Images About Images About Women is a project made by Clara Salmeron Badia for her Master’s degree in Applied Design Research at Elisava.

How can we design more inclusive visual futures if the images we carry in our visual memory still echo the roles we were once compelled to perform as women? This project explores how visual culture has shaped normative femininity and how design can become a tool to critically reimagine it.

This research emerges from a personal need: to examine the images that have shaped the category of “being a woman,” to trace their origins and uncover the powers they reproduce.

Through a visual archive structured in three sections: pictorial, media-based, and digital. This study analyzes the archetypes that have shaped our collective imaginary and explores how visual communication and graphic design can serve as tools for their critical re-signification.

Rather than offering definitive answers, this project proposes a tool: an open model to rethink, reclaim, and redesign alternative ways of imagining and representing femininity.

Graphic design in collaboration with Carles Álvarez.

ABOUT: is an architecture bilingual magazine, published twice a year by Hearst Italia. The project sits at the core of an editorial system that embraces the digital realm and speaks directly to designers about design. Conceived as a resource for work and study, ABOUT: develops through a progression of thematic issues, supporting the research that precedes and guides every project, from landscape to interiors.

The typefaces used are KTF Roman by Kyiv Type Foundry, Feature by Commercial Type, and Pantasia by Counter Forms.

Art direction by Kuchar Swara, graphic design by Dario Verrengia and with illustrations by Olga Prader.

Founded by Sophie Wolanski in 2013, Muck Floral is known for its temporal floral works shaped through instinct, colour and texture. In 2025 TRiC refined the brand’s identity, introducing a new logotype set in Baber by Phil Baber, supported by secondary typeface Herbik by Daniel Veneklaas. The system is anchored by an expressive flower icon, applied at varying scales to capture the essence of floristry and Sophie’s distinct perspective.

From a design perspective – of objects and spaces – this book proposes a reconfiguration of the collective understanding of spaces dedicated to mental health and challenges us to think about how the discipline is involved and inscribed in this context. The exercise of dialogue and observation, carried out through a series of proximity visits to treatment centers, shapes a fictional journey described through texts and images that narrate four moments in the hospitalization process: Know, Treat, Inhabit and Care.

The bilingual book (Portuguese and English) was published by Vai Vem.

City Atlas is a book that immediately recalls the travel-guide format: narrow, oblong, with rounded corners that fit easily in the hand. Much like Architectural Roots (Dell Upton, 1986), which inspired its conception, the book uses the atlas form to reflect on architectures shaped by migration. But City Atlas is not a conventional atlas. Instead, it collects stories, spaces, and signs of migrant work.

The project began between 2015 and 2019 in Saarbrücken, where Prof. Amalia Barboza, teaching at Saarland University (since 2019, she teaches at Kunstuniversität Linz, Austria), observed how the city could be read through its restaurants, shops, and other businesses built and run by migrants. The resulting book combines ethnographic observation with a visual archive and reflections on the ways people design their working environments, from the choice of a name to the decoration of an interior, often shaped by memories of home.

While its subject matter is serious—the visibility of migrant labor in a climate of political tension—the book also carries a sense of curiosity and openness. The photographs and short texts encourage the reader to linger on details: the signage of a shop, the decoration of an interior, the choice of a business name. These fragments, when seen together, form a panorama of urban life shaped by migration. Like a true atlas, it asks its readers to move across borders and cultures.

For the cover and appendix, large-scale lettering uses New Alphabet by Wim Crouwel (The Foundry). It is a constructed alphabet for stories of constructed spaces.

The main part of the book is set in Pantasia by Wei Huang (Counter Forms).

OPS Past Perfect by OPS Type is used for essay headlines and pagination, while the essay body copy itself is set in Times, providing a classical and neutral grounding.

All reconstructed shop logos use Suisse Int’l by Swiss Typefaces. This provides a unifying framework, standardizing disparate designs into a coherent visual register.

