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Back to the office with exciting new projects ✨

We were familiar with his work as a book designer, but it wasn’t until a few years ago that we came across Bruce Rogers‘ playful, illustrative ornamental work. It was on a website (now defunct) dedicated to the typographic practice of John Fass (who worked alongside Rogers while employed by William Rudge during the early 1920s), where we found many of these examples.

Among all his ornamental illustrations, we particularly fell in love with this little Christmas card that Rogers designed and printed in 1923 [→ image 7]. The reduction of typographic elements, the chromatic restraint, the smart way to break words down into syllables, and his use of white space speak to us of a want-to-be traditionalist practice that couldn’t escape modernity.

This year, we decided to digitize and redesign this Christmas card and produce a limited edition of 100 copies printed in risography [→ 3].

For the text and the asterisks we chose to use @fonderieabyme’s Mercure in 18 and 16 pt [→ 6]. For the ornaments, after searching through different type libraries without success, we decided to digitise them ourselves [→ 4, 5].

This little project has added emotional value for us: it is the last risograph project printed together with our dear Ralf Bacher, prepress workshop leader at HFBK Hamburg, who, after over 30 years of teaching, is now retiring.

We still have copies available. If you are interested in getting one, please DM us ✨

We were familiar with his work as a book designer, but it wasn’t until a few years ago that we came across Bruce Rogers‘ playful, illustrative ornamental work. It was on a website (now defunct) dedicated to the typographic practice of John Fass (who worked alongside Rogers while employed by William Rudge during the early 1920s), where we found many of these examples.

Among all his ornamental illustrations, we particularly fell in love with this little Christmas card that Rogers designed and printed in 1923 [→ image 7]. The reduction of typographic elements, the chromatic restraint, the smart way to break words down into syllables, and his use of white space speak to us of a want-to-be traditionalist practice that couldn’t escape modernity.

This year, we decided to digitize and redesign this Christmas card and produce a limited edition of 100 copies printed in risography [→ 3].

For the text and the asterisks we chose to use @fonderieabyme’s Mercure in 18 and 16 pt [→ 6]. For the ornaments, after searching through different type libraries without success, we decided to digitise them ourselves [→ 4, 5].

This little project has added emotional value for us: it is the last risograph project printed together with our dear Ralf Bacher, prepress workshop leader at HFBK Hamburg, who, after over 30 years of teaching, is now retiring.

We still have copies available. If you are interested in getting one, please DM us ✨

We were familiar with his work as a book designer, but it wasn’t until a few years ago that we came across Bruce Rogers‘ playful, illustrative ornamental work. It was on a website (now defunct) dedicated to the typographic practice of John Fass (who worked alongside Rogers while employed by William Rudge during the early 1920s), where we found many of these examples.

Among all his ornamental illustrations, we particularly fell in love with this little Christmas card that Rogers designed and printed in 1923 [→ image 7]. The reduction of typographic elements, the chromatic restraint, the smart way to break words down into syllables, and his use of white space speak to us of a want-to-be traditionalist practice that couldn’t escape modernity.

This year, we decided to digitize and redesign this Christmas card and produce a limited edition of 100 copies printed in risography [→ 3].

For the text and the asterisks we chose to use @fonderieabyme’s Mercure in 18 and 16 pt [→ 6]. For the ornaments, after searching through different type libraries without success, we decided to digitise them ourselves [→ 4, 5].

This little project has added emotional value for us: it is the last risograph project printed together with our dear Ralf Bacher, prepress workshop leader at HFBK Hamburg, who, after over 30 years of teaching, is now retiring.

We still have copies available. If you are interested in getting one, please DM us ✨

We were familiar with his work as a book designer, but it wasn’t until a few years ago that we came across Bruce Rogers‘ playful, illustrative ornamental work. It was on a website (now defunct) dedicated to the typographic practice of John Fass (who worked alongside Rogers while employed by William Rudge during the early 1920s), where we found many of these examples.

