This catalog was published on the occasion of the exhibition Une Chambre à Soi (“A Room of One's Own”) presented at Château La Coste in in Le Puy-Sainte-Réparade, France, in September 2024. This book brings together the works shown in the exhibition. It also includes quotes and interviews with the artists featured, each of whom describes their relationship with the night.

For Beton Asfalti’s rebranding, design studio eDesign selected the variable font Nure as the primary typeface, a deliberate and strategic choice for industrial applications.

Its geometric proportions, combined with the harmonious balance between solid and open spaces, create a strong visual impact and ensure instant legibility, even from afar.
This quality is essential in industrial packaging, where shelf presence and the clarity of information define the brand’s strength.

ATELIER 7 is an interior architecture studio crafting objects and storytelling spaces, blending interiors, furniture, art, and accessories. Its visual identity was designed by Synonime, a creative studio led by Gosia Obara, specialising in graphic design, art direction, and web design.

The branding is set in Romie, designed by Margot Lévêque, paired with what appears to be Switzer by Jérémie Hornus, used mostly in all caps. The logo is made with Héctor Gatti’s Archivo.

“Selected Objects” uses Syaf Rizal’s Thesignature in all caps.

Jeff Klak is an independent magazine published annually in France since 2014. Each issue is dedicated to a different topic, which follows the verses of the popular French nursery rhyme “Trois Petits Chats”. Each verse of the song is interpreted in a manner that is both free and not entirely illogical.

For its ninth issue, the chosen theme was “Lait de Vache” (cow milk). The articles in the magazine were thus dedicated to the notions of ingestion, digestion, assimilation (of food or knowledge), excretion, and related topics. Some articles talked more directly about cows, milk or lactation.

For this issue of the magazine, two custom typefaces were designed by Ariel Martín Pérez, of which the prototypes can be seen on the cover and on the inside pages: Azabache and Tanklager (by now published by Tunera Type Foundry as open-source fonts). As the typefaces were designed at the same time as the layout, the effects on the page of any change could be seen quite easily.

The Tanklager typeface was modified with a Python filter called Microbe (published by NaN) and a rounding filter in Glyphs. This allowed the designers to select a range of increasingly degraded versions of Tanklager from InDesign’s font menu, that represent the letters being digested and disaggregated into particles, and which allowed to create gradients on the page without overlaying any pattern on the typeface.

Several modified versions of the letter H in “LAIT DE VACHE” were also created so the title printed on the upper corner of the magazine would create a flipbook animation effect (the bar of the letter H extends and coils like an intestine).

Other typefaces used on this issue are Archivo Narrow by Omnibus-Type and Miller Text, a clean, readable typeface by Matthew Carter which is perfect for setting long texts). Sligoil Micro (also designed by Ariel Martín Pérez and published by Velvetyne Type Foundry) was used for some key information.

Spanish creative studio LA TECLA brings theatrical nuance and poetic tension to life in their digital identity and website for stage director, playwright, and performer Alberto Cortés. At the heart of the project is Faust by Bouk Ra, a typeface whose dramatic contrast and idiosyncratic details echo the artist’s rich and unpredictable creative journey.

Cortés, who describes his body of work as a “theatrical journey that begins with stray playwriting and grows wild,” sought a platform that could reflect the depth and evolution of his interdisciplinary practice. Latecla responded with a website that feels both enigmatic and emotionally charged – a fitting mirror of Cortés’ narrative voice.

Faust serves as a central visual thread, adding an expressive typographic layer that enhances the site’s overall atmosphere: subtly mysterious, yet deeply human. Paired with considered photography and a minimal layout, the typeface contributes to a sense of theatrical intimacy – perfectly balancing elegance with eccentricity.

On the website, Faust is supported by Héctor Gatti’s Archivo for the menu and all smaller text.

The result is a digital portfolio that feels more like an unfolding performance than a static website, blurring the line between stage and screen, artist and archive.

Nicht nur Mütter waren schwanger. Perspektiven auf Reproduktive Gerechtigkeit & Zeit[en] (English: “Not Only Mothers Were Pregnant. Perspectives on Reproductive Justice & Time[s]”) is an online project based on a book with a similar title, Nicht nur Mütter waren schwanger. Unerhörte Perspektiven auf die vermeintlich natürlichste Sache der Welt, which was published by Edition Assemblage in 2018.

