Mousse is a magazine dedicated to contemporary culture, created in Milan in 2006. For issue 94 (Winter 2026), the designers picked Costumes, the future release by Omnigroup on Formagari, to function as guest typeface alongside François Rappo’s JJannon (Optimo).

Czerny's Symposium. License: All Rights Reserved.

Czerny’s Symposium, issue 001: “Kodoku” is a 204-page publication that revolves around the Japanese idea of 孤独 (kodoku)—exploring how isolation and loneliness creep into the lives of visual artists, writers, and creatives alike. Select contributors offer an intimate insight into their creative process, share how they find resilience in the face of solitude, and reflect upon the emotional journey they navigate in the act of creating.

Pantasia (Wei Huang / Counter Forms) serves as the primary typeface for the visual identity of Czerny’s Symposium—as seen in the logotype and used throughout the publication across section headings, running footer labels, and speaker identifiers in interviews. Herbik (Daniel Veneklaas / Counter Forms) is the secondary typeface used for all body text. Neue Haas Unica (Toshi Omagari / Linotype) provides visual contrast to the previous two serif typefaces as a functional and unassuming sans serif; it is applied to page numbers, artwork captions, and footnotes at smaller sizes, while blown up in scale across pull quote pages.

The inaugural issue was published in 2025 in an edition of 100. The publication includes a foreword and introduction by Junpei Satyapan, along with contributions from Charlie Broadhead, Dakota Butler, Daylen Seu, Ethan Ming, Lola Dement Myers, Shi Hong, and Weihong Zheng.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Htag is a professional magazine published by Références (Groupe Rossel) for the French-speaking Belgian HR community. The design brief called for an editorial identity that would break with the conservative conventions of B2B publishing – using B2C visual codes to produce something genuinely engaging while remaining credible in a professional context.

The typographic system is built around three families that each occupy a distinct register. Right Grotesk drives the display layer: Compact Dark handles the largest headline sizes, while Compact Bold appears in pull quotes, all-caps section headers, and colour-block infographics. Compact Light is used for quotation marks and pagination. The Narrow cuts – Light for bylines and section labels, Bold for feature section titles – introduce optical contrast within the same family and sustain rhythm across the grid.

Newsreader Text sets all running text – chosen for its optical-size calibration at small sizes and its ability to sustain long-form reading while giving the pages a considered, editorial weight.

Silka anchors the identity – logotype, standfirsts, and interview questions – its humanist tone counterbalancing Right Grotesk's geometric rigour. In colour-block encadrés, Silka replaces Newsreader as body copy, visually differentiating these sections from the main editorial flow.

The grid alternates between strict alignment and deliberate offsets, typographic elements breaking the column structure to introduce visual tension. Colour is used boldly – frank, saturated accents punctuating the rhythm of the pages – an unusual stance for a readership accustomed to the conservative visual codes of HR publishing.

The creative industries magazine Rekorder is published quarterly and covers current topics from the Stuttgart creative region, showcasing companies and creative professionals. The magazine is published by the Wirtschaftsförderung Region Stuttgart (Stuttgart Region Economic Development Corporation).

Every issue is unique—each is designed by a different agency from the Stuttgart region. For the 02/2026 issue, the corporate communications agency campra was commissioned. The main theme, “Democracy & Creativity,” was incorporated into the design in a colorful and diverse way, just as democracy should be. Fincker Font Cuisine kindly provided its typeface library for this issue. As a result, several typefaces were used, such as Marblis for the body text, as well as Finador, Royalis and Garino for headlines. The illustrations and paintings by Juliane Herrmann completed the layout, resulting in a colorful and inspiring magazine.

August issue 02, “New York”, was designed by Brendan McAuliffe and Douglas Riccardi of Memo NY using Conductor by Frere-Jones Type, alongside Klim’s Domaine Text and Sweet Sans by MVB Fonts.

A travel magazine, each issue focuses on a singular location, immersing the reader in its art, architecture, and design scene, and sharing encounters with locals, their habits, and their unique culture.

Published twice a year in print and accompanied by the multimedia platform chapter.digital, Chapter brings together diverse fields of design into a considered whole – spanning product and mobility design, architecture, haute horlogerie, art, travel, and adjacent cultural contexts.

The Echidna Zine is an ode to the echidna, an egg-laying mammal. The zine was published by Seoul-based creative studio and artist Hyper Pension in March 2026.

One of the most notable aspects of the zine is that it was produced using a range of techniques, including rubber stamping, manuscript, and cyanotype. The zine was produced in a limited edition of 30 copies and was first presented at the art book/zine fair OFFCUT SEOUL 2026.

