Hope from Jerusalem is an online position paper and article collection that delineate a vision for creating a shared place that embodies peace, reconciliation and hope for the conflict-ridden region of Israel–Palestine.

The website uses a color palette that delicately references the various identities and cultures that make up the city of Jerusalem, against a simple typographic scheme comprised of two multilingual font families. The website is primarily bilingual (English/Hebrew), but makes use of Adapter’s Arabic character set throughout the headings in both language versions of the website.

Ir Amim is a non-partisan Israeli NGO that addresses the complexities of life in Jerusalem in the context of the Israeli-Palestinian conflict and the city’s political future. Ir Amim works toward the vision of Jerusalem as a fair and equitable city, while advancing conditions for a negotiated political future in Jerusalem.

טראש, or Trash, was created as a central component of Or Shoshani’s final project in the Department of Industrial Design at Bezalel.

The magazine brings together various street actions involving people carrying trash, documentation from an Instagram page, on-site and remote interviews, photographs, reflections, poems, and sketches. In fact, the magazine is the project itself: on one hand, it documents the project and its evolution, and on the other, it disseminates the idea that “there is no such thing as trash,” operating under two distinct roles.

All the content was gathered, edited, and designed into an A4 magazine and printed in 20 copies.

Achinoam Tamar Virt provided artistic guidance and Nitsan Mayost graphic support. Nitsan Mayost, Liron Midani, Yonatan Shoshani, and Yael (a resident of Nachlaot) conducted interviews. The cover image is by Ruth Yarmolinsky. The project was supervised by Maya Ben David and printed at Codaf, Tel Aviv.

After the Orchard is a solo exhibition by artist Yuval Buchshtab. It was presented at Beit HaRishonim in the Hefer Valley as part of the residency program in which the artist participated.

The booklet is an object exhibited as part of the show and was designed by Or Shoshani. It was printed and distributed to the visiting audience, presenting the research and historical component of the exhibition.

The Pauza typeface is used both for headlines and body text. Its rounded quality interacts with the rows of trees in the orchards. The booklet was Riso-printed in two colors, without overlapping, to preserve the historical photographs as monochromatic, just as in the original.

The project was produced and printed with the help and support of Dojo Jerusalem – A Space for Training and Development for Jerusalem Creators.

Photographs by Dor Kedmi.

עזרת גברים / 1000 שקיות, or Ezrat Gvarim/1000 Shkiot (“Men’s Sector/1000 Bags”). On the Spectacle of Bags in the Haredi Male Sector of Jerusalem as a Combination of Compulsion and Deliberate Differentiation is the title of Alma Hanegbi’s final project at the Department of Visual and Material Culture, Bezalel Academy of Arts and Design.

The book examines the phenomenon of bags as an alternative to briefcases among the Haredi male population in Jerusalem. What began as a casual wander and the photographing of examples evolved into in-depth research that encompasses quotations on Haredi fashion, the wandering and walking habits of the community, the history of briefcases and bags, internet screenshots, literary excerpts, diary entries, and a plethora of photographs by the editor.

The book was designed to render its complex material accessible – even as it incorporates footnotes, quotations, interviews, and images. It emphasizes the plasticity and the ‘cheap’ and ‘undignified’ character of the bags, contrasting them with the dignified and serious nature of Haredi dress and culture.

To create this effect, Maor Freedman’s design employs Narkiss Tam Narrow in red (skewed with a mechanical tilt!) for the headlines, evoking an atmosphere reminiscent of supermarket signage and the typography found on store bags. The informative text is also set in Narkiss Tam, underscoring the supposed ‘coolness’ and objectivity of such texts while establishing a distance between the conveyed knowledge and the lived experience on the Haredi street.

The project was supervised by Prof. Ory Bartal, Galit Gaon, and Dr. Tal Frenkel Alroy.

Diary excerpts, interviews, and literary quotations are rendered in Hadassah—a classic font with heritage and a dignified, warmer quality than Narkiss Tam, serving as a secular alternative to the fonts typically seen in Haredi-religious literature (such as Frank-Rühl, Dragolin, Vilna, and their kin).

The informative footnotes are set in Narkiss Block Mono, a font with a technical character and a structured, monospaced rhythm that evokes archival materials produced by a typewriter.

Apart from the colors found in the images, the color scheme is limited to black and red—an allusion to the printing style of ancient sacred books, which were often printed in black with red headlines (thanks to Banya Mar for the stunning reference to this world). The grid itself recalls that of Talmudic texts, featuring a central body of text with surrounding notes that “break” into it, contrary to conventional layouts. However, due to the complexity of the material, a more intricate grid was required. In contrast to the symmetric grids typical of sacred books, the layout on the double-page spread consistently employs a right-aligned block on both the right and left pages. This deliberate asymmetry offers a secular interpretation—a meeting between worlds: the spiritual and the everyday, the sacred and the past, intertwined with the expressions of contemporary life.

This poster, designed by Stas Tuchinsky, promotes the final performances of Nissan Nativ Acting Studio’s theater program in Jerusalem, showcasing a special version of The Wizard of Oz performed by talented students with disabilities.

