Evi O. Studio’s design for the book Cao Fei: My City is Yours accompanies a major retrospective of Chinese artist Cao Fei’s work in the Art Gallery of New South Wales.

Spanning two decades, the publication presents themes of urbanisation, digital culture, and globalisation through essays, an artist interview, and rich imagery. The design merges contemporary aesthetics with nods to early Y2K style and Chinatown phone books, forming a unique blend of traditional and digital visual language.

The main font is Splinter by Mario Julián Gutierrez / Dum Dum Studio. It’s used together with Acid Grotesk by Pablo Fernández de la Fuente / Folch for English text. The fonts used for Chinese text are BoutiqueBitmap7x7, Fixedsys Excelsior, MF LangQian, and PingFang HK.

From the publisher:

Cao Fei is one of the most innovative artists to have emerged on the international stage, known for work that charts the breakneck urbanisation, environmental changes and social flux of China in the 21st century.

Born in 1978 in Guangzhou, Cao is a world-builder who works across videos, photography, sculpture and immersive installations. Her acclaimed practice mixes social commentary, pop culture, references to surrealism, and documentary and she has appeared no less than six times in Art Review’s ‘Power 100’ list of the world’s most influential people in art.

This book, published in conjunction with the first Australian retrospective of the Beijing-based artist, showcases key works from the past 20 years, as well as newly commissioned works that explore China’s deep ties to Australia. Together, they encompass a range of compelling themes including urbanisation, digital transformations, 21st-century globalisation, family histories and diaspora.

Designed by award-winning graphic designer Evi-O, the book offers new scholarship on the artist by the exhibition’s curators, Ruby Arrowsmith-Todd and Yin Cao, together with essays by the renowned scholar of Chinese contemporary art Hou Hanru and emerging Asian–Australian writers Michael Sun and Pao-chen Tang. An expansive interview with Cao Fei and short entries on key projects features alongside a rich selection of artwork stills, reproduction images of props and paraphernalia, and a playful array of archival material spanning the artist’s influences.

The images of the book are by Daniel Shipp. See more on the website of Evi O. Studio.

The title page additionally uses Futura Display in squeezed caps, set on a circle.

The chapter opening on this spread pairs Splinter (yellow and red) with OT 2049 from Off Type (green text).

Situational is a graphic design MFA thesis that positions design as a tool to analyze and construct situations. The book is divided into five chapters: Site, Situate, Situational, Situationist, and Archive. Each key term is defined by an opening essays and illustrated with design work and interviews.

The Chinese title of this book, 情境中 (qíng jìng zhōng), translates directly to “within the situation”. Yet separately as three individual characters, qíng jìng zhōng means emotion, scene, within. A situation in my language is inherently an emotional scene, which requires us to account for more than the objective conditions, such as the geographical, economic, and social circumstances, as well as the subjective and affective experiences of individuals.

How can design analyze the context of given situations and construct new situations? The key terms organizing this book describe a movement. Site establishes the levels of context in which any practice is embedded: place, organization, body, and their continuous interaction across time. Situate names the conditions that shape the maker's partial positionality within sites. Situational describes the practice of reading those conditions analytically and responding to them fluidly. Situationist takes all of that outward. Having understood the context, named the position, and learned to respond to conditions, the question becomes: what new situations can be constructed for others? How do you use that understanding to intervene in the world rather than simply describe it?

To read the full book, visit Rhode Island School of Design’s digital commons.

The bilingual publication (English, Chinese) has 272 pages, is Swiss sewn bound and measures 166×220 mm.

UOOYAA Zine issue 15, “The Travel Issue” is the annual publication of UOOYAA, dedicated to contemporary lifestyle, art, fashion, and visual culture. For this fifteenth issue, Same Service, the creative agency responsible for the publication’s production and image direction, invited Studio Hugo Blanzat to develop the editorial design.

Responding to the theme of travel, the project expands the traditional magazine format into a collection of four printed objects: a hardcover photobook, an upside-down booklet, a passport, and a set of postcards. Conceived as a fragmented reading experience, these formats encourage exploration and create a playful narrative space shaped by movement, discovery, and collecting memories.

One of these objects is an upside-down booklet conceived as a double-sided publication. Featuring symmetrical covers and a translucent paper insert at its centre, it presents two interviews in parallel: one dedicated to artist Sean Landers and his Plankboy series, the other featuring photographer John MacLean’s Hometowns project. By turning the booklet upside down, readers move from one narrative to the other, creating a dialogue between two distinct artistic practices. Through artworks, photography, and conversations, both features explore personal histories, creative influences, and the places that shape artistic identities.

