During NBA All-Star Weekend 2026 in LA, Jordan Brand took over the city with Inglewood at the center. Forth+Back created a cohesive identity across the Jordan Brand House, retail locations, and citywide touchpoints. Inspired by MJ’s Black/Infrared AJVI, bold infrared, deep black, custom blackletter, manipulated Jordan sans, and textured graphics shaped a system rooted in imperfection, authenticity, and the visual language of LA.
Vasarely PWRbold
Does he care about football? No, he doesn’t.
What he does care about, however, is that his VASARELY font was chosen by the agency Jones Knowles Ritchie (NYC) for their client Powerade as part of the global World Cup campaign.
Being asked to make a few adjustments, he refined some glyphs for improved legibility and even added a few extra details.
JKR used the font for the headlines in the campaign layouts.
These visuals were kindly provided by Robert Medkeff and Laura Rodriguez.
RC Deportivo Visual Identity
The new identity for RC Deportivo, created in collaboration with the design team of RC Deportivo with the aim to strengthen the club’s legacy and look toward the future.
Rediscovering Type: Why Fontbase Feels Different
Slanted Magazine #47—Digital Tools explores the instruments shaping contemporary creative practice. Through interviews, articles, and numerous examples from graphic and type design, illustration, 3D, web, generative design, and creative coding, the issue looks at how digital tools are used to create, question, and rethink design itself.
In February 2026, Antonin Waterkeyn, recommended by Dominik Levitski, founder of FontBase, shared his perspective with us. The resulting text was written by Lars Harmsen and featured in Slanted Magazine #47—Digital Tools. The magazine is being reprinted and new copies are expected to ship in October. In the meantime, enjoy reading the full text online—and look forward to holding the printed issue in your hands again soon.
Font management has rarely been a love story. For most designers, it has long been a necessary utility—something to keep chaos at bay, not something that actively fuels creativity. Over the years, different generations of software promised structure and control. What they rarely delivered was pleasure, intuition, or genuine discovery.
Antonin, the video artist, motion designer and art director behind antonin.work, knows this evolution firsthand. With more than twenty years of experience working across museums, cinema, humanitarian organizations and fashion, and a practice deeply rooted in typography and typographic animation, his relationship to type is both professional and personal. His current research into animated letterforms—particularly using Cavalry—demands precision, flexibility and speed.
Asked about earlier font managers, he is direct: “I’ve always found that font managers lacked ergonomics and consistency, particularly when one isn’t perfectly organized.” The problem, in other words, was never access. It was friction. Like many seasoned designers, Antonin has accumulated a vast personal library—tens of thousands of fonts gathered over decades. “Like everyone else, I imagine, I own 40,000 fonts but invariably use only the same 10,” he says with a certain irony. The abundance of choice often results in creative repetition. Not because alternatives do not exist, but because they are too deeply buried.
What changed with FontBase was not simply the interface, though he notes that “the software is aesthetically refined, which significantly enhances the user experience.” It was the way the tool reframed search and experimentation. “FontBase offers two decisive advantages for me,” Antonin explains. “The ability to preview variable fonts directly within the software, and its ‘Super Search’ tool, which I’ve become completely dependent on.” Variable fonts, with their adjustable axes and fluid weights, are central to contemporary typographic practice—particularly in motion design. Being able to test these variations instantly, without leaving the manager, removes an entire layer of interruption.
But it is SuperSearch that truly alters behavior. Instead of relying on naming conventions or carefully curated collections, Antonin can search visually—by weight, width, proportion or contrast. “It allows me to instantly search for all condensed variants, for example, without having to create a dedicated collection,” he says. More importantly, “it enables me to preview typographic pairings without opening third-party software.” The effect is subtle yet profound. “Since I’ve been using this search function, I’ve been rediscovering typefaces I hadn’t revisited in years, even decades.” The manager becomes less of an archive and more of a living studio table—a place where forgotten tools resurface and new combinations emerge organically.
This shift from administration to exploration continues in FontBase’s Playground feature. While the software can simulate webpage typography and export CSS, Antonin’s interest lies elsewhere. “I mainly use it to see how two typefaces can work together, without having to switch to another software. The code part interests me very little.” What matters is the immediacy of visual testing—the ability to evaluate relationships between letterforms in real time.
