Label of double-sided coarse groove record featuring Christmas carols performed by prolific violinist and dance hall band leader Chaim "Efim" Schachmeister under the pseudonym Sascha Elmo. This recording was taken in October 1924, presumably in time to be pressed up by Christmas.

The majority of text is set in Corinna, a typeface commonly used by the German record industry in the 1920s, except for the trademark “Musica G. D.”

Issued ca. December 1924 on Deutsche Grammophon’s Polyphon imprint.

[More info on Discogs]

Club of Engineers & Friends e.V. is a Berlin-based charity focused on global justice, practical innovation and long-term partnerships. The website presents the organisation through a project-led structure that moves between fundraising, storytelling and participation, rather than separating campaigns from ongoing work.

Projects include Floating Mothership in Bihar, Wajukuu Makerspace and Mushroom Manufaktur in Kenya, Day of Caring in Berlin, Permaculture Trainings, and an Exchange Program between Nairobi and Berlin. The result is a site that feels closer to a network of collaborations than to a conventional donor platform.

Typefaces in use are Store Norske Ja Mono from Skriftkompani and ABC Diatype from Dinamo.

Altera Italia is a tactile, sensorial book by visual artist Alessia Rollo, published by Miracoli Visivi. Its exposed-spine binding lies flat, referencing the book’s circular narrative, while a solid blue paper dust jacket and copper ink details contrast with the bare structure. Coarse paper stock reinforces the sense of personal investigation. The book is set in Rapida, a typeface by fellow Italian designer Michelangelo Nigra, which contributes to the uniqueness of the book. In the words of design studio Gruppo:

Rapida was chosen for its ability to balance a classical presence with a more contemporary tension. Its traditional proportions and soft curves are countered by sharper details, creating a voice that is both familiar and unexpected. This duality resonated with Rollo’s practice, where observation and cultural memory coexist with acts of intervention and transformation.

If we want to rewrite the history of design, we must take its beginnings into account. The period before the Bauhaus, the importance of “arts and crafts,” and, above all, the achievements of women in graphic design have long been neglected in the presentation of German design history.

UN/SEEN brings together previously unknown material and sheds light on the lives and work of female designers in the fields of book design, poster design, typography, illustration, and packaging. In ten chapters, UN/SEEN documents the latest research findings and uses numerous examples to show how successful and self-confident the first generation of female graphic designers was and which discourses from that time still shape the discipline today.

UN/SEEN questions traditional narratives and contributes to the discussion about design and gender with new role models. The book is accompanied by the project platform unseen-women.design. The publication is available in both an English and a German edition.

Published by Slanted Publishers and edited by Petra Eisele and Isabel Naegele, this volume features a foreword by Ellen Lupton and contributions from Brigitte Baumstark, Friederike Berger, Julia Blume, Gerda Breuer, Petra Eisele, Aliena Guggenberger, Jana Haase, Antje Kalcher, Julia Meer, Julia Mummenhoff, Isabel Naegele, Julia Neller, Antje Neumann, Bettina Richter, Julia Rinck, Kerstin Stöver, Ute Thomas, Christina Thomson, and Sabine Wieber. Designed by Julia Neller, the book comprises 422 pages in a 18.4×26 cm format. Produced using full-colour offset printing, it is printed on Arena Rough 120 g/m² paper by Fedrigoni and bound as a hardcover edition featuring a lenticular foil cover and thread stitching.

Wölkchen translates to “little cloud”. It is an intentionally delicate, harmless name that humorously contrasts with the gritty, odorous reality of a portable toilet. The brand’s promise is that ‘inside, you sit like on clouds’.

The typography is kept modern, airy, and self-assured, avoiding the heavy, industrial, caution-tape aesthetics usually seen in construction and event sanitation.

The portable sanitation market has traditionally been dominated by purely functional, clinical colors—usually sterile blues, deep greens, or drab greys. Wölkchen entirely rejects this. The brand's primary visual anchor is a vibrant pink. Described by its designers as ‘bright as pink cotton candy’, this color immediately disrupts the visual landscape of a muddy construction site, a city street, or a crowded festival. By using a color associated with playfulness, sweets, and pop culture, the design creates a stark contrast against established market participants. It refuses to blend in, instead demanding attention and embracing visibility.

