Krok (Крок) is the fourth album by the Belarusian band SOYUZ (СОЮЗ), released by Mr Bongo. The title means “step” in Belarusian and reflects the band’s recent transitions, including the relocation to Warsaw following political unrest in Belarus and the war in Ukraine. For the first time, composer and arranger Alex Chumak wrote the lyrics in his native Belarusian.

Recorded between Brazil and Europe, the album blends Eastern European roots with jazz, folk, and global influences. The artwork and related materials were designed by Alex Chumak himself using KTF Concrete and KTF Prima.

[More info and videos on Bandcamp, Mr Bongo and Discogs]

KTF Jermilov is used in Stencil and Solid styles for the first book release by Odessa Collection:

AFRICO boldly maps the terrain of poetic landmark deconstruction, navigating the fractured landscapes of memory and culture through the lens of liberated iconic romanticism.

Shot by Emmanuel Crivelli during his first trip to Calabria during summer 2025, this daring work portrays System Olympia in her native land. Each page becomes a map, where each photo of her naked body builds a new cartography, guiding the reader through the ruins of tradition toward a newfound freedom.

Where romanticism is both compass and territory, a force that redraws borders and reclaims identity with fierce, uncompromising intensity.

A new identity for Maison Saint-Gervais, a theater in Geneva, Switzerland. Art direction and design Dual Room (Emmanuel Crivelli), starring KTF Concrete Bold (available on request) and Selecta by Maxitype.

Detail from the style guide, with the key-related elements derived from the Geneva flag

Alex Vögtle and Lucas Kramer designed the scenography and brochure for the 2023 edition of the annual Burg Typo exhibition at Burg Giebichenstein Kunsthochschule Halle. From Burg Typo’s Instagram post:

We asked our fellow students to describe their projects in terms of verbs and their doings and gathered them in an alphabetical list, which is foil plotted on the entrance windows. The list not only welcomes visitors, but also serves as an index to the typographic activities of the class presented in the room. An accompanying brochure with various covers offers a deeper engagement with the individual design processes.

The featured typefaces are Rosart by Camelot Typefaces, KTF Rublena by Kyiv Type Foundry and Burg Grotesk Mono by Andrea Tinnes.

Haus in der Nähe eines großen Waldes (“House near a deep forest”) by Markus Draper was released by Spector Books:

A house is the starting point of a modern fairy tale. Located in Dresden, the house has an intriguing history. It was home to an outpost of the Soviet KGB for a time - opposite the Dresden Stasi headquarters. Also the young secret service officer Vladimir Putin went in and out here from 1985 to 1990.

The house is part of the installation as a realistic model, surrounded by trees and animals. The narrator is a fly sitting in front of an open window. Her voice sounds cheekily childlike. She talks about the house, about Dresden, about the comprehensive surveillance of the KGB and the Stasi, about Putin's rise in the hierarchy of the Soviet Union, about the fall of the GDR and the end of socialism, about political affairs and intrigues.

The narrative is embedded in a stream of media images from news reports, documentaries and films. A “true” story in which historical facts, memories and visions are blended together. Not a history lesson, but a fairytale-like, artistic reconstruction full of conjecture, ambiguities and gaps, which takes in many perspectives - as if observed through the compound eyes of a fly. At the same time, it is a story about storytelling and the construction of history.

The book was designed by Christian Lange, who paired KTF Rublena and Kommuna throughout.

Shukai (Ukrainian: Шукай, English: “to hunt, to look for”) is the name of an archive record label focused on bringing back to life the lost tapes from the 1960 to 1980s – Soviet music for films, television and private archives of the outsider artists.

It is run and collectively art directed by Dmytro Nikolaienko (DayNight), Dmytro Prutkin and Sasha Tsapenko. The logo is by Yevgen Anfalov of Kyiv Type Foundry

Visual communication for Ukrainian tableware and decor brand Yakush, designed by 2ka studio using an early version of KTF Ekran.