The book design guides the reader gradually. A short introduction eases the entry, followed by a recurring graphic motif: the shape of a boarding pass, signaling the themes of travel and migration. Text sections are interwoven with photographic sections, establishing a rhythm between narration and image.

The photographic work, all produced by Prof. Amalia Barboza, explores the same foil collages in three ways. First, they appear as framed images. Then the same foils are projected using an overhead projector, creating ephemeral, layered visuals. Finally, the foils are collaged onto window glass, merging printed architecture with the actual cityscape.

The layout is bilingual: all German text is printed in black, while all English text appears in Pantone 287 dark blue, giving the two languages distinct visual identities.
The essays follow a classical book-typography style, in contrast to the main section of 35 shop portraits, which are set in monospaced Pantasia. Within this grid, quotations are treated specially: they appear 1.5 times larger and shifted on the baseline, breaking the rigidity of the mono system while maintaining the grid. To avoid collisions of ascenders and descenders, additional baseline shifts are applied—these sections are “unicased.”

City Atlas was produced by Quatroprint in Brno, Czech Republic. The book is printed in two-color UV offset and comprises 228 pages on slightly transparent, thin paper (Munken Polar Rough 90 g), giving the volume a delicate, tactile quality. The binding is a Swiss-style sewn structure with blue thread and an open spine, allowing the book to lie flat.
The cover is made from cardboard with a partial UV glossy coating, designed to evoke the texture of passport cloth, reinforcing the themes of travel and migration. The corners are rounded.

The book invites readers to engage with cities as layered spaces of culture, labor, and imagination, offering a rich experience that extends far beyond its pages.

100 beste Plakate 23 highlights the year’s most compelling poster designs from Germany, Austria and Switzerland. From bold typography to experimental imagery, these 100 posters capture today’s vibrant pulse of visual communication.

In 2023, it’s Studio Es from Vienna who designed the visual identity of the competition.

For the type, they chose Signs (by Swiss foundry Maxitype) – a chunky, spirited typeface that communicates with clarity whether static or in motion – and combined it with Pantasia by Wei Huang and Times New Roman in order to create contrast and rhythm in the visuals.

HBKsaar 2024 dust jacket front cover — 35 years already!

The annual yearbook of the Hochschule der Bildenden Künste Saar (University of Arts and Design Saar, HBKsaar) has long been a chronicle of the school’s academic life and an outlet for editorial practice. Designed in-house (first by Ludmilla Rech, then Daniela Spinelli, and today Manuel Wesely) with a strong emphasis on materiality and typographic concepts, each edition reflects the institution’s identity as a laboratory for contemporary education in art and design.

As in previous years, the HBKsaar yearbook arrives just in time for the graduation show at the end of the summer semester. The 2025 edition reflects on the 2024 academic year and, for the first time, includes essays from teachers who spent a research semester during that period. Unlike earlier editions, which showcased more than 100 student projects, this edition shifts its focus to teaching and a significant anniversary: HBKsaar turns 35. Student work is now featured on HBKnow, a new platform launched in spring 2025 to highlight HBK-related projects and events.

The number 35 provides the visual and conceptual thread running through the design, beginning with the dust jacket and continuing throughout the interior. Lorraine Bauer and Saleh Alsaid each contribute an editorial exploring the “35” theme – cheers to them!

Typography is led by Bernino Sans by Tim Ahrens and Shoko Mugikura, HBKsaar’s house typeface, which sets the main text and headlines. It is paired with the monospaced Gemeli Mono by Jean-Baptiste Levée and Pantasia by Wei Huang for captions, small informational text, and all personal names. The “35” editorials feature the Geigy typeface by Robert Huber for Lineto.

The cover nods to the aesthetics of German New Wave of the 1980s – fans of Trio will recognize the reference immediately (Herbert Grönemeyer may divide opinion). House and phone numbers hint at the school’s public accessibility. A calendar page with a “35-day month” reinforces the yearbook’s sense of structured order with plenty of space for personal notes.

