Templates for Liberation has been published to accompany the exhibition of the same name by Rheim Alkadhi, held at the Institute of Contemporary Arts in London. OO Lyga – released by Outline Online, designed by Samira Schneuwly – is the typeface throughout the publication.

From ICA Bookstore:

ICA, 2024, Softcover, 120 pages, 25 × 18 cm

Contributions by Rheim Alkadhi, Kali Rubaii, Françoise Vergès, Ayreen Anastas, Rene Gabri, Ann Bragdon, Andrea Nitsche-Krupp […] 

This publication presents the perspectives of five contributors who consider this present moment. The first contribution is from the artist, who weaves the themes of her exhibition in and out of time and place with poetic deliberation and no loss of nerve. Kali Rubaii proposes templates for resurgency from Anbar, Iraq, through a consideration of the material realities of home and self-determination in the face of unrelenting devastation. Françoise Vergès deftly identifies the forces of oppression, spelling out the template in her text, ‘There will be nothing like peace until we abolish racial patriarchal capitalism’. Ayreen Anastas and Rene Gabri generously welcome the reader into their epistolary text, ‘Dear Rheim’, the format and urgency of which channel disparate notes of resistance across the world. Each text herein embraces the utilitarianism of the template project: radicality, the authors make plain, is utterly reasonable. Documentary photographs taken by Ann Bragdon, Alkadhi’s mother, inIraq in the 1970s provide an intimate perspective on the region. They also offer a visual cue that liberation knows no temporality, affirming a statement in Alkadhi’s text that might serve as an apposite subtitle for this volume: ‘Time and place determine the intersection of our mutual resolve: a growing collectivity that outlasts this transitioning increment.’ 

SET is a free, non-commercial project made within the Visual Communication degree program at the Bauhaus-Universität Weimar, under the supervision of Marcel Saidov.

A magazine that deals with beauty. And the moment it ends. Or continues.

The first issue contains two magazines and two inlays, designed and published independently by Lilli Sörries (design), Jülide Alemdar (editorial), and Laura Hörning (photography). Typefaces used are LT Quetta by Victoria Englund and OO Lyga by Samira Schneuwly and published on Outline Online.

The first issue was published in an edition of 150 copies. It has 80 pages, measures 223×297mm, and was offset printed in HKS colors.The staple-bound magazine comes in shrink-wrapped packaging. Each copy includes two original photographs selected from a set of 11.

in one breath was the title of the graduation show of Kim Stolz at Kunstakademie Düsseldorf. For the invitation, Felix Sanvoss designed a printed card on transparent paper, using OO Lyga designed by Samira Schneuwly and released on Outline Online.

Steffen Knöll gracefully showcasing the print

Poster for OHAYŌ, the project presentation of the Master’s students from the Weissenhof Fine Arts program at the ABK Stuttgart, shown from 24 October to 23 November 2025 at Villa Merkel, Esslingen. The poster was designed by the team of Studio Tillack Knöll (consisting of Sven Tillack, Steffen Knöll and Zevako Maryna). It’s a three-color silkscreen print on DIN A0 paper, 
flawlessly executed by Lézard Graphique.

The typefaces used on the poster are HAL Magic (designed by Elias Hanzer and Lucas Liccini and released on HAL Typefaces) for the text and information, and OO Theran (in Black weight; by Laura Csocsán and released on Outline Online) for the bold, dot-matrix type of the title.

Print detail

During production. Photo by Lézard Graphique.

Print detail

During production. Photo by Lézard Graphique.

Print detail

Cover of the 29th issue

Issue N°29 of A Magazine Curated By has been curated by Cecilie Bahnsen.

At its heart, this publication is a celebration of women: their voices, perspectives, and relationships. Throughout the issue, what emerges is a language of shared experience through moments between parents, children, sisters, lovers and friends. A Magazine Curated By N°29 unfolds as a meditation on the beauty of the everyday, the unseen threads between generations and the formative experiences of youth and childhood that continue to shape creativity today.

“It’s filled with the voices of sisters, mothers, collaborators and creatives—a tribute to the strong, inspiring women I’m lucky to have around me.”

OO Theran designed by Laura Csocsán (released on Outline Online) features as one of the main typefaces in use throughout the magazine, selected by the editorial team. It is used equally for bigger titles, credits, as well as longer texts and interviews. On some pages and for a few interviews, it's also combined with the two other typefaces the magazine utilises in this particular issue.

