Neerlandistiek is an online journal for Dutch language and literature. It was first called Neder-L and has existed under the name Neerlandistiek from 2016 on. It was also in that year that their logo was introduced. The initial version had a colour gradient that extended over both the icon and the letters. The version shown above has been in use since March 2021.

I don’t really remember noticing the initial version of the logo. But ever since they have switched to the new version, in which the letters are more clearly readable due to the absence of a gradient on them, I have been wondering about the typeface that was used to create it. Judging by the fact that it took me so long to finally solve that riddle, I was apparently not that intrigued after all – but I did not forget about it either.

I tried using various font identification services (such as WhatFontIs or the font identifier by Identifont), but they only produced a partial match: Alwyn New by Chris Dickinson. Some letters matched well, some matched poorly, others did not match at all. I think that I settled for ‘Maybe they modified the letters for the logo’ when I first tried to identify the typeface, and then I adjourned the case for another year or two.

It was only very recently that I picked up on the second part of the typeface name that was the result of my first attempt at identification: New. If there is Alwyn New, there must be Alwyn (Old), too, right? Well, yes, there is.

Alwyn was the first version of a typeface that was released in 2007 by the Identikal Foundry. Here is the archived FontShop listing of the font family. Apart from that, not too many digital traces of it remain: There are one, two, three, four, five, six pictures on Flickr, uploaded by Chris Dickinson, that show the font in use as the (former) corporate typeface of a housing corporation in Amsterdam, which came into existence in 2008.

And when you compare the letters of Alwyn to those in the logo of Neerlandistiek, they match perfectly. Mystery unraveled – eventually, after almost five years.

As of 2026, the fonts used on the website are Bitter and Roboto.

The Bodies We Call Home is a student project created at ArtCenter College of Design as part of the Type 4 class taught by Stephen Serrato. This publication is presented as a hypothetical art catalog, imagined as a curated collection of works exploring queer intimacy, resistance, and care.

The catalog’s typography—featuring Playground, Alegreya Sans, Editorial New, and Eiko—balances playfulness, warmth, and editorial refinement. Together, these typefaces move between softness and structure, echoing the emotional vulnerability and resilience at the core of the work.

Curatorial Statement:

Queerness has long been under attack—from historical criminalization to the government’s neglect during the AIDS crisis, where thousands of lives were lost in silence. Yet in the face of devastation, queer communities turned to intimacy as survival. Acts like the AIDS Quilt became declarations of love, grief, and resistance, proving that queer lives mattered. Today, anti-LGBTQ+ legislation and societal pressures echo those painful histories, politicizing queer bodies and threatening the right to exist freely. But intimacy remains a radical force—woven into activism, art, and quiet care shared between chosen families.

Queer intimacy exists in the quiet moments of touch, in the unspoken understanding between lovers, and in the collective strength of chosen families. It is spiritual, physical, and emotional—a force that holds, heals, and empowers. Love, in all its forms, is an undeniable human right, yet, it remains under threat. The ability to love and be loved should never be taken away, for it is as essential as the air we breathe.

Doble Residencia (“Dual Residence“) is a striking book of images. It is a reflection on the human face and the duality conferred by the mask or, ultimately, on the duality shown by the mirror looking the face with or without the mask.

The book comprises of 40 photographs taken by Gustavo Lowry at the house of Juan Carlos Romero, drawing on his personal collection of masks. The project was curated by Maria E. Galera. Ral Veroni oversaw the edition.

It has 96 pages and measures 16×24 cm. Titles are set in Cooper Hewitt and the body text in Andada HT.

This bilingual edition (Spanish-English) was published by Ediciones Urania in collaboration with the Juan Carlos Romero Artist Archive.

This gacetilla or zine is published by Siesta Verlag three times a year. It measures 12×21 cm when closed and can be turned into an A3 poster. The cover is printed from a linocut, while the contents are Riso-printed.

The little summer edition contains texts three languages (Spanish, Portuguese and German). Contributions (text and illustrations) by Karen Byk, Tomás Cohen, Olalla Castro-Klich, Cristian Forte, Nina Rizzi and Cornelia Hülmbauer, Marit Heuß and Sofia Mariutti, Martha Gantier and Jaqueline Schauer.

Polly Sellers Photography is a creative photography business based in Columbus, Ohio. Founded by Polly Sellers, the studio specializes in capturing authentic, vibrant, and timeless imagery across various genres, including weddings, engagements, senior portraits, families, concerts, and branding sessions.

The branding for Polly Sellers Creative, designed by Janna K Creative, features Orange Squash from Pixesia Studio as the core typeface for the logo and primary headlines. Bitter by Huerta Tipográfica is utilized for the navigation elements, while Adobe’s Source Code is used for the text buttons.