The project poses questions such as: How have reproductive rights in Germany changed over time? What influence does the global rise in authoritarianism have on the desire to have children and family constellations outside the norm? How can we keep spaces of exchange on reproductive rights open, despite the various crises that favor isolation instead of solidarity?

Concept and curation by Alisa Tretau, Moooon
; design by studiokwi; plain language images by Simone Fass, and sustainable and accessible web development by visiert.

Ink Blot Project a.k.a. INKBLOT is an inclusive tattoo studio and art space open to people full of creativity and self-expression. The studio is located in the iconic Fold building in the industrial area of ​​London. The place focuses on street style but does not limit itself to it – it is open to artists of all kinds, with the aim of creating a creative center for all kinds of art in the future.

Visual identification is focused in particular on the name of the project – INKBLOT, an ink blot that is associated with various types of art and with the psychological Rorschach test, in which the recipient interprets the blots on the sheet of paper. Used both of these ideas during the process and in the final form.

As a series of signets related to different parts of the initiative, were created various types of blots resulting from the original pattern, which is the result of chaotic tests of the blots on the sheet of paper and technically combining them into the cumulative shape of their forms. The typography in the logo was created based on similar shapes as the basic signet, which gives the project unity and recognition.

The graphic motifs appearing on posters, in social media and on printed materials are also based on ink blots. Additionally, they are enriched with scribble-like elements that can be created using various artistic media, such as pen or ink. To balance the chaos of spots and scribbles, a simple and legible typography was chosen that alleviates the chaos.

The organic letterforms of the logotype are custom drawn.

Style guide

Fatale Orientale (international title: Blooming Dalia) is French-Algerian actress and director’s Holy Fatma second short film. From the distributor’s blurb:

Dalia, 25, is a French ex-reality TV starlet who is at her lowest point. Depressed and overweight, she tries to reconnect with her estranged mother, who still refuses to talk to her because of her seedy tabloid fodder past. Deeply hurt, Dalia accepts to be part of a new TV show booked by Coco, her agent, on the condition that she loses weight. But as Coco strives to make her the it-girl she once was, Dalia’s repressed Algerian origins resurface in a surreal way.

Initially released in 2020, the movie got a new poster for its screening on national television in March 2022. Designed by Alizée Freudenthal from Studio Freudenthal, on this poster the movie title is set in Ikanseeyouall, while information and credits are using two different – yet unidentified – sans serif fonts [edit: looks like two widths of Archivo].

The film is now available for free on the director’s YouTube channel.

Source: www.behance.net Julia Miceli Pitta. License: All Rights Reserved.

The first edition of the Libre Film Series took place in 2022 in the small coastal village of Santa Mónica, located in the Maldonado district of Uruguay. The five-days festival was mounted by the collective space Lablat who chose five Latin American films to project and discuss over the Laguna José Ignacio in the last days of December of that year. In the center of the curators’ interest was how, in their medium, filmmakers present creators from other fields of art, such as fine arts and landscape architecture.

The graphic design advertising the event is the work of Julia Miceli Pitta, an Argentinian designer working in Buenos Aires and London. The key visual is the lettering piece “LiBRE” that combines the idea of light coming from a projector with splashy shapes reminiscent of the nearby lagoon.

The big-size headline typeface is Big Daily, a roman with marked stroke contrast. The “Short” branch of this typeface series is distinguished by especially short ascenders and descenders, a feature brought to full splendor in the tight line spacing on the film posters. Miceli Pitta commented that she wanted a subtle and elegant typeface that would connect to the past while sitting comfortably in a modern identity. Big Daily was designed by Alaric Garnier and brought out by Production Type from Paris in 2020. The second typeface, used for the smaller reading text, is Archivo, a sans-serif of rather narrow width, designed by Héctor Gatti from Omnibus Type, Buenos Aires.

Source: www.behance.net Julia Miceli Pitta. License: All Rights Reserved.

