Terzo Tempo is my Master’s thesis made at Università Iuav di Venezia under the supervision of Luciano Perondi and Fiorella Bulegato. It examines the evolution of typographic design applied to football jerseys. Through historical research, the project shows how jerseys have become culturally and economically significant. The focus is on the development of jersey numbers, which have transformed from purely functional elements into meaningful symbols of identity.

Typography shapes how numbers (and the players who wear them) are perceived, influencing a team’s image. To explore this, sixteen typeface families were developed: some reinterpret existing football fonts, while others were created from scratch to test their appropriateness and public perception in kit design.

Letterpress printed poster for Typographic Printing Program 2026. Printed from hand-cut linoleum (LL Ruder Plakat), the first letter of the first line starts in its original shape and gradually morphs into the last letter of the last line, which is totally deformed.

The larger white information is set in Helvetica bold 72pt, from traditional metal type. Since the interweaving lines on the smaller size (24pt) are very labour-intensive to set in hand-set metal type, these blocks have been cast from Ludlow's Record Gothic bold in 24pt.

Record Gothic has often been referred by old printers as Ludlow Helvetica because of their similarities. In this case, since there is no capital R and no numbers on the small copy of this poster, it is really hard to tell the difference between the two faces. This made the production much easier than setting the smaller blocks from hand-set type.

Since its inception, photography has captured defining historical moments, serving as either a tool or a document of protest. Flashpoint! explores the diverse roles and varying aesthetics that photography in print undertakes in its support of protest and resistance.

Ruder Plakat and a custom version of Luca Pellegrini’s Electa were used throughout the book. Ruder Plakat, based on Emil Ruder’s poster type which was developed with students at Allgemeine Gewerbeschule Basel (AGS), served as the perfect display font for a project about civil resistance. Electa, in turn, was used for all body text as well as meta data, captions and references. Being the result of Luca’s obsessive study of an Olivetti typewriter, its historic charm with strict sophistication performed in pretty much every setting we put it in.

The book was edited by Russet Lederman and Olga Yatskevich and published by 10×10 Photobooks:

Flashpoint!, an anthology focusing on protest photography in print, presents a global selection of photobooks, zines, posters, pamphlets, independent journals and alternative newspapers that address protest and resistance from the 1950s to the present.

Graphic design and production of the presentation document for the 2026 offer from Swash, a training organisation for creative professionals.

Typeset in EB Trainer Grotesk, EB Reklame and LL Ruder Plakat.

Graphic design and production of the book Les Yeux dans les yeux. Portraits de la Collection Pinault (“Eyes in the eyes. Portraits from the Pinault Collection”) created for the eponymous exhibition presented at Couvent des Jacobins in Rennes, from 14 June to 14 September 2025. The publication features masterpieces from Pinault Collection, curated by Jean-Marie Gallais.

I didn’t want the reader’s sight to be distracted by any other elements (texts or captions), so I decided to use Starling for running text, a rather “invisible” typeface. In contrast, I wanted each title to be bold and visible, so LL Ruder Plakat was the perfect choice.

Published by Éditions Dilecta, this French-language edition measures 224×286 mm, spans 176 pages, and was printed in 3,000 copies.

Crois pas qu’on dort, directed by Lou Marillier and Nick Walters, offers a raw and intimate look at Maysane, Leyna, and Charles-Antoine, three young Parisian athletes training for the 2024 Olympic and Paralympic Games. Filmed over five years, it captures their growth, struggles, and sacrifices as they pursue their dream of representing France on the world stage. The documentary was developed and produced by Pi Studios and SRAB Films with the support of Nike.

Aletheia, in collaboration with We Are Pi, was in charge for the global visual identity of the film campaign, including the creation of a custom version of LL Ruder Plakat designed with Lineto. All other information is set in Delegate by Commercial Type.

From Creative Review:

The posters and titles designed for the documentary riff on the name of the film. The art features images of the athletes shot by Solène Gün, whose work often deals with identity and culture.

The posters and titles feature a custom version of Lineto foundry’s typeface Ruder Plakat, which was tweaked by Parisian design studio Aletheia to incorporate “varying letter widths to echo the movement and rhythm of sport as well as geometric forms as a homage to the Olympic rings”, Chant explains.

The typeface was brought to life in motion by CC Studio, where movements were designed to resemble “the transformation of the ‘awakened’ state of the athletes in the film”.

24×32 cm zine created to accompany the release of the documentary Crois pas qu'on dort (“Don’t think we’re sleeping”), directed by Lou Marillier and Nick Walters.

The film follows three young athletes—Maysane and Leyna Kamkasoumphou, and Charles-Antoine Kouakou—over their five-year journey preparing for the Paris 2024 Olympic and Paralympic Games.

