Poster designed for Beating the Bounds, a multi-channel video installation by Benjamin Redgrove in collaboration with Josef Mehtola at Lot Projects, London.

The composition is set entirely in Foundry Wilson, using its pronounced contrast and sculptural serifs to build a dense, typographic field. Artist names, venue, dates and title are arranged in a stacked structure that fills the format, allowing scale shifts and line breaks to create rhythm within a tightly controlled space.

The high-contrast letterforms sit against a single-colour ground, amplifying the poster’s graphic directness. Smaller informational text is integrated into the composition without disrupting the overall typographic mass, maintaining clarity while preserving visual impact.

Niki de Saint Phalle. Les années 1980 et 1990. L’art en liberté (“Niki de Saint Phalle. The years 1980 and 1990. Art in freedom”) is an exhibition dedicated to the French-American artist Niki de Saint Phalle. It was held in Les Abattoirs in Toulouse from October 7th, 2022 to March 5th, 2023. In the accompanying catalog, you will find images from her œuvre, various texts (by Annabelle Ténèze, Lucia Pesapane, Julie Crenn, Karine Lacquemant, Thibault Boulvain, Mica Gherghescu, and Ruba Katrib), and a chronology of de Saint Phalle’s work. A substantial book of 224 pages, measuring 22×27 cm and weighing 1.25kg that makes a complete retrospective on the work of Niki.

Titles are set in all-caps ABC Maxi Round, marking a certain modernity in the look of Niki de Saint Phalle’s work. Art direction and graphic design by Agnès Dahan Studio, co-published by Gallimard and Les Abattoirs. The sans serif used for the texts and captions is ABC Marfa. You can flip through the whole book at cantook.net.

Beautifully designed in house at the French publishing house Gallimard, this monograph/biography of the architect and designer Charlotte Perriand (1903–1999) is a pleasure to read.

It has a diverse and contemporary typographic palette.

Titles are set in the typeface Orientation by Sandrine Nugue, published by Commercial Type. The main text is set in Lava by Peter Biľak, published by Typotheque. And the pull quotes and image captions are set in Akkurat Mono by Laurenz Brunner, published by Lineto.

On the occasion of the exhibition Huysmans. De Degas à Grünewald taking place at the Musée d'Orsay in Paris, an illustrated version of the French novelist and art critic’s most famous text was published. Gallimard, the co-publisher, says the publication “confronts Huysmans’ text with an entire iconography that he either underlies or explicitly evokes.”

Sarah Martinon, art director and illustrator based in Paris, was in charge of the book’s layout as well as the creation of original marble-inspired illustrations used as chapter openers. These mesmerising patterns complement the text, now considered to be the ultimate example of Decadent literature, with a main character described by its author as “soaring upwards into dream, seeking refuge in illusions of extravagant fantasy.”

For the cover design and titles, Sarah Martinon used Bet (Revue Diorama), a typeface inspired by Jacoby & Fils’ poster wood typefaces from the end of the 19th century [see Series 4009–4019] — around the same time as “À rebours” was first published. The main text is set in Adobe Caslon, with page numbers in Akzidenz-Grotesk Bold. The chapter openers feature Nostra Stream (Lucas Descroix), whose wild and over-the-top curviness create a very interesting dialogue with Martinon's colorful illustrations.

The titles follow the same treatment as the cover.

The text and running title use Adobe Caslon, the page number is set in Akzidenz-Grotesk Bold.

Each chapter opener features an original and colorful pattern. The chapter number is set in Nostra Stream.

The book features a very generous late-19th-century iconography.

Both the pattern and the titling typeface share a "folded ribbon" kind of look.

Caption set in Adobe Caslon.

Back cover, showing an illustration by Odilon Redon from 1888.

On the occasion of its 10th anniversary, the Musée des Impressionnismes in Giverny, France presents a retrospective of Ker Xavier-Roussel (1867–1944), a lesser known member of Les Nabis, and one of the most original artists of the post-impressionist generation. Jardin Privé, Jardin Rêvé (“Private Garden, Dream Garden”) is the first major retrospective devoted to the painter in several decades.

The exhibition catalog uses Granville throughout. The modulated sans serif by Production Type appears in all caps for titles: stacked and staggered on the cover, and center-aligned for chapter headings. Body copy is set in ragged-right columns using Granville Bold, with catalog numbers distinguished by a lighter weight. Edited by Mathias Chivot, the catalog was published by Gallimard.

Visual identity for KUNSTEN Museum of Modern Art Aalborg. Books, exhibition catalogues, quarterly published 'papers', stationary, signage, invitations etc by studio Designbolaget

For a closer look at some publications and the type view these PDFs on the museum’s website.