Miquel Hervás Gómez (b.1985, Terrassa). Graphic designer and pedagogue based on the WWW. Working as a link between experimental publishing, typography, tools and visual communication. Agitator for Preparatory Course at the Gerrit Rietveld Academie as well as other international universities. A former Carne Kids, now acting as a workshop specialist at the BB and giving design direction at fanfare.
2025 NEKaTOENEa's 360° identity & design w/ fanfare.
↑ NEKaTOENEa's typeface and identity. Owl by Ben Clark.
↑ NEKaTOENEa's signage in collaboration with Jean-Yves Béhotéguy.
↑ NEKaTOENEa's typeface. During our residency at NEKaTOENEa, we worked in a co-creation project alongside people with mental fragilities to collectively imagine a universal language accessible to all humans and non-humans.
2025 Resa typography & visual identity for Hangar.org.
↑ Resa's logo.
↑ Experimental typeface parasiting an existing typeface, while playing with negative overlaps and kerning.
↑ Resa communication.
2025 Reparatie Remise character & visual identity.
↑ 3 Din A0 screen printed posters.
↑ RR mascot sketches.
2025 Bea1991 logo & graphics.
↑ B91 Scramble logo. 3D magic by Fadi Houmani.
↑ Intro title/logo in Remina Two music clip.
2023-2025 Nocturnalities identity & book design.
↑ Nocturnalities, 272pp publication published by Onomatopee. The design employs only two grey spot colours, their interplay crafting a sense of fluidity and rhythm. A translation of Nocturnalities, anchored in the solar rhythms of its makers—their dawns and dusks charted with precision, based on the solar data of the contributors, marking sunrise and sunset. As the light wanes and dusk deepens, readability grows soft, the clarity of the text fading closer to sunset, sending a subtle yet profound message to the reader: rest now, let the day slip away. Each contribution is marked by its own final timestamp, the last moment the document was edited, and accompanied by the coordinates of its origin.
↑ Design chart overview connecting real live coordinates input transform into typography and graphic features output affecting the readibility depending the momentof the day you log in.
↑ Nocturnalities website designed by Correspondence based on the identity, coded by Sascha Krischock & François Girard-Meunier.
2021-2025 Overgaden's 360° identity & design w/ fanfare.
↑ Overgaden.org mobile view. Website designed with and coded by Bram van den Berg.
↑ From order to disorder, grid and shapes. The glyphs of O—Overgaden make up the backbone of the visual language and follow the order of the dancing ‘O’. As a way of expressing graphically the relation to an exhibition space, the punctuation codes for dialog and sounds resonate playfully with their artistic context. Posters and vinyl stickers are designed for every show of O—Overgaden. (Photography by Christian Brems & Mikkel Kaldal)
↑ Selection Din A4 offset printed exhibition catalogue. O—Overgaden’s publication series can be read online or downloaded for free, and print versions can be purchased at the gallery. The monographic series is published in relation to the in-house solo exhibitions from 2021 onwards and focuses on new artistic voices, enabling expanded conversations around these to travel as far as possible. Online you’ll find a free-to-download PDF version with an added full batch of documentation images. In print, this series comes with a special, grand fold-out poster as its cover.
2022-2025 Graphic design & identity for Pleasant Place. A growing collection of publications about the art of gardening. Pleasant Place informs and inspires by offering both practical and in-depth information as well as unexpected approaches to everyday garden tasks and garden design. Work done together w/ César Rogers.
↑PP covers.
↑ pleasantplace.space mobile view. Coded by Sascha Krischock.
↑ Pleasant Place variable typeface is rooted using Edition International and OpenPath.scpt by Elias Hanzer. A different color and species of plant is seeded in every issue, allowing the letters to blossom and generating a flourishing visual identity.
2024 Graphic design & identity for the Republic of Cyprus pavilion at La Biennale di Venezia Arte for the exhibition “On a wildflower-lined gravel track off a quiet thoroughfare...” together w/ Endrosia collective.
↑ Din A0 offset printed (CMYK) city posters.
↑ 11 x 17cm offset printed perfect bound publication. A collection of writings authored by Endrosia collective, Lower Levant Company (Peter Eramian, Emiddio Vasquez) and Haig Aivazian. Each text appears in English, Cypriot Greek, Cypriot Turkish and Arabic. Co-published by Archive Books & Cyprus Department of Contemporary Culture.
2020-2023 Uncommon Sessions is an experimental space for collaborative production. Three different channels present an alternative format for participants to engage with a common tool in an uncommon way. Concept, design & identity with Sascha Krischock and Agustina Woodgate.
