OGV Studio's flyer design collection uses type at bleed scale, two-tone fields, and reversal systems to turn event print into graphic objects.

Ognjen Gligorijevic runs OGV Studio out of Amsterdam, and this collection gathers years of exhibition and event flyer design for cultural institutions — mostly in Serbia. Each piece treats the flyer format as a typographic problem first. The RFa Exhibit flyers push this furthest: “RFa” in heavy grotesque fills the field on alternating yellow and teal grounds, the lowercase ‘a’ cut off at the bottom edge. A single diagonal rule and a catalog-weight date line at top are the only other marks. Nothing else needed.

The OGV Studio self-promotional piece takes a different route — “DESIGN” and “STUDIO” stack in large sans, a full-bleed black circle cuts through the middle of the word set, and “NEW CONTEM-/PORARY” breaks with a hard hyphen. White type reverses out of the circle. The word break is not an accident. The Disonanca flyer series runs a mirror system: four variants flat, two forward, two reversed, with a red square as a fixed anchor. Ghost text at near-invisible grey builds depth without a second color.

OGV Studio Flyer Design — Type-Forward Print for Cultural Spaces

The collection holds flyers across several years and clients, but the visual logic stays consistent. OGV Studio keeps each flyer design to a single typographic event — one scale relationship, one accent, one system rule applied through the variants. That constraint is where the work earns its attention.