The book was produced by Krüger Druck+Verlag. The dust jacket is printed on Igepa Spezial GD2 stock, which is also used for the cover, though reversed (“inside-out”). The book uses Circle Bulk recycled volume paper. Binding is hybrid: an untrimmed (at the outer edge), staple-bound booklet is combined with a dust jacket featuring a 12 mm spine and two flaps. Covers are printed in black plus Pantone 805 neon red; leftover neon ink from the press run was repurposed for a 16-page opening editorial and the 16-page reference section “HBKsaar from A–Z” at the back.

Just like the neon sections, the introductory photo editorial makes use of the specific page structure of a staple‑bound booklet. The first and last 20 pages – i.e., the ten outermost printing sheets – feature full‑bleed photographs of the Rundgang (open studios) and graduation ceremony. Each spread works both as two separate halves, divided by the gutter, and as a single image hidden within the pages. A book without a spine and a dust jacket with one might seem incompatible, but HBKsaar makes it work.

Opening page – Meret Preiß pointing at Gemeli Mono

Guest appearance of Studio 63, the HBKsaar student-run design studio, preparing the Rundgang and Abschlussfeier exhibitions. From left to right: Saleh Alsaid, Matti Henn, Marietta Stucky (on the ladder) and Manuel Wesely

Photo editorial: landscape-oriented photos printed full bleed on printing sheets, then divided by half through the binding, resulting in two portrait-oriented photos.

Studio 63 cameo on the left (Rundgang 2024 graphic design identity), and Saleh Alsaid’s “35” editorial on the right

Saleh Alsaid’s “35” editorial

Ending of Saleh Alsaid’s “35” editorial and the foreword of Prof. Dr. Christian Bauer, the rector of HBKsaar. The text also functions as a table of contents.

Essay by Prof. Burkhard Detzler on the origins of AI

Start of the centre editorial on yellow pages by Lorraine Bauer: “our students must learn the un-learnable: dealing with the unsolvable”, Lucius Burckhardt, 1989 (one of the founding members of HBKsaar)

Ending of Lorraine’s editorial and start of the second half of the booklet

Spread showcasing the “Principles of Serendipity” conference on extended graphic design

Essay by Prof. Dr. Christian Bauer “Be a Mensch!” on anti-semitism in arts and culture, poster design by Manuel Wesely

The second neon part: HBKsaar from A to Z

New folks now working at HBKsaar!

Infographics showing the distribution of individual students per study program of HBKsaar

The last pages, continuing the photo editorial

The second half of Meret’s face and her friend, and the last page of the booklet with the colophon

The backside of the book; notice the reversed cardboard and customized HBKsaar logo for the “35” occasion

Detail view of dust jacket (with spine) and booklet (without spine) and the untrimmed outer edge

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Nose is a publication cultivating olfactive curiosity. The project is described as follows:

Our first edition invites readers to tune in – smell more intentionally, more thoughtfully. It’s a gentle immersion into the vast world of scent: how it lingers in science and language, in memory, culture and everyday life. Through essays, interviews and visual work we explore the overlooked sense of smell, hoping to spark curiosity and deepen your awareness. Let this be your top note.

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Like the nature of olfaction, Nose cannot be defined by any singular thing – rather, it embraces the liminal. The magazine – printed on creamy uncoated stock – features no solid black; instead, everything exists in shades of grey. This space between black and white is symbolic of our sense of smell – deeply personal, intangible, and impossible to pin down.

The publication also adopts a framework of layered typography, introducing depth and rhythm throughout. Typography shifts between soft and sharp, light and dark – a visual echo of the elusive, multi-sensory world Nose explores.

