“The Birthday Cake” is a delicious concept and graphic design for posters (day and night parties), social media, and video to celebrate the first anniversary of the Death Club Tattoo, based in Bassano del Grappa, Italy.

Krok (Крок) is the fourth album by the Belarusian band SOYUZ (СОЮЗ), released by Mr Bongo. The title means “step” in Belarusian and reflects the band’s recent transitions, including the relocation to Warsaw following political unrest in Belarus and the war in Ukraine. For the first time, composer and arranger Alex Chumak wrote the lyrics in his native Belarusian.

Recorded between Brazil and Europe, the album blends Eastern European roots with jazz, folk, and global influences. The artwork and related materials were designed by Alex Chumak himself using KTF Concrete and KTF Prima.

[More info and videos on Bandcamp, Mr Bongo and Discogs]

Studio Loutsis used Caslon Ionic as one of the display typefaces for the Tenth Anniversary issue of AN Interior, and mainly for “The Future of Vision” feature. They use it large and for the text – together with Suisse Int’l – and mixing the upright with the italic. Other sections of the issue also feature other typefaces including Terza Display and KTF Rublena.

Caslon Ionic and Suisse Int’l for the section opening to “The Future of Vision”

Caslon Ionic used for text

Terza Display with Suisse Int’l

Terza Display for the title of an article on Kwong Von Glinow’s renovation of MD Anderson Hall

Terza Display for a feature on nightclub design by Studio MBM and Yakka Studio

Suisse Int’l is also used as display typeface.

KTF Rublena with stacked letters for “Milano Magico”

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.

“Route To Christmas” is a folded poster (55×80 cm) designed by Lars Schrodberger für effektiv Druck+Veredelung. The print, packaging and paper finishing company in Fürth also produced the product to market their craft and services. The poster acts as a calendar leading up to Christmas eve with 24 entertaining facts about the holidays. On the reverse side it also functions as gift wrapping paper, printed in two spot colors on Soporset Premium Offset 80 g/m² paper and finished with gold hot foil stamping. The outer folder is produced with Gmund Used 8 300 g/m² and stamped with white foil. It is typeset in HAL Timezone by HAL Typefaces and KTF Forma by Kyiv Type Foundry.

KTF Jermilov is used in Stencil and Solid styles for the first book release by Odessa Collection:

AFRICO boldly maps the terrain of poetic landmark deconstruction, navigating the fractured landscapes of memory and culture through the lens of liberated iconic romanticism.

Shot by Emmanuel Crivelli during his first trip to Calabria during summer 2025, this daring work portrays System Olympia in her native land. Each page becomes a map, where each photo of her naked body builds a new cartography, guiding the reader through the ruins of tradition toward a newfound freedom.

Where romanticism is both compass and territory, a force that redraws borders and reclaims identity with fierce, uncompromising intensity.

The artist collective Metahaven created the cover for Armen Nalbandian’s latest album, Studies on Resonance and Dissonance – a project developed closely in collaboration with Jing Yi Teo. Nalbandian’s work draws on motifs from jazz and classical piano, extending them into realms of improvisation and noise – combining, in a sense, Satie with ruins and everything beyond.

The typeface in use is Prima by Kyiv Type Foundry.

Metahaven is a design and research studio based in Amsterdam, known for intertwining information technologies, geopolitics, and philosophy with poetry, fiction, and storytelling.

Armen Nalbandian is a composer and pianist whose practice expands the possibilities of sound and performance through spontaneous group composition, prepared piano and Fender Rhodes, and electronically layered improvisations.

[More info on Discogs]

Fan fiction magazine Danke is a biannual literary journal edited by Marion Regenscheit and Lucien Haug. In Danke, authors find space for a new, constructive approach to (old) texts. This year’s edition is themed “The Heidi issue”.

