What if AI moved at the pace of care, kinship, and curiosity?

Restless Grounds explores this question through the lens of decolonial, feminist, and relational approaches to algorithmic technologies. Born out of the Slow AI research project, it brings together insights from a year of collaborative inquiry — through the likes of sound and somatics, divination, myth-making, and archival temporalities. The publication explores slowness as a speculative, critical, and embodied mode of engaging with algorithmic technologies.

The navigation consists of small squares at the bottom of the page. Their amount refers to page numbers and readers are animated to count the squares – in the table of content as well as on the page itself – to guide themselves through the pages of the newspaper. This gesture intentionally turns the use of navigation into something inefficient and centers slowness as a guiding principle of the publication.

It was edited and conceptualized by Mariana Fernández Mora and printed by DPG Media. The design and art direction was created by Studio SMS, and set in Bianzhidai by Xiaoyuan Gao (notyourtypefoundry), Eliza by Pawel Wolowitsch (Camelot) and FreeMono by Primož Peterlin and Steve White.

Zollbureau für Zucker und Tabak (Portuguese: Mesa de Inspecção do Açúcar e Tabaco) is a Portuguese–German poetry book by Laura Erber. It was printed in blue typography and was published by Alba in collaboration with Siesta Verlag.

About the author, from Barrio (Bairro) Berlin (translated from the German):

Laura Erber (Rio de Janeiro, 1979) is a writer, editor, and researcher. In Brazil, she founded the publishing house Zazie Edições. Her literary work includes poetry, essays, chronicles, and fiction. In 2006, she published Körper und Tage in German with Merz-Solitude, the result of her residency at the Akademie Schloss Solitude, translated by Timo Berger. Mesa de inspeção do tabaco e açúcar was published in Portugal by não (edições) in the Mutatis Mutandis series. She currently lives and works in the Netherlands.

Absolvent*innen 2026 is the catalog showing graduation projects made at the Akademie der Bildenden Künste in Nuremberg:

We approached the design of the catalogue like a memory box, filled with works, impressions, and moments that last. Time at the academy can be quite formative. With graduation, an important chapter comes to an end for many students. We tried to translate this feeling to the catalogue.

The design was created by Juliane Abart and Paul Grassler, using Interlope and Bastardo Rounded.

Snapsounds is an audiovisual project by composer Domas Strupinskas, cinematographer Narvydas Naujalis, and sound engineer Tomas Verbaitis. Over a decade, they produced 25 music videos, each bringing a unique approach to the collaboration. This vinyl anthology marks the project’s end.

In filmmaking, black separates segments and creates a sense of pause; fades out the movie. It acts as a signal to the audience that the main feature is over and it’s time to leave the theatre. For Snapsounds, black is used symbolically to mark the end of the project. It provides a space for reflecting on what has been achieved and pays tribute to everyone who contributed. The two lines that create a notional black screen on the cover shift to the inner sleeve and act as a timeline displaying the whole sequence of the project.

The typography references archival logotypes no longer in use within the project. Angular and diagonal shapes defined them, so Tokyto A Black (by Benoît Bodhuin) served as a visual successor, a refined, contemporary version of what came before. For body text, Karrik (by Jean-Baptiste Morizot, Lucas Le Bihan) was chosen for its legibility and subtle quirkiness, pairing well with Tokyto.

This project was created in collaboration with Augustinas Paukštė. The vinyl was sponsored by Deverium. Photos by Martyna Jovaišaitė-Paukštė.

[More info on Discogs]

Book design project developed for Soraia Gomes Teixeira’s doctoral thesis in Contemporary Aesthetics, presented at the Centro Universitario de Diseño y Arte de Barcelona (EINA). From design studio Common Forms (translated from the Portuguese):

The project started from a set of formal academic constraints that were assumed as formal and conceptual restrictions. The requirement of a standard A4 format determined the scale of the object and its proportion from the beginning, influencing decisions regarding composition, rhythm, and organization of the graphic layout.

The publication includes a significant number of images intended to document the research process, which required the definition of multiple compositional solutions capable of accommodating different scales and relationships between text and image. In parallel, the textual hierarchy proved particularly demanding, with various types of entries and reading levels that implied an unconventional organization and a clear system of typographical differentiation.

Later, regarding the choice of materials, there was greater freedom. Nevertheless, a solid and contained volume was chosen, using white paper for both the text block and the cover, differentiated only by the finish. This choice reinforces the unity of the object, while simultaneously introducing a subtle distinction in terms of materials.

The binding process was simplified, using only the folding of the signatures and the binding of the pages with an elastic band. This solution, in addition to addressing the limitations of graphic production, suggests a slower and more deliberate way of browsing, emphasizing the act of browsing through the book.

Marie Priour. License: All Rights Reserved.

La Renverse is a café-bookstore in Saint-Suliac (Bretagne), located on the ground floor of the community space Le Grand Banc.

The space consists of three rooms: one for displaying books for sale, another serving as a café where visitors can eat or have a coffee, and a third for children.

