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Elogio del margine / Scrivere al buio (“Praise of the margin / Writing in the dark”) by bell hooks and Maria Nadotti is a publication by Tamu Edizioni.

In the essays “Elogio del margine”, bell hooks shows us “choices and places” where the resistance to the oppression of African American women took place in view of a liberation that involves everyone, women and men.

In “Scrivere al buio”, a critical and at the same time intimate dialogue with Maria Nadotti, the key themes of the thought of bell hooks, including the contestation of that white feminism that by representing women as a single “caste” denies the differences between women themselves, are tested on ordinary topics: family and couple relationships, education, the use of money, the practice of writing. Feminist thought arises from the personal experience of oppression and must therefore speak to women of less well-off status, not close in a language for the few that allows the maintenance of the status quo.

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La Boussole is a bilingual (English and Ukrainian) magazine published in Ukraine since 2014. The magazine deals with aesthetics. Each volume is dedicated to a specific topic: the peculiarity of all of them is that they are divided into four sections, thus reappropriating the idea of cardinal points (in French boussole means “compass”).

For its rebrand in 2019, La Boussole worked with graphic designer Daria Stetsenko in order to break radically from the former identity largely based on photography. Therefore, the new cover created for vol. 14, entitled “Search”, is composed with type only, with the use of Kessler from Production Type. The sharp serifs of Kessler remind us of the ancient compass needles that look like pointed arrows. The high-contrasting colors catch the eye, while the embossed typographic details give preciousness to the publication. The daring cover hides an exposed sewn square back, adding sophistication to the whole.

The interior of the magazine is set in SangBleu Kingdom by Swiss Typefaces, displaying its Latin and Cyrillic characters. The bilingual publication is casually divided in two columns and offers a great reading comfort. Here we find back the same color scheme, with an additional brown: the variation of colors give rhythm to the magazine, with alternating colors, double spread title pages, and full-page artistic photographs. The reader wanders around on each page as in a pictorial composition and can in fact, search for their own sense of beauty.

Sasaki Associates is a multidisciplinary architecture firm based out of Massachusetts. A recent rebranding of the organization took place in 2016, involving Bruce Mau Design. The redesign includes a multi-colored logo design system, with variable shapes used in different letters or, as Bruce Mau Design puts it: “A word mark generated from four core geometric shapes shifts in colors to create vibrant logo variations.”

The type – Korolev and ITC Cheltenham – compliments the newly designed letterform system with similar shapes.

Desired Landscapes by founding editor and creative director Natassa Pappa is a magazine reading into a diverse mix of cities. Each issue explores the sense of a place and the visual representation of the urban experience. It is a pocket-sized collection of person-to-place bonds, urban observations, and poetic snapshots, seen through the eyes of people who write the stories of today’s cities.

This research expands to further printed matter having the city as a source, such as maps and guidebooks, but also to walking tours and urban research workshops.

Issue 04 arose “from the urge to create a vehicle to travel without traveling. As an unfortunate surprise, that became even more relevant during Covid-19 days. Instead of designing maps of routes, we now count walking distances, to see who are we allowed to see. With this issue, we rethought walking, the hotel, online meetings and telepathy. Sometimes, the experience of reading a text about a city can be more enlightening than an actual visit. And a city's image can be more rewarding.”

The use of Skanaus can be mentioned here especially, as one reason why It came to use is the fact, that it was designed by Daniel Gremme during an exchange semester in Vilnius — one of the cities explored in this issue. Skanaus is a guest typeface alongside the magazine’s stalwart typefaces Farnham and Averta.

This book is not a dispute or a “meeting”: in these pages, Christian Laval, co-author of the acclaimed La nouvelle raison du monde (“The New Reason of the World”), intends to unfold the movement of “almost contemporary” research by Michel Foucault and Pierre Bourdieu on what they both identified as “neoliberalism”, showing how these French thinkers made it an object of reflection in contexts and with specific theoretical tools, constructing two confrontations that have as common characteristic an explanation and resistance to the historical emergence of the neoliberal event.

In this graphic project that inaugurates the Coleção Práticas Utópicas (“Utopian Practices Collection”), we were looking for an airy solution that would allow the application of titles of varying sizes and layouts on the cover, as well as a two-tone chromatic variation based on the strategy of using two color gradients. radials that interact freely through the cover area.