Even the Discover section, which highlights releases from smaller independent foundries, resonates with him—albeit unexpectedly. “To be honest, I’m discovering this feature thanks to this interview! I find the idea truly brilliant.” In an industry where visibility can determine survival, integrating discovery directly into a daily workflow subtly supports the broader typographic ecosystem.
Interestingly, Antonin’s loyalty did not begin with a subscription. “It was the free version that won me over for more than a year,” he recalls. Only later did he move to the Pro version. “If you’re only looking for a good font manager and don’t need the other options, it’s an excellent software in its free version.” That accessibility reflects the software’s larger philosophy. FontBase does not attempt to overwhelm with complexity. Instead, it reduces resistance— between idea and execution, between archive and experiment, between possession and rediscovery. For a designer whose practice revolves around the movement and transformation of letterforms, that reduction of friction is not a minor detail. It is what allows typography to remain alive.
Font management may never become romantic. But in the hands of the right tool, it can become something close to inspiring.
3000Kelvin
3000Kelvin is a typographic identity project developed during an introductory university course in typography. The project explores the visual language of football clubs by translating football positions into designer lamps, assigning each position a distinct lighting object. Numbers, typography and form are combined to create a playful visual system that connects the structure of a football team with the aesthetics of contemporary lighting design.
Loop
These four works come from “31 Posters,” a series built on one word a day. Each lands on the same shape almost by accident, a body repeating one motion: a ball that keeps bouncing, a globe that keeps spinning, a body that keeps running, a hand reaching for the next hold. Together they read that repetition two ways, sometimes as being stuck, sometimes as the actual work: not the podium, but the motion underneath it.
Slanted Experimental Type 4.0
Following the success of the first three editions, Slanted Experimental Type 4.0 continues the series’ exploration of innovative approaches in typography and graphic design. The new edition was created in collaboration with students from Dortmund University of Applied Sciences and Arts, led by Prof. Lars Harmsen and Andreas Ruhe, and presents entirely new content that pushes creative boundaries.
The publication highlights design strategies that embrace accidents, imprecision, and unconventional methods. It showcases typefaces developed through unique concepts and systems, from AI-generated and experimental fonts to variable type design.
Slanted Experimental Type 4.0 invites readers to explore new territories, rethink familiar processes, and challenge the lines we draw—both in design and beyond.
Publisher: Slanted Publishers
Editors: Andreas Ruhe, Students of University of Applied Sciences and Arts Dortmund, Lars Harmsen, Slanted Publishers
Design: Andreas Ruhe, Students of University of Applied Sciences and Arts Dortmund, Lars Harmsen
Release: September 2026
Format: 16 × 24 cm
Volume: 296 pages
Language: English
Printing: black and white printing
Workmanship: Softcover, hot-foil embossing
ISBN: 978-3-69202-012-9
Price: €22.– (DE)
Bike For Brain Health
Bike for Brain Health is an annual bike event that supports world-leading research, innovation, care and education for dementia. This conceptual system (designed for the Young Lions Competition) is built around a bike that shifts and morphs, dependant on its environment. The tangled yet recognizable bike reflects both the disorientation caused by dementia as well as the determination to navigate a path forward through fundraising.
PP Neue Gstaad
Neue Gstaad is a contemporary type family shaped by a distinctly Swiss sense of refinement, calm, confidence, and precision. Designed by Ian Party, it moves beyond regional clichés to embrace a broader, more universal expression of Swiss design: one rooted in clarity, discretion, and quiet sophistication. Loosely inspired by typographic giants, Neue Gstaad interprets its references with restraint. Its structure unfolds across an ultra-versatile variable system, from Compressed to Expanded.
Stockholm Run Club: Run on Repeat
For Stockholm Run Club, STUDIO HERRSTRÖM created a typographic identity based on the paths runners take through the city. Fluid, connected letterforms turn those routes into a visual language for an open, inclusive and international community where running meets music and culture. Designed to live outdoors, on apparel and at events, the wordmark keeps pace with the community, becoming part of its collective identity and attitude: Run on Repeat.
La Argentina no se vende (Argentina Is Not for Sale)
In Argentine football, fans paint their banners by hand. Those rough capitals are the letters football uses for territorial claims, like the Malvinas Islands. This piece moves that lettering from the stands to the body.
The slogan comes from the street: thousands protested a bill that would open rural land to foreign buyers. The words are raised on the skin, like a mark left by the sun or hard work. Not a tattoo, a consequence.
The stands claim the islands. The skin claims the land.