Source: www.lablat.art Julia Miceli Pitta. License: All Rights Reserved.

Source: www.lablat.art Julia Miceli Pitta. License: All Rights Reserved.

Source: www.lablat.art Julia Miceli Pitta. License: All Rights Reserved.

Source: www.lablat.art Julia Miceli Pitta. License: All Rights Reserved.

Source: www.behance.net Julia Miceli Pitta. License: All Rights Reserved.

Source: www.behance.net Julia Miceli Pitta. License: All Rights Reserved.

Source: www.behance.net Julia Miceli Pitta. License: All Rights Reserved.

Armario 33 is an apparel store and art gallery located in Buenos Aires, Argentina. The project is based on a recent study that demonstrates that 33 garments are sufficient to dress for three months. Following this statement, the brand aims to develop modular closets, composed of four annual chapters, each of them formed by 33 interchangeable garments, perfect to dress for three months. Its leitmotif is functional thinking (articulated looks and simplicity). The label seeks to recover tailoring as craftsmanship, offering the possibility to adjust the garment after purchase. Also, the brand only works with high quality fabrics and materials.

Estudio Nuar was summoned to create a contemporary yet atemporal brand. Elegant and sophisticated, still extremely functional and coded. The creative studio’s designers Manuela Ventura, Melisa Rivas and Macarena Blanco immersed themselves in the world of mathematics and came up with the use of the number 33 as an exponent. They decided to work only with typography (numbers as the great protagonists), and chose Grand Slang (Nikolas Type), a sensual typeface that could add personality to the system, accompanied by Archivo (Omnibus-Type) to put in some simplicity.

The ‘menu’ of Armario’s 33 interchangeable garments. Numbers are Set in Grand Slang, Items in Archivo.

A Donkey’s Tale written and edited by Maximilien Binard, is book that tells the story of a (once) legendary artistic place in Brugge, Belgium. The book is a homage to the Donkeys art collective and the influence they had on the creative scene in Brugge. They occupied an abandoned military site between 2011 and 2017, in the center of the city. It was an act of resistance but also a signal to let the city know there was not enough structural place for young artists. “Donkeys” will remain a term inside the artistic and alternative scene of Brugge.

In 2024 A Donkey’s Tale became a fact, a physical artifact that is here to stay.

Schnittstellen is an interdisciplinary exhibition project organized by jewelry designers Alessandra Pizzini and Christoph Straube.

Several intersections connect the two parts of the main title. Archivo by Omnibus-Type is used for all digital and print media.

Community Views displays VARIANZ Low Sans and Mid Sans in combination with Archivo for the use in a booklet and an exhibition stand at the Dutch Design Week 2023.

VARIANZ Low Sans serves as the workhorse sans, used for long-reading texts and captions in the magazine, as well as for the texts on the exhibition posters. Fine details in the layout are standing out, where the VARIANZ Mid Sans comes into play for subheadings and the column title – emphasized through a colourful gradient filling. The Archivo font is used for short headlines.

The Community Views project aimed to explore the impact of public social installations in urban spaces on community and interpersonal relationships. Started as Miriam Neukam’s Master thesis in the Design & Future Making department at HS Pforzheim, the project was presented at the Dutch Design Week 2023.

The project took place at the centrally located Waisenhausplatz in Pforzheim, Germany. Installations were set up there, focusing on the themes of urban design, interpersonal relationships, and ethical values. These installations were equipped with a variety of materials which were accessible to everyone. This created a space for encounters and exchanges. Through collaborative creative work, wishes and statements were collected and reflected upon. This, in turn, led to a broader discussion of topics that enriched the exchange.

Smith & Diction created the identity for Ginger Rudolph, a curator, mentor, writer, and advisor from Philadelphia, Pennsylvania. The logotype is designed using the Bourbon St typeface from Typeverything. Additional fonts used for the business card and the website are DM Sans and DM Mono from Colophon, Archivo from Omnibus-Type, and Richard Lipton’s Tangier.

Fashion from the Abyss: DOWNWARD THREADS is a book about fashion collections, created in symbiosis with artificial intelligence, a book — a mockumentary, a book — a tribute to Hans Giger, a book — an experiment. The book presents generated clothing collections and perfumes with the aesthetics of biomechanical Giger works. Each image and text fragment is accompanied by a corresponding prompt that stood behind their generation.