“Happy Echidna Sanctuary” on the title page is set in P22 Operina, enriched by its lavish ornamental alternate glyphs. The alternate glyphs in Operina are sometimes seven to eight times wider or taller than the lowercase letters, giving the setting an exceptionally decorative character. They bring a sense of abundance, elegance, and playfulness to the page.

The title page was printed on Sheepskin paper (140 g/m²) by Doosung Paper, a contemporary reinterpretation of parchment. The rubber-stamped yellow tag is also typeset in Operina.

The widest page is a manuscript, created with brush and ink. The title “Echidna” at the top of the page is based on Geographica Script. On the two body-text pages printed on Munken Print Cream, SM3태고딕 and SM3견출고딕 from Jikji Soft are paired with Tuplet, which is set in all caps.

Manuscript / Ink and brush / 210×297 mm
Cyanotype (blueprint) / 127×178 mm
Print on Sheepskin paper / 90×90 mm
Print on Munken Print Cream / 100×270 mm
Rubber-stamped / 100×20 mm

Hostilia is an independent magazine developed during a week-long workshop at Politecnico di Milano held by Jeremy Francis Leslie, founder of magCulture.

The project investigates friction as a defining condition of contemporary reality. In a landscape shaped by frictionless digital interactions, Hostilia reintroduces resistance as both editorial stance and physical experience. Built around the concept of hostile contact – the encounter between forces that generates pressure, wear, and transformation – the magazine adopts a critical position, addressing political, economic, and social imbalances.

The first issue, “Pressure“, unfolds through four stages (Accumulation, Compression, Deformation, and Breaking Point), mirroring how tensions build and eventually rupture.
Materiality becomes part of the narrative: metallic surfaces, rigid inserts and exposed binding turn the magazine into a resistant object, where contact is not neutral, but always leaves a trace.

The magazine’s objective was to convey a sense of pressure through typography and layout deformation. For instance, OT Neue Montreal Squeezed and Migra are occasionally distorted to reflect the magazine’s conceptual approach.

Plain Text is a printed publication for exploratory type design, edited and designed by Lucas Descroix and Benjamin Dumond, and published by type foundry Plain Form.

From fiction to theory, from mystical analyses to visual works, Plain Text aims at exploring typographic imaginaries, moving beyond a strictly historical and technical framework, with a taste for the unknown and the dormant potential of writing.

The third issue launched in March 2026 and includes contributions by Alex Balgiu, Eugénie Bidaut, Mathis Borel, Gabriele Čepulytė, Lucas Descroix, Johanna Drucker, Benjamin Dumond, Mankun Guo, Hélène Marian, Luther R Marsh, Ariel Martín Pérez, Laurent Mbaah, and Mălin Neamțu.

The texts of this black-and-white, bilingual publication are all set in the unreleased duo Basically Serif for the English and Basically Sans for the French. Additional information is set in Baskemo, also Serif and Sans, an automatically monospaced-and-skelefont’ed companion to Basically.

A number of display typefaces designed by Lucas Descroix and/or Benjamin Dumond are used throughout, for the title of each contribution as well as various emphasis moments. These include: Michaux, Nostra, Paraiso Sans, Jester (in several styles), Ready Active, and an early version of the upcoming Ferro. Some unreleased display typefaces, either old or future, are also used but not shown here in the pictures.

Several typefaces are also showcased as part of contributions by their respective designers (shown here are Bye Bye Binary’s BBB ReadMe and Mălin Neamțu’s Segmentor).

• English and French
• 80 pages, 210×297mm
• offset print on Munken Print White
• 750 copies, March 2026
• ISBN 978-2-9597254-3-2

This third issue of Plain Text was kindly supported by Abyme, Blaze Type, Dinamo, DJR, Klim Type Foundry, Rosetta, The Designers Foundry, and XYZ Type.

Each issue starts with a few spreads showing a condensed, somewhat chaotic trip through the whole content of the publication (each contribution is represented by its title and an image, in order of appearance). It’s like wetting your neck before diving.

The title set in squeezed Michaux Bold.

The left page shows BBB ReadMe (Eugénie Bidaut, Ludi Loiseau & Clara Sambot) with its inclusive ligatures. The right page shows Eugénie Bidaut working on preparatory drawings.

This spread showcases the typeface Segmentor (Mălin Neamțu), together with hand-drawn sketches by the designer.

The title set in Paraiso Sans and Michaux Regular. Illustration by Anne Zeum.

The title set in heavily squeezed Ferro Mono. The image is taken from Émile Javal’s research.