Paper Print Festival 2026
Calling all printmakers, illustrators, book artists, photographers, designers, collectives, independent publishers and print enthusiasts: be part of PAPER PRINT FESTIVAL 2026 in Bochum, Germany!
We are looking for exciting contemporary positions across the world of print: printmaking, screen printing, risograph, linocut, woodcut, etching, lithography, monotype, artist books, zines, independent publishing, editions, fine art prints, typography, experimental techniques and hybrid or interdisciplinary print projects.
Show us what print can be. From giant formats to mini prints, limited editions to unconventional publications—we want to discover, exhibit and celebrate your work.
PAPER PRINT FESTIVAL takes place October 30–November 1, 2026 at IBKK Design & Kunstzentrum Bochum, bringing together an international community of artists, designers and print lovers. Expect exhibitions, artist booths, talks, live demonstrations and free hands-on workshops in screen printing, linocut, risograph and textile printing.
Submit your work here and become part of PAPER PRINT FESTIVAL 2026.
Deadline: September 30, 2026
PAPER PRINT FESTIVAL
When?
October 30 to November 01, 2026
Where?
IBKK Design and Kunstzentrum, Bochum
Further information are available via the official website.
Alphabettes Soup: Feminist Approaches to Type
Ten years of feminist perspectives on type design, research, and community-building come together in Alphabettes Soup, published by Bikini Books. The book brings together selected articles from the Alphabettes platform with new essays, interviews, visual histories, and reflections on projects and initiatives from the past decade. Its contributions look at type through different perspectives, connecting questions of culture, language, technology, business, and design.
More than an anthology, Alphabettes Soup brings together the voices and experiences that have shaped the Alphabettes network over the years. The publication is conceived as a type specimen and features more than 100 typefaces designed by women and non-binary designers. By looking at type history and contemporary practice from perspectives that have often been overlooked, the book aims to question established narratives and encourage new, decentralized forms of creative community.
Alphabettes began in 2015, when conversations about sexism and gender diversity in the type industry brought together a small group of people connected through the internet. What started as an informal exchange quickly grew into a network of more than 300 type designers, lettering artists, typographers, and design educators. There was no financial backing and no formal organizational structure behind it. Instead, Alphabettes developed as a decentralized network driven by its members.
Over the years, the community has published hundreds of articles, connected emerging type designers with mentors, and organized public events and critique sessions. Its ongoing work focuses on creating greater equity and diversity within type design, from conferences and educational institutions to the wider international design industry. With Alphabettes Soup, these ten years of conversations, collaborations, and shared experiences are brought together in one publication.
Alphabettes Soup: Feminist Approaches to Type
Organized and edited: Amy Papaelias
Foreword: Teal Triggs
Copy and line editing: Caren Litherland
Editorial assistance: Xindha Yaeger
Coordination: Nina Paim
Publishing assistance: Sera van de Water
Design: Studio Tereza Bettinardi
Design assistance: Guilherme Mohr and Lou Huguenin
Illustrations: Vitória Bas
Publisher: Bikini Books
Size: 28 × 21 cm, 384 pages, softcover
ISBN: 978-989-35859-6-2
BUY—September 10 marks Alphabettes’ 11th anniversary! To celebrate, Bikini Books offering 20% off until the end of the month with the promo code HBD20.
Mindset is Everything
“Mindset Is Everything” explores the mental force behind movement and performance. XULI translates this idea into large-scale, gestural lettering, where rhythm, tension and physical movement shape each mark. Created within a sports context, the work turns language into a physical act, treating typography not as something placed onto movement, but as movement itself.
STVZ Road Cycling Team
STVZ is a Buenos Aires cycling team built around competition, discipline and camaraderie. Studio Picante developed a bold identity inspired by heavy-metal typography, with custom letterforms expressing strength, speed and unity. Graphic patterns draw from pelotons, attacks and sprint finishes, creating a visual system rooted in the intensity of racing while reinforcing teamwork, inclusion and belonging.
Recap: Forward Festival Berlin 2026
The Forward Festival Berlin 2026 once again turned Haus der Kulturen der Welt into a temporary creative campus. On August 27th and 28th, three stages brought together more than 50 international creative voices for two days of talks, workshops, and side events under the theme “Turn Ideas into Action”.