For consistent page numbering, smaller credits and titles, as well as most longer texts and interviews, Mercure roman and italic by Charles Mazé are applied throughout the pages. Released on Abyme, Mercure fits smoothly together with the contemporary grotesque typeface, Monument, designed by Kasper-Florio and released on Dinamo. Monument Grotesk is used in combination with Mercure most of the time, within running text for interviews, for example, or used on its own for a few titles of editorial pages. It can be spotted in very small details throughout as well, for example, in image copyrights or in combination with Mercure for smaller image credits. In some occasions all three typefaces are used in combination with each other within interviews, but in most cases, it's two of them selected and applied together within a spread.

Mercure and Theran in the table of contents

Theran Halo used for the title of the editorial series

Mercure and Theran used throughout an interview

Theran indicating the source of images

All three typefaces used within a page, Mercure noting Cecilie in the conversation, questions set in Monument, and notes on the bottom set in Theran Halo.

Page showing Mercure and its Italic together

Page showing Mecure and Monument used together in this interview

Full page letter set in Theran Halo

Theran Halo applied with OpenType isolated positional (circled) forms for the opening page of the spread

Monument and Mercure Italic used together for titling of images

Theran Halo used for the tile of the editorial series

Monument in used for the tile of the editorial series

Theran Halo used for the tile of the editorial series

All three typefaces used within a page, Mercure in the running text of the conversation and small titles, names set in Theran Halo, and the tile plus image copyright set in Monument.

Page showing running text and titles set in Mercure and its Italic

Theran Halo used to show time stamps within the spread, while page numbering is set in Mercure

Time stamp set in Theran

Time stamp set in Theran, titles set in Mercure

Editorial detail of Theran Halo up close from a page where it's used in running text, in an ASCII image of an apple, as well as in titles with OpenType automatic positional (circled) forms applied.

Our Shelter is an exhibition that took place in Seoul. It explores “shelter” as a threshold between life and death, where —

artists turn enduring images and ritual acts into encounters with ruins, memory, and the living presence of the dead.

The exhibition ran from August 19th to September 7th, 2025. It was hosted and curated by Kim Yubin at LDK.DT.

The graphic design for the exhibition is by Passage Group. It utilises two distinct typefaces: for the title, OO Theran by Laura Csocsán (released on Outline Online) and, for the smaller texts, Takt by Janis Gildein, sometimes paired with a yet unidentified Korean Myungjo typeface [edit: it’s Eulyoo1945 by Mingoo Yoon, see comments].

CURA. no. 44, “The Generational Issue” (Spring/Summer 2025) uses two different typefaces. The sans serif, also used on the cover, is GM Seagal by Giovanni Murolo of Countersubject. The other one is the seriffed Lyga by Samira Schneuwly, released by Outline Online in October 2025. It’s used for running text and captions.

From CURA.:

Every creative act is the opportunity for a new beginning and a new meaning, with respect to the world that already exists. By defining new ideas and new horizons, Italian artist Alighiero Boetti thus summarized his idea of “bringing the world into the world” [“mettere al mondo il mondo”] and the potential of reinventing the world through art and action.

Transition Radio is a contemporary, non-profit cultural project, operating from Fribourg, Switzerland. It is:

a space for creation, encounters, experimentation and reflection. It aims to promote the local and Swiss cultural scene, while keeping an open window to the international scene.

How it works: transition radio operates on a residency model, offering artists and creators the time and space they need to develop their projects. Residencies run for an entire season and can be individual or collaborative, covering all genres and mediums, from music and theater to poetry and sound art. The next call for residencies for the 2026-2027 season will be published on instagram in autumn 2025.

The new identity and website of the radio uses two vastly different typefaces together. The main one on the site, used in an animated, adaptive variable format is Animo, designed by Jan Horčík and Arnaud Chemin (released by Heavyweight in 2025).

The other one is Theran by Laura Csocsán (released by Outline Online in 2025), used for genre tags and for the moving sticky header, which shows what is currently playing as well as the date of past shows.

Strauhof is a literature museum located in Zürich, exploring the intersection of literature and spatial experience. Its exhibitions engage with the dualities inherent in literature, such as analogue vs. digital or displaying vs. hiding. The proposed visual identity embraces these dualities, translating them into a system that reflects both the conceptual and physical dimensions of the museum.

At the core of the proposed identity is a custom monospace typeface, originally named Literature, designed by Outline Online (at the time: Samira Schneuwly and Laura Csocsán) specifically for this project. The typeface has since been released on the Outline Online platform under the name OO Arketa. In the proposal, it is used across the museum’s communication materials, including posters, flyers, and brochures.

For display sizes, OO Arketa is used with a stylistic set developed exclusively for this context. The custom display style references the interface aesthetics of digital writing tools, subtly alluding to the environments where much of today’s literature is both written and read.

The identity further incorporates handwritten texts from authors and literary figures, closely tied to the respective exhibitions. These handwritten elements repurpose the printed materials into previews, providing a direct link to the literary content and personalizing each exhibition's visual language.