For the brand identity, designer Marie Priour paired Maroni Regular for the logo and headings with Compagnon (with its cursive Bold) for smaller text and informational content.

Riso-printed illustrations and hand-painted signs bring to life the various printed materials that make up the brand identity.

Source: www.instagram.com Marie Priour / Magma éditions. License: All Rights Reserved.

Marie Priour / Arthur Calame. License: All Rights Reserved.

Marie Priour / Arthur Calame. License: All Rights Reserved.

Source: www.instagram.com Marie Priour / La Renverse. License: All Rights Reserved.

Source: www.instagram.com Marie Priour / La Renverse. License: All Rights Reserved.

Source: www.instagram.com Marie Priour / La Renverse. License: All Rights Reserved.

Marie Priour / Arthur Calame. License: All Rights Reserved.

Source: www.instagram.com Marie Priour / Magma éditions. License: All Rights Reserved.

Chants sacrés is a leporello created by illustrator Pierre-Alexandre Prod'homme ( Persil Fragil). This editorial object, designed for the Cheminement exhibition at La Safe Place (Nantes), explores the quest for self through forest wanderings and a reconnection with the elements. Born from a poetic collaboration with the author Honor di Hamon, the piece stands out for its handcrafted finishing and screen-printed execution. The printing was expertly handled by Alexis Grasset at the Projeta studio.

Traced by hand, the illustrations are accompanied by three typefaces: Lichen, designed by Anton Moglia, PicNic by Mariel Niels, and finally Basteleur by Keussel. Together, these choices anchor the object in an organic dimension.

Chants sacrés is available as a limited edition at La Safe Place and Cool Paper Zone, Nantes.

Protest Grotesk is the typeface used by Seasonal Fruit for Wir wollen baden! (“We want to go swimming!”), published by Neckarinsel Stuttgart in collaboration with Prima Publikationen. Additional display typefaces used in the book include Sometimes Times and Blocus.

From the publisher (translated):

This water guide is a handy companion for getting into cool waters on hot days. Even in the Stuttgart metropolitan area, temperatures are rising. At the same time, Stuttgart and the surrounding region aren’t exactly known for nearby lakes for swimming. That’s why we went searching for you—and we found them: from river swimming spots to hidden waterfalls and refreshing forest baths, here are the islands for cooling off.

On 14 tours through the region, we give you insights into the many ways to swim and cool down, sprinkled with information and facts about the waters, because water is much more than just fun in the pool: it’s our drinking water, wastewater, a habitat for flora and fauna, and even a means of transport. Easily accessible by public transport, the tours invite you to stroll, walk, hike, cycle, or paddle—alone or with friends and family.

And the best part: each tour comes with a postcard as a keepsake, to send, or to share, featuring scenes from your swimming adventure.

Shortlisted for the Most Beautiful German Books 2025.

Postcard with all-caps Blocus on the back

Spread featuring all-caps Sometimes Times, rotated and with overlapping glyphs

Culture numerique (March 2019), Culture écologique (Feb. 2022), and Culture juridique (Jan. 2025) were published by Presses de Sciences Po in the Petites Humanités (Small Humanities) series.

Designed by Atelier AAAAA, the covers combine Bureau Brut’s Bourrasque and Traulha, paired with OH no Type Co.’s Obviously, Velvetyne’s VG5000, and The Pyte Foundry’s Alcove for “Culture écologique”.

Bourrasque showcases the idea of ever changing life and shapes, the ideas that continue going forward, taking the others with them. As for Traulha, it fits perfectly for the juridical aspect. Round, lapidary and elegant at the same time, it represents the balance of law with its uniqueness.

The book interiors are set in TypeTogether’s Marco, paired with Obviously and the volume’s respective title typeface.

A photographic and poetic guide to the Cotentin Peninsula in Normandy, France, built around rain and impressionism, where shifting weather transforms the landscape.

A defining presence in the global lo-fi beat scene, Wun Two and Made in M – two of Germany’s most refined hip-hop producers – joined forces for their collaborative album Sole Spirito, released on June 28, 2024 on Sichtexot.

Steeped in the nostalgic glow of 1970s Italo wave, Sole Spirito drifts through a cinematic Italy of sun-drenched coastlines, decadent interiors, sensual tension, and faded film grain, echoing an era where style and emotion were inseparable.

Swedish graphic designer Andreas Pedersen channels this spirit visually, pairing hot, saturated hues with a slightly condensed version of the seventies-inflected typeface Ouroboros to capture the album’s retro-modern pulse.

The classic sans-serif ITC Franklin Gothic serves as the secondary typeface, in different widths, also set in uppercase, grounding the composition with understated clarity.

[More info on Discogs]

What if Duchamp had played Go instead of chess? This speculative idea, developed by Marc Buchy, is the starting point for a project that unfolds across art, fiction, and social space – from an intervention in a Brussels bar (co-produced by Botanique and Komplot, autumn 2024) to this newly published book by Les Éditions Extensibles.

