Sinfonietta de Lausanne

Grid-locked rationalism in the Swiss lineage — objective type, mathematical division, and restraint held as a position rather than an absence.

Thick, intentional lettering providing necessary structural weight to modern minimalist layouts.

Fixed-width technical lettering borrowed from terminals and data readouts, using machine neutrality as a stylistic position.

Irregular, off-balance column breaks and floating elements mimicking imperfect physical zines.

Visible column structure and strict modular division, where the grid is left exposed as the composition rather than concealed as a scaffold.

Vector-clean, unmediated surface — flat fills, crisp edges, and even light, with no grain, halation, dust, or process residue anywhere in the image.

Single-surface display work built to be read at distance — bills, gig posters, and out-of-home placements.

Colour, texture, and form resolving to nothing depictive — pattern and field rather than picture.