typo/graphic posters

Everybody counts. Unfortunately we are seen and measured in numbers a lot of the times. And not with the same standards. For the design of this Dignity poster I used the Abacus for inspiration and to tell the message. The Abacus is One of the oldest and international tools to work with numbers. Entry for Dignity call 2026.

“Croatian National Theatre ”, 2016, by đkć studio - typo/graphic posters

đkć studio — Wed, 22 Apr 2026 10:26:07 +0000

The visual identity of the Croatian National Theatre in Zagreb 2016/17 season is based on a poster system defined primarily by a strict relationship to content. Through varied photographic and typographic treatments, each poster captures the specific atmosphere of an individual work. The posters consistently feature close-up portraits (stories from life we can relate to), presented in oversized citylight and billboard formats (larger than life, conveying the grandeur of the national theatre).

“Festival of Lights Zagreb 2026”, 2026, by đkć studio - typo/graphic posters

đkć studio — Wed, 22 Apr 2026 10:12:06 +0000

Festival of Lights Zagreb takes place in early spring. Its visual identity celebrates the reawakening of nature through a modular motif — part flower, part scattered ray of light. Designed to work as both a black-and-white symbol and a vibrant, color-dense visual, the flower/ray also functions responsively, adapting seamlessly across the festival’s diverse applications.

“75th Dubrovnik Summer Festival”, 2024, by đkć studio - typo/graphic posters

đkć studio — Wed, 22 Apr 2026 09:53:59 +0000

The visual identity of the 75th Dubrovnik Summer Festival continues with the theme of nature as a key element of the festival's atmosphere. The almost empty poster depicts a sunset horizon, an intangible boundary between day/night, sky/sea, known/unknown—a threshold into the mystique of night and the performances at the Summer Festival. From the main poster, the sunset seems to spread across all other identity materials.

“74th Dubrovnik Summer Festival”, 2023, by đkć studio - typo/graphic posters

đkć studio — Wed, 22 Apr 2026 09:53:59 +0000

The visual identity of the 74th Dubrovnik Summer Festival is a continuation of previous year, focusing on local plants and shifting the spotlight from the city walls to a frequently overlooked natural element characteristic of outdoor performances. The posters feature portraits of seemingly characteristic Dubrovnik plants: agave and prickly pear, Dubrovnik coral, and the Dubrovnik gospar. However, prickly pears were first noted on Lastovo in 1911 and are originally from Mexico, as are agaves. Dubrovnik coral came from Guatemala, and the gospar is of Brazilian origin. These visuals thus raise questions about the boundaries between what is ours/Dubrovnik's and what is foreign, old and new.

“Festival of Lights Zagreb 2024”, 2024, by đkć studio - typo/graphic posters

đkć studio — Wed, 22 Apr 2026 09:53:59 +0000

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“Festival of Lights Zagerb 2023”, 2023, by đkć studio - typo/graphic posters

đkć studio — Wed, 22 Apr 2026 09:53:59 +0000

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“73rd Dubrovnik Summer Festival”, 2022, by đkć studio - typo/graphic posters

đkć studio — Wed, 22 Apr 2026 09:53:59 +0000

What makes Dubrovnik Summer Festival singular is the magical atmosphere, part due to the City's historic scenography, part due to something mostly overlooked – the element of nature, present at every show. This "invisible" part of the City, always in the background of the imposing sight of the city walls, can be seen as a metaphor for it's citizens. Living between the stones full of history – like something peripheral.

“Opsada Oza / Siege of Oz”, 2021, by đkć studio - typo/graphic posters

đkć studio — Wed, 22 Apr 2026 09:53:59 +0000

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“FIAL”, 2024, by jarr geerligs - typo/graphic posters

jarr geerligs — Fri, 17 Apr 2026 12:57:18 +0000

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“NO JUNK IN <> NO JUNK OUT”, 2024, by jarr geerligs - typo/graphic posters

jarr geerligs — Fri, 17 Apr 2026 12:38:41 +0000

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“Lost Territories: Tracing Imperial Violence”, 2025, by Studio Sara Cristina Moser - typo/graphic posters

Studio Sara Cristina Moser — Thu, 16 Apr 2026 12:29:15 +0000

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“60 Jahre Uldry”, 2024, by Studio Anna Haas - typo/graphic posters

Studio Anna Haas — Thu, 16 Apr 2026 08:38:04 +0000

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“Tout se transforme”, 2024, by Studio Anna Haas - typo/graphic posters