Among all his ornamental illustrations, we particularly fell in love with this little Christmas card that Rogers designed and printed in 1923 [→ image 7]. The reduction of typographic elements, the chromatic restraint, the smart way to break words down into syllables, and his use of white space speak to us of a want-to-be traditionalist practice that couldn’t escape modernity.

This year, we decided to digitize and redesign this Christmas card and produce a limited edition of 100 copies printed in risography [→ 3].

For the text and the asterisks we chose to use @fonderieabyme’s Mercure in 18 and 16 pt [→ 6]. For the ornaments, after searching through different type libraries without success, we decided to digitise them ourselves [→ 4, 5].

This little project has added emotional value for us: it is the last risograph project printed together with our dear Ralf Bacher, prepress workshop leader at HFBK Hamburg, who, after over 30 years of teaching, is now retiring.

We still have copies available. If you are interested in getting one, please DM us ✨

We were familiar with his work as a book designer, but it wasn’t until a few years ago that we came across Bruce Rogers‘ playful, illustrative ornamental work. It was on a website (now defunct) dedicated to the typographic practice of John Fass (who worked alongside Rogers while employed by William Rudge during the early 1920s), where we found many of these examples.

Among all his ornamental illustrations, we particularly fell in love with this little Christmas card that Rogers designed and printed in 1923 [→ image 7]. The reduction of typographic elements, the chromatic restraint, the smart way to break words down into syllables, and his use of white space speak to us of a want-to-be traditionalist practice that couldn’t escape modernity.

This year, we decided to digitize and redesign this Christmas card and produce a limited edition of 100 copies printed in risography [→ 3].

For the text and the asterisks we chose to use @fonderieabyme’s Mercure in 18 and 16 pt [→ 6]. For the ornaments, after searching through different type libraries without success, we decided to digitise them ourselves [→ 4, 5].

This little project has added emotional value for us: it is the last risograph project printed together with our dear Ralf Bacher, prepress workshop leader at HFBK Hamburg, who, after over 30 years of teaching, is now retiring.

We still have copies available. If you are interested in getting one, please DM us ✨

We were familiar with his work as a book designer, but it wasn’t until a few years ago that we came across Bruce Rogers‘ playful, illustrative ornamental work. It was on a website (now defunct) dedicated to the typographic practice of John Fass (who worked alongside Rogers while employed by William Rudge during the early 1920s), where we found many of these examples.

Among all his ornamental illustrations, we particularly fell in love with this little Christmas card that Rogers designed and printed in 1923 [→ image 7]. The reduction of typographic elements, the chromatic restraint, the smart way to break words down into syllables, and his use of white space speak to us of a want-to-be traditionalist practice that couldn’t escape modernity.

This year, we decided to digitize and redesign this Christmas card and produce a limited edition of 100 copies printed in risography [→ 3].

For the text and the asterisks we chose to use @fonderieabyme’s Mercure in 18 and 16 pt [→ 6]. For the ornaments, after searching through different type libraries without success, we decided to digitise them ourselves [→ 4, 5].

This little project has added emotional value for us: it is the last risograph project printed together with our dear Ralf Bacher, prepress workshop leader at HFBK Hamburg, who, after over 30 years of teaching, is now retiring.

We still have copies available. If you are interested in getting one, please DM us ✨

We were familiar with his work as a book designer, but it wasn’t until a few years ago that we came across Bruce Rogers‘ playful, illustrative ornamental work. It was on a website (now defunct) dedicated to the typographic practice of John Fass (who worked alongside Rogers while employed by William Rudge during the early 1920s), where we found many of these examples.

Among all his ornamental illustrations, we particularly fell in love with this little Christmas card that Rogers designed and printed in 1923 [→ image 7]. The reduction of typographic elements, the chromatic restraint, the smart way to break words down into syllables, and his use of white space speak to us of a want-to-be traditionalist practice that couldn’t escape modernity.

This year, we decided to digitize and redesign this Christmas card and produce a limited edition of 100 copies printed in risography [→ 3].