Niña con cara de jirafa (“Girl with giraffe face”) by Natalia Carmen Casielles was edited by Gustavo Urrutia for Saverio Editorial. The small zine-format book was designed in Berlin and printed, assembled, and hand-stitched in Neuquén. 24 pages, 13×21 cm.

Cuánto te pesa tu peso. Libérate de prohibiciones y etiquetas y sana la historia con tu cuerpo (“How much your weight weighs. Free yourself from prohibitions and labels, and heal your history with your body”) is a book on health and nutrition by Virginia Busnelli, published in Buenos Aires by El Ateneo, and designed by MilPalabras Estudio.

Alegreya and Alegreya Sans (Huerta Tipográfica) were used for the main text and as a secondary display type, while Margarita (PampaType) was used for the title on the cover as well as for all chapter headings in the interior.

Whether it's the plastic crisis, deforestation or arms shipments - companies and states everywhere are profiting from environmental destruction and disregard for human rights. Behind all these companies are banks that support these dirty business practices through financing and investments. In the Dirty Profits reports, Facing Finance exposes these financial relationships. The Dirty Profits reports show that banks finance companies with millions of dollars that harm the well-being of the planet and its inhabitants.

Corporate design, layout and web design by studiokwi. Sustainable and accessible web development by visiert.

Barrio (Bairro) Berlin was a Latin American literature festival held in October 2024. Barrio is the certainty that Berlin is just another neighborhood of Latin America; it’s the reorganization of Berlin into Latin American neighborhoods. The catalog brings texts from literature, poetry, illustrations, and type from Latin American to this city that welcomes them. It opens the door to thinking about other structures (the jacket, the cover, the index, editorial text, title page, manifesto, frontispiece, body text, impressum, save page, back cover), other languages where there are no languages (in plural), but rather an immense desire to communicate. The boundary between languages dissolves because other codes and agreements emerge from this coexistence.

23×30cm, 100 pages, 3 languages.

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Barrio (Bairro) Berlin fue un festival de literatura latinoamericana celebrado en octubre 2024. Barrio es la certeza de que Berlin es un barrio más de latinoamérica, es la reorganización de Berlín en barrios latinoamericanos. El catálogo trae textos de autores, ilustraciones y tipografías latinas a esta ciudad que lo recibe. Se abre la puerta para pensar otros órdenes ( la sobrecubierta, la cubierta, el índice, texti edutirial, portadilla, manifiesto, title page, tripa, impressum, hinteres Vorsatzblatt, contratapa), otras formas, otros idiomas donde no hay idiomas (en plural), sino un deseo inmenso de comunicarnos, la frontera entre las lenguas se pierden porque otros códigos y acuerdos surgen de esta convivencia.

23×30cm, 100 pag, 3 idiomas.

Tour and concert posters for Chicano Batman with Divino Niño and Inner Wave. For the title of the poster, designer Jose Berrio chose Dida. Smaller text including for the dates and venues is set in Alegreya.

Nya Ekonomikompetens (“New Economic Competence”) is an accounting service in Karlstad, Sweden. For their newly launched website, the company uses Dapifer as the headline font.

Darden Studio’s unbracketed “Old Style” serif offers six weights (plus italics and Stencil styles). The website at nyaek.se uses the heaviest weight of the family, Dapifer Black, supported by Alegreya Sans and Sanchez.

In some graphics, headlines in Dapifer Black are paired with text in a lighter weight from the same family.

Her beauty was incomparable. The superfluous had no place. That illumination governed from above, with imperceptible variations in intensity, exempted the courtyard from the violent alterations of the day, conferring upon it and its surroundings the elusive timeless condition.

This (translated) excerpt is from The Passage, the first novel in this beautiful book written by Adolfo Couve (1940–1998) and published in 2023 by La ballesta magnifica – which I had the pleasure of designing. Composed with Amster by Francisco Gálvez Pizarro (PampaType) and Alegreya Sans by Juan Pablo del Peral (Huerta Tipográfica).

Singing to Liberation is about Indian students’ resistance to the wave of nationalism in their country.

Published by Daraja Press, Wakefield, Quebec.

Dive into the immersive world of the Siesta Festival with this book, seamlessly complementing the performative lecture experience. Spanning 48 pages, the content comes to life through risograph printing in two vibrant colors—teal for the text and orange. This bilingual publication features both Spanish and German languages, showcasing a blend of poetry and prose. Among the limited edition of 70 copies, 15 were handbound. It is the first book of a triad. Each book has an external flap to enable the three books to come together, completing the collection.

This project is funded by Berlin’s Senatsverwaltung für Kultur und Gesellschaftlichen Zusammenhalt.

Ramène-moi un ramen! (“Bring me a Ramen!”) is a recipe book written by Hubert Cormier and published by Saint-Jean Éditeur.