Studio Anna Haas — Thu, 16 Apr 2026 08:33:39 +0000

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“Design für alle – Vielfalt als Norm”, 2024, by Studio Anna Haas - typo/graphic posters

Studio Anna Haas — Thu, 16 Apr 2026 08:31:59 +0000

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“Palace Dez/Nov 2024”, 2024, by Studio Anna Haas - typo/graphic posters

Studio Anna Haas — Thu, 16 Apr 2026 08:26:49 +0000

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“Palace Jan/Feb 2025”, 2024, by Studio Anna Haas - typo/graphic posters

Studio Anna Haas — Thu, 16 Apr 2026 08:25:20 +0000

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“Palace Septembre/October 2024”, 2024, by Studio Anna Haas - typo/graphic posters

Studio Anna Haas — Thu, 16 Apr 2026 08:23:34 +0000

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“Palace 2024”, 2024, by Studio Anna Haas - typo/graphic posters

Studio Anna Haas — Thu, 16 Apr 2026 08:20:28 +0000

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“Session #1”, 2023, by Enea Bortone - typo/graphic posters

Enea Bortone — Tue, 14 Apr 2026 12:39:05 +0000

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“e´void”, 2018, by Enea Bortone - typo/graphic posters

Enea Bortone — Tue, 14 Apr 2026 12:36:56 +0000

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“Moderne Gefühle”, 2022, by Enea Bortone - typo/graphic posters

Enea Bortone — Tue, 14 Apr 2026 12:35:11 +0000

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“Intimacy of Strangers”, 2020, by Enea Bortone - typo/graphic posters

Enea Bortone — Tue, 14 Apr 2026 12:33:25 +0000

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“Jahrmarkt der schönen Dinge”, 2018, by Enea Bortone - typo/graphic posters

Enea Bortone — Tue, 14 Apr 2026 12:31:07 +0000

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“Aktuelle Kunst 2020 – Luzerner Landschaft”, 2020, by Enea Bortone - typo/graphic posters

Enea Bortone — Tue, 14 Apr 2026 12:29:21 +0000

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“Döreschnuufe”, 2025, by Nicole Brugger - typo/graphic posters

Nicole Brugger — Tue, 14 Apr 2026 12:28:33 +0000

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“Hallen-Lujah – Der alternative Weihnachtsmarkt im Neubad”, 2020, by Enea Bortone, Vanessa Hatzky - typo/graphic posters

Enea Bortone — Tue, 14 Apr 2026 12:27:20 +0000

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“Bondar”, 2026, by Enea Bortone - typo/graphic posters

Enea Bortone — Tue, 14 Apr 2026 12:24:08 +0000

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“MAKINA Rave Party Series”, 2026, by Kai Matthiesen - typo/graphic posters

Kai Matthiesen — Tue, 14 Apr 2026 10:54:33 +0000

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“Portes ouvertes 2026”, 2026, by Toan Vu-Huu - typo/graphic posters

Toan Vu-Huu — Mon, 13 Apr 2026 18:59:49 +0000

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“Interactive Media Designer”, 2025, by Toan Vu-Huu - typo/graphic posters

Toan Vu-Huu — Mon, 13 Apr 2026 18:58:06 +0000

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“Admissions 2026”, 2026, by Toan Vu-Huu - typo/graphic posters

Toan Vu-Huu — Mon, 13 Apr 2026 18:52:08 +0000

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“être à l’écoute”, 2025, by Toan Vu-Huu - typo/graphic posters

Toan Vu-Huu — Mon, 13 Apr 2026 18:30:05 +0000

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“21e Salon du livre de Chaumont”, 2026, by Toan Vu-Huu - typo/graphic posters

Toan Vu-Huu — Mon, 13 Apr 2026 18:16:53 +0000

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“Hamacul Art × Shiroishi Zao Residence Art Exhibition”, 2026, by Seita Ishikawa - typo/graphic posters

Seita Ishikawa — Mon, 13 Apr 2026 13:28:22 +0000

The 2025 “Hamacul Art × Shiroishi Zao Residency” is a project that begins with research and creative work in Hamadori, Fukushima Prefecture, and expands through residencies, dialogue, and presentations in Shiroishi Zao. The art direction for this activity log and promotional materials responds to this flow of practice, focusing on the three elements that constitute the geographical landscape of Hamadori: water (the sea and rivers), the sun, and mountains and trees. These were reconfigured into the graphic language of circles, triangles, and wavy lines, respectively, and applied as a consistent visual system throughout all materials. Just as the artists construct their works through research on the region, this design also sought to realize an integrated visual identity that encompasses both documentation and public engagement by translating the region’s landscape and sensibilities into abstract forms.