For the text and the asterisks we chose to use @fonderieabyme’s Mercure in 18 and 16 pt [→ 6]. For the ornaments, after searching through different type libraries without success, we decided to digitise them ourselves [→ 4, 5].

This little project has added emotional value for us: it is the last risograph project printed together with our dear Ralf Bacher, prepress workshop leader at HFBK Hamburg, who, after over 30 years of teaching, is now retiring.

We still have copies available. If you are interested in getting one, please DM us ✨

“A Workshop in Concert” by Kyle Egret, designed by @luisllorenspendas (co-founder of @cupe.studio) and @raphaeljmathias, has been shortlisted for the Förderpreis für junge Buchgestaltung 2025 award ✨

–––––––

“A Workshop in Concert”, diseñado por @luisllorenspendas (cofundador de @cupe.studio) y @raphaeljmathias, ha sido seleccionado para la lista corta del premio Förderpreis für junge Buchgestaltung 2025 ✨

@stiftungbuchkunst

Comunicación gráfica para No-Todo: Crítica y Negatividad, el programa de pensamiento crítico de TEA Tenerife Espacio de las Artes (@teatenerife) en el que desde 2022 han participado pensadores como Rosi Braidotti, Chantal Mouffe o Peter Sloterdijk.

[repositorio]

_________

Graphic design for No-Todo: Crítica y Negatividad, the critical thinking program of TEA Tenerife Espacio de las Artes (@teatenerife). Since 2022, thinkers such as Rosi Braidotti, Chantal Mouffe or Peter Sloterdijk have participated in the program.

[repository]

Comunicación gráfica para No-Todo: Crítica y Negatividad, el programa de pensamiento crítico de TEA Tenerife Espacio de las Artes (@teatenerife) en el que desde 2022 han participado pensadores como Rosi Braidotti, Chantal Mouffe o Peter Sloterdijk.

[repositorio]

_________

Graphic design for No-Todo: Crítica y Negatividad, the critical thinking program of TEA Tenerife Espacio de las Artes (@teatenerife). Since 2022, thinkers such as Rosi Braidotti, Chantal Mouffe or Peter Sloterdijk have participated in the program.

[repository]

Comunicación gráfica para No-Todo: Crítica y Negatividad, el programa de pensamiento crítico de TEA Tenerife Espacio de las Artes (@teatenerife) en el que desde 2022 han participado pensadores como Rosi Braidotti, Chantal Mouffe o Peter Sloterdijk.

[repositorio]

_________

Graphic design for No-Todo: Crítica y Negatividad, the critical thinking program of TEA Tenerife Espacio de las Artes (@teatenerife). Since 2022, thinkers such as Rosi Braidotti, Chantal Mouffe or Peter Sloterdijk have participated in the program.

[repository]

Comunicación gráfica para No-Todo: Crítica y Negatividad, el programa de pensamiento crítico de TEA Tenerife Espacio de las Artes (@teatenerife) en el que desde 2022 han participado pensadores como Rosi Braidotti, Chantal Mouffe o Peter Sloterdijk.

[repositorio]

_________

Graphic design for No-Todo: Crítica y Negatividad, the critical thinking program of TEA Tenerife Espacio de las Artes (@teatenerife). Since 2022, thinkers such as Rosi Braidotti, Chantal Mouffe or Peter Sloterdijk have participated in the program.

[repository]

Comunicación gráfica para No-Todo: Crítica y Negatividad, el programa de pensamiento crítico de TEA Tenerife Espacio de las Artes (@teatenerife) en el que desde 2022 han participado pensadores como Rosi Braidotti, Chantal Mouffe o Peter Sloterdijk.

[repositorio]

_________

Graphic design for No-Todo: Crítica y Negatividad, the critical thinking program of TEA Tenerife Espacio de las Artes (@teatenerife). Since 2022, thinkers such as Rosi Braidotti, Chantal Mouffe or Peter Sloterdijk have participated in the program.

