In Royal Chambers, Wang & Söderström present a collection of five works exploring the evolving notion of home amid today’s digital and environmental transformations. Together, these pieces trace the interplay of shifting power structures and perspectives in an increasingly ‘phygital’ world—where the physical and digital realms intertwine. Beyond showcasing the artworks, the book delves into their creative processes and features essays by five contributors, each unpacking home as a dynamic, multifaceted ecosystem. A meditation on belonging, space, and identity, Royal Chambers invites us to reconsider what it means to inhabit a world in flux.

Le fiabe sono vere… Storia popolare italiana / Fairy Tales are true... Italian Folk History reimagines the Museo delle Civiltà’s folk art collection, making it more physically, intellectually, and culturally accessible.

The exhibition transforms the showcase from a protective device into an open, flexible archive. Objects are presented not as autonomous artworks but as carriers of collective memory. Drawers, sliding surfaces, and layered narratives invite direct engagement and multiple readings.

The printed catalogue, designed by Omnigroup and edited by publisher Treccani Arte, translates the exhibition’s structure into twelve standalone chapters, encouraging a non-linear reading within a unified narrative. Each booklet offers an in-depth analysis of the topics presented in the corresponding section of the exhibition, exploring Italy’s ethnographic heritage through cultural spaces such as the forest, the sea, the countryside and the village. Colour serves as a means of identification within the catalogue, echoing the thematic sequence used in the exhibition to guide the visitor’s experience avoiding hierarchical order.

In response to the metaphor used in the title, the fairy-tale narrative unfolds through a stream of object portraits, identified from among the more than 500 items on display, and weaves through the arc of Italian history in the 19th and 20st centuries under the lens of millennial traditions that can serve as a potential archaeology of the present.

The typographic identity of the catalogue is tuned around the unreleased serif typeface OT Kairo, used in a single weight and in a few text settings, in order to provide solid yet discreet support for the content, already populated by countless individual stories with the aim of providing a stable backdrop against which to articulate plurality.

There are two language editions, Italian and English, the latter of which is shown here.

OT Magister is used for AB Collection. Design studio Soup describes the project as follows:

AB Collection is an ever-evolving printed archive of works acquired by a private collector. The identity of the collection centers on the fortuitous initialism of the collector’s name, and is used to form the basis of an alphabetical index that runs throughout.

We produce a cloth-bound box annually to document all pieces acquired that year. Within, each artwork is reproduced as a loose sheet in a range of formats and stocks to complement the piece, with blind embossing and UV varnish finishes used to further accentuate formal features of selected artworks. The loose sheets are sorted alphabetically into four folders, and a coding system assigns each artwork a unique reference number for easy location. An accompanying bound book comprises a text about each artist and a visual index with key artwork information. Each volume also includes a poster with an overview of all artworks added to the collection that year, reproduced to scale. Here, a spot UV is applied to the images, giving them a tactile finish against the matte paper stock.

The catalog for Best Book Design from All over the World 2026 was designed by Florian Lamm of Lamm & Kirch, using OT Scholar and photographs by Attila Hartwig.

Martin Stoecklin and Melina Wilson of A Language used OT Scholar for a book with works by artist Monia Ben Hamouda. They describe the project as follows:

Path of Totality is the first monograph dedicated to the work of Monia Ben Hamouda (Milan, 1991) and is published on the occasion of her exhibition at Museo Casa Rusca in Locarno, curated by Gioia Dal Molin. Drawing on the metaphor of the total solar eclipse – the “path of totality” is the area on Earth in which this phenomenon can be seen – the book reflects on night, suspension, and the conditions of making art in a time of political and existential uncertainty. Conceived as the “crystallization of a moment,” the publication brings together images and texts in a porous, polyphonic structure. Contributions by Övül Ö. Durmuşoğlu, Beya Othmani, and Sira Pizà expand the project through multiple perspectives, situating Ben Hamouda’s work within Mediterranean, spiritual, and political contexts.

The exhibition Soane and Modernism: Make It New, curated by Dr. Erin McKellar, was on display at London’s Sir John Soane's Museum from February 12th until May 18th, 2025. The show explores Soane as a precursor to the architectural modernist movement by juxtaposing his work with drawings (on loan from Drawing Matter Trust) from celebrated modernists such as Le Corbusier, Jørn Utzon, Ove Arup and Aldo Rossi, to name a few. Drawing Matter also digitally published a series of texts, that describe all of the modernist drawings on loan to the exhibition.

The exhibition design was created by Studio Bergini and typeset in HAL Matex by HAL Typefaces and OT Capitalis Monoline by Omnitype. The exhibition shots are by Gareth Gardner.

Here is a blurb on the show from the museum’s website:

Sir John Soane has often been referred to as the first modernist architect due to his emphasis on light, open space, abstract forms and restrained use of ornament.