Display fonts of different type foundries and type designers supplement every issue. Among them are KTF Roman, KTF Jermilov, KTF Rublena, and KTF Tiemann by Kyiv Type Foundry. The designer – Dual Room’s Emmanuel Crivelli – also uses Cornbread, OCR-X and Selecta from Maxitype, plus BC Monument and BC Unciala by Briefcase Type Foundry.

The magazine’s editorial team consists of Lucien Haug, Marion Regenscheit, Richard Stoiber, Dorothee Elmiger, Chris Möller, and Mazlum Nergiz, together with the authors Johny Pitts, Enis Maci, Simoné Goldschmidt-Lechner, Hendrik Otremba, Marina Skalova, Clemens J. Setz, Anna Gien, Leonie Ott, Lotti Spieler, Leo Lemke, Tania Röttger, Dominic Oppliger.

Koalicje wody / Coalition of Waters is an exhibition presenting works and actions by contemporary artists that address environmental issues. The participating artists share their visions across three locations under the Baltic Gallery of Contemporary Art in the Słupsk region.

Curated by Agnieszka Kilian and Romuald Demidenko, the exhibition focuses on observing our surroundings in the face of climate change, taking the River Słupia and the Baltic Sea as its points of departure. The reflection on water – as a force that transcends borders and fosters symbiotic relations – is inspired by Édouard Glissant’s concept of Tout-monde.

The exhibition identity was designed by Karolina Pietrzyk and Tobias Wenig. All typography is set in KTF Prima by Kyiv Type Foundry.

M3 Opera is a five-track EP by London-based producer, DJ and vocalist System Olympia. The cover and poster were created by Emmanuel Crivelli at Dual Room, using KTF Tiemann by Kyiv Type Foundry.

From record label Okay Nature:

The project blends her signature sensual synth soundscapes with a bold conceptual twist. Drawing inspiration from the sleek power of the BMW M3 and the theatrical grandeur of opera, M3 Opera reimagines the EP format as a multi-act narrative.

Firma and Rosàs have expanded the visual identity of Mahou Cinco Estrellas, Spain’s most consumed beer and the flagship of the Mahou brand. The updated system reinforces the brand’s presence and ensures a cohesive experience across all touchpoints.

To strengthen Mahou’s leadership and elevate its positioning around the concept of greatness, the agencies developed graphic resources and design elements that amplify its message and deliver consistency in every interaction.

The typefaces in use are Season Mix and Saans by Displaay, and KTF Rublena by Kyiv Type Foundry

Jaime Pintado Ruiz a.k.a. Jimbo is the driving force-serving as the legs, brain, and heart-behind Looping Gramps, a project that brings together his passions, values, and the people he loves. It’s inspired by his grandmother, Marina.

Jimbo’s goal was to “loop his grandma” more deeply into his life, allowing them to share experiences and joy despite the distance between them. Rather than simply providing her with a tracking number for his ride, he chose to involve her in both the preparation and the purpose of the journey. Marina, who has always been a source of support for those around her, now seeks to extend her help to a broader community. Jimbo had long promised her that together they would strive to make the world a better place. When defining the project, they quickly agreed on a shared mission: to combat loneliness among elderly people and to offer affection to those who feel forgotten.

I’m aiming too “loop my grandma” into my life more and more so we can enjoy ourselves together in the distance and more aspects of life. For this reason, this time, I would not just give her a tracking number but I would involve her in the preparation and purpose of the ride. She has helped everyone she has had around immensely and now has this need to help on a broader scale. I always promised her that together, we would make the planet a better place and, when defining this project, we both quickly knew how: fighting against loneliness in elderly people. Giving affection to those who feel forgotten.

Murcia (Spain), the starting point and my homeland. The rest of the route is unplanned and will be guided by my heart. I will ride nonstop and unsupported until the candle goes off, pushing my body to the limits, compromising sleep, and taking certain risks. While lightened, the candle will take care of me, as it always did.

The project's bold typography is a mix of KTF Rublena, ALT Systema and Right Mono.