The publication is printed by Media Graphic Rennes, using a customized version of LL Ruder Plakat typeface (Lineto), with Delegate (Commercial Type) for text.

Detail showing the typography

After a year, Trafo Gallery is returning to the collective exhibition Trafo Art Salon, which presents the current work of twenty artists: Michal Cimala, Andros Foros, Alžběta Jungrová, Jan Kaláb, Laura Limbourg, Pavla Malinová, Jiří Marek, Anna Neborová, Kateřina Ondrušková, Michael Rittstein, Jaroslav Róna, Lucie Rosická, Jakub Roztočil, Dana Sahánková, František Skála, Ira Svobodová, Zdeněk Trs, Vladimír Véla, Jan Vytiska.

The visual identity included a printed large facade banner, series of posters in three color variations, and exhibition details like the colophon and artwork labels. I am using LL Ruder Plakat in combination with Patron, the gallery’s standard typeface.

The goal? A bold, eye-catching design that also seamlessly incorporated the names of multiple exhibiting artists across all outputs.

Letterpress printed Weltformat poster (89.5×128 cm / 35.2×50.4 in) produced in 13 printing passes from hand-cut linoleum and a complicated large format linoleum etching. Watch the video.

The fonts in use are a completely distorted LL Ruder Plakat by Lineto for the three words “Werk-Statt-Schau” and Messina Sans by Luzi Type for the smaller information and the museum logo. Through the etching process, there is not much left from the original Ruder Plakat face… Also the smaller info and the logo in the top left corner are hand-cut linoleum, which is not an absolutely accurate reproduction of the font.

The 2024 Great Performers issue from the New York Times Magazine features critic Wesley Morris’s picks and honors the weirdest and wildest performances of the year, including “Actors in the Wild”, a photo essay documenting what some of the best actors of the year do during their downtime and an interview by Amy X. Wang.

The issue was directed by Gail Bichler and designed by Annie Jen, Ben Grandgenett and Jacky Myint, showing a dynamic and impactful use of LL Ruder Plakat VIP on both print and digital, together with their custom NYT Mag Serif and NYT Mag Sans.

VEEPS is a streaming service that offers access to live and on-demand events and concerts anytime, anywhere — ensuring fans never miss a show. Founded in 2018 by pop-punk legends Joel and Benji Madden, VEEPS has streamed thousands of performances to audiences worldwide. As the official live-streaming platform for Live Nation and Ticketmaster events, VEEPS has reached millions of viewers with iconic shows from some of the biggest names in music: Alicia Keys to Bob Dylan, Billie Eilish to Lil Wayne, Foo Fighters to Fall Out Boy.

Porto Rocha worked closely with VEEPS' team on a digitally native, motion-driven identity system. With a respected roster and high-quality product poised to scale, VEEPS needed a brand that would allow them to show up as a leader in entertainment.

They started by designing a bespoke wordmark that declares VEEPS’ place in music culture. Moving away from the friendly neutrality of their previous mark, inspiration was drawn from music editorial design to craft a bold, all-caps logo that packs a punch of personality — impactful in a title card and powerful even as a sign-off, simplified as a distinctive ‘V’. A combination of bright scarlet and deep crimson was chosen as signature colors: a way to bring energy to a previously black-and-white brand and a tie back to the red LIVE indicator.

As part of the system, a custom version of LL Ruder Plakat from Lineto was created as the primary typeface, supported also by a custom version of Saans from Displaay Foundry:

While some elements command attention for VEEPS the brand, the system also flexes to let their artists (and their own brand expressions) take center stage. A custom display typeface, VEEPS Ruder Plakat, was designed to fulfill both of these needs. Declarative and distinct, it brings show-stopping presence across communications and digital touchpoints alike. At the same time, it remains neutral enough to speak to many music genres and interact with a wide range of artist imagery and logos. And just like every headliner needs their road crew, our headline type needs its secondary support: the precise and utilitarian Saans.

This 2023 campaign marks a change in direction at Pasquart Kunsthaus Centre d’art Biel/Bienne, Switzerland. Different quotes from the past ten years of the Kunsthaus's guestbooks were collected and placed on the streets of Biel, conveying whether Kunsthaus is appreciated or not:

“It was cool, then I got hungry.”

“Your art is funny. I like!”

“Very nice exhibitions despite what people say.”

This campaign was integrated with the promotion of their first exhibition of 2023 about painter Francis Baudevin, who has been developing a body of abstract work since the end of the 1980s. His work is known to be rigorous, coherent, and playful. Always following the same method, the artist takes abstract graphic compositions from our visual domain (multinational logos, packaging from manufactured goods, book and record covers, etc.) and then removes all text references—hence, all meaning—to keep only the form itself.