Soane and Modernism: Make It New is the first exhibition to investigate Soane as a forerunner of architectural modernism. The exhibition brings together drawings from Soane’s collection, some on display for the first time, in dialogue with works by celebrated modernists including Le Corbusier, Frank Lloyd Wright, Adolf Loos and Ernö Goldfinger.

It also investigates two case studies which share affinities with Soane's work: Álvaro Siza’s Bouça Social Housing in Porto, Portugal, and Tony Fretton’s Lisson Gallery in London. All modernist drawings have been borrowed from Drawing Matter’s important and extensive holdings, selected in collaboration with the team at Drawing Matter Trust.

Pirelli World magazine is the modern, global evolution of the company’s house organ, Rivista Pirelli, which began in 1948. Launched in 1993 as a global concept, World tells stories of innovation, culture, business, technology, sport, and lifestyle, reflecting Pirelli’s heritage and global reach through photography, illustration, and design. It serves as a tool for in-house communication and a public platform for engaging communities across various platforms, from its renewed print version to its website and social media.

The outstanding Sali e Tabacchi Journal is a publication that explores the relationship between the creative arts and Italy’s unknown rituals, habits and traditions. Founded by Elisa Carassai and Leonardo Pellegrino, the magazine is designed by Aisslinger Pellegrino and has published its fifth issue, Riv.05, “La Via del Fuoco”. The Milanese magazine, written in English and Italian, investigates fire as a primordial element – from molten lava and volcanoes, to eros, love and its twin flames, to spirits, will-o’-the-wisps, perpetual flames, and sacred fires – tracing how this perpetual force has shaped humanity’s existential condition since its origins. The volume brings together essays, images, and literary fragments.

The magazine is set in OT Magister by Omnitype, a faithful revival of Aldo Novarese’s Magister, for its title, and paired with AL Linea Book for the text, a precise revival of Umberto Fenocchio’s FTC Linea by Alex Lescieux. These two modern Italian typefaces, reawakened from slumber, resonate with the dual nature of fire, enduring and regenerative.

The release of Riv.05 was celebrated on October 23, 2024, at Fonderia Battaglia in Milan, with a launch event held in collaboration with Carhartt WIP.

Product imagery art direction by Dennis Moya Razafimandimby in collaboration with photographer Charlotte Favre for Nardi Lunetier, a Lausanne-based duo of artisan eyewear creators.

The graphics features Baikal, a variable typeface by Newglyph (used here are its Extended styles), complementing the previously designed logotype by Clay Studio in OT Rima.

Esquire Italia’s creative direction was renewed and redesigned by Cabinet Milano and Dual Room under the direction of Giovanni Audiffredi, with fashion direction by Nik Piras. The updated direction, seen in issues Nº 31 to 37, balances contemporary elegance with the magazine’s bold editorial voice, unifying fashion, culture, and design through a sharper visual language and cohesive art direction.

As the main typeface, Maligne by Maxitype, a geometric sans inspired by 20th-century letter painters, serves both display and text roles, while OT Kairo by Omnitype provides a complementary serif counterpart.

Since 1988, the Europe architecture and urban planning competition (Europan) has been shaping the city of tomorrow. This continental platform for experimentation and innovation enables young professionals under the age of 40 to confront the contemporary challenges facing our territories. By bringing together local authorities from all over Europe, who propose the sites submitted to the candidates, Europan catalyzes the emergence of innovative and concrete responses to urban and territorial challenges, through a trans-disciplinary approach that brings together architects, urban planners and landscape architects, as well as experts in environmental and social sciences.

By bringing together the winning projects from the 17th session of the competition in France, this publication testifies to the richness and diversity of the responses that can be made today to the issues of ecological and social transition. This panorama of bold proposals is further enriched by critical analyses, signed by recognized experts, on the history of the competition and its evolution over the years.

The book is thus an exemplary tool for forward-looking reflection on the changes underway in the construction of European cities and regions.

Down Under: The Curious Fall of a Child Who Knew Nothing and Became Everything is a picture book by Formafantasma designed in response to a commission and residency program by C-Mine and published by Nero Editions. Blending fiction with scientific research, the publication explores the identity and ecological significance of Belgium’s post-industrial landscape, aiming to foster a new form of ecological literacy for both young readers and adults.

The book opens with a fable written by Formafantasma that challenges conventional narratives of human superiority, offering new perspectives on coexistence with other species. This first section is accompanied by illustrations by Clement Vuillier, which reinterpret and draw upon imagery used in scientific analysis, such as petrographic and scanning electron microscope (SEM) images.

It concludes with a more analytical section featuring critical text by Teresa Castro and a series of interviews with experts from the scientific field. Complementing this are two visual essays composed of microscopic images created using petrography and SEM techniques. This second part of the book delves into the scientific and conceptual foundations of the fable. Through this dual register, Down Under encourages reflection at different stages of life, aspiring to function both as a children’s book and a transgenerational educational tool.