Autobiografía de un bazar is a visual essay that reconstructs the author’s early childhood (1992–1997) through a combination of oral family history and second-hand graphic materials sourced from local bazaars in Krakow. Sparked by telephone conversations with her grandmother during the ongoing Russian invasion of Ukraine, the work explores the intersection between personal and collective memory, migration, and identity. Fragmented recollections are complemented with anonymous images – postcards, textbooks, art magazines, maps – recontextualized to narrate a personal story shaped by war, displacement, and cultural intersections.

The project uses found imagery as both documentary and metaphorical device, merging typographic and editorial design into an intimate yet universal narrative. The resulting publication not only documents a personal past but also highlights the social and historical value of reuse, reinterpretation, and the hidden connections between individual lives and collective histories.

Flyer design for ULTRA, a performance by lo.me in Zurich. The event was organised and curated by Perrrformat in collaboration with Gessnerallee and CARAH – Collective for Anti-Racist Art History.

Perrrformat is dedicated to the presentation, mediation and documentation of performative practices in public space.

Designed by Silvan Possa for HOMI, a creative studio based in Basel and Zurich. The typefaces in use are KTF Compact by Kyiv Type Foundry and Oracle Triple by Dinamo.

KTF Compact is featured on the cover Achille Mbembe's book Brutalizm. Originally published in French as Brutalisme (Éditions de la Découverte, 2020), the Polish edition was issued by Wydawnictwo Karakter, in a translation by Oskar Hedemann.

Brutalizm offers an original diagnosis of contemporary times from an African perspective, combining elements of critical theory, postcolonial thought, and psychoanalysis. The brutalism of the title is a metaphor for our era, in which rapacious capitalism increasingly ruthlessly crushes, splits, and drains both the planet and human bodies.

Joseph-Achille Mbembe is a Cameroonian historian and political theorist. He is well known for his writings on colonialism and its consequences and is a leading figure in new wave French critical theory. Cover designer Przemek Dębowski used URW Franklin Gothic for the author and the publisher, with Knockout for the translator, Oskar Hedemann.

Абецедa / Abeceda was a ten-day workshop on Cyrillic for newbies in the Type Design and Typography Studio at UMPRUM, Prague.

The aim was to gain a new perspective on the Latin script through unfamiliar forms such as the Cyrillic script. At first glance, a foreign script looks like an indecipherable texture. However, Cyrillic and Latin have the same basis: Greek. The challenge of learning the basic alphabet, looking more closely at the forms, and finding rules trains the discipline of observation. Some students created a font using Cyrillic historical references; others expanded existing fonts, and some practiced calligraphy and lettering. Cyrillic is going through a renaissance, and it would be good if “outsiders” contributed to Cyrillic type design, too.

The workshop was held by Yevgen Anfalov and Oleś Gergun of Kyiv Type Foundry. Participants were Štěpán Blaschko, Šárka Blažková, Šimon Brzobohatý, Maria Chernobay, Hsin-Yi Chiu, Žofia Fodorová, Rozálie Haliřová, Eva Havlová, Benjamin Horváth, Anna Ivakhno, Matěj Kolesa, Magdalena Konečná, Jaromir Květoň, Jessica Ledoux, Viktoria Naumuk, Beata Pichugina, Eva Rotreklová, Matyáš Vedral, and Šimon Vlasák.

During the workshop, the students created several design projects for future fonts: Felix (Jaromir Květoň), Hofer (Matěj Kolesa), Osten (Šimon Brzobohatý), Pica Victoria (Jessica Ledoux), Rino (Šimon Vlasák), Ecken (Viktoria Naumuk).

The book typography uses Unity Sans.

From the press release:

(...) MAC VAL (Musée d'Art Contemporain du Val-de-Marne) has undertaken a major investigation into the subject of the “fait-divers”, resulting in a major exhibition bringing together 80 artists from a wide range of backgrounds and formal practices. (...) The inspiration for the theme came from Roland Barthes‘ essay Structure of the Fait-Divers (1964). Described by the semiologist as the “unorganized discard of news,” the fait-divers help us to name and identify the aberrant causalities and coincidental relationships that disrupt everyday life.