From the brand’s Instagram:

Yakush produces handmade glass objects made from eco-friendly materials. Blown glass products are the main direction of the YAKUSH brand. Their manufacturing site is located in Lviv (Ukraine). Blown glass is unique because the objects are made by free blowing. Blown (Guta) comes from the German word hütte – a glass-blowing workshop. The local technology has been known in the region since the 15th century and is being preserved with the support of Yakush.

The sans used for text is Neue Helvetica (or similar).

Poster and invitation for a double exhibition by Slovakian ceramic artists Linda Viková and Simona Janišová, known together as si.li. Frames / Commedia dell’arte was shown at Room in Bratislava from 15 December 2023 until 15 January 2024. Graphic design by Tereza Maco.

Canal Projects is a non-profit contemporary art institution dedicated to supporting forward-thinking international artists at pivotal moments in their careers. Through production, exhibition, research and interpretation of this work, they intend to foster artistic practices that challenge and reflect on the current moment. Canal Projects is located in the Soho neighborhood of New York City.

Design by Scott Ponik, using LL Heymland by Yevgen Anfalov of Kyiv Type Foundry together with Adrian Frutiger’s Univers.

The cover shows the country’s name in three scripts: Latin (Qazaqstan), Cyrillic (Казахстан), and Arabic (قازاقستان).

The author of the book, Alima Bisenova, writes:

Qazaqstan, Labyrinths of Post-Colonial Discourse responds precisely to this internal intellectual demand of Kazakh society for reflection on the problems of postcoloniality, for rethinking the (Soviet) past and understanding its current “place in the world” as a “small” (from the point of view of geopolitical influence) country, torn apart by cultural contradictions. How to talk about the “inconvenient past”, how to find one’s own identity and one’s own voice despite the “pressure of the metropoles”, and how to get rid of post-colonial complexes? The authors of the book, in their research, have intensely worked and reflected on many of these issues, and the time has come to present their thoughts and reflections to the judgment of an interested reader.

The book was designed in the summer of 2022 in Germany by Yevgen Anfalov, assisted by Ukrainian designer Olesia Bachyns’ka. Yevgen took the robust format of 130×195 mm so the volume is easy to carry, despite its thickness and thanks to its lightweight. The book is text- heavy: its layout follows the reader’s pragmatism. There are enough margins and room for footnotes, and all the cross-references are set in margins and linked to respective images. The book is unique of its kind as it is the first collective work on Kazakh post-colonialism.

The main language is Russian, functioning as a lingua franca for all post-Soviet countries. As original texts in Kazakh Cyrillic were set, language support of the body face was of big importance. The main carrier of the book's identity is the font KTF Labyrinth, made by Yevgen specifically for its occasion. It takes on the metaphor of a labyrinth as derived from the book’s title and is being used on the cover as well as on the chapter titles (pp. 3–4).

Due to the poor resolution of some delivered visual materials, they were digitally reconstructed as on p. 15. A special “book within a book” section features “post-colonial fiction” (pp. 21–22), marked by black margins, as if it were a scan of a smaller book. All in all, the book was made under limitations in paper stock due to sanctions on Russian suppliers (using the only suitable materials that were anticipated "blindly" at the distance) and printed at rather a fast pace, including night shifts – most likely resulting in a slight misplacement of the cover, which is shifted downward to 3 mm. All the print supervision was handed out to Anuar Duisenbinov, the project manager, who did his best to describe the outcome via smartphone videos and using LANGUAGE. The book production reflects its time and social conditions for sure. However, the book is an important lecture on Kazakh culture and has come to the world in a print run of 1,000 exemplars. It’s available from Tselinny.

Pavlo Lotnik is a hairstylist and hairdresser based in Kyiv, Ukraine, known for his collaborations with outstanding Ukrainian designers, stylists, photographers, and publications.

His clients include Ksenia Schnaider, Bevza, Elena Reva, Litkovska, Frolov, Jul, Guzema, Better Us, Kulakovsky, Selezza, Katimo, and more. He has worked with Vogue Ukraine, Elle Ukraine, Marie Claire Ukraine, as well as the Office of the President of Ukraine.