Catalog design as part of the exhibition Nurse, Nurse, the central event of Manofim – Nurse, Nurse was the main event at the Manofim Festival for Contemporary Art. Manofim, which for the past nine years has been held in unique exhibition sites, seeks to turn its attention to the social and political seams that traverse the urban space. In 2019 the exhibition took place in the mythological Bikur Cholim Hospital, at the heart of Jerusalem.

The catalog design was inspired by medical formalities – forms, prescriptions, instructions, etc. The catalog aspires to function as a formal “tour guide” through the exhibition. A sort of comforting contradiction to the personal and emotional artworks.

In addition, I wanted to quote from the historical archive of the Bikur Holim Hospital – the ancient hospital’s logo had a rare combination of biblical Hebrew letters and a blackletter font on the opposite English version.

The cover typography brings together Mugrabi (Hebrew), Gandur Alte (English), and Mirza (Arabic).

The fonts used in the interior are Roboto Mono (English), 29LT Baseet (Arabic), and 80kb (Hebrew).

Musrara Graduates 2019 presents the works of students graduating from the different departments of Musrara, the Naggar School of Art and Society in Jerusalem, Israel.

On display are works created on the intersection of art and technology, photographs, various visual pieces, books, site-specific photo and video installations, performance, and sound. Towards the appointed hour, the school in its different classes is transformed into a diverse display complex.

The exhibition title is set in Jérémy Schneider’s Sud (Latin); #37 by Michal Sahar (Hebrew); the SemiCondensed style of 29Letters’ 29LT Bukra is used for Arabic. The date in a circle uses Hoefler Text by Jonathan Hoefler.

Hoefler Text is also used on the prints material and website, alongside Hadassah Friedlaender by Yanek Iontef. Arabic texts are rendered in Greta Text Arabic by Krystian Sarkis.

Graphic identity for the 2019 Manofim contemporary art festival in Jerusalem, Israel.

The work was done by Israeli designers Shiran Berry and Maya Bar-yerhuda. Using three of the main languages spoken in Israel – Hebrew, Arabic, and English –, the poster gives the festival an inclusive and international feel. Brights colors and minimal, bold typefaces, injected with the appearance of those three language makes this work a powerful examples of contemporary graphic design in Israel.

From Humboldt Books:

Tel Aviv – Jerusalem Diaries is a book made up of two books. The first is the diary of a journey embarked upon in the spring of 2018 by the artist Keren Cytter and the art critic Antonio Grulli. Destination: Tel Aviv and Jerusalem, the capitals of an exceptional and anomalous country. It’s a diary written in two voices, in which text and imagery together weave a fabric of recollections and reflections that go far beyond the journey. For Keren Cytter, it’s a return to the land where she grew up but where she has not lived for some time; for Antonio Grulli it’s the discovery of places imagined for a long time and which provide the input for a range of considerations on Israel, Europe and art. The second book within the book is the screenplay of the film Des Trous (The Holes), the work that Cytter created during the journey in Israel. The film is closely linked to the artist’s recent life experiences: a mix of autobiography and fiction intertwining detachment and melancholy, contrasting feelings towards that universe of relations that no longer belongs to her in the same way.

The book was designed by Federico Barbon, using Hercules (Storm Type Foundry) throughout. Paperback, 96 pages, 17×23 cm.

Tarshish Books was founded by Moshe Spitzer (1900–1982) in Jerusalem after he had fled Germany in 1939. Over the next forty years, Spitzer designed and published more than 100 books — classics of European and modern Hebrew literature as well as medieval Jewish texts — that were rare in their beauty, both in content and form. In 1942, in order to improve the quality of the printing and to better control the layout and typography of his books, Spitzer set up his own typesetting studio which was also used by other publishers. In 1954, together with Heinz van Cleef, Spitzer established the Jerusalem Type Foundry, the first Israeli type foundry, and helped to create modern Hebrew typefaces like Hatzvi and David. — Sources: Haaretz, Goethe-Institut, DLA Marbach. See also Ada Wardi (ed.): The Graphic Design of Moshe Spitzer, Franzisca Baruch, and Henri Friedlaender: New Types Three Pioneers of Hebrew Graphic Design. Jerusalem: The Israel Museum, 2016. (Hebrew edition: 2015). A monograph of Spitzer’s works initiated by Ariel and Ada Wardi was published in 2016 (in Hebrew only).

The publisher’s logo shown here was designed by Avigdor Arikha.

Univers 45 and 65 combined with Oron 65. Oron is a Hebrew companion to Univers, designed in 1968 by Asher Oron.

Source: Collection of the Joods Historisch Museum Amsterdam.

The winning entry for a logo design competition to mark 50 years of diplomatic relations between Israel and Germany in 2015 merges the flags of the two countries with the ideas of diplomacy (bow tie) and continuity (Möbius strip).

The fonts in use are Vesper by Rob Keller and Rutz by Oded Ezer. Rutz a.k.a. Vesper Hebrew was created as a companion to Keller’s typeface design. It was picked for the logo because it was considered to be “one of the few quality Hebrew fonts created in recent decades, representing both contemporariness and innovation.”

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