The bilingual French-English exhibition catalog for Faits divers was designed by Félicité Landrivon. The typographic design features a range of typefaces, including KTF Rublena, KTF Metro Roman, and KTF Metro Blueline, all by Kyiv Type Foundry. The dot matrix font seen on the cover, the inner flaps and elsewhere is WL Rasteroids by Writ Large. The italic on the cover comes from 205TF’s Exposure, which is also used in upright form for the text inside the book, alongside Fluxisch Else, OSP-foundry’s digitization of the Selectric version of Univers. The monospaced font is GUST’s Latin Modern Typewriter. Credits at the end are set in Transducer by JTD Type. In addition, Landrivon used a few other fonts just once for titles, but these are not displayed here and are therefore not listed.

256 pages, 268 images, 20×27 cm. See more images on the designer’s Instagram account.

The title on the right pairs KTF Rublena with Exposure Italic and handwriting.

Outlined KTF Metro Roman for “Murder is a design hobby”

Text page set in Exposure

The list of contributors on the left combines KTF Rublena with Fluxisch Else.

Latin Modern Typewriter for the description of the MAC VAL, with Transducer for the credits

The alphabetic list of words on the back cover uses all-caps WL Rasteroids.

Descent into the Marsh is a visual document of protest that highlights the universal human quest for freedom and dignity. The book functions as an open archive, regularly updated with new media articles and reflections on ongoing struggles, providing a lasting record of unfinished events that remain unblocked and uncensored online.

This book serves as an archive of a pivotal moment in Belarusian history, documenting the 2020-2021 protests while drawing parallels with the 2019-2020 Hong Kong movement.

Published in late 2024, just before Belarus’s 2025 elections, it highlights ongoing repression, with thousands of political prisoners and around a million people forced to flee. The author connects the protests in Belarus and Hong Kong as examples of modern resistance shaped by digital control and China's geopolitical influence.

The book also examines the exchange of repressive practices between the regimes in China and Belarus, focusing on the role of surveillance technologies. The combination of modern surveillance with traditional methods of intimidation points to the evolving challenges facing protest movements.

The project was written by Lesia Pcholka, edited by Black Seeds in Hong Kong, and curated by Katarzyna Zielinska of zusa gGmbH. The design was created by Karolina Pietrzyk and Tobias Wenig, with typefaces KTF Concrete and KTF Prima used throughout.

Cover photo by Rafael Prado / Viva o Balão

Fan fiction magazine Danke is a biannual literary journal edited by Marion Regenscheit and Lucien Haug. In Danke, authors find space for a new, constructive approach to (old) texts.

The magazine’s editorial team, consisting of Lucien Haug, Marion Regenscheit, Richard Stoiber, Dorothee Elmiger, Chris Möller, Svenja Viola Bungarten, and Mazlum Nergiz, together with the authors Svenja Reiner, Dietmar Dath and Scholastique Mukasonga, presents the first issue of Danke.

Display fonts of different type foundries and type designers supplement every issue. Among them are KTF Cirk, KTF Labyrinth, KTF Rublena, KTF Metro Sport and KTF Compact by Kyiv Type Foundry. Danke magazine also uses the fonts Rhymes, Selecta, Signs, Eurocat, OCR-X, Modelo and Cornbread by Maxitype, BC Prkno by Briefcase Type Foundry, and Kiddo by notyourtypefoundry. The origin of Cosmic Cult is unknown.

A new identity for Maison Saint-Gervais, a theater in Geneva, Switzerland. Art direction and design Dual Room (Emmanuel Crivelli), starring KTF Concrete Bold (available on request) and Selecta by Maxitype.

Detail from the style guide, with the key-related elements derived from the Geneva flag