The second edition of the mowe art festival took place in Berlin from the 8th to the 10th of May 2026. Poligonal (Christian Haid and Lukas Staudinger) is responsible for the festival’s concept and artistic direction, commissioned by Kultur Mitte (Fachbereich Kunst, Kultur und Geschichte des Bezirksamts Mitte von Berlin). The festival’s graphic design and art direction is executed by Studio Itch (Jasmina Begović and Barbora Demovič), typeset in HAL Gap and Aktiv Grotesk.

More on the festival’s concept from its website:

The mowe Festival for Art and Urban Culture invites you on a journey of discovery through the art and cultural landscape of Moabit and Wedding.

At numerous venues across the festival area, urban practice and queer perspectives come together in group and solo exhibitions, workshops, artist talks, experimental city walks and bike tours, concerts under the trees, rooftop performances, as well as community actions and interventions in urban space. The contributions reflect the cultural diversity of the city, its districts and their residents.

The focus is on the participants themselves: their diverse artistic positions, cultural backgrounds and experiences, which anchor the festival both internationally and locally.

The mowe Festival creates spaces for encounter, exchange and artistic intervention. It sees itself as a platform for contemporary art and urban culture and brings to light the diverse perspectives that shape urban coexistence.

Poster for my solo poster exhibition titled Typoposterized, held in Berlin from 17 March till 13 April 2026. It took place at PANDA Platforma, a cultural venue famous for being a hub for independent shows and exhibitions, where you can listen to jazz or poetry while watching the works of designers and artists on the walls.

Since my main practice is typographic posters, the name Typoposterized was proposed by exhibition curators as a pun on both typography and pasteurized milk, safe from harmful bacteria (or safe from anything except of typography). The poster consists of digital lettering, acrylic paint applied to clumps of paper, the playful Onlysans by Daria Cohen, and the somewhat stricter, more functional and rhythmic FL Art Grotesk by Alex Slobzheninov of Flight Mode.

The original poster was screenprinted at Bankov Print Space in Prague by the legendary Peter Bankov and Julieta Fedulova.

In celebration of his 20th anniversary as an author in 2026, Sebastian Fitzek has completely transformed his online presence. Instead of a traditional homepage, he launched the “Fitzek World,” which he describes not just as a website, but as an interactive universe. Designed to make visitors feel as though they are stepping directly into his stories—or even his mind—the platform turns fans from passive users into active protagonists.

The platform is designed to be continually expanded. In the coming months, more “doors” are set to open, offering early access to events, exclusive campaigns, and even dedicated spaces for other thrilling authors in the industry.

Shown here are details from the “Fitzek Files” section, an archive of all the characters, settings, objects, and phenomena from the crime thriller books published in the past twenty years. The main fonts are the eroded Yoko and Space Mono.

The visual identity for PolyFutures was designed by Import/Export, using Politip by Benoît Bodhuin. The project is described as follows:

PolyFutures is an invitation to explore how participatory, creative, future-oriented and actionable approaches can inspire better policymaking. Over two days, participants will exchange ideas, share experiences and reflect on how foresight and design approaches are used to inform and transform policymaking.

Image and Power. Zooming into Zeppelin Photography / Bild und Macht. Zeppelin-Fotografie im Fokus is an exhibition at the Zeppelin Museum Friedrichshafen that explores how images can both hold and communicate power. It asks how images shape our understanding of history, how they can be manipulated, and when they become propaganda. The exhibition was created for the 125th anniversary of the first Zeppelin airship ascent. It examines the Zeppelin as a visual and symbolic motif in photography and connects this history to broader questions about images and power today.

Berlin-based neo.studio developed the design, creating a key visual that captures the exhibition’s core ideas in a bold and direct way. Large typographic forms interact with a zoomed-in Zeppelin photograph. Halftone textures, chromatic shifts, and vivid gradients further intensify the visual language. Generation Mono by Nguyen Gobber was used as the main typeface for titles, which were set with stacked letters to dominate the given format. The headline typeface was paired with ITC Avant Garde Gothic, originally drawn by Herb Lubalin and Tom Carnase.