The collections includes a wedding dress collection (Dark Devotion), knitwear collection (EnvelopIng ChromatIcs) and pink tweed collection (Ebon Blush), as well as reflections on their creation by AI.

KTF Compact is used for titles and drop caps, Archivo for body copy, Druk for the page numbers, and GT America Mono for the quotes, captions, and subtitles.

Edition: 2 copies
120×200mm
Paper: BioTop 160g/300g
Print: Jule 2023
Design: Polya Boronina
Photography: Vladimir Shumov

Goliath CNC is a portable robotic tool that can cut and engrave a variety of materials, including wood, plastic, and metal. It was developed by a team of engineers and designers at Springa Srl, an Italian startup company, and was first introduced to the market in 2017.

Springa SRL choose Stencil Creek for the Goliath logo, using its alternate a – available in the first of Stencil Creek’s four stylistic sets.

The Goliath CNC machine uses a combination of sensors and software to navigate and operate on a workpiece. The sensors include a camera that captures images of the workpiece, as well as distance sensors that allow the machine to determine its position relative to the workpiece. The machine is also equipped with a router that can be fitted with a variety of bits for cutting and engraving different materials.

A view of the exhibition entrance including the title and intro text

Bámigbóyè: A Master Sculptor of the Yorùbá Tradition is an exhibition curated by James Green at the Yale University Art Gallery, which celebrates Nigerian artist Moshood Olúṣọmọ Bámigbóyè (ca. 1885–1975), a Yorùbá woodcarver regarded for his intricately crafted sculptures and ceremonial masks. Exhibition graphics designed by Chris Chew.

The medium-to-heavy weight range of the variable typeface Job Clarendon by David Jonathan Ross and Bethany Heck echoes formal elements of prominent works in the exhibition. Similarities can be drawn between Bámigbóyè’s sculptures depicting multiple figures connected by a sturdy, flat base and the letterforms composed of strokes grounded by sturdy slab-serifs, particularly when the “connected serifs” stylistic set is employed. Job Clarendon’s woodtype origins also link the typeface to the artist’s craft.

Archivo was chosen as the secondary typeface due to the proportional similarities when using a narrow variant.

A color-coded timeline of the historical events and events related to the artist, applied in vinyl

Vinyl installation

Exhibition identity sketches

This poster was designed to be attached to an editorial project (Marshall aveva ragione, thesis supervisor: Prof. Gabriela Galati) as a part of the Visual Design and Integrated Marketing Communication program at NABA — Nuova Accademia di Belle Arti in Milan.

IPERCUBO is a contemporary art gallery in Milan that stems from the urgency of imagining alternative dimensions. The hypercube is a geometric figure analogous to the cube but immersed in a space of four or more dimensions: whilst it can be mathematically conceptualized and described, it cannot actually be imagined by the human mind since it can only think in a three-dimensional reality. The concept of hyperobject, developed by the contemporary philosopher Timothy Morton, is loosely related to the hypercube.

The typographic choice follows the identity of IPERCUBO, with the use of Archivo by Omnibus-Type foundry, a typeface designed to be used simultaneously on print and digital platforms.

You can find the complete project on Behance.

Usomano recycled paper, 140 gr, 40×68cm
Printed by Tipografia Reali, Milan, Italy

Gazoline is a Canadian rock band from Quebec.

On their latest album Gazoline III, JAF Herb Bold is used for their band name, alongside Avenir for smaller texts. The label name Duprince appears to be based on Bank-Note Italic, an all-caps italic Scotch Roman with split shade. JAF Herb is also used for the band logo in other media such as music videos and the website.

[More info on Discogs]

Still from the video for “3 minutes 5 secondes”

Still from the video for “Dragueur kamikaze”

Band website with the logo in JAF Herb. The menu uses Adso.

Band website, with text set in center-aligned Archivo Narrow.

YouTube profile with a banner featuring the logo in JAF Herb

Bold typography and bright pops of colour scream fun and playful in this furniture e-commerce website for Kook.