Among the many highlights, Vera van de Seyp and holy motors offered insights into their work, their working methods and their activist thinking. Stefan Sagmeister premiered a brand-new talk, openly sharing the single worst job of his career—and what he ultimately took from it. Canadian art-and-design director Gab Bois offered a surreal, object-based take on image-making, while Brooklyn duo Anton & Irene, represented by Irene Pereyra, dug into what it means to shape culture through digital design. British illustrator Mr. Bingo brought his sharp wit to the stage, motion studio FutureDeluxe blended design and technology into emotive visual worlds, and type foundry Dinamo unpacked how typography carries identity and attitude. A candid panel with Sagmeister, The Rodina, Florian Kaps, and Viktoria Renner tackled AI, change, and where creativity is heading next. The thing Magazine provided a critical and editorial voice at the festival.
The festival’s visual identity, once again crafted by Austrian studio Zwupp, pushed the three-dimensional, kinetic language they introduced the year before—new posters, next-speaker bumpers between talks, and video-wall installations across the site. The Mill premiered the festival’s new Main Titles, adding a cinematic layer to the atmosphere at HKW.
Beyond the main stages, the expo area and side events gave the festival its hands-on character: an open stage let attendees pitch their own ideas directly to speakers and get advice on the spot, while studio tours offered a look inside Berlin’s creative agencies.
Once again, Forward Festival Berlin proved to be a place to meet old acquaintances, make new contacts, and exchange ideas in a creative and collaborative atmosphere. We are already looking forward to the next stop of the season—Vienna in October—and to the next Berlin edition in 2027.
Further information here.
H&H Road Cycling Team
H&H began with five friends racing bikes around Buenos Aires, combining competitive ambition with local humor and friendship. Short for Harina & Humo, the name reflects the balance between the discipline of performance cycling and a less serious life off the bike. Today, H&H competes in fondo and criterium events across Argentina. In 2026, rider Martín Alcaráz became Argentine National Champion in the Master A1 category.
IF_OFFSIDE
Stencil is born from the visual language of football: shirt numbers, names on the back, stadium signs, flags, banners and the rituals of matchday. Its broken forms and bridges echo the practical construction of sports lettering—designed to be bold, immediate and readable from a distance. From kick-off to full time, Stencil carries the identity of the jersey into the wider visual culture of the game.
PAOK FC Anniversary Logo
The 96th anniversary identity is built around the numbers 9 and 6, which are redesigned to form the Double-Headed Eagle. The numerical mark and the club’s historic symbol become one unified visual element, connecting the passage of time with PAOK’s identity. The result is a restrained, institutional and contemporary interpretation of the club’s emblematic visual language.
Captcha Design Festival
Captcha is a design festival for watching, participating, and discussing. For everyone who wants to understand design not just as a finished product, but as an ongoing process.
From September 14 to 21, 2026, students from the Faculty of Design at Mannheim University of Applied Sciences will host the Captcha Design Festival, this year in cooperation with the City of Mannheim, the Abendakademie, and the Alte Feuerwache. Young designers in particular will be offered easy access to workshops and talks featuring exciting figures from the creative industry. This year’s Captcha is titled “Momentum.” Momentum refers to the momentum of an existing movement. It creates a momentum of its own that is virtually impossible to stop from the outside.
Participants include A2 + B, Deutsche & Japaner, HAL Typeface, Julia Kahl, Liv Virnich, Raoul Gottschling, Sophia Krasomil, Tim Lindacher, Wenzel Rehbach, and Yannick Bach.
Over the course of eight days, Captcha will explore the theme from various perspectives:
September 14 – Symposium
Four lectures at Cinema Quadrat will kick off the design festival.
September 15–18 – Workshops
Seven workshops at the Alte Feuerwache and the Abendakademie will explore the theme through hands-on activities.
September 18–21 – Exhibition
The results of the workshops will be presented to the public. The exhibition, organized in cooperation with the City of Mannheim, will take place on the former Gravis site at Stadthaus N1, where the vacant retail space will be repurposed for temporary use. The event kicks off on September 18 with the opening reception and concludes on September 21 with a festive closing reception.
A heartfelt thank you goes to the Albert and Anneliese Konanz Foundation, which is once again supporting us this year and making the festival possible.
Captcha Design Festival 2026
When?
September 14-21, 2026
Where?
Cinema Quadrat, Alte Feuerwache and Stadthaus N1 in Mannheim
More information here.