Editors-in-Chief: Saskia Dodds-Painter and Olivia Rattray-Wood
Design and art direction: Marissa Hor and Jenny Fang
Cover: Harry Burmeister
Styling: Steph Reid
Talent: Eli Flavell
Printer: Printgraphics Printgreen

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(High – Medium – Low Speed)

Produced as a component of the Histoire & Théorie Critique course at the La Cambre Horta Faculty of Architecture, this volume undertakes an exploration of the evolution of the concept of speed in Milanese architecture during the latter half of the twentieth century. The publication comprises three essays that explore pivotal moments in this transformation, beginning with the post-war reconstruction era, characterized by the mass production of standardized buildings, to the protests of 1968, with their radical critique of modernism, and concluding with the 1970s, a period marked by a radical critique of modernism and the use of design as a means of reflecting on and deconstructing consumer society.

The booklet’s central premise – that "we have never been modern" – guides an examination of Milanese architecture's oscillation between the urgency of the present and the search for a lost identity. The concept of speed, understood both as the pace of building production and as a metaphor for progress, emerges as a central theme, shaping and transforming the urban fabric as well as design practices. The result is an original contribution to the history of Italian architecture, offering a nuanced and critical perspective on a period crucial to Milan’s identity and, more broadly, on the role of architecture in contemporary society.

The booklet is printed in folded A4 format and bound with saddle stitching.

The Summer Reading Guide (SRG) is Australia’s leading independent bookseller catalogue, published annually since the 1990s for the holiday period. Organised by Readings in Melbourne and Gleebooks in Sydney, it is distributed through a network of 18 independent bookshops nationwide. For the 2024/25 edition, TRiC was tasked with redesigning the guide to make it more engaging and contemporary, positioning the bookshops as independent tastemakers. This edition introduced editorial contributions from authors, incorporating a more literary design language while maintaining its format as a catalogue. Key considerations included ensuring legibility for a diverse readership and addressing colour usage on lightweight paper to prevent show-through.

The redesign drew inspiration from contemporary book design, literature, and editorial layout. Australian-designed typefaces, such as Quadrant Text for headings and Herbik for body text, were chosen for their distinct and humanist qualities, enhancing the guide’s storytelling energy. A simple structure was established for the reviews, using typographic hierarchy, generous spacing, and pops of colour to highlight special-price books. Leading the publication is a striking cover illustration by Ilya Milstein depicting an iconic ocean pool scene that captures the magic of summer reading in a richly coloured and distinctly Australian setting.

The result is a fresh and engaging Summer Reading Guide that combines a contemporary literary aesthetic with accessible design, elevating the reviewed content and reinforcing the guide’s position as a key resource for book lovers across Australia.

Main poster

Virei, a road documentary by Gustavo Imigrante, explores Angola’s rich tapestry of stories, people, and landscapes, centred around the region of Virei. The documentary delves into the connections between Angola and Portugal, seen through the experiences of two renowned Portuguese surfers, Tiago Pires and Joana Schenker, and local surfer Samuel Quintino. It reflects on themes such as development, sustainability, and the dynamics of power that influence the surf industry and tourism in the age of globalisation.

To create the film’s posters, a series of collages were developed using photographs taken by the director during filming. Nearly every image shared by the director seemed to tell its own story, each capable of inspiring a different poster. This process resulted in a main poster and four secondary designs, all showcasing the duality of the landscape with a bold division between earth and sky, symbolising the spirit of the film. Additionally, we developed all title cards for the film’s transitions.

For the typography, we chose Eya from Counter Forms, designed by Thy Hà. With only one available weight (regular), we had to develop graphic solutions to establish clear hierarchies of information. Only the film’s title and chapters are written in uppercase, emphasising their prominence, while the remaining text—such as additional information and credits—flows naturally in sentence case, serving as a seamless narrative thread punctuating different moments of the film.

The documentary also features a carefully curated soundtrack, with music by artists like Zé da Lua, Os Kiezos, Duo Ouro Negro, Mamukueno, among others.

Poster series

Title

Title: Chapter 1

Title credits

Title credits

Title: Chapter 6

Title trailer reel

Title trailer reel

Poster, flyer and exhibition graphics for Empathy, Kiki Smith’s solo show at Diözesanmuseum Freising, 2023.