[repository]

“Lliure associació” is part of our ongoing collaboration with Mela Dávila Freire (@mela_artfile). This little catalog is Mela’s fifth “ensayo” and gathers a beautiful selection of printed matter from her private library. Although it’s been almost a year since it got published, we still enjoy its playfulness every time we get our hands on it 💫

It features publications by Helena Almeida, Adam Broomberg & Oliver Chanarin, R. Buckminster Fuller, Lourdes Castro, Mirtha Dermisache, Roberto Equisoain, Ryan Gander, Joe Goode, Pati Hill, Nancy Holt, Dominique Hurth, Marcel Marceau, Roberto Massó, Annette Messager, Michalis Pichler, Gretta Sarfaty, Barbara Schmidt-Heins, Gabriele Schmidt-Heins, Michael Snow, Annie Sprinkle, Eric Tabuchi, Athena Tacha, Marianne Wex & Joyce Wieland.

Limited edition of 100.
Published in collaboration with @pratsnoguerasblanchard

“Lliure associació” is part of our ongoing collaboration with Mela Dávila Freire (@mela_artfile). This little catalog is Mela’s fifth “ensayo” and gathers a beautiful selection of printed matter from her private library. Although it’s been almost a year since it got published, we still enjoy its playfulness every time we get our hands on it 💫

It features publications by Helena Almeida, Adam Broomberg & Oliver Chanarin, R. Buckminster Fuller, Lourdes Castro, Mirtha Dermisache, Roberto Equisoain, Ryan Gander, Joe Goode, Pati Hill, Nancy Holt, Dominique Hurth, Marcel Marceau, Roberto Massó, Annette Messager, Michalis Pichler, Gretta Sarfaty, Barbara Schmidt-Heins, Gabriele Schmidt-Heins, Michael Snow, Annie Sprinkle, Eric Tabuchi, Athena Tacha, Marianne Wex & Joyce Wieland.

Limited edition of 100.
Published in collaboration with @pratsnoguerasblanchard

“Standortbestimmung | Location Determination” has made it to the long list of the Most Beautiful German Books 2025 (Die Schönsten deutschen Bücher 2025)!

@fedele__m @tatjanavdbeek #corinnediserens @hamburger.kunsthalle @kerberverlag @druckereikettler

1️⃣ 📸 @stiftungbuchkunst

“Standortbestimmung | Location Determination” has made it to the long list of the Most Beautiful German Books 2025 (Die Schönsten deutschen Bücher 2025)!

@fedele__m @tatjanavdbeek #corinnediserens @hamburger.kunsthalle @kerberverlag @druckereikettler

1️⃣ 📸 @stiftungbuchkunst

“Standortbestimmung | Location Determination” has made it to the long list of the Most Beautiful German Books 2025 (Die Schönsten deutschen Bücher 2025)!

@fedele__m @tatjanavdbeek #corinnediserens @hamburger.kunsthalle @kerberverlag @druckereikettler

1️⃣ 📸 @stiftungbuchkunst

Intradós - some years ago we made this artistic publication hand on hand with our friends Diego and Luis from @cupe.studio
This artbook brings together a large number of materials (reference images, sketches, photographs…) to illustrate the process, evolution and result of our three first collections (capítulo I, II, III).

Limited edition of 50 copies. Few last ones available at tiscarespadas.com

Intradós - some years ago we made this artistic publication hand on hand with our friends Diego and Luis from @cupe.studio
This artbook brings together a large number of materials (reference images, sketches, photographs…) to illustrate the process, evolution and result of our three first collections (capítulo I, II, III).

Limited edition of 50 copies. Few last ones available at tiscarespadas.com

Intradós - some years ago we made this artistic publication hand on hand with our friends Diego and Luis from @cupe.studio
This artbook brings together a large number of materials (reference images, sketches, photographs…) to illustrate the process, evolution and result of our three first collections (capítulo I, II, III).

