Beautifully designed in house at the French publishing house Gallimard, this monograph/biography of the architect and designer Charlotte Perriand (1903–1999) is a pleasure to read.

It has a diverse and contemporary typographic palette.

Titles are set in the typeface Orientation by Sandrine Nugue, published by Commercial Type. The main text is set in Lava by Peter Biľak, published by Typotheque. And the pull quotes and image captions are set in Akkurat Mono by Laurenz Brunner, published by Lineto.

According to the theory of drift south of latitude, in some decades the temperature of cities will become much warmer: Paris will take then the place of Toulouse, London of Bordeaux, Rome will replace Tunis and so on. “Rome is above all an atmosphere, a light, a climate: it is like a fatality, one of the many expressions of that eternal character that has always been attributed to the city” says Ludovico Quaroni in 1969. But what would happen if its average temperature rose again? What would happen to his celebrated golden light? What would become of the transparency of its horizon? How would vegetation, life cycles and seasonal alternations change? What would happen to the inhabitants’ involuntary choreographies in open spaces, to social rituals, shared in everyday life? This volume tells the story of Rome's journey to Africa through the imperceptible dimension of climate change, explored through tiny visual and sound details with music by Jonathan Berger. — Libria/IBS

Via CAST:

@vendettiandrea cleverly combined some styles of the extensive range of Sole Serif cuts for the book “Southward. When Rome will have gone to Tunis”. The cover is set in Sole Serif Hairline.

Daniel Spoerri: Anekdoten zu einer Topographie des Zufalls, Neuwied und Berlin: Luchterhand (Edition Otto F. Walter), 1969.

Design by Wolfgang Stehle. Painting by Dieter Roth.

COLLEZIONE 200 is an exhibition/itinerary created on the occasion of the celebrations for the bicentennial of the independence of Fermignano.

Six groups of designers, students of design university ISIA Urbino started out with the study of local history and a survey of the present, to bring themes related to local identity and living to the attention of inhabitants and visitors.

The project was born from the identification of six fictitious finds of a more or less recent past of Fermignano. Each of them is the starting point for a reflection on places, facts and people of a local history that opens to general considerations, whose relevance exceeds the territory.

The project was realized by the students of the second year of the specialized course in communication, design and publishing, curated by Jonathan Pierini. The publication shown here was published as an insert in the Italian newspaper Il Resto Del Carlino.

Bringing together the graduation projects from the DSAA programs Fashion and Environment, Editorial Media and Image, as well as the Bachelor program in Fashion, this catalog was conceived and produced by the students of the DSAA Image program at Duperré School of Applied Arts during a workshop led by Groupe CCC.
172 color pages, 20×30cm, printed in France.

Though its design was heavily criticized by its authors, architects Robert Venturi (1925–), Denise Scott Brown (1931–) and Steven Izenour (1940–2001), the first edition of Learning from Las Vegas has acquired something of a cult status amongst architectural and graphic design circles alike. Envisioned by MIT Press Design Director Muriel Cooper (1925–1994) as a monumental (14.5×11 in., 37×28 cm), cinematic coffee table book to provide an immersive reading experience akin to slowly driving along the Las Vegas Strip, the book was nonetheless republished five years later in a revised, more modest in size, paperback edition using Baskerville Old Face (see below the cover of Aron Vinegar's 2012 study I Am A Monument for a comparison).

The title, here set in tightly-spaced Caslon 540 caps, is printed directly on the cover, underneath a photograph taken during the infamous 1968 field trip to Las Vegas which sparked Venturi et al.'s controversial demolition of the modernist architectural and urbanistic dogma. The jacket, made of thick, translucent glassine, carries the titles of every chapter in the book, typeset in Univers. Univers is also used, in a much smaller size, for the two columns of promotional blurb framing the photograph.

There has been a significant amount of publishing activity around Learning from Las Vegas and Cooper's work in recent years, starting in 2008 with the remarkable Las Vegas Studio. As well as putting out a facsimile reprint of the first edition, MIT Press has recently celebrated the life and work of Muriel Cooper in a lavish monograph written by David Reinfurt and Robert Wiesenberger.

Hippocampe is a critical newspaper that collects book reviews, interviews, exhibition reviews, investigations … Contemporary poetry, radio, photography is discussed as well as literature, visual arts, philosophy, architecture, comics or the evolution of media.

La Lettre du Musée is edited by the Museum of printing and graphic communication in Lyon. Available as PDF.

“For Mario und der Zauberer we designed the programm-booklet La voce di Torre disguised as newspaper. As far the play is located in coffee house it seemed a reasonable idea to give the audience a informative newspaper in hands.” — Fons Hickmann

The Dancing Bear is back in town! He’s rocking on wallpapers, in movie theatres, on the tube and on facebook. His mission is the promotion of the multifaceted Berlin dance scene. — tanzraumberlin.de

Works That Work is an “international magazine for the curious mind, intending to surprise its readers with a rich mix of diverse subjects connected by the theme of unexpected creativity that improved our lives.” It was launched in February 2013 by Peter Biľak, publisher and typeface designer in The Hague, NL. In an article about the project on his company’s website Typotheque, Bilak says “and as strange as it may seem, one of the first things that I started working on was its typeface.” Well, this doesn't sound surprising at all, at least not if you know Biľak just a little bit. He continues:

It was clear from the start that Works That Work would be an […] ambitious project: not only would it stretch across multiple platforms (online, eBook, PDF and print), but its content would also be available in various configurations. The typeface would be the sole constant characteristic, identifying the magazine regardless of whether a reader purchased a single article online or a complete issue in print. I wanted the typeface to be the voice of WTW — confident enough not to need to show off, with the comfortable, relaxed manner of an engaged storyteller, ready to handle long stories, but also small captions or titles. I named it Lava.

Shortly before the magazine was announced, I approached Susana Carvalho and Kai Bernau and asked them to design it. The design brief I gave them was unusual in that its sole stipulation was Lava; everything else was left up to them. […] After over a year of testing, we now feel confident enough to release Lava publicly as a no-nonsense workhorse typeface that can handle large quantities of text with ease.

Read on in the detailed article about the design of Lava and Works That Work on Typotheque.

Lava webfonts perform well on high- and low-resolution screens.

Works That Work is available in various digital format, also using Lava onscreen.

Inventing the Modern World, by J Busch and C Futter, a catalog for an exhibition of artifacts from World's Fairs. The light version of Stag isn't seen as often as bolder weights.

Images below are from MGMT.

Catalogue covering Mark Manders' double solo show "Isolated Rooms" at The Art Institute of Chicago and The Renaissance Society at The University of Chicago (9.13.2003 -1.4.2004). The book (184 pp.) is accompanied by a exhibition checklist and a 56 pp. reference book. Compilation and design: Roger Willems and Mark Manders. Texts by: James Cuno and Susanne Ghez, James Rondeau, Dieter Roelstraete, Mark Manders and Marije Langelaar.