With the use of a central white vertical line, we try to hierarchize the relationship between title and authorship on both sides of that line as well as the rotation of the author’s name that gives independence to these two central information on the cover of a book.

The use of Bw Gradual was intended to give a marked contemporary look to the project, making a striking use of the characteristic design of this typography mainly on the front cover, spine and flaps. The body copy is set in Bridge Text.

The gradient of the cover, which seeks to represent that which is not clearly seen but which, with the text, becomes clearer, is repeated inside the book except that here it appears in monochrome, only from the black of the ink to the white of the paper.

The alignment to the right also appears as a strong element of the graphic design as a whole, appearing from the title on the cover as well as in the internal subtitles and footnotes.

As it is a collection project, the design we carry out in this work is not so much related to the content of the book itself, being, let us say, more self-absorbed, but at the same time it opens up simple possibilities for variation so that each title of the set has independence and own aesthetics.

Foucault, Bourdieu e a questão neoliberal was translated to Portuguese by Márcia Pereira Cunha and Nilton Ken Ota, edited by Tadeu Breda, and published by Editora Elefante. Design by Hannah Uesugi & Pedro Botton / Arquivo, with art direction by Bianca Oliveira.

Artwork for À tous les batards, the second album records of Eddy de Pretto, using Peclet by TIGHTYPE. Commissioned by Initial artistes. Cover illustration by Karoline Jäggi.

As the beginning of Western civilization, ancient Greek had a significant impact on Latin. How has the Greek script changed nowadays? How does it apply in daily life? What is the point of view from local designers on Greek design? With a collection of pictures both from streets and museums, as well as an interview from Typeroom, I produced this zine about Greek typography from my daily observations during a trip to Athens.

It’s split into two parts. The first part, Modernologio, gathers all the pictures of Greek typography that I took during the 5-day study trip. The second part, Archeology, shows images from the Epigraphic Museum.

The booklet was made during my studies at AKV St. Joost. The word Τυπογραφία (“typography”) on the cover was made by repurposing Latin glyphs from gc16, inspired by signboards spotted in Athens. Since there are not that many Greek typefaces, local people often deconstruct Latin typefaces to compose their own. The text is in Atlas Grotesk, set ragged right and with small margins.

La Red Ibérica en Defensa del Patrimonio Gráfico (“The Iberian Network in Defense of Graphic Heritage”) is an association in charge of the collection of information, documentation, cataloging, dissemination, and where appropriate rescue and preservation of signage, signage, commercial and urban graphics of all kinds, considered as graphic heritage and visual of the entire community.

We have had the pleasure of designing the identity for the first La Red event to present the association, its activity, the members, etc.

For the graphic development we use different R’s of several signs of Spanish cities together with different very predominant colors in commercial signage. Some of these R’s are derived of lettering; others can be found in typefaces such as Jackson and Stripes. We propose an animation simulating the movement of a clock, which leads us to reflect how these signs over time, which La Red adds value, they are disappearing little by little.

FH Oscar, a sans serif typeface with gestural details in its characters, gives identity and proximity to all the project.

A collaborative cookbook produced for the designer's wife's Amish–Mennonite family. Two-color risograph printing by Clatter Press gives the publication a playful “midcentury Amish-country tourist ephemera” energy, which is reinforced by the typography.

The book uses Gimlet in Micro and Deck weights (as opposed to Text and Display, respectively) to produce a “low-resolution” traditional-printing effect. The sunburst motif on the cover as well as the decorative arrows throughout the book come from Eames Ornaments.

Since 1994, researchers, critics and graphic design professionals in France have been sharing their viewpoints and research on the major themes that animate the graphic design field in the annual publication Graphisme en France published by the Centre National des Arts Plastiques (Cnap).

The 26th issue has been designed by Théo Miller, graduate of the École Estienne (Paris), and focuses on the link between the work of graphic designers and the notion of writing, considered as a matter to compose and shape, but also as a means for expressing the thinking of graphic designers, a tool which allows one to structure and define this domain and its history. It includes texts by Léonore Conte, Ellen Lupton, Nolwenn Maudet, Richard Niessen, and Vivien Philizot.