This identity proposal was developed as a school project at ECAL, exploring the relationship between literature, typefaces and visual identity.

Catalog and identity for Mexico-based French artist Estrid Lutz by OB STUDIO (David Broner).
The work on the website is set to be finished later on and is still ongoing. The identity uses OO Theran Regular by Laura Csocsán, released under Outline Online. It is one of the early uses of the typeface, also utilising its automatic borders OT feature as an identifying element.

Identity and branding of YŌ (yō [陽] means “sunlight” in Japanese), a Japanese glassware brand by designer Yosuke Shimano. OO Arketa by Outline Online is the Latin typeface in use as the main font throughout. It is paired with Hiragino Kaku Gothic where Japanese characters need to be displayed.

From Yosuke Shimano:

YŌ is a brand that expresses this essence through its products. Delicate forms born from the hands of artisans, the unique textures of materials, the interplay of light and shadow. These stimulate the senses, awakening the aesthetic sense that lies dormant deep within our hearts. YŌ is not bound by fixed concepts. It is ever-changing, drifting at the boundaries. It is an eternal quest for beauty, bringing new awareness to your everyday life.

The logotype design and art direction is by Laura Csocsán.

Outline Online’s OO Arketa in early use by Form. The typeface was specifically used as a pillar in the design magazine’s 2021 rebrand next to a custom version of ABC Diatype and Rosart. It was implemented by Autostrada Studios.

As the magazine wrote on the refresh (translated):

There are 63 years of design history between the first and the current edition of form. In 2021, the magazine underwent a redesign. Under the editorial direction of Anton Rahlwes and Nina Sieverding, the redesign respects the legacy of this iconic publication while also taking bold new steps.

“A redesign can happen for many reasons—business-driven, for optimization, or for ideological reasons. The most visible changes, like the layout of a magazine, are just the surface,” explains form’s editor-in-chief Anton Rahlwes. “For us, the redesign was about developing a clear visual and content-driven direction that supports our workflow and internal processes better than before.”

Leading the redesign was Max Hoffmann, Creative Director of Autostrada Studios in Berlin. “Max Hoffmann has a graphic style that is both precise and leaves room for new ideas. This combination felt very much in line with the version of form that we envisioned,” says Nina Sieverding, co-editor-in-chief of form. […]

The iconic lowercase form logo has been preserved in its essence but carefully refined. The team collaborated with Dinamo Typefaces, a Swiss type foundry renowned for its expertise in contemporary type design.

“The logo is confident, not overly accommodating, and very much of the moment,” explains a team member from Dinamo.

Dinamo not only designed the new form logo, featuring the characteristic lowercase “f,” but also developed a custom typeface, form Diatype, based on their existing “Diatype.” This typeface includes special features like a customized asterisk, which can be used as a gender-inclusive star in text—a detail especially important to the editorial team.

In addition to the new house typeface, two additional fonts have been introduced: the monospaced “Literature” [now named OO Arketa] by Laura Csocsán and Samira Schneuwly, and the serif “Rosart” by Katharina Köhler, distributed by Camelot Typefaces. These fonts add variety to recurring sections and allow for occasional visual breaks.

This look was introduced with issue 291 (March 2021) and used until the final double issue 300+301 (August 2023).

Posters for the exhibition Converging Elements at Backshop, Brunnenstraße 107, Berlin.

The five exhibiting artists Nikolai Frerichs, Clemens Fischer, Yumo Wu, Moritz Jekat, and Ilse Kind investigate the in-between of nature and technology.

Kubaparis, an online platform that promotes and exhibits art online, describes the project as follows:

Observing nearby objects causes your eyes to converge and point inward. Two lines of vision that meet in a point very close by. This show is looking at the convergence of technology and nature as two elements that orbit around one an other. Their interdependency in one space results in a slowly approaching meeting point.

Unstable assemblages of ancient wood build structures which autonomously produce images from C. Fischer, are in dialogue with negative photographs of Y. Wu that play with the boundary of perception within the human brain, as they appear as positives images in front our eyes. Meanwhile Sculptures and fragile canvas engravings of teeth, seemingly exposed to never ending growth, by N. Frerichs ask questions about the contradiction of technology as a destroyer and potential savior of nature. On the other end we meet an Avatar speaking about it's deep subconscious feelings and thinking about its life before its birth, embedded into a wooden triptychon meeting with 3d printed "constructed emotions" by M. Jekat.

The design uses Cobra from Storm Type foundry and OO Arketa, a monospace font by Outline Online (Laura Csocsán and Samira Schneuwly). The pixel numbers are from a custom-built, unreleased font of Laura Csocsán, included in the design specifically for this project.