Limited edition of 50 copies. Few last ones available at tiscarespadas.com

Intradós - some years ago we made this artistic publication hand on hand with our friends Diego and Luis from @cupe.studio
This artbook brings together a large number of materials (reference images, sketches, photographs…) to illustrate the process, evolution and result of our three first collections (capítulo I, II, III).

Limited edition of 50 copies. Few last ones available at tiscarespadas.com

Intradós - some years ago we made this artistic publication hand on hand with our friends Diego and Luis from @cupe.studio
This artbook brings together a large number of materials (reference images, sketches, photographs…) to illustrate the process, evolution and result of our three first collections (capítulo I, II, III).

Limited edition of 50 copies. Few last ones available at tiscarespadas.com

Intradós - some years ago we made this artistic publication hand on hand with our friends Diego and Luis from @cupe.studio
This artbook brings together a large number of materials (reference images, sketches, photographs…) to illustrate the process, evolution and result of our three first collections (capítulo I, II, III).

Limited edition of 50 copies. Few last ones available at tiscarespadas.com

Intradós - some years ago we made this artistic publication hand on hand with our friends Diego and Luis from @cupe.studio
This artbook brings together a large number of materials (reference images, sketches, photographs…) to illustrate the process, evolution and result of our three first collections (capítulo I, II, III).

Limited edition of 50 copies. Few last ones available at tiscarespadas.com

Intradós - some years ago we made this artistic publication hand on hand with our friends Diego and Luis from @cupe.studio
This artbook brings together a large number of materials (reference images, sketches, photographs…) to illustrate the process, evolution and result of our three first collections (capítulo I, II, III).

Limited edition of 50 copies. Few last ones available at tiscarespadas.com

“Welcome Home, Johnny’s Dead” by @stef___rieder seen in the library of @hfbkhamburg 👀

“Welcome Home, Johnny’s Dead” by @stef___rieder seen in the library of @hfbkhamburg 👀

“We’ve been saying it already for a while, and I want to repeat it here: at this point, I think you know my work better than I do”, joked artist Fedele Maura Friede (@fedele__m) during her speech at the recent opening of her exhibition “der saum löst sich / the hem comes undone” at the Hamburger Kunsthalle (@hamburger.kunsthalle).

We surely don’t know her work better than she does, but getting to understand the complexity of her drawings was an essential step in the design process of the catalogue “Standortbestimmung / Location Determination“.

The book presents eight of the pieces shown at the exhibition: a large leporello (360 × 23 cm) and seven sheets of Japanese paper (56 × 78,5 cm / 69 × 67 cm) that the artist folded, drew on, unfolded and displayed as a sort of cartography that can be looked at from different points of view. In the book, like in a portable map, the drawings are reproduced in different scales and forms, playing with the foldings of the originals.

The publication also includes two texts by Fedele herself and by author Tatjana von der Beek (@tatjanavdbeek) in which formal fragmentarism and reflections on space and location play a central role.

“Standortbestimmung / Location Determination“ has been edited by curator Corinne Diserens and published by Kerber Verlag (@kerberverlag) in collaboration with the Hamburger Kunsthalle. It was printed by Druckerei Kettler (@druckereikettler) in an edition of 500.

La semana pasada tuvimos el placer de visitar @casaplanas. Muchas gracias por invitarnos a trabajar con vosotras y por abrirnos las puertas de vuestro maravilloso archivo✨
______

Last week we had the pleasure of visiting @casaplanas. Thank you very much for inviting us to work with you and for opening the doors of your wonderful archive✨✨

More 🔜

La semana pasada tuvimos el placer de visitar @casaplanas. Muchas gracias por invitarnos a trabajar con vosotras y por abrirnos las puertas de vuestro maravilloso archivo✨
______

Last week we had the pleasure of visiting @casaplanas. Thank you very much for inviting us to work with you and for opening the doors of your wonderful archive✨✨