The site was designed by New Apology and the website developed by Davyd Shamiiev, using the typeface KTF Metro Roman.

From the official website:

The fourth edition of the Kyiv Biennial, an international forum for art, knowledge, and politics that integrates exhibitions and discussion platforms, was taking place from October 16 to November 14, 2021. The edition "Allied" emphasizes cross-border collaboration and is jointly curated by members of the East Europe Biennial Alliance: Biennale Matter of Art Prague, Biennale Warszawa, Kyiv Biennial, OFF-Biennale Budapest, and Survival Kit Festival Riga.

The biennial’s diverse program addressed historical forms and contemporary examples of cultural and political alliances in Eastern Europe and beyond and their ability to create new social formats. Allied – Kyiv Biennial 2021 hosted a series of art projects and educational events particularly focusing on the conditions, political factors, and institutional actors that foster new alliances in the 21st century. The Kyiv Biennial explored the architectural context of the city and the residuals of Soviet modernism — the main location was the House of Cinema.

Graphic design by Wolfgang Schwärzler using the first versions of KTF Ekran and KTF Forma.

Architecture After War: A Reader was edited by Bohdan Kryzhanovsky and published in June 2024 by MACK:

This publication, co-published with Ukrainian platform CANactions, brings together wide-ranging essays on the subject of post-war reconstruction. Produced in the light of the current invasion of Ukraine, it covers a spectrum of historical examples and geographic contexts to navigate the challenges and opportunities that define post-war reconstruction and war-related issues within the field of architecture. Considering urban planning, education, building materials, and innovative spatial relations, it centres around the human experience of the built environment in the aftermath of war. With a preface by editor Bohdan Kryzhanovsky, this reader presents theoretical and practical explorations of an urgently timely topic, offering a basis for wider conversation as well as a handbook of ideas for architects and planners and a pragmatic guide for shaping the future of Ukrainian cities.

Essays by Gruia Badescu, Jan Knikker and Fokke Moerel, Silke Langenberg, Peter Larkham, John Pendlebury, Wendy Pullan, Andrea Urushima, Lynnette Widder, and Patrick Zamarian

The paperback with flaps has 256 pages measuring 15×21.5 cm. ISBN 978-1-915743-41-1

From Growing Pains:

In Pieces is a collection of works by five artists affected by the war in Ukraine.
These works speak to the multiplicities and contradictions of living in a shattered present. In turn, the collected voices of these artists, drawing from their fragile present, create the world of this book.

Artists Sophia Bulgakova, Lia Dostlieva, Ola Lanko, Katia Motyleva, and Kateryna Snizhko – makers of Ukrainian origin, living and working in the Netherlands – have each developed new work specifically for this publication. Their projects were made with a child in mind. Some pieces directly address younger audiences or are inspired by children, others draw on the artist's own memories and experiences. Our goal with In Pieces is to assemble a fragmentary – and certainly incomplete – mosaic of art that can offer a deeper understanding of the war and empower you to engage in conversations about what is happening, beyond the headlines and media images.

The Book of Long Objects by Dostileva beads the fairytale-like stories of successive generations of displaced women in her family onto a thread of her own memory. In Mother Tongue, Motyleva struggles to peel off and piece together her own identity – raised in a post-Soviet time – as she now nurtures her newborn with food from what once felt like home, as the traumas of war surface around her dinner table, turning it into a battlefield. Snizhko’s I wish this paper had remained blank reflects the artist’s struggle with the things she feels she must address. The act of embossing, creating abstract landscapes of colour, becomes a way to put distance between herself and painful events.

Bulgakova’s we all woke up today from some kind of explosions embeds her personal exchanges with friends into elusive stereograms. The technique refers to the ubiquitous stereographic publications popular during the artist's childhood. Her sombre black-and-white interpretation of it speaks to the inaccessibility of her experience to most non-Ukrainians and the waning media coverage of the ongoing war. Finally, Lanko’s Istopia is a game-like experience that invites us to explore emotion and communication through play.

