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.

Submachine is a graphic design studio based in Budapest. For Ábrahám Borműhely wines, they designed distinctive labels, using Norbert Schmal Fett by Philipp Neumeyer as the primary visual motif and Triptych Grotesque by Ellmer Stefan (The Pyte Foundry) for normal-sized text.

Drawing inspiration from early metal type families, Norbert Schmal Fett features bold, condensed forms that combine craftsmanship and precision with analogue vitality. The result is a distinctive, nostalgic yet bold and fresh look. Triptych Grotesque has a very similar feel, with its strong contrast and print-like appearance, since it is inspired by Victorian text typography. Through analogue printing techniques, the large letterforms acquire a visible, tactile texture on the labels. This approach mirrors the handcrafted and authentic character of the wines.

Biber, which means “pepper” or “chilli” in Turkish and Serbo-Croatian, is an Austrian magazine that covers diversity, education, economy, politics, society, and culture, with a particular focus on Austrians with a migration background. Its first issue was published in 2006. The magazine ceased publication in 2023 but was relaunched in April 2025 with a print run of 100,000 appearing twice a year.

The first issue of the redesigned Biber magazine focuses on the people who keep Vienna running, both visible and invisible. Visually, the relaunch embraces a clean, contemporary editorial design grounded in clarity and contrast. Bold sans-serif typography, modular layouts, and an expressive colour palette define its new identity.

From layered interviews and street-level photo features to graphically minimal infographics, the magazine balances youthful energy with editorial discipline. The design aims to reflect Vienna’s cultural mosaic not through ornamentation, but through thoughtful hierarchy and human-centred storytelling.

The designer Valerija Ilcuka combined several typefaces with Farmacia by Nguyen Gobber used for headlines, and Exposure by 205TF, Triptych Roman by The Pyte Foundry, Aether Mono by DDOTT, and the sans-serif Athletics by Family Type for running and supporting text.

Identity for the Oslo-based architecture firm Arkitektskap. Design by Eivind Stoud Platou of Handverk, together with Elise Jakobsen of Jakobsen Frukt & Grønt and Petter Gulli of 12YEARS. The identity combines Triptych by The Pyte Foundry with STK Gerhard from Smuss Type Kiosk.

Starting with issue 33 (A/W 2023), Uncommon redesigned Port magazine. The ambitious redesign includes the photographed cover stars hand-writing their own version of the Port logo on their respective covers to add individuality to each of their split run cover. Uncommon say they “wanted to ensure each cover design felt unique and reflective of the person’s character.”

The typography changes throughout the issue and features two typeface families, Triptych Roman with Italick and Grotesque from The Pyte Foundry which, in the words of Uncommon, “is unsentimental, stubborn, robust and hard-working.” The second one, Affairs in Regular, Italic, and Mono from SM Foundry, is “slightly more aesthetically pleasing. Bringing two reduced typefaces together creates an awkward and interesting tension throughout the redesign.”

The typographic palette for issue 33 additionally includes Serial D from Dum Dum Studio and “an extended wide type to contrast with the serifs – creating a type where a single number sits across a spread – called UNCle.”

Designer Camille Moreau writes (translated from the French):

To coincide with the 2024 Olympic Games, the Archives nationales d'outre-mer has published its first collection of stories drawn from political archives, colonial personnel files, private archives, photographic collections and sports newspaper collections. Histoires sportives offers an overview of sport in the French colonies: a political and media object, a mirror of a society in tension, it was used by the French state as an instrument of control over colonized populations, who also seized upon it in the fight for their independence. Designed as a newspaper that unfolds as a poster, Histoires sportives reinvents the graphic and typographic codes found in newspapers of the time, which I had the pleasure of consulting in the Archives' incredible collection.

Food on Svalbard is a 48-page publication that dives into the unique subject of food on Norway’s Arctic archipelago. With essays from Reidun Braathen and Even W. Hanssen, Nikhil Vettukattil, Samantha P. H. Dwinnell, and Maggie Coblentz, it explores everything from the culinary potential of Svalbard’s wild mushrooms to the foraging habits of reindeer, offering a fascinating range of perspectives on food in the Arctic.

The essays are in both Norwegian and English. The book is typeset in RG Gaueko and Triptych Roman and Italick. The book was printed by Bristol’s Taylor Brothers in two spot colours (1765U and 412U) on PaperWise Natural from Fenner Paper which is created from 100% post-agricultural crop waste, and singer-sewn with pink thread. This is the third book in the series – see Artica Writings 2021 and Return to Nature? – all of which have been printed in two spot colours with binding methods that leave exposed threads.

See more images on the publisher’s website.

Sapmi Strikk is a knitting book by Siv Romsdal. It is a how-to pattern book that focuses on redevelopments of old Sámi knitting patterns and craftsmanship. The book is designed by Handverk.