More 🔜

La semana pasada tuvimos el placer de visitar @casaplanas. Muchas gracias por invitarnos a trabajar con vosotras y por abrirnos las puertas de vuestro maravilloso archivo✨
______

Last week we had the pleasure of visiting @casaplanas. Thank you very much for inviting us to work with you and for opening the doors of your wonderful archive✨✨

More 🔜

La semana pasada tuvimos el placer de visitar @casaplanas. Muchas gracias por invitarnos a trabajar con vosotras y por abrirnos las puertas de vuestro maravilloso archivo✨
______

Last week we had the pleasure of visiting @casaplanas. Thank you very much for inviting us to work with you and for opening the doors of your wonderful archive✨✨

More 🔜

La semana pasada tuvimos el placer de visitar @casaplanas. Muchas gracias por invitarnos a trabajar con vosotras y por abrirnos las puertas de vuestro maravilloso archivo✨
______

Last week we had the pleasure of visiting @casaplanas. Thank you very much for inviting us to work with you and for opening the doors of your wonderful archive✨✨

More 🔜

La semana pasada tuvimos el placer de visitar @casaplanas. Muchas gracias por invitarnos a trabajar con vosotras y por abrirnos las puertas de vuestro maravilloso archivo✨
______

Last week we had the pleasure of visiting @casaplanas. Thank you very much for inviting us to work with you and for opening the doors of your wonderful archive✨✨

More 🔜

La semana pasada tuvimos el placer de visitar @casaplanas. Muchas gracias por invitarnos a trabajar con vosotras y por abrirnos las puertas de vuestro maravilloso archivo✨
______

Last week we had the pleasure of visiting @casaplanas. Thank you very much for inviting us to work with you and for opening the doors of your wonderful archive✨✨

More 🔜

La semana pasada tuvimos el placer de visitar @casaplanas. Muchas gracias por invitarnos a trabajar con vosotras y por abrirnos las puertas de vuestro maravilloso archivo✨
______

Last week we had the pleasure of visiting @casaplanas. Thank you very much for inviting us to work with you and for opening the doors of your wonderful archive✨✨

More 🔜

Algunas cubiertas más de la colección de ensayo de Alianza Editorial diseñadas por @diegocalvocubero (@cupe.studio)

📚📚📚

Some more book covers designed by @diegocalvocubero (@cupe.studio) for Alianza Editorial’s essay collection

📸 @saschalepp

Algunas cubiertas más de la colección de ensayo de Alianza Editorial diseñadas por @diegocalvocubero (@cupe.studio)

📚📚📚

Some more book covers designed by @diegocalvocubero (@cupe.studio) for Alianza Editorial’s essay collection

📸 @saschalepp

Algunas cubiertas más de la colección de ensayo de Alianza Editorial diseñadas por @diegocalvocubero (@cupe.studio)

📚📚📚

Some more book covers designed by @diegocalvocubero (@cupe.studio) for Alianza Editorial’s essay collection

📸 @saschalepp

Algunas cubiertas más de la colección de ensayo de Alianza Editorial diseñadas por @diegocalvocubero (@cupe.studio)

📚📚📚

Some more book covers designed by @diegocalvocubero (@cupe.studio) for Alianza Editorial’s essay collection

📸 @saschalepp

Algunas cubiertas más de la colección de ensayo de Alianza Editorial diseñadas por @diegocalvocubero (@cupe.studio)

📚📚📚

Some more book covers designed by @diegocalvocubero (@cupe.studio) for Alianza Editorial’s essay collection

📸 @saschalepp

Algunas cubiertas más de la colección de ensayo de Alianza Editorial diseñadas por @diegocalvocubero (@cupe.studio)

📚📚📚

Some more book covers designed by @diegocalvocubero (@cupe.studio) for Alianza Editorial’s essay collection

📸 @saschalepp

Algunas cubiertas más de la colección de ensayo de Alianza Editorial diseñadas por @diegocalvocubero (@cupe.studio)