The hardcover with five artist booklets was designed by Ayumi Higuchi and published by Growing Pains in November 2023.

A charity T-shirt drop by Thai restaurant Thailand.Hi supporting food supply for Ukrainian military. T-shirt motives are based on bas-reliefs from the legendary “Flying Saucer” (author Boris Dovgan) and other famous buildings of Kyiv.

Drawings and design by Looch Studio using KTF Metro Roman.

From Community Action for Pembury Circus:

Pembury Circus is one of the most dangerous and inaccessible junctions in Hackney, and one of the most polluted sites in the UK. Air quality is in breach of 3 W.H.O recommendations and in the 99th percentile for the worst pollution in the country.

In January 2023 Hackney Council received £19 million through the Levelling Up scheme to redesign the junction, but the funding expires on 31 March 2025.

We are a community-led initiative of residents, businesses and workers based in Pembury Circus. We are campaigning to ensure improvements are made before the funding expires and the changes address local community concerns.

Design by Polytechnic, combining KTF Forma by Kyiv Type Foundry with Peter Wiegel’s digitization of DIN 1451 Breitschrift.

L’Effet de Serre is a group exhibition at Abbatiale Bellelay, Switzerland. From the description (translated):

A group exhibition on the body, its metamorphosis, the soul, its non-existence and its consequences, with works by Benedikt Bock, Emilie Ding & Alizée Lenox, Richard Frater, Thomas Julier, Max Kriegleder, Claire van Lubeek, Léa Katharina Meier, Jean-Charles de Quillacq, Margaret Raspé, Virginie Sistek, Terre Thaemlitz, in an installation by Jan van Oordt, at the invitation of Sylvain Menétrey, curator of the Abbatiale Bellelay, assisted by Katia Leonelli.

The exhibition poster was designed by Emmenauel Crivelli of Dual Room, making early use of KTF Labyrinth, together with Selecta.

Velvet cap starring the lettering “Люди Кия” (“People of Kiy”), referring to Kiy, one of the founding fathers of the city of Kyiv.

Designer Pasha Romanyuk came up with the slogan and used KTF Metro Roman.

The one-size-fits-all cap was issued by Whoisit, an independent Ukrainian clothing label.

СОЮЗ (SOYUZ) follows up their 2022 debut Force of the Wind with a stark but subdued reissue of their second album, II, first released three years earlier in 2019 with Masterskaya. The album captures a pivotal evolution in the band’s career, the recordings giving a snapshot of what would become their sound on Force of the Wind, yet with echoes of avant-psychedelic-pop footprints from yesteryear. Produced at a time when bandleader Alex Chumak had moved from Minsk to Kyiv, torn between the need to try something new and the homesickness it brought about, II nicely captures the slow burn of homesickness extended across a long bouts of travel and transience, through stylistic recollections of Mikita Arlou, Ethiopian jazz and Italian library music. [via Mr Bongo]

Design by Yevgen Anfalov, featuring the first official use of KTF Olivier by Yevgen Anfalov and Alex Chumak after Rygor Klikushyn. The accompanying monospace is JMH Typewriter. Cover photo by Vedrana Vukojević, with other photography by Alex Chumak.

You can buy the album from Mr Bongo and listen to it on YouTube.

[More info on Discogs]

Härman Coffee is the side hustle of Alp Eren Tekin, founder and creative director of Härman Studios in İstanbul.

At Härman, our name symbolizes a perfect synergy of caffeine, goods, and creative services. We're not your typical coffee brand; We're a harmonious blend of flavors, cultures, and experiences, crafting something truly exceptional. Our mission is to elevate the coffee culture and beyond, offering extraordinary choices while meticulously redefining standards. Härman is operating as both a coffee brand and a creative studio.

The typeface used for Härman’s logo is KTF Rublena. Other typefaces used for the items shown here include Founders Grotesk with Mono and Editorial New for “StudioBlend”.