Designed in collaboration with the curator and writer Hollie Douglas who was the Curatorial Trainee at Towner Gallery working on the third and final year of Future Collect, iniva’s partnership project to transform the culture of commissioning and collecting within museums to better reflect the diversity of Britain.

The typefaces used in the publication are KTF Olivier (Kyiv Type Foundry), Telas (Seb McLauchlan/Counter Forms) and Parnaso Mono (Feliciano Type Foundry).

Through the design, layout and production of the publication we sought to explore notions of linear time and the effect certain interventions could have on the experience and atmosphere for reading Hollie’s essay — mapping the block in unusual ways across the spreads, warping repeats of imagery, experimenting with white ink onto silver paperstocks and so on.

Hollie’s work is largely concerned with diversifying exhibitions and collections, and how curatorial processes and activism can change this by embedding narratives of overlooked artists into art history. She is currently the Curatorial Projects Coordinator at Towner Eastbourne and studying an MA in Material and Visual Culture at University College London.

Back in November 2023, Hollie gave a presentation at iniva, sharing her research on how imagination, dreaming, and memory can function as an expression of resistance and freedom. Since then, she has written an essay that combines conversations with artists, artworks she encountered, as well as theories of radical imagination and black utopias, in hopes of encouraging a different perspective on how we view time.

Slow Time was recently published and is available to pick up at the Stuart Hall Library.

Shelf photograph by Thomas Adank.

Iconic House has commissioned the Parisian creative practice eschenlauer sinic to design a book (and website) to present the legend surrounding the Chalet de l’Inconnu. This famous chalet, located in Megève at the heart of the Mont d'Arbois domain, was originally built by Jean Walter and Henry Jacques Le Même. It is now being offered with a renovation project signed by the interior design agency Claves. Inspired by Domenica Walter—the original owner of the chalet—and her art collection, our typefaces and layout evoke the elegance of mid-century art catalogues. We also drew on archival documents, including original plans and correspondence, to guide our choices. Our aim was to imbue the project with historical depth and sophistication while adding a contemporary twist.

The exuberant and luxurious Chalet de l’Inconnu: it resembles nothing that existed and nothing after it will resemble it.

— Centre d’archives d'architecture du XXe siècle en Savoie

Editorial and web design by eschenlauer sinic, featuring a custom digitization of ITC Busorama, alongside Persona (logo), Herbik (text), and Pantasia (captions etc.).
Interior design by Agence Claves (Laure Gravier & Soizic Fougeront)
Production by Iconic House
Computer-generated imagery by jeudi.wang
Photographs by Adel Slimane Fecih

In the visual identity and editorial material for Vancouver-based Fox Real Estate Group, a condensed version of Pantasia Novus SFRG Regular, custom made by Wei Huang, is paired with Neue Haas Grotesk Regular.

OEI #84/85: cover

From the OEI website:

OEI is a Stockholm-based magazine for extra-disciplinary spaces and de-disciplinizing moments – experimental forms of thinking, montages between poetry, art, philosophy, film, and documents; critical investigations, editorial enunciations, aesthetic technologies, non-affirmative writing, speculative archaeologies, new ecologies and counter-historiographies.

For each issue, a new typographic treatment is commissioned by different (typo)graphic designers, with the actual production of each issue being done by the OEI editors themselves.

For the two double issues #84/85 (2019) and #86/87 (2020), the same treatment was used twice – for the first time. The issues originally were supposed to be one issue but as the number of pages by far exceeded the maximum, the publication was split into two issues, each counting around 640 pages.

For #84/85 and #86/87, Konst & Teknik / Peter Ström was commissioned. Below is a text that was included in OEI #86/87 on the typography, translated into English from its original Swedish.

14 TIMES TIMES — On the typography in OEI #84/85 and #86/87

Times New Roman is one of the most well known Roman typefaces in current times, originally drawn in 1931 by Stanley Morison for the Times newspaper in London.

During the century that has passed since, the technical conditions of typesetting and type design have drastically changed on multiple occasions. From the metal type that Times New Roman originally was drawn for, via phototypesetting, to the digital typography of the computer era.