From Everyday Practice:

We designed the cover for the October issue of La Vie Magazine, a cultural publication based in Taiwan. The graphic concept interprets the energy and layered structure of Korean design through an expanded color spectrum and concentric waves inspired by traditional Korean colors. This special feature introduces creators from various fields—K-pop, film, fashion, crafts, and architecture—shedding light on the designers behind the Korean Wave. It also includes interviews and works by Everyday Practice and many other Korean creatives.

We appreciate the La Vie Magazine team for their thoughtful and in-depth coverage of Korean design.

The issue title uses FH Lecturis. The Chinese text “韓國設計特搜” is in an unidentified typeface [edit: Li Hei, see comments] that apparently was modified to match the look of FH Lecturis and its gaps.

White Fungus is an art magazine and project based in Taichung City, Taiwan.

Founded by brothers Ron and Mark Hanson in Wellington, New Zealand, in 2004, as a quasi-political manifesto, copies of the first issue were produced on a photocopier, wrapped in Christmas paper and hurled anonymously through the entrances of businesses throughout the city. Now a magazine featuring interviews, writing on art, new music, history and politics, White Fungus takes a dialogical approach to the work it covers. The name of the publication comes from a can of “white fungus” the Hansons found in their local supermarket in the industrial zone of Taichung City. Each cover of White Fungus is derived from a scan of the can.

The 18th issue of White Fungus features an 80-page interview with New York poet and novelist Eileen Myles. The conversation traces several chapters of their life, including becoming a poet in 1970s New York, reading at CBGB, and writing the cult classic Chelsea Girls. Myles discusses their mainstream crossover in 2015, their involvement in the hit television show Transparent, overcoming alcoholism, their writing process, and many other topics.

The issue also includes an epic feature on Hilma af Klint and the suppressed occult roots of modernist art. Taipei artist Yao Jui-Chung contributes a photo essay documenting animatronic depictions of the Chinese concept of hell, as seen in Daoist temples in Taiwan and Singapore. Yan Jun reflects on the life of Taiwanese noise music pioneer Dino (Liao Ming-He), who passed away in 2022. Also featured is an interview with artist Pavel Pepperstein on the influence of children’s literature and hallucinogenics in conjuring his surreal futuristic landscapes—a style he calls “psychedelic realism.”

Table of contents, set in Söhne, Sometimes Times and Athelas

Opening spread for an interview with Eileen Myles, set in Bell and Letter Gothic

Slightly modified Corinthia introduces the word “Hell”. The title of the artwork is set in the lower left corner in tiny DF Kai SB.

Opening spread for “Through the Prism of the Looking Glass”, pairing Lo-Res with Snell Roundhand.

We developed the brand identity for TARB, a new hair care brand. Guided by the philosophy of “True And Raw Beauty,” this project explored how to translate nature’s pure, primal beauty into a refined and deliberate language.

With both the Korean and Japanese markets in mind, we sought an aesthetic closer to attitude than visual excess. The direction began with the texture of Eastern minimalism and the quiet discipline of Zen.

We stripped away unnecessary ornamentation and built the packaging with restrained colors and generous negative space. The logo, too, takes its cues from natural forms rather than artificial expression.

To ensure beauty in its raw state is conveyed without exaggeration, we carried the brand’s core values consistently across its visual language and overall spatial experience.

The logo is custom drawn. Nordvest is the brand’s primary typeface, used for headings. On the packaging designs, it’s paired with Arno Italic. The website additionally uses ABC Diatype (English), Sandoll GothicNeo (Korean), and PingFang (Japanese).

TEATRIP JAPAN is an invitation to immerse in the fascinating world of Japanese green tea. In Japan, tea is much more than just a beverage—it is a living expression of culture. For centuries, the tea ceremony has been practiced in Zen temples—a meditative moment of silence, mindfulness, and deep respect that once brought not only monks, but even samurai a sense of inner peace.

The editors take readers on a captivating journey to the roots of this cultural tradition. Along the way, they meet tea farmers, merchants, and ceramic artists—individuals whose passion for tea began in childhood and continues to shape their lives. The book offers insights into the tea ceremony and the intricate hand-rolling technique known as temomi, all accompanied by atmospheric photography from the tea-growing regions of Kagoshima, Uji, and Shizuoka. Green tea enthusiasts will discover fascinating facts about different varieties, production methods, and preparation techniques.

Japanese green tea delights with its gentle sweetness and refreshingly fruity notes—a true sensory experience. TEATRIP JAPAN is a visual and cultural celebration—a heartfelt homage to an ancient tradition.