The program leaflet additionally uses ABC Favorit by Dinamo.

Notes on Living. Reflections on Ukraine Today was published earlier this year by Spector Books. This anthology presents current positions of contemporary Ukrainian authors. Their narrative texts, essays, diary entries, and poems deal with faultlines in society and the psychological state of the present. The topics include the politics of language, the dreams of soldiers, wartime urban architecture, Western fatigue, shame, and radical gestures of care. The texts set out to make their reflections on current conditions a basis for discussing a future postwar society. The book is complemented by two image sequences with drawings by Davyd Chychkan and Marharyta Polovinko.

It was edited by Max Eulitz and written by author and psychoanalyst Yuliia Leites, curator and journalist Hanna Tsyba, and curator Alya Segal. With contributions by Mariana Berezovska, Oksana Briukhovetska, Oleksandr Burlaka, Davyd Chychkan, Hixto, Yelizaveta Landenberger, Yulila Leites, Oleksii Minko, Marharyta Polovinko, Julia Stakhivska, Nastya Vogan, Arina Yanovych

Design by Lorenz Klingebiel with typefaces KTF Rublena (Kyiv Type Foundry) and ABC Favorit (Dinamo).

Poster for an event featuring Stir + Support at Komfy, set in a kerned version of Caster Grotesk Text Mono combined with WT Kormelink. Komfy is a Seoul based vinyl and vibe bar.

Seelenwesen reden by Andreas Bratz is a collage-based artist’s book combining photographic fragments with short poetic texts in a continuous, associative sequence.

The text is set in Bull-5 Mono, whose monospaced structure introduces a steady, mechanical rhythm across the pages. Used for both longer passages and brief text fragments/credits, it establishes a consistent grid that contrasts with the irregularity of the collages. Its typewriter-like tone reinforces the book’s process of assembling and recomposing visual material.

On her personal portfolio website, Daria Cohen writes:

I’m a Type and Media trained type designer based in Berlin. I’ve worked on Latin, Cyrillic, and Greek with Dinamo, NaN, Swiss Typefaces and Vectro (to name a few) contributing to various retail typefaces as well as projects for Call of Duty, Spotify, Wise, and a generous number of NDAs.

My self-initiated projects revolve around one goal: making fonts my grandma would recognize.

The gravestone on my homepage ties into my passion for death studies. I dream of opening a funeral home someday, but until then, my fonts are free for all death-related projects.

The website was designed and built by Lena Weber, who comments:

Since Daria is a type-designer the goal was to build a home for her fonts & projects, linking to different foundry websites for purchase.

The site is an homage to extended glyph-sets, alternates, carefully crafted letters and – of course – to Daria. 🥀🕊️

On reload random characters are pulled from the fonts, creating encrypted inscribing on the digital headstone: The »Daria Cohen password-generator«?

The site is divided in »the living« (fonts, released and available for purchase) and „the rising“ stuck as for in progress fonts in the bony underworld.

The custom backend allows for font upload, everything else is generated automatically.
Free font conditions hidden in an easter egg. Thank you Daria for your trust to go wild! I really enjoyed working with a type-only asset pool, diving deep into details, digging for glyphs and expressing an idea through placement and color only.
Swipe for a graveyard of discarded designs as well!

Text on the website is set in Daria’s own Onlysans.

The headline mixes Romanisch Kursiv No. 20 with Koch-Antiqua fett. The latter is used with both forms for s, but the former isn’t. The question mark is added from Cooper Black, while the smaller copy is set in Futura.

This 1931 group tours brochure was issued by the MER – Mitteleuropäisches Reisebüro G.m.b.H. – of Berlin. The brochure gives details of organised holiday tours across Europe, by train and ship, as well as an extensive tours of the USA, out via the HAPAG line and returning on the Norddeutschen Lloyd for a cool 2,800 RM. The brochure also has numerous adverts for resorts, hotels and travel companies.

The various adverts, a selection of which I have scanned here, are also interesting from a typographical and design standpoint. Many are in the very latest German ‘style’ and feature some interesting and often relatively new typefaces. This advert, with a variety of typefaces and a decorative border asks “Kennen Sie schon die volkstümlichen Gesellschaftsfahrten des MER?” (“Are you already familiar with the popular group trips offered by MER?”) It gives a list of destinations within Germany and abroad as described elsewhere in the brochure.