INIT, the Berlin-based duo of Nadia D’Alò and Benedikt Frey, return with their fourth album – a hazy blend of trip hop, dub, trance, and R’n’B grace, all twisted into something uniquely their own. Released on the Berlin-based record label R.i.O., Pool Jams feels like a faded photo from an empty pool – nostalgic, seductive, and endlessly replayable.

Identity and exhibtion graphics by Tomo Tomo for the exhibition La Grande Brera curated by Luca Molinari and housed on the top floor of Palazzo Citterio, the new extension of the historic Brera Museum in Milan. The identity is based, on the one hand, on an archival, cataloging approach very much akin to the materials in the exhibition and the type of setting and, on the other, on a photographic spectacularization aimed at balancing the vastness of the exhibition spaces and showing the complexity of content of this tale about the history of the city's most active and complex cultural factory.

Exhibition design by Francesco Librizzi. Exhibition view by DSL Studio, still life by Matteo Pasin.

Jonathan Schmidt-Ott: St. Gil was edited by Lukas Feireiss and Florian Lamm of Lamm & Kirch, and contains essays by Patrick J. Reed and Feireiss. It was designed by Lamm together with Caspar Reuss, using OT Scholar.

From the website of Lukas Feireiss:

In St. Gil, Berlin-based photographer Jonathan Schmidt-Ott turns his lens towards his immediate surroundings, capturing reflective glimpses of life in contemplative compositions of people and places. The collection encompasses portraits, still lifes, nature studies, landscapes, and architecture, combined in photographic diptychs suspended in silent dialogue, akin to verses in a poem. These visual narratives stand as self-contained units, offering a profoundly personal point of view by interweaving autobiographical and associative moments. They are poetic and unaffected inventories, revealing the artist's devoted engagement with the world. Each visual dialogue within this publication serves as a repository of mysteries, secrets and serendipities.

Chromogenic prints by c-print, b/w prints by Ina Schröder, and lithography by Max Color.
The book was printed by DZA Druckerei zu Altenburg and published by Spector Books.

Visual identity and website design for the 17th edition of OFFTA. OFFTA is a festival dedicated to the creation of avant-garde live art. Throughout the year, it surveys the local artistic landscape in an effort to put forward creators whose practices trace new avenues in theatre, dance and performance. Programming by Patrick Thériault.

Promotional T-shirt designed by Dennis Moya Razafimandimby for the Swiss eyewear artisans and designers Nardi Lunetier. It was set in Atacama typeface from newglyph on top of the brand identity for nardi lunetier. The logotype is set in OT Rima from Omnitype and was designed by Clay Studio in 2021.

From publisher Hartmann Projects:

Twelve Waves—the simple title points out the number but not the type of waves Jörg Gläscher introduces in this book. 
In terms of physicality, a wave is an undulation that spreads out periodically, or a disturbance of equilibrium. Gläscher’s “waves” are the antithesis of this. Made with found, broken pieces of wood, these “standing” waves are sculptures constructed in the forest. These wooden waves are both the expression and the result of a long phase of unaccustomed silence, contemplation, doubt, and uncertainty, which arose during the lockdown that occurred as the first wave of the novel coronavirus swept the globe in 2019. For Jörg Gläscher, the forest was a refuge during this span of time. Out of his experiences and explorations of nature emerged ideas that led him away from his usual field of documentary photography and toward the twelves waves in this book.
These pieces expand beyond the medium of photography (to which he devoted himself after studying under Professor Timm Rautert at the HGB Leipzig) but do not abandon it entirely. He documents his sculptures in photographs that contrast the isolated atmosphere of the forest with dynamic wave formations, making it possible at last to perceive the waves in all of their might and mystery.

The book was published coinciding with Jörg Gläscher’s exhibition wood, waves and energy at Stadtmuseum Paderborn. The hardcover (layflat) comes with a booklet and a poster. Printed by Sachsendruck Plauen.

The visual identity and website for the 17th edition of OFFTA were designed by Montréal based studio Supersystème . The identity is heavily based on the use of OT Forma Regular and Italic by Omnitype.

See also a post about the 2022 identity for the festival, using the same typeface selection.

Superposition is being designed by Daly & Lyon, using Takt by Janis Gildein and OT Alpha Book by Omnitype. Here is how the project is presented on the official website:

Superposition is a periodical, investigating the human side of architecture. Based in Europe and founded in 2020 by a group of architects and artists – Leo Bettini Oberkalmsteiner, Tibor Bielicky, Max Creasy, Ellena Ehrl and Dominic Kim – Superposition is a polyvalent concept. ‘Super’ connotes the extraordinary in a positive sense. ‘Position’ refers equally to a spatial, a temporal and an intellectual emplacement. We believe in multilogue, in the concept of the Weltbürger and in the act of building bridges, intending to create a vibrant movement of friction. We are motivated by a will to collaborate and by the desire to share observations and impressions.

Issue 1 “Hardcore Home” was guest edited by Fredi Fischli & Niels Olsen and came out in autumn 2020. Issue 2 “Workout”, guest edited by Freek Persyn, followed in autumn 2023.