Published by Slanted Publishers in November 2025, the 232-page hardcover (21.5×29 cm) features linen binding, thread-stitching, and shortened pages, with full-color offset printing by Druckerei Vogl on Lakepaper Blocker Perfect White and Gmund handmade paper. Edited by Christian Beck (text), Stefan Braun, Frank Haala, and Lars Harmsen, with photography by Stefan Braun and design by Melville Brand Design, Lars Harmsen (CD), Mara Morawitz (AD), and Vera Pappenberger, the German-language edition is available under ISBN 978-3-948440-93-0 at a price of €69.90.

Triporteurs offers an iconographic exploration of a selection of cargo tricycles, highlighting street-food culture through an approach focused on modes of food distribution. Each issue brings together more than twenty drawings of tricycles, accompanied on the front and back covers by an explanation and a definition of the role these vehicles play in street-food culture. The edition also includes small prints that showcase specific details from the illustrations.

Capsule Plarail (Japanese: カプセルプラレール) is a wind-up train system sold in Gacha machines which uses elements of Plarail by Japanese toy manufacturer Tomy.

Angus Chiang is a menswear label founded in 2015. Inspired by Taiwanese culture, this website showcases designs reimagined with a bold aesthetic, blended with humor and playfulness. It celebrates vibrant colors while staying true to its distinctive creative identity.

The primary typeface used on the website is Grover, or more specifically, Grover Bold Caps, by Sudtipos. It’s used for titles or strong visual elements. Next, F Grotesk by RP Digital Foundry adds a more modern and clean touch, providing excellent readability for body text and smaller elements.

Finally, Chinese text uses DynaComware’s PingFang, ensuring typographic consistency with the Latin elements.

The Angus Chiang website stands out with a playful, rounded typography that reflects the brand’s identity. Titles and key elements, such as the brand name and menus, are in uppercase and often bold, while descriptive text uses a more classic format for better readability. The scrolling text adds an interactive touch and enhances the site’s energy, perfectly aligning with its visual identity.

The website uses an effective typographic hierarchy with large, bold titles to grab attention, and smaller, standard-weight text for easy reading. Links are italicized or underlined to indicate interactivity.

 The use of space helps visually separate sections and clarify the hierarchy.

The Angus Chiang website features a responsive design that adapts to different devices. On desktop, the menu is horizontal with multiple columns, while on mobile, it becomes vertical with a single column. Images are resized on mobile for better performance, and interactions are optimized for touch on mobile, with larger elements, while the web version uses mouse hover actions.

The website offers interactive features to improve user experience. Hover effects reveal additional information on product images, and links within images and descriptions lead to detailed pages.

Interactive filters in the Shop section allow sorting by category, size, color, and price, making navigation and product searches easier and more intuitive.

In digital media, features like animations, clickable links, interactive filters, and content personalization are possible, offering a dynamic and personalized experience, unlike the static nature of print.

Angus Chiang graduated from Shih-Chien University in 2013. That same year, he released his graduation collection “Sailing the Moon”.

It was presented at the London Graduate Fashion Week in 2013, where it won the first prize in the international competition.

Since his debut, Angus Chiang has established himself as one of the most promising fashion designers, with collections that continue to garner international admiration.

The Cool Words exhibition, organized by the Nanjing University of the Arts (China), is an event for type researchers, designers, and academics. The exhibition fosters innovation and exploration in the field of letter design. Since its inception in 2016, the exhibition has been held six times, receiving support and participation from the international design community, as well as from faculty and students.

In 2024, German graphic designer Götz Gramlich was invited to participate with the theme “Dragon”. His contribution, a striking typographic poster, presents a sort of fusion of Latin and Chinese characters — the former, set in a modified version of Plain Form’s Ready Clouded, featuring some physical attributes of the legendary creature. Additional information is set vertically using the condensed sans Grandmaster in all-caps.

The Chinese characters are from PingFang.

The two-colour screen print measures 130×90 cm and ws printed by Lézard Graphique (France).

Pop’n Music is a music video game series made by Konami’s Bemani division, first released in 1998. This card for the character Yuzuru is part of a card-collection merchandise based on the series, issued by Konami Digital Entertainment in 2015.

DF Maru Gothic is used for text, with DF Li for the character name. The word “animation” as well as the labels for the various characteristics listed on the back are in Dolmen, while the speech balloon with “Lose” is in Compacta. The Bemani logo uses ITC Grizzly with glyphs in alternating colors.

English version, dark mode

An interactive map of the famous German race track Nürburgring.

