the upper serif of its 7 gave it a touch of retro jersey numbers…

The serif type had to include at least two stylistic sets of figures (to distinguish between dates and scores, of which there are many in the book) and have a strong contrast in size between capitals and small caps (for sporting clubs acronyms, in particular). Furthermore, this typeface had to support as many languages as possible to enable the transcription of the name and surname of players from all over the world.

Of course, many contemporary typefaces meet such technical requirements, so we needed other criteria to select the right one. The list of 500 players running over 15 pages at the end of the book informed the final choice of Boogy Brut. The initial letters that punctuate the listing from A to Z had to visually stand out, and instead of increasing weight or size, we chose to invite a third component to the party: a powerful and extroverted blackletter, with no obligation of legibility. Blackletter is naturally a nod to the bad-boy tattoos flaunted when goal scorers lift their shirt in front of supporters.

When Boogy Brut was first launched, it was the first typeface to offer a set of drop caps based on a different historical source from the text weights it accompanies. It is therefore killing two birds with one stone, a perfect roman for the constraints of the text and its Wild Black version for the drop caps.

In addition, the Poster White version is logically used for the titles of the chapter opening pages.