Both titles are set in Jester, stretched and blurred on the left page, squeezed and outlined on the right page.

The title set in Ferro Mono Black, with additional ‘organic’ letters based on Michaux.

The title on the right page is set both in Paraiso Sans (black) and Ready Active (white).

The left page shows the work of Mankun Guo. The title on the right page is set in Nostra Stream (with a bunch of blur and grain effects), with a little Grandmaster cameo for “and”. Subheads use Michaux Light.

The title set in various versions of Ferro Mono. The book cover is the one for Missing sign, another printed publication from Plain Form.

De Roma is a historic cultural venue and community hub known for its carefully curated program of live music, film screenings, and social events. Run by a large network of dedicated volunteers supported by a small professional team, the organization has built a reputation for combining cultural quality with strong local engagement. Originally revived in 2003 through the initiative of a small group of cultural organizers and hundreds of volunteers, the venue continues to operate through this strong collective spirit.

In 2024, designer Rob Marcelis developed a complete redesign of De Roma’s logo and visual identity, updating the system to better reflect the venue’s contemporary programming and its increasingly digital communication channels. The venue’s logo itself is based on a modified version of Beatrice Deck, the high-contrast flagship style of the Beatrice superfamily designed by Lucas Sharp with Connor Davenport and released through Sharp Type.

The wider visual identity relies on Trois Mille. First introduced in 2016 as Marc Rouault’s TypeMedia thesis project and later distributed through Sharp Type, Trois Mille quickly attracted attention in a field where innovation often moves slowly. Initially inspired by the work of French typographic master Roger Excoffon, the typeface combines dynamic forms with an expansive construction that helped redefine contemporary display typography. In De Roma’s communications – from posters to event announcements – Trois Mille provides a distinctive, energetic voice that balances expressiveness with clarity, demonstrating how a singular display typeface can anchor an entire cultural identity.

Mint is an annual architecture magazine made for Fresh Architectures. Each issue discusses an architectural project from several angles: societal, technical, economical or ecological. Mint invites professionals to talk about topics related to the project.

Opus (edition) 3 tackles the transformation of a nautical base taking climate change and water preservation into account. More broadly, this issue tackles the future of French coasts.

The typography changes with every issue. In this edition, the design by Travaux-Pratiques pairs Roman Grotesque with a yet unidentified serif typeface [edit: it’s Lyon, see comments].

A newspaper of 24 pages designed for DenkBeeld. An advocacy group for the visual and audiovisual arts domain in part-time arts education, DenkBeeld represents and supports the academies by collecting, developing, and sharing expertise and knowledge. D’Academie is their annual magazine, and a timeless document of the art education in Flanders, Belgium. Issue no. 11 uses Sequel 100 Wide.

Founded in Montréal, Ligne is an independent magazine dedicated to art, architecture, design, and lifestyle. In 2025, Ligne brought in Principal to overhaul their branding, logo, magazine layout, and digital experience. The redesign employs FT Habit from Formula Type as the primary typeface and Commercial Type’s Successor for display. The new look debuted in the November 2025 issue of the print magazine.

From a case study of the rebrand on Principal’s website:

The new positioning stems from a simple conviction: design practices can reach a broad public. This is achieved not by simplifying or diluting the subject matter, but by making Ligne’s world more welcoming, vibrant, and open. The logo serves as a minimalist anchor. Understated yet assertive, its simplicity allows it to coexist with rich editorial compositions and an ever-evolving graphic universe. The visual system is built on a bold typographic approach and a flexible grid that modulates the rhythm of the reading experience. Colour plays a central role, utilizing a dynamic visual language that modulates between magazine issues and digital presence, while maintaining total brand consistency.

One of the world’s leading design journals, Eye magazine, chose two of TypeTogether’s type families for use exclusively throughout Issue 109 – Futura®100 and Abril Text. Futura®100 is TypeTogether’s multiscript reenvisioning of Paul Renner’s geometric sans, and Abril is a text and display serif designed for editorial use.

Eye 109 uses Futura®100 for headlines, body text, and certain graphics in the issue, while Abril is used as for headlines and body text in many of the issue’s regular sections.

JT Picolo (Edward Dżułaj) and Kompas (Hanna Boslau) are the fonts used for Platform Pudding. From the magazine’s website:

Platform Pudding is a reflective platform on design – from graphic design to fashion and architecture, from Senseo coffee machines to Marcel Breuer’s S-32 dining chair. Design is about the tools that play a role in our daily lives. Pudding aims to foster a cross-pollination between theory and practice within design. Pudding explores the impact design has on society through diverse perspectives and various writing formats.