The graphic design of this issue structures the various contributions with particular attention paid to reproducing the images in formats that make them legible, in order to confront the texts of the authors and the texts present in all the iconography.

Five typefaces are used across the whole publication: Ductil (Marion Sendral), Grandmaster (Lucas Descroix, The Designers Foundry), Grtsk (Ilya Naumoff and Benjamin Blaess, Black[Foundry]), Minotaur and Minotaur Sans (Jean-Baptiste Levée, Production Type). These choices express a certain typographical plurality, referring to the diversity of writings present in this issue. In the same way, four different covers have been drawn, displaying a sort of “visual table of contents” of the various articles of the publication. These images-texts with multiple authors give form to an “enunciative polyphony”, accentuated by a work of editing, cutting and collage.

The publication is available for download in French and English. Editorial direction and coordination: Véronique Marrier, head of the graphic design department; and Béatrice Salmon, director of the Centre national des arts plastiques.

Arcade Game Typography aims to be a definitive resource on pixel typography in arcade videogames throughout the late ’70s, ’80s and early ’90s. It features 250 examples selected, extracted, chosen and categorised by style by author and Monotype type designer Toshi Omagari. Commissioned by Darren Wall for publisher Thames & Hudson after seeing Omagari speak on the subject of videogame type design. Omagari was keen to develop his research into a completist publication. During his research for the publication, he played and assessed over 7000 games to make his final selection for the book.

LL Akkurat is used for all other typography throughout.

At a time of a weakened planet, Bureau 205 and the École urbaine de Lyon [Lyon urban school: an interdisciplinary experimental project for research, PhD training and economic, social and cultural development of scientific knowledge] question the editorial process. The magazine A°2020 is the first result of this investigation.

Editing “anthropocene” means reflecting simultaneously on all aspects of the process, paying attention to people (authors, publishers, printers, designers, distributors, booksellers, librarians…) with the search for qualified and certified skills, attention to materials — from forest to paper, from plant to ink —, general attention to the optimization of human and material resources by favoring short distances in order to lessen the impact of transport, by imagining an editorial policy that’s inventive in order to limit waste.

Bureau 205 set out to design an object that could transmit the content gathered in this magazine whose authors come from various fields: academic, scientific, literary and artistic. Their contributions make it possible to grasp the concept of the Anthropocene from complementary points of view and gain a detailed understanding of the issues.

As we question ourselves more and more about the future habitability of the earth, about the just and ethical conditions for implementing the strategies of ecological reorientations of our cohabitations, it is crucial to make known the anthropocene realities, to analyze the dynamics at work, in particular those linked to urbanization and bringing into discussion what can guide our collective action.

Each part of the magazine has a specific layout, illustrating the complementarity of the contents and their mutual enrichment. To limit the magazine’s carbon footprint, only leftover paper available from the printer was used. The magazine is then printed on five different papers for this first issue.

The magazine exclusively uses typefaces created by designers affiliated with 205TF.

Poster / flyer designed by Hoang Nguyen to advertise the two Master programmes of the Visual Communication Institute of the Basel School of Design. One being the Master of Arts in Visual Communication and Iconic Research and the other the International Master of Design UIC/HGK (MDes).

The display typeface shown prominently when the flyer is still folded up is called Kiosk. It was designed by David Gobber and is available from his website. The typeface used to set the running text is Unica77, the corporate typeface of the Basel School of Design designed by Team77, which is available from Lineto. All other letterforms visible in the design were created for this poster / flyer by Hoang Nguyen and are not part of any available typefaces.

Marsha is a fictional magazine about the violence and misconduct against the LGBTQ+ community. Marsha P. Johnson has been a key figure in the Stonewall Uprising who fought police as they raided the gay bar on Christopher Street. Marsha fought and died for the rights of the LGBTQ+ community. This magazine is dedicated to her.

The magazine was created at LUCA School of Arts in Ghent, Belgium and was part of a zine project.

The fonts used in this magazine are Suisse Works and HK Grotesk. The use of a sans serif like HK Grotesk together with a serif like Suisse Works creates a mixture of modern and classic magazine style and goes together with the older and newer articles in the magazine.