↑ Uncommon Sessions is a neighborhood for channeling a pluriverse discourse designed and conceptualized by Agustina, Sascha and Miquel. It engages with cross-educational models and operates at the intersection of design, tools, open-source and politics.
↑ Details of US glyphs.
↑ US identity was based on an edited open source Compagnon Roman typeface by Juliette Duhé + Léa Pradine via Velvetyne. Deconstructed and rebuilt capitals and vocals glyphs to give an uncommon characters and voices.
2023 Museo del Perro * Honden Museum mascot & identity. The first museum for and about dogs of Europe.
↑ Logo header.
↑ Mascot.
↑ Mascot.
2022 Graphic design & identity for the exhibition of In Search of the Pluriverse at the Het Nieuwe Instituut curated by Sophie Krier and Erik Wong. Work realised in close collaboration with the Caribbean architect Sean Leonard.
↑ Lightbox-poster exhibition design.
↑ Overviews of the exhibition In Search of the Pluriverse, Het Niuwe Instituut. This exhibition takes the visitor on a journey through the ‘pluriverse’: a world that makes room for many worlds, portraying the consequences of a multivocal world on a social and political level. The extensive exhibition presents the work of designers, artists, activists and researchers from around the world and showcases an enormous wealth of projects, objects, video and audio productions and installations. (Photography by Aad Hoogendoorn)
2022 Disarming Design identity, publication, webspace, & radio show co-designed with Agustina Woodgate, Sascha Krischock and the D_D graduates students.
↑ Din A1 screen printed posters designs.
↑ Durable Discussions presents life-making practices across objects, events, places, and habits. In research through writing, seventeen essays sense and transform the poetics and politics of the everyday, offering perspectives in thinking about art and design as emancipatory politics.
2022 New HHHorizons:Het HEM x Horst visual identity & design.
↑ Digital animation designed w/ Oriol Cabarrocas.
↑ Type specimen showcasing potential variants on how New HHHorizon's identity can speak, mixing Het HEM (Bryant Compressed) and Horst (GT Alpina) typefaces.
2020 In search of the Pluriverse, Het Nieuwe Instituut, identity & web cover design.
↑ In search of the Pluriverse tunes into different places in and around Europe to learn from local initiatives how design can contribute to cultivating futures that have a future. Identity system translates those places weather conditions into typographic constellations. These likeable yet abstract narratives form the basis of the graphic layer.
↑ Designed chart overview connecting real live weather data and atmospheric values input transform into typographic and graphic features output. Each of the columns In search of the Pluriverse website is responding to a synchronized forecast feed of the five different locations: Istanbul, Berlin, Asturias, Isle of Mull and Casablanca. Depending which temperature, wind force, rain, snow, mist, day or night and cloud situation, the typography will behave differently. Miguelito variable font in use. A personal and shaky variable typeface project; a twisted Arial Narrow modified and hacked version.
2021 On invitation from The Palace of Typographic Masonry, fanfare represents the Playground of the In-Between. This playground creates space for chatting, gossiping, and sharing. Based on questions given to all contributors of The Palace of Typographic Masonry, the Playground of the in-between presents a soundscape and set of jingles and 14 vocal advertisements that hijack and play a part in the official museum audio tour. Designed and developed by fanfare, sound made together w/ Fabian Reichle.
↑ Din A0 screen printed poster.
↑ Selection of jingles hijacking the autiotour of the traveling exhibition.
↑ ‘An Alphabet of Cases’ exhibition overview at Graphic Days in Torino(IT).
Web design & development by Miquel w/ Ulises Soriano.
MiguelitoVF typeface in use.
Last update on 05.01.2026.
Miquel Hervás Gómez (b.1985, Terrassa). Graphic designer and pedagogue based on the WWW. Working as a link between experimental publishing, typography, tools and visual communication. Agitator for Preparatory Course at the Gerrit Rietveld Academie as well as other international universities. A former Carne Kids, now acting as a workshop specialist at the BB and giving design direction at fanfare.
2025 NEKaTOENEa's 360° identity & design w/ fanfare.
↑ NEKaTOENEa's typeface and identity. Owl by Ben Clark.
↑ NEKaTOENEa's signage in collaboration with Jean-Yves Béhotéguy.
↑ NEKaTOENEa's typeface. During our residency at NeKaTOEnEA, we worked in a co-creation project alongside people with mental fragilities to collectively imagine a universal language accessible to all humans and non-humans.
2025 Resa typography & visual identity for Hangar.org.
↑ Resa's logo.
↑ Experimental typeface parasiting an existing typeface, while playing with negative overlaps and kerning.
↑ Resa communication.
2025 Reparatie Remise character & visual identity.
↑ 3 Din A0 screen printed posters.
↑ RR mascot sketches.