The project Oltre le parole (“Beyond Words”) is a multidisciplinary tribute to poet Giuseppe Ungaretti. It explores the connection between photography and poetry, focusing on Ungaretti’s experiences in the Friuli Venezia Giulia region during World War I, at the time when he resided there.

This book by photographer Gianpaolo Arena was presented at the Trieste Photo Days 2025.

The texts were written by Di sassi e di parole and Angelo Floramo. The design was created by Federico Barbon, using UCity.

Maie ja Mummi is a book by Kadri-Maria Külaots, telling the story of simple everyday, yet memorable activities done together with her grandparents when she was little. It is mainly aimed at children, but due to the imagery and nostalgia-instilling theme, it has received a warm welcome from audiences of all ages: from 2-year-olds to seniors. The illustrations are completely handmade out of paper.

The book measures 29,8×22 cm. It was printed by Greif and published by Pänja in 2024. Maie ja Mummi was selected as one of the best designed Estonian books of 2024. The illustrations and book design were also awarded at ADC*E Estonia's and in the Golden Egg Awards.

The typeface used throughout is Baton Nouveau.

“The State is not a Work of Art” (“Riik ei ole kunstiteos”) was curated by Katerina Gregos at Tallinn Art Hall on the occasion of Estonia’s centenary of independence. At this opportune moment, the exhibition and its accompanying publication reflect on the problems, contradictions and ideologies underlying nation and nationalism in today’s constantly transforming European socio-political landscape.

Contributions by Ewa Axelrad, Loulou Cherinet, Marta Górnicka, Lise Harlev, Femke Herregraven, Flo Kasearu, Thomas Kilpper, Szabolcs KissPál, Stéphanie Lagarde, Ella Littwitz, Thomas Locher, Cristina Lucas, Damir Muratov, Tanja Muravskaja, Marina Naprushkina, Kristina Norman, Daniela Ortiz, Katarzyna Przezwańska, Jaanus Samma, Ivar Sakk, Larissa Sansour, Kristina Solomoukha & Paolo Codeluppi & Elfi Turpin, Studio Jonas Staal ● Essays by Katerina Gregos, Mark A. Jubulis, Ivar Sakk, Anthony D. Smith, Jonas Staal, Marek Tamm

392 pages ● 130 × 210 mm ● Edition: 500 ● Offset printing ● Softcover ● English / Estonian ● Graphic design by Indrek Sirkel ● Printed by Tallinn Book Printers ● Supported by Cultural Endowment of Estonia, Estonin Ministry of Culture, Republic of Estonia 100, Danish Arts Foundation, Mondriaan Fund ● Published by Lugemik & Tallinn Art Hall ● ISBN 978-9949-9934-9-9 ● 2018 ● EUR 18 ● For international orders, please contact info@lugemik.ee

The typeface is Aino, a custom design by Anton Koovit made for the centenary of the Estonian Republic. The cover features the display style, a light stencil with rounded endings. Two additional styles, a Regular and a Bold, complete the family. Read more about Aino on the custom section of the Fatype website.

Campaign poster for the 2016 Berlin state election on Karl-Marx-Allee

Die Grünen (“The Greens”), Germany’s green political party, was founded in West Germany in 1980. Since the merger with the East-German Alliance 90, it is known as Bündnis 90 / Die Grünen.

Wolf / Osmanković:

With a lot of elections coming up in 2016 and 2017, it was time for a more contemporary look that could keep up with the image. What we developed was therefore more than a paint-job, but a modern, bold corporate design including templates for all sorts of campaigns. Recognizability guaranteed.

Typographically, the new identity is distinguished by a customized version of the Arvo typeface dubbed Arvo Grün, used in all caps for headlines. Arvo was designed by Anton Koovit and is licensed under the SIL Open Font License.

“Berlin needs new ways: bikeways!”

Hermannstraße station with a standard sign in FF Transit, the corporate typeface of the BVG as introduced by MetaDesign in the 1990s (left), and the new retro signage in U8.

The U8 typeface by Fatype is a revival of the old lettered signs found on subway stations in Berlin:

Anton [Koovit] started U8 as a research project about the Berlin subway system signage and particularly the U8 line that connects the northern borough of Reinickendorf with Neukölln in the south of the city, through the Alexanderplatz junction. His goals were to restore a piece of history, research a link between the DIN and Bauhaus, and translate the lettering of individual handcrafted station signage into a formal typeface.

Released in 2013, U8 soon after has come full circle: The digital reincarnation is used for the signs in two renovated stations of the U8 line, Hermannstraße (2013) and Boddinstraße (2014), designed by Barbara Dechant of the local Buchstabenmuseum. Leinestraße was renovated, too, but there, the new signs apparently are manual recreations based on the original, with less refined curves than in Fatype’s U8 typeface.

Read more about the revival project on Anton Koovit’s website. For more info about the renovation of the U8 line, see the article “Neue Wege im Dauerkampf gegen Graffiti-Schmierer” in Berliner Morgenpost from 11 November 2014.

Boddinstraße station in 2008 (left) and in February 2016 (right). The former features a different (intermediate?) style, bolder in weight and with a monocular ‘a’. Here’s an image of an older sign with the letterforms that presented the model for the U8 typeface.

Baton by Yassin Baggar and Anton Koovit (Fatype) used by AKU for the Tallinn Music Week 2015. Illustrations by Ryan Chapman.

Baton by Fatype as seen in GQ’s April 2013 issue (French edition)