The magazine title appears to mix parts of Times New Roman and Helvetica.

The cover of Archiv für Buchgewerbe und Gebrauchsgraphik 5/1930 was designed by Heinrich Jost (1889–1948), typographer, type designer, and long-time art director of the Bauer Type Foundry in Frankfurt/Main. His illustration of a tree adorned with various heraldic emblems and other symbols is paired with text set in Jost-Mediaeval (with Jost-Kursiv). Interestingly, this oldstyle wasn’t released with Jost’s employer, but with local competitor Ludwig & Mayer. It was first cast in 1927, four years after he started working for Bauer. In 1955, the typeface was relaunched under the name Aeterna.

From the contents (translated from the German):

Essays — Eberhard Hölscher, Berlin: Trademarks and Logos. On Their Origins and Evolution of Form (with illustrations) — Emil Wetzig, Leipzig: The Text Typefaces of the Fifty Most Beautiful Books of 1929 — A New History of the Art of Book Printing — Reviews of New Publications

Supplements — Student works from the State and Municipal School of Crafts and Applied Arts in Hanover

Typesetting and printing by Breitkopf & Härtel, paper by Ferdinand Flinsch, inks by Berger & Wirth, bookbinding by the Fritzsche-Hager Bookbinding Workshop, all in Leipzig.

See All This is a quarterly print magazine made in Amsterdam, exploring new ways of living through the lens of beauty, art, and nature. The magazine’s art direction is led by Sabine Verschueren, and issues are published season by season in both Dutch and English, often with guest curators.

Since issue no. 39 (fall 2025), the typography pairs Store Norske Gangster from Skriftkompani with ABC Monument Grotesk from Dinamo, combining a literary, editorial feel with a sturdier grotesque for headings and navigational elements.

Nodes. Journal of Art and Neuroscience is a peer-reviewed scientific journal founded in 2011 by Numero Cromatico, an artist collective, research center, and publishing house composed of researchers from both the humanities and scientific fields. The journal aims to explore and disseminate the intersection between art and neuroscience, a topic that has gained significant prominence in recent years thanks to the emergence of neuroaesthetics.

The visual identity of Nodes issue 26 is conceived as a visual soundscape, where music and rhythm take shape. Sound cones synthesized into gradients and circles of varying sizes evoke movement, depth, and resonance.

The visual language, inspired by experimental cinema, alternates between sharpness and blur in a continuous dialogue with typography: Blacker Mono, a contemporary monospaced serif typeface designed by Zetafonts, which becomes a form of musical notation. Within the space of the page and the flow of content, typography and graphic elements transform into rhythm, movement, and sonic memory. The typefaces in use furthermore include Blacker Mono’s proportional sibling Blacker, two type families from Atipo – Basier Mono and Geomanist – Ronzino from Collletttivo, Tinos by Steve Matteson and Monotype Baskerville.

For this issue, Dionigi Mattia Gagliardi was editor-in-chief and art director, with graphic design by Licia Masi. Printed in Rome by Risoma and Tipografare on two paper stocks: Favini Shiro Echo 120 g/m² (interior) and Favini Shiro Echo Raw Blue 250 g/m² (cover).

Is Polish design polished—or is polish the design? PLOP #01—Polish Design Revue
explores the tension between Polish identity, global aesthetics, and the endless act of polishing. Through sharp questions and critical perspectives, this quarterly revue investigates what happens when Polish design becomes polished, overpolished, depolished—or something entirely new.

Published by Slanted Publishers in collaboration with Threedotstype and the Polish Graphic Design Foundation, PLOP invites readers to rethink authorship, style, quality, and cultural context in contemporary Polish graphic design. The first issue features works by Martyna Wędzicka, Kuki Iwański, and Paweł Mildner, an essay by Aleksandra Tulibacka, and edgy forms of the Radius typeface.

PLOP is a thought-provoking snapshot of current debates in Polish visual culture—questioning whether polish enhances identity or erases it.

The English-language magazine was edited by Rene Wawrzkiewicz together with Lars Harmsen and Marian Misiak who took care of the design. The saddle-stitched brochure was offset printed and has 24 pages measuring 21×29.7 cm. ISBN 978-3-69202–007-5

This is the 2025 “Great Performers” issue of the New York Times Magazine. Directed by Gail Bichler and designed by Victoria Escobar, Annie Jen, and Jacky Myint, the issue showcases a variable and dynamic use of the Fenul typeface across both print and digital platforms, paired with the magazine’s custom NYT Mag Serif and NYT Mag Sans.