Translated from the Norwegian:

Siv's starting point is the work done by women before her to preserve and pass on the heritage of their foremothers. On her journey through yarns and colours, she has developed knitwear that incorporates details from old Sami patterns. And she has been inspired by the nature and culture she grew up in to create new knitwear designs. Her journey takes her through darkness and the Northern Lights, cloud marshes and summer heat, to Karesuando, Máze, Varanger, Jukkasjärvi, Billefjord and Kautokeino. The result is a feast of colours and patterns that are equally at home on the plains or in the city. The book contains knitting patterns for jumpers, cardigans, socks and mittens.

Typefaces used are Triptych Roman from the Pyte Foundry and Store Norske Maleri from Skriftkompani.

Biodesign: From Inspiration to Integration was an exhibition of works of contemporary art and design that help us to reform our relationship with nature, moving it from a destructive to a more integrated, mutually beneficial model.

The exhibition marked the release of the 2018 edition of the book Biodesign: Nature + Science + Creativity, by William Myers, published by the Museum of Modern Art (MoMA) and celebrated the RISD Nature Lab's 80th anniversary.

Gyrator and Lack were chosen to reflect the organic and technical aspects of the works in the exhibition, respectively. And their placement in the identity represents the conversation between the two realms throughout the exhibition. The poster additionally uses Reader.

Lead curator: William Myers
Co-curators: Lucia Monge and David Kim
Curatorial assistants: Julia van den Hout and Peter Rogers

Safari Riot is an agency helping aspiring digital artists start making money with their projects. Safari Riot with their business partners solve marketing and business planning tasks and produce collaborations. One can become one of the agency’s clients by sending their work at the project’s email.

The agency’s homepage uses variable Fit by David Jonathan Ross and all the other pages are typeset in Compagnie by Pyte Foundry (used for headlines) and Cartograph CF by Connary Fagen (body text).

Per Spelmanns Comeback is the parallel release to Postreptilia by Norwegian artist and poet Ivar Orvedal. His spoken poetry — excerpts from the Postreptilia book — are paired with a varied soundscape ranging from controlled minimalism to eclectic jazz improvisation.

Referring this wide scope of expressions, the album cover was designed by Modest [Rune Døli] using The Pyte Foundry’s Overdose and Errata, as well as gestural calligraphy done by Ellmer Stefan.

Pearla Pigao is an Oslo-based artist, musician, and craftsman. Drawing on her background in both music and textile art, her work explores the relationship between sound and material, drawing on the commonalities between weaving and musical composition to create digitally hand-woven textiles that create visual, tactile experiences of sound structures.

Her 2020 installation Wave Shaper at Soft Gallery Oslo was accompanied by a limited edition LP of the same name. The album art was designed by Norwegian graphic designer and letterpress printer Ane Thon Knutsen fittingly (“Do I hear LTypI?”) using Kinckq by The Pyte Foundry paired with the uber-classic Univers by Adrian Frutiger.

Acclaimed (and infamous) designer duo Sagmeister & Walsh choose The Pyte Foundry’s Gyrator and Alias’ Harbour for this life affirming mural located in Aspern Seestadt, one of Europe’s largest urban development projects in the northeast of Vienna.

From the designers’ website:

For the development’s Beatification project, we were invited to design a mural spanning the 400m2 wall along the Asperner Seepark. Our goal was to turn a gray wall into a work that can be enjoyed on different levels. We wanted to create something with a connection to water both physically and metaphorically, so we used a combination of visuals & writing. You can perceive the mural through color and shape, or you can walk the entire length and read about humanity’s relationship with water.

Impossible Langhe is a tourist novel, half guide and half story, written by Pietro Giovannini and enriched by photographer Maurizio Beucci. It explores and tells about the Langhe, an area populated by epic stories, visionary heroes and breathtaking landscapes. Impossible Langhe was designed by Elisabetta Azzalini at Undesign and published by Fondazione Radical Design of Charley Vezza, directed by Axel Iberti. The book won Bronze at the European Design Awards:

The volume, conceived as a travel notebook, is designed with the intent to combine the spirit of the Langhe, its historical, cultural and geographical specificities, to the contemporary. The dual nature of the book is explained by the structure of the graphic design that divides each of the nine chapters into two complementary sections: the first one, detailed and analytical, is dedicated to the routes, the second one, narrative and characterized by a colorful background, is reserved for the stories and tales of these places. In the titles the Voyage font exasperates the shapes of the typefaces used for the labels of the wines, creating, with a strong contrast, an elegant but contemporary effect. The palette of typefaces is then enriched with the famous Egyptian character designed by master Aldo Novarese and produced in the late fifties by the renowned Fonderia Nebiolo (a non-random association for a project that tells the story of a land of vineyards and wines), Piedmontese excellence recognized worldwide. The result is a visual and textual journey that leads to the discovery of one of the most characteristic and famous places of Piedmont, from an unusual and special point of view.

Titles are set in Voyage. The text typefaces are Prensa and Suisse Int’l. The contents pages additionally use all-caps Egizio Bold and Triptych Grotesque.