Today typefaces are drawn and programmed to work straight on digital screens, either in layout software such as Adobe InDesign (for later reproduction on, for example, paper), or to work exclusively within the computer; in software, on web pages, and apps.

Times New Roman found its way into the personal computer quite early, as it was distributed with the operating system Microsoft Windows 3.11 in 1993. Since then a number of new versions and interpretations have surfaced: Everything from hand-drawn and mirrored versions, via conceptually interesting sans serif versions, to professional interpretations by established typeface designers. Worth noting here are Tiempos by Kris Sowersby (2010), LL Bradford by Laurenz Brunner (2018) and GT Alpina by Reto Moser (2020).

Times New Roman has in a way become as close to a “non typeface” as a typeface can ever be — rivaled only by other Microsoft-distributed typefaces such as Arial and Courier New.

Or, as the typographer (and lawyer) Matthew Butterick phrases it:

When Times New Roman appears in a book, document, or advertisement, it connotes apathy. It says, “I submitted to the font of least resistance.” Times New Roman is not a font choice so much as the absence of a font choice, like the blackness of deep space is not a color. To look at Times New Roman is to gaze into the void.

Today there are more than 20 digital typeface families that, in one way or another, draw references to Times New Roman. The initial idea for OEI #84/85 and 86/87 was to use all of them as a way to create an index of the evolution of printed matter over the last one hundred years. But as many of the fonts lack Swedish (or Danish) characters, are incomplete for other reasons, or are simply illegible, the amount was reduced to 14. All 14 come in both Regular and Italic versions, with a few selected exceptions where the italics have been emulated by manually slanting in the layout software — a homage to the era of early digital typography where italics weren’t always available.

The different versions of Times New Roman used are everything from professional versions, such as Times Ten, to unpublished interpretations used in earlier projects by Konst & Teknik, such as Times MMM Roman, a remix version of Moderna Museet’s own Times MM Roman, to free amateur versions like Tiny Times, a pixelated version based on the appearance of Times New Roman when rendered on low-resolution screens.

The 14 versions:

Times New Roman Regular & Italic
Dutch 801 BT Roman & Italic
Times Regular & Italic
Times MM Roman Regular & Italic
Times MMM Roman (K&T remix) Regular & Italic
Pantasia Regular & Italic
Times Ten Regular & Italic
Happy Times at the IKOB Regular & Italic
Times CG ATT Regular & Faux Italic (13 deg)
Times NR MT Pro Regular & Italic
#PCMyungjo (K&T edit) Regular & Faux Italic (13 deg)
Tiny Times (K&T edit) Regular & Faux Italic (13 deg)
Times LT Regular & Italic
Times ET Regular & Italic

In every project we take on as Konst & Teknik, the research and final decision of the typeface selection is crucial – often to such an extent that we have difficulties returning to the same typefaces more than once. The typeface selections reflect the project and its content so much that it becomes difficult to apply the same typeface selection on later projects.

Times New Roman in its different versions seem to be an exception, a typeface family we have returned to more times than once. Maybe thanks to its rich technical and visual history, making it easy to apply conceptually to different projects and commissioners. It is by far the typeface I have the most different versions of in my computer, making it easy to find a suiting visual expression within the framework of a "clear" typography. Because of this, it has for a long time been an interesting thought to apply all the different version at the same time to a bigger printed matter project thus making it possible to in detail compare the different version properly. OEI #84/85 and #86/87 offered that possibility, both content wise, conceptually and technically.

Peter Ström
Konst & Teknik
January 2020

OEI #86/87: cover, spine, and back

OEI #84/85: spread

OEI #84/85: spread

OEI #84/85: spread

OEI #84/85: spread

OEI #84/85: spread

OEI #84/85: spread

OEI #84/85: spread

OEI #84/85: spread

OEI #84/85: spread

OEI #84/85: spread

OEI #84/85: spread