“System Change Not Climate Change”, 2025, by Toan Vu-Huu - typo/graphic posters

Toan Vu-Huu — Wed, 08 Apr 2026 05:45:20 +0000

“System Change, Not Climate Change” is a poster created for a COP-related initiative, addressing the climate crisis through its systemic causes rather than its visible effects. Distributed both physically during the COP and digitally via an online platform, the project is conceived as part of a long-term, evolving network of contributions.

“Beatball Listening Session: Elaine — 1”, 2026, by Jaemin Lee - typo/graphic posters

Jaemin Lee — Mon, 06 Apr 2026 09:48:56 +0000

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“Bahnya Dub Temple Vol. 4”, 2026, by Jaemin Lee - typo/graphic posters

Jaemin Lee — Mon, 06 Apr 2026 09:48:53 +0000

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“What We Talk About When We Talk About Haruki”, 2026, by Jaemin Lee - typo/graphic posters

Jaemin Lee — Mon, 06 Apr 2026 09:48:50 +0000

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“BB Market: Groove is in the Heart”, 2026, by Jaemin Lee - typo/graphic posters

Jaemin Lee — Mon, 06 Apr 2026 09:48:43 +0000

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“Clover Hotel”, 2026, by Jaemin Lee - typo/graphic posters

Jaemin Lee — Mon, 06 Apr 2026 09:39:32 +0000

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“Mi Se”, 2026, by Jaemin Lee - typo/graphic posters

Jaemin Lee — Mon, 06 Apr 2026 09:39:28 +0000

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“Наопако”, 2026, by Stefan Ilic - typo/graphic posters

Stefan Ilic — Mon, 06 Apr 2026 09:35:54 +0000

The poster series was developed from the concept of building a visual identity. It represents a drama studio where young people practice movement, acting, speech, and public performance. Each series is based on a single visual element, presented in different ways, symbolically suggesting that every individual can have a unique interpretation or stage presence. In this particular series, the dominant motif is a scribble—resembling a child’s drawing or a flower—which evokes a sense of freedom and reflects the atmosphere of the studio. Notably, the studio itself features a dedicated pillar covered with similar drawings. What connects all the posters and series are the recurring “upside-down” inscriptions, symbolizing repetition—a key element in the process of learning and practice.

“Red Cliffs”, 2026, by Jaemin Lee - typo/graphic posters

Jaemin Lee — Mon, 06 Apr 2026 09:35:19 +0000

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“The Man Without a Past”, 2026, by Stefan Ilic - typo/graphic posters

Stefan Ilic — Mon, 06 Apr 2026 09:32:00 +0000

The poster was designed for the film The Man Without a Past by director Aki Kaurismäki. Through experiments with screen photography, printing, and scanning, I developed a visual solution in which white gaps appear on the actor’s portrait, becoming the key motif. These gaps function as voids that point to the protagonist’s lost past and memory. This approach extends to the entire poster through typography, where I also sought, in an abstract way, to establish structure and rhythm — as a visual reflection of the experience and analysis of the community the protagonist inhabits.

“European Media Art Festival No 39 – An Incomplete Assembly”, 2026, by Cabinet Gold van d'Vlies - typo/graphic posters

Cabinet Gold van d'Vlies — Sat, 28 Mar 2026 07:56:27 +0000

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“The Art of the Duo”, 2025, by Cabinet Gold van d'Vlies, Rebekka Weihofen - typo/graphic posters

Cabinet Gold van d'Vlies — Fri, 27 Mar 2026 12:24:09 +0000

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“The Art of the Duo”, 2025, by Cabinet Gold van d'Vlies, Rebekka Weihofen - typo/graphic posters

Cabinet Gold van d'Vlies — Fri, 27 Mar 2026 12:21:09 +0000

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“The Cutter”, 2026, by sam steiner - typo/graphic posters

sam steiner — Mon, 23 Mar 2026 19:50:42 +0000

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“Lets talk about drugs: Ketamin”, 2026, by Sebastian Gill for Neubad - typo/graphic posters