Photocredits: Maya Dillmann/ @liebling.de
Mix Interiors
Mix Interiors, the leading UK title for commercial interior design and architecture, published bi-monthly since 2000, has been given a full editorial redesign. The project reworks the magazine’s covers, typography and grid while keeping the signature features that have defined it for more than two decades.
In the redesign, three key editorial elements are playfully responsive to content: headers, colour and composition. Headers and colour function as typographic and chromatic responses to the tone and content of each article, while composition shifts spread to spread — scale, placement and pacing each responding to the editorial character of the piece.
The cover keeps the magazine’s signature feature and gives it a deliberate frame. For twenty-six years, no two Mix covers have been alike: each issue, a leading interior design studio — past contributors include Zaha Hadid Architects, Gensler, Conran and Partners and M Moser — creates a bespoke artwork inspired by a surface, a material or a fabrication process. The redesigned cover grid is constructed on the perfect square geometry shared by the artwork and the MIX logotype. Two hues are drawn from each cover artwork and carried through to the issue’s recurring sections — contents, colophon, masthead and cover story — giving each new issue a distinctive, unpredictable personality.
The typography pairs two contrasting families by function. TypeType’s TT Commons Pro, a sans with honest geometry, carries the magazine’s headers, standfirsts, captions, folios and running text. Positype’s Scotch Text Condensed, a revival of the Scotch tradition with old-style proportions and fully drawn italics, allows a larger body for enhanced readability — a typographic identity that reads as contemporary yet trend-proof.
Headers are where the typographic personality stands out: each feature title is treated as a typographic response to its article — sometimes a literal visual translation of meaning, sometimes a portrait of the interviewee in letterforms, sometimes a subtle irony, or a title alive under its own physics.
The layout is built on a twelve-column, print-first grid in the tradition of Josef Müller-Brockmann. Its underlying logic is a single proportional unit: where two gutters cross, a perfect square. The twelve columns subdivide cleanly into one, two, three, four, six and eight — flexible enough for full-bleed photography, two- and three-column copy, and gridded product indexes, with generous bleeds, full-page openers and modular configurations that hold extended photo essays.
Read more about it here.
Credits
Published: Mix Media Ltd.
Managing Editor: Harry McKinley
Deputy Editor: Chloé Petersen Snell
Editorial and Social Executive: Charlotte Slinger
Editorial Assistant: Ellie Foster
Art Direction and Design: Marçal Prats
Typefaces: TT Commons™ Pro (TypeType); Scotch Text Condensed (Positype)
BREAD AND FOOTBALL
BREAD AND FOOTBALL is a seven-poster series by Iranian visual artist Behnam Raeesian examining football as spectacle, distraction and a tool of control. Through minimal symbolic imagery, the series reflects on sportswashing, public attention, manipulation, and the tension between collective passion and political power.
Mota Training / Mota Jiu-Jitsu
Mota Training’s identity is rooted in the values of jiu-jitsu, bringing together personal training and boxing with the dedicated Mota Jiu-Jitsu academy under one visual language. The bold M, inspired by a folded black belt, creates a flexible typographic system that connects both. Large-scale typography extends onto the academy’s windows, where the training itself becomes the identity.
Poster Safari Zurich 2026
This year, Poster Safari returns for its fourth edition in Zurich’s District 5. In a place where commercial messages usually dominate the urban landscape, 20 designers take over large-scale advertising billboards, transforming them with their own interpretations of this year’s theme, OUT OF…, into animated visual statements. By scanning the posters with the smartphone, visitors can experience them in augmented reality and discover an additional dimension of design.
With works by: allink, Andrés Acosta, Blaschitz, bergerberg, Büro Haeberli, Elizaveta Skargina, Eunbee Lee × Dongjun Choi, Fabian Luginbühl × Emma Leuthold, JEFF Zürich, mdbuero, Modo, Pia Fleischmann, Sandro Staudenmann, Simon Haerter, Stojan, Studio Chouchou, Studio Flux, Studio Heyday, Superdot, Upset, WePlayDesign
Jury: Erich Brechbühl (AGI, Weltformat Festival Luzern, Mixer), Gabriela Chicherio (Zurich Design Weeks), Ursina Landolt (Poster Safari), Jiri Oplatek (Claudiabasel, HGK Basel), Lea Pfister (Poster Safari), Sara Zeller (Museum für Gestaltung Zürich)
Poster Safari Zurich 2026
When?
September 17–29, 2026
Where?
Zurich
Further information are available via the official website.