During Halloween 2016, The Hague based indie band Vuigtuig released their second album, full of macabre and morbid humour and haunting fictional horror sound tracks. The album artwork uses the recently released Krana Fat for its band logo, and the album title is rendered in Nihilist (released just in time for finishing the artwork). Information is set in a mix of Sentinel, Venus Condensed and Errata.

Last year my youngest son was in a circus class. I am normally happy to volunteer for anything as long as it is not graphic design. This time, to my surprise, I heard myself casually offering to design the poster of the annual final performance, named Droomwandelaar (“dreamwalker”).

The lack of a clear briefing, storyline or professional photos was easily made up for by infectious enthusiasm and besides: designing the poster offered a chance to finally play around with some fonts that had been sitting on my computer for ages, patiently waiting to be put to use.

The fonts of The Pyte Foundry's one-release-a-week year (2016) generally had a compact character set, but often enough the fonts included an extra surprise. In the all-caps Dosage, for example, the uppercase characters are of a bolder weight than the ones found in the lowercase. It also includes a funky manicule, but the stylish pointing hand on this poster can be found in Alcove, Mortar, Galore, Plakat, and Prhyme. The frames behind “Ticket Sales” are from QFWFQ. A ready-made boxed font like Granblue is harder to fit on a curve than I thought; the pre-existent logo is set in Rosewood Fill.

The Museums for Climate Action publication and website gather together a range of thinking about how museums might address the challenges of a warming world.

Three fonts are used in combination across the project. Venus is used for headlines – in lowercase only, and in the bold condensed cut – Graphik for body copy, and Triptych Roman (with Italick) as an alternate contrasting editorial voice.

Divided into three sections – Rethink, Reimagine, and Mobilise – the website includes research material from the project team, a suite of concepts imagining possible museum futures in the climate change era, and key resources to inspire radical climate action in the sector and beyond.

The project began life as a design and ideas competition, launched on International Museum Day 2020. Responding to the two main pillars of climate action – mitigation and adaptation – the competition asked how museums could help society make the deep, transformative changes needed to achieve a net-zero or zero-carbon world.

The responses, which could address any aspect of museum design and activity, ranged from the fantastical to the highly practical. You can see a selection of these concepts in the Reimagine section of the website here.

Through the Billboard Promised Land without Ever Stopping is the only piece of narrative fiction by English artist, film maker, and gay rights activist Derek Jarman (1942–1994). Written in 1971, it was recently published for the first time through House Sparrow Press, an imprint of Prototype Publishing. The publisher describes it as –

a surreal, fabular, lyrical work – a literary fairytale acid-trip road movie hybrid – the energies and details of which influenced much of his later work across media. The story serves as a foundational text, laying out many of the themes, images and styling of Jarman’s work in painting, film and design whilst also being haunted by the then emerging ecological crisis in its juxtaposition of the beauty of nature with the reckless consumption of modernity.

This edition features facsimile images of the story’s handwritten drafts from Jarman’s archive, a link to an exclusive audio recording of Jarman himself reading the story in full, and is comprehensively informed by a vivid foreword from Philip Hoare, a deeply researched afterword by Jarman scholar Declan Wiffen, and a warm memoir by the artist Michael Ginsborg, a close friend of Jarman’s throughout the period of the story’s writing.

For the cover design, Theo Inglis made exemplary use of Kink (2016). According to Ellmer Stefan of the Pyte Foundry, Kink is, just like the 2022 revision Kinckq, “a digital reanimation of a unique brainchild emerging from the pantographically distorted minds of North American wood type manufacturers.” Inglis arranged all text – the author’s name and the title – with one word per line, center-aligned against an enigmatically iridescent background. Lines alternate between Kink B (bent to the left) in black and Kink B (bent to the right) in white, effectively turning the reading experience into something that resembles watching a disk drop game.

Artica Writings is a collection of essays on the theme of oceans, inspired by the UN’s Decade of Ocean Science for Sustainable Development, commissioned by Artica Svalbard:

We are very pleased to share a new printed version of the Artica Writings 2021 essay commissions.

Last year’s series looked to the ocean for inspiration, inviting writers, artists, poets and scientists to share their thoughts on our oceans. This limited edition publication has been designed by City Edition Studio, the book’s jacket is made from plastic recovered from the Andaman Sea in South East Asia, where fisherman are trained and paid to collect, sort, wash and shred plastic waste which is used to make book cloth.

The book is made from recycled paper and features a cloth wrap that is made from plastic recovered from the Andaman Sea. The typography reflects the sea’s depths by becoming darker as it gets further down the page through the use of variable font technology and JavaScript.

The body font is Capraia by Cast Foundry and the titles are set in Pyte Legacy Vulture by The Pyte Foundry.

Bar Galán is a restaurant in Barcelona, focusing on providing classic, sophisticated dining.

Compagnie is used for the logotype and text, with Anoserif used for headlines and monogram.