Bangel Solid is used for the titles, and Jazzy Croquette for signposting. Alegreya Sans serves for text.

Alba is a multilingual literary magazine. It promotes cultural exchange between Latin America and Germany and contains different literary genres such as poetry, theater texts, prose, and interviews in German, Spanish, Guerrero-Nahuatl, Portuguese, and Wampis.

Issue 14 is typeset in Chaco by Rubén Fontana and in Andada ht and Weg by Carolina Giovagnoli (Huerta Tipografica). It was published by alba.lateinamerika lesen e.V., Berlin, in May 2023. Design, layout and typesetting by Carolina Giovagnoli. Printed and bound by Lieblingsdrucker. 17×24 cm, 180 pages. The subtitle and the spine text are in Vertigo FLF.

Encyclopedia meets book design – discover the fascinating records of early lunar exploration and explore our natural satellite. This book project vividly demonstrates how a single text typesetting system can give an entire book its own encyclopedic feel.

Alegreya by Huerta Tipográfica (available from Google Fonts) was therefore the best choice with its generous styles, ligatures and details. Quite historical with accents of scientific books, but no longer interpreted literally, but rather in a contemporary typographic language. It lends itself well to all parts of the book to create a single-handed experience: marginalia in small caps and paragraphs as headings. Alegreya’s Regular style, with its dynamic and varied rhythm, makes the long texts easier to read. The bold variations elaborated for quotations and the detail typography of the appendix.

In the enchanted land of letters is an upcoming book about Bronisław Zelek (1935–2018), Polish poster designer, type designer and painter.

Zelek was a brilliant artist, loved typography and operated it masterfully in his designs. He confessed that “the letter has haunted me all my life” – type is present in most of his works. Typography fascinates me as well, it “attacks” me literally everywhere, including when looking at Zelek’s letterforms. The project hence was born out of our shared passion – the love for letters.

Bronisław Zelek is mainly known as a representative of the Polish School of Posters. He designed more than a hundred of them! In the 1970s, he started designing typefaces, the most popular being New Zelek, which has been used in many projects in Poland and around the world for almost 50 years, for example in Microsoft’s 1980 logo. The last field where Zelek realized himself was painting, creating abstract pictures with his own original approach.

What will you find in the book?
– the story of Bronislaw Zelek
– extensive photo material
– Zelek’s previously unpublished poem “Scent of the taiga”
– historical background
– an essay by Zelek’s girlfriend, Hertha Grimm

For the book, I used three typefaces:
– New Zelek Pro by Threedotstype, which is a digitization of the original New Zelek from 1973
– Sztos by Mateusz Machalski, which is a digital and individually interpreted version of Baccarat from 1922
– Alegreya by Juan Pablo del Peral

The book will have 256 pages and bilingual text in Polish and English. It’s currently available for preorder. If you want to support the project and secure a copy, head over to Kickstarter.com. But don’t wait for too long: the crowdfunding campaign will end on March 31, 2023.

Mecanorma brochures with all five type styles designed by Zelek and produced by the French manufacturer of dry transfer lettering: New Zelek, Zelek Boldline, Zelek Bold, Zelek Shadline, and Zelek Black

This study aims to discover a more explicit or accessible way to interpret and navigate inconsistencies and “wrongness” in the creation of meaning. In researching cultural perceptions on the topic, I have learned that there is a long history of embracing dissonance to evolve new structures and deconstruct conventional forms.

Dissonance as a Design Effect dismantles binary oppositions as it relates to perceiving and interpreting, order and chaos, dynamic and stillness, opening and closing to explore the space between.

Made as a thesis project at Pratt Institute, supervised by Prof. Michael Dyer.

Coral: Monólogos teatrales was written by Luis Loyola Cano and published by Saverio Editorial. From the back cover (translated from Spanish):

This is a book of theatrical monologues. Sometimes in the theater a person talks to himself, talks to himself or imaginarily talks to someone who is absent. We call these texts monologues. They are usually said by someone, although they could also be performed by a group speaking in chorus. In the meeting with the public (the public does what we call theatrer) a group of people always participates. And no one writes alone, there are no isolation: we are part of a community. In this publication, those who read it will also know how to add with their interpretation what we have missed or that we have not yet discovered. Our life is coral. It is a song for voices, made of diverse opinions, sounds, actions and words. Sometimes words spoken in one breath, other times absorbed in soliloquies. Always collective. Much of this book was collaboratively written. I put in the hands of a new writing some texts of my authorship to re-elaborate them, to deepen scenes or, at least, to know better what we ignore. Coral is an act of opening, a way of being available and sharing our lives. I am very happy for this beautiful adventure.

Carolina Giovagnoli was in charge of the design. She composed all interior text in Alegreya and Alegreya Sans. The cover uses Alegreya sans and URW Bodoni.

262 pages, 23×15cm