Chinese version, light mode

Detail

Detail

Nujabes / Fat Jon – Samurai Champloo Music Record: Departure [More info on Discogs]

Samurai Champloo (2004) is an anime TV series directed by Shinichirō Watanabe, who is best known for his work on Cowboy Bebop. The show is set in an anachronistic Edo period but with traditional elements being blended in with more modern cultural references and scenarios. Similar to how Cowboy Bebop took inspiration from jazz music, Watanabe wanted to incorporate hip-hop into the show’s soundtrack and identity and brought on four professional hip-hop artists – Shinji “Tsutchie” Tsuchida of Shakkazombie, Fat Jon, Nujabes, and the DJ team Force of Nature – to help make it happen.

A series of four albums was released that contained songs made for the show’s soundtrack. The titles use Zuzana Licko’s Lo-Res 12 Bold with a superimposed pixel grid. Cholla Wide by Sibylle Hagmann is used as a subtitle font and for the tracklist on all of the albums. Some covers also use Cholla Unicase. Most of the symbols on the cover of Masta are taken from Wingdings. It’s not clear if the “Masta” and “Playlist” titles are custom drawn, or from an unidentified font. [edit: it’s VT Pompous Circumstance Chiseled, see comments.] Same goes for the stacked Japanese characters.

Force of Nature / Nujabes / Fat Jon – Samurai Champloo Music Record: Impression [More info on Discogs]

Tsutchie / Force of Nature – Samurai Champloo Music Record: Masta [More info on Discogs]

Tsutchie – Samurai Champloo Music Record: Playlist [More info on Discogs]

Red pandas are quite small and look more like cats than bears; they feed on bamboo shoots and make really cute sounds. However, as their fur has been widely used to produce hats and many roads have been built across their habitat, fewer than 10,000 red pandas are now believed to remain in the wild. Designer Andrey Grodz tells all this in his student project for a creative layout course by Ania Melnik.

Druk Wide is used for tags and slogans. Body text is rendered in Manrope. The typeface used for Chinese appears to be PingFang.

Founded in 2018 by Anaïs Allias and Margaux Salarino (Temple Office), Temple is a cross-disciplinary platform on art, fashion, design and innovation with an annual publication. It presents contemporary designers and artists. The images are constructed by a principle of appropriation, re-intervention and collages made from the contributions sent.

Issue 11 of Temple magazine is titled “Made in Japon” and was launched on April 5th, 2023. The magazine was designed by Anaïs Allias and Margaux Salarino and curated together with Mathieu Buard. Contributors to this issue are Jon Rafman, HEAD – Genève, Neïl Beloufa, Mall Grab, Hanayo, Jeremy Benkemoun, Adabana Bloom, Salomé Chatriot, Gaspar Willmann, Julien Magalhaes, Sarah Makharine, Émile Kirsch, Mengche Chiang, Florent Cornier, Muse, Clara Ziegler, Charlotte Haulot, D-E-A-L, Matthieu Michaut, and Agga Stage.

“Now.Here No.Here” mixes capitals of Astro with lowercase letters from OCR-PBI Print Italic. The running text is set in (the Latin part of) PingFang.

The blocky letters for “Adabana Bloom” are from Forward.

“Hanayo” uses the italic style of Caramel.

Brand identity for Exil Club, an event location in Zürich. The website features a WebGL rendered background. The typography pairs PingFang and a custom typeface by YAN–CO Studio named Exil Whoo Ping.

Apollo FMG is the most advanced engineering company you’ve never heard of. They combine engineering, design and innovation capabilities from across the world to help mobility businesses create the luxury smart cars of tomorrow.

The Dragonfly type system utilizes Non Natural Grotesk and its monospaced companion Non Natural Mono. It’s supported by Mondwest. Chinese words are rendered in PingFang.

From Dragonfly’s About page:

We’re crypto-natives who have been investing and building for 10+ years. Founded in 2018, Dragonfly brings access and influence to help crypto teams with global aspirations find innovation and adoption anywhere.

Unfertige Häuser 未完的建築 (“Unfinished Houses”) is an exhibition shown at Architekturgalerie am Weißenhof Stuttgart. Subtitled The world of tomorrow – reflections of Florian Kaiser and Guobin Shen, it presents the works of Atelier Kaiser Shen. From Architecture Exhibitions International:

Architects usually try to create finished houses, i.e. coherent works of art for eternity. But does this claim stand up to reality? Should that even be the claim? Finally, it cannot be ruled out that the structure will change after completion.

Inspired by references from the history of construction, art and anthropology, the young Atelier Kaiser Shen developed various theses at the beginning of its practice and tested them on the basis of its own projects. The central question is how buildings change during their lifetime due to external influences and what this change means for the idea of space.

The accompanying bilingual catalog was designed by Dirk Wagner of Finken & Bumiller, using Karlsbader Grotesk 700 for the German text and PingFang Semibold for the Chinese. It was published by Edition Axel Menges.