All the material for this occasion has been designed by Marie Cuennet, featuring LL Blankenhorn and LL Ruder Plakat from Lineto, and NEXT Mono from Optimo on all the communication materials and on-site graphics:

The change of the direction and program of the Kunsthaus Centre d'art Biel Bienne was visualized through a series of posters with visitor comments. We decided together with the new director, Paul Bernard, to bring excerpts from the guestbooks of the past 10 years into the streets of the city of Biel. LL Blankenhorn was chosen to suggest a spontaneous and authentic voice.

Soon afterwards, the the first exhibition of the year (Francis Baudevin and more) was announced. Here LL Ruder was introduced as a second layer on the same posters.

LL Ruder was also used in the interim to label the various exhibition spaces. The complete redesign of the visual identity of the museum will be unveiled in 2024.

Magma is a contemporary publication that revives the tradition of 20th-century art reviews. It serves as a platform for artistic expression, fostering collaboration between artists and writers.

The journal aims to transcend the conventional boundaries of the art world, inviting readers to engage in a dialogue. It serves as a meeting place for artists, photographers, writers, directors, sculptors, and architects from different generations and backgrounds. Contributors have the freedom to explore various forms and content, creating original and previously unpublished works specifically for the publication.

The inaugural edition of Magma features 18 artists and over 80 works of art and literary texts, in a large format bound like a book for annual publication, including two inserts of artworks. The journal is art directed by Helena Kadji & Rocío Ortiz from Faye and Gina and has Lineto’s LL Ruder Plakat on full display, with LL Catalogue playing a supporting role on the main articles.

Exhibition posters for a poster show at Museum für Druckkunst in Leipzig, Germany. Letterpress printed in 16 runs, with hand-cut linoleum, hand-set metal type and a photopolymer plate. Nine of these runs are printed with splitf ountains.

The large type in the shape of a question mark is a modified (rounded) version of LL Ruder Plakat, hand-cut in linoleum. The smaller type is hand-set metal type (Anzeigen-Grotesk).

The larger point size of Anzeigen-Grotesk is set in metal type, the smaller size is set digitally and printed with a photopolymer plate

Tag line in Akzidenz-Grotesk (metal type)

Metal type lockup for the tag-line

Program poster for Tunnel, a club in Glarus, Switzerland. Letterpress printed from hand-cut linoleum and cast Ludlow slugs.

To be more efficient, two formats have been printed with the same principal linocuts. The principal tunnel shape has been produced in a reduction-cut process, where every form is cut out of the previous shape.

The LL Ruder Plakat font is cut manually, the small type has been hot metal cast with Ludlow Condensed Gothic No. 2.

Fabrikzeitung is a magazine for cultural, social and political issues; it is published by Rote Fabrik (Red Factory), a former silk weaving facility in the Wollishofen neighbourhood of Zürich, Switzerland. Since 1980, it is used as a music venue and cultural centre. The newspaper was first published in 1984 and is published ten times a year.

In addition to the respective monothematic topics, the magazine provides information about the events at Rote Fabrik. Approximately 3,500 print copies are being distributed in Switzerland, in bookshops and via subscribers, mostly in German-speaking countries. Since 2015, the texts are additionally being published on fabrikzeitung.ch where they can be read online. The studio Huber/Sterzinger has been in charge of the design and editorial tasks since 2008.

Issue 374 “Der radikale Katalog” is typeset in LL Catalogue, and Issue 379 “Gegen Aktion” is one of the first uses of LL Ruder Plakat VIP, both from Lineto, paired with Mercator and Times New Roman Seven.

Issue 374, “Der radikale Katalog”:

The search window, whether in a library or archival catalog, opens doors and gates to new worlds for us. But what we often don't think about when typing in search terms is that this window is designed, built, and maintained […]

Issue 379, “Gegen Aktion”:

Significant social and political events in recent years – digitization, climate change, pandemics and war – have led many people to a new awareness of political action and resistance. From the point of view of the existing bourgeois order, the willingness to work for a change in society through activism and in social movements is and was often perceived as a threat to the status quo […]

Anatole Couteau, designer of LL Ruder Plakat, enjoying his copy of Fabrikzeitung.

Catalogue for Conserver, Adapter, Transmettre (Conserving, Adapting, and Handing Down), an exhibition shown at the Pavillon de l’Arsenal in Paris from 19th October 2022 to 5th March 2023:

Carbon emissions are associated with all stages of a building’s life—from design to use. The construction industry is one of the highest contributors to climate change and the best way of reducing this footprint is therefore to shift away from demolition and rebuilding, to conserving existing structures (thus storing carbon), and adapting forms and materials in order to hand down buildings that are sounder in their operation and their urbanity to future generations. The principle of rebuilding the city on itself is not new, but carbon causes us to radically adjust for a new era. It compels and questions all types of built heritage and all stages of the project life cycle.

Cover typography and headlines in LL Ruder Plakat, text in LL Catalogue. 416 pages, 250×300 mm.