📚📚📚

Some more book covers designed by @diegocalvocubero (@cupe.studio) for Alianza Editorial’s essay collection

📸 @saschalepp

Some graphic and typographic inspiration found in Barcelona 😎

1. Sundial I
2. Regina Silveira
3. El pitet català
4. Torre Libro
5. Josep Iglésias del Marquet
6. Moto-món
7. Mar Arza
8. Regina Silveira
9. Sundial II
10. Mar Arza
11. Sundial III

Some graphic and typographic inspiration found in Barcelona 😎

1. Sundial I
2. Regina Silveira
3. El pitet català
4. Torre Libro
5. Josep Iglésias del Marquet
6. Moto-món
7. Mar Arza
8. Regina Silveira
9. Sundial II
10. Mar Arza
11. Sundial III

Some graphic and typographic inspiration found in Barcelona 😎

1. Sundial I
2. Regina Silveira
3. El pitet català
4. Torre Libro
5. Josep Iglésias del Marquet
6. Moto-món
7. Mar Arza
8. Regina Silveira
9. Sundial II
10. Mar Arza
11. Sundial III

Some graphic and typographic inspiration found in Barcelona 😎

1. Sundial I
2. Regina Silveira
3. El pitet català
4. Torre Libro
5. Josep Iglésias del Marquet
6. Moto-món
7. Mar Arza
8. Regina Silveira
9. Sundial II
10. Mar Arza
11. Sundial III

Some graphic and typographic inspiration found in Barcelona 😎

1. Sundial I
2. Regina Silveira
3. El pitet català
4. Torre Libro
5. Josep Iglésias del Marquet
6. Moto-món
7. Mar Arza
8. Regina Silveira
9. Sundial II
10. Mar Arza
11. Sundial III

Some graphic and typographic inspiration found in Barcelona 😎

1. Sundial I
2. Regina Silveira
3. El pitet català
4. Torre Libro
5. Josep Iglésias del Marquet
6. Moto-món
7. Mar Arza
8. Regina Silveira
9. Sundial II
10. Mar Arza
11. Sundial III

Some graphic and typographic inspiration found in Barcelona 😎

1. Sundial I
2. Regina Silveira
3. El pitet català
4. Torre Libro
5. Josep Iglésias del Marquet
6. Moto-món
7. Mar Arza
8. Regina Silveira
9. Sundial II
10. Mar Arza
11. Sundial III

Some graphic and typographic inspiration found in Barcelona 😎

1. Sundial I
2. Regina Silveira
3. El pitet català
4. Torre Libro
5. Josep Iglésias del Marquet
6. Moto-món
7. Mar Arza
8. Regina Silveira
9. Sundial II
10. Mar Arza
11. Sundial III

Some graphic and typographic inspiration found in Barcelona 😎

1. Sundial I
2. Regina Silveira
3. El pitet català
4. Torre Libro
5. Josep Iglésias del Marquet
6. Moto-món
7. Mar Arza
8. Regina Silveira
9. Sundial II
10. Mar Arza
11. Sundial III

Some graphic and typographic inspiration found in Barcelona 😎

1. Sundial I
2. Regina Silveira
3. El pitet català
4. Torre Libro
5. Josep Iglésias del Marquet
6. Moto-món
7. Mar Arza
8. Regina Silveira
9. Sundial II
10. Mar Arza
11. Sundial III

Some graphic and typographic inspiration found in Barcelona 😎

1. Sundial I
2. Regina Silveira
3. El pitet català
4. Torre Libro
5. Josep Iglésias del Marquet
6. Moto-món
7. Mar Arza
8. Regina Silveira
9. Sundial II
10. Mar Arza
11. Sundial III

Some graphic and typographic inspiration found in Barcelona 😎

1. Sundial I
2. Regina Silveira
3. El pitet català
4. Torre Libro
5. Josep Iglésias del Marquet
6. Moto-món
7. Mar Arza
8. Regina Silveira
9. Sundial II
10. Mar Arza
11. Sundial III