MER was formed as a Central European Travel Agency in Berlin in 1917 and grew to include the travel interests of the Austrian and Hungarian railways. Many of its services were similar to those of say, Thomas Cook, in the UK. The company was heavily implicated in the crimes of the National Socialist era and in post-war years the company, in both East and West Germany, underwent several complex reorganisations but survives under the name of DER Travel.

“Shakespeare’s hometown is the quiet, picturesque market town of Stratford-upon-Avon in the county of Warwickshire.” Motor can be seen in early use, featuring a non-standard narrow R.

“Don’t miss a chance to visit Lake Lucerne and its eight mountain railways during your trip to Switzerland”
Two weights of Memphis plus a drop cap from Schaefer-Versalien.

Schaefer-Versalien and all-caps Memphis for “Lucerne Lido, the Swiss lakeside resort”

“Finland – the idyllic land of a thousand lakes. A new travel destination!” More Motor – with a narrow alternate N.

Adverts for the San Marco Schiffahrts-Gesellschaft Venedig and Palace Hotel in Tunis, Tunisia. “San Marco” shows Motor’s narrow N again, and features yet another alternate glyph, this time for S. “Dalmatien” is in Berthold Block. The description of the hotel uses Koch-Antiqua.

Adverts for Jadranska Plovdibda D.D. Sušak and Dubrovačka Parobrodarska Plovidba, with several Futura weights and three sizes of Neuland

The research zine Publishing Anecdotes brings together insights and reflections from thirteen practitioners – both individuals and collectives – across the diverse field of artistic and critical publishing. Each contributor was invited to share a short anecdote from their practice, be it a thought, an image, a memory, or anything they felt relevant.

Contributors include Björn Giesecke, Peter Schmidt (Books People Places), Simon Wahlers (Edition Zweifel), Samuel Bänziger, Rosario Florio, Olivier Hug and Larissa Kasper (Jungle Books), Sabrina Fernández Casas & Patricio Gil Flood (Macaco Press), Paul Soulellis (founder of Queer.Archive.Work), Lauria Joan (Pseudopress), Vida Rucli (Robida), Roland Früh, Eléa Rochat, Léa Gallon, Julien Guazzini, Vincent Chanson, Pablo Arnaud, and Camilla Brenni (Sans Soleil), Freek Lomme (Set Margins’), Jonas von Lenthe (Wirklichkeit Books), and Mio Kojima (Futuress).

The publication was initiated, edited, designed, and published by Roman A. Karrer in August 2024 and marked the end of his research residency at ABA Berlin.

It It has 48 pages measuring 138×190 mm and was Riso-printed by Drucken3000 (Alexander Branczyk & Florian Haberstumpf) in an edition of 100 copies, using Medium Blue and Silver Metallic inks on Clairefontaine Tropheé Rose 80g/m² and Metapaper Rough Warmwhite 90g/m².

Special thanks to: Pro Helvetia, ABA Berlin, Emma Affoua Kouassi

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.

Vanessa Olt is a Berlin-based business consultant working with creative studios and independent designers. Before founding her own practice, she was a founding member of Nea-Kosma, a business consulting duo active until 2025. With a background in accounting and business administration, she helps translate intuition into financial clarity through tailored structures, operational systems, and long-term strategy. Since 2018, she has collaborated with studios such as Dinamo Typefaces and HelloMe, combining analytical frameworks with a supportive, people-focused approach to consulting.

The website uses Protest Grotesk by Softdrive Foundry. Both the website and typefaces were designed by Mark Julien Hahn.

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.

Jacco Bunt is a Dutch illustrator based in Berlin. His new portfolio website uses Indicate Mono throughout.

The homepage features a collage layout, while project pages make use of a brutalist, minimal layout with full-width text paragraphs and images stacked sequentially. Navigation sits in a classic top bar.

Body copy appears in blue color with links being red, a color combination that is derived from Jacco’s use of color in his illustrations. On hover, links are rotated at a random angle.