As described by Marc Buchy in Art Même, the work opens a “zone of grey art” – a real bar hosting a fake-yet-real Go club under the imagined memory of the Go player Marcel Duchamp never was. A true space for sociability, play, exchange, and learning – all central themes in Buchy’s practice.

The book measures 21×29.7 cm, spans 144 pages, and was printed in a limited edition of 500 copies. It was designed by Atelier Choque Le Goff, using Tiny, Tor grotesk, and LL Bradford. It’s not clear if the smaller letters made of dots are from a typeface or custom made.

The graphics investigate what creativity in a post-AI world looks like, by going beyond the aesthetic of prompted images. Inspiration instead comes from behind the scenes, including AI datasets, labelling systems, computer vision and semantic segmentations. It abstractly compares human and computer vision, proposing a play of blurred student portraits intersecting with layers of information. Another layer of the campaign lies in its making. The graphics were created through hand movements using the P5 (Processing) Hand Pose Model.

A key role is played by the highly recognisable typeface Tiny, used in different weights and as a core element of the campaign. Its outlined use in white contrasts with the strong and saturated colours of the images.

Wer Bringt Den Kuchen? Who Brings The Cake? was a series of art events (talks, screenings, workshops) happening during the year 2024 in Kunstbunker Nürnberg. Designer duo Lucia Schmuk and Elisabeth Thoma created a poster for each talk, keeping the overall same layout but changing the colour duo and the titling font each time. The poster series was selected among the 100 beste Plakate 2024.

The font used for the series title and the name of the place on each poster is Lÿno Stan by Radim Peško, while smaller text is set in Suisse Int’l by Swiss Typefaces. Then are used Gulax, Terminal Grotesque, Gap Sans and the free weight of NaN Holo as unique titling fonts for each poster. The condensed sans used for “The End of the End of Selling Out” is yet unidentified.

Apart from Lÿno and Suisse Int’l, almost all of the selected fonts – if not all – are free to use or open-sourced.

A3 announcement poster depicting a floating genderqueer symbol, casting a shadow

The TGirlsonFilm Weekend Festival is a 3-day trans film festival organised by Trans Library Helsinki and TGirlsonFilm. The poster and graphics are designed and illustrated by me, falk schröter, and combine the typefaces Interlope by Gabriel Dubourg and my own madleen text.

Schedule for day 1 of the festival

Schedule for day 2 of the festival

Schedule for day 3 of the festival

Alternative poster

Exhibition leaflet design for Massage Platz, a duo exhibition by Sojung Park and Yorgos Agrotes shown at Shower, 2025.

An assemblage of artistic reflections and perspectives that grew through and together with the collective experiences of inhabiting a garden in Villa Romana, Firenze.

The book design uses Ouvrières by Laure Azizi (in affamées and agricultrices styles), Grancy by Minjong Kim, Bianzhidai (in Base and Ring styles) and Kiddo by notyourtypefoundry, FA_AAAIEMOADDP and FA_PTGWDOBSHK by Full Auto Foundry, and OPS Cubic by OPS Type. Lincoln/MITRE was used as well, but isn’t shown in the images.

“À Table!” is a two-color screen-printed poster inspired by cookbook photography from the 1970s and 1980s. These images often depict unlikely and visually unappealing dishes, presented with complete seriousness. What makes them compelling is that they were never meant to be ironic. The poster brings together a selection of real recipes found in these cookbooks.

Printed in black and orange using screen printing at Atelier Bambinoin Lyon, France. Paolo (the guy I made the posters with) printed two T-shirts with it. The typefaces in use are Bookman Bold Italic Swash, ITC Bodoni Ornaments, Cesare, Interlope, Martian Mono and Zipper. Bon appétit !

The 2025 edition of Danksagen. Text als Beziehung (“Acknowledgements: Text as Relationship”) was held in summer/autumn 2025 in the new studio space of Literarisches Colloquium Berlin (LCB). The project logo was designed by Carolina Giovagnoli using Hyper Scrypt by Jérémy Landes and Compagnon Medium by Sébastien Riollier – both available from Velvetyne. The logo was animated by Flor Yacante.

We asked the three authors Paula Fürstenberg, Sharon Dodua Otoo and Hengameh Yaghoobifarah to each found a collective, thereby revealing the network of relationships behind one of their works.

Writing means entering into relationships. Others collaborate on the text, readings, experiences and conversations are reflected in it. That is why hardly any new publication can do without acknowledgements: in just a few lines, they encapsulate the entire social grammar of a book.

All three invite four people who are connected to their publication – be it the editor, their brother or a fellow writer. Starting with informal kitchen meetings and working sessions in the new LCB studio space, the groups write their own text that focuses on the events behind the acknowledgements, highlighting influences and relationships. They then stage it and the book on several stages and in different formats over the course of one evening.

Dezembro Vermelho (Red December) is AIDS prevention month in Brazil. The campaign developed for the Municipal Health Department of Maceió aims to increase demand for PrEP medication in the city’s public hospitals.