This book compiles Cypriot artist Marianna Christofides’s decade-long project, a multimedia excavation of the geopolitical fractures of the Balkans. Initially realized as a film, the project has evolved into a multichannel film, a site-specific audio installation, silkscreens, a light sculpture, texts and more. This book reunites eight essays, works and photographs, articulated with five different papers. In the layout, the rhythm of BVH Anto Rounded Mono highlights the smoothness of Untitled Serif.

Passage dans la Petite Couronne is a zine showing a project of French photographer Hugo Denis-Queinec. The Petite Couronne (or Little Crown) designates the three closest departments of the suburbs of Paris: Hauts-de-Seine, Seine-Saint-Denis, and Val-de-Marne. Each of them has its specificities, and they often contrast with one another: while one of them is known for being one of the poorest French departments with the highest rate of emigrated population, the other is known for its wealth and as the home of many political celebrities. Nevertheless, one thing reunites them all: the special in-between feeling particular to suburban cities. The zine is published as the second of three volumes and was presented at the Printed Matter art book fair, New York, and at P38 Gallery, Paris.

Atelier Choque Le Goff designed a medium format booklet of 195×255 mm: big enough for the reader to be taken into the pictures, while still being easy to handle. We dive into forty pages exclusively composed of photographs; portraits, details or landscapes all together, representing different aspects of the Petite Couronne.

For the cover of the zine, the graphic designers chose to set the title with Signal Compressed from Production Type, accompanied by small type in Courier. The book deals with the idea of territory, so using a typeface inspired by the French highway signage is relevant, furthermore when we know that living in the suburbs often implies having a car. On the other hand – in French as well as in English – the word “passage” means going through something, or a tight way: the compressed style of Signal evokes this idea of a narrow path followed into this area.

Strife is a balanced collection of powerful songs, reminiscent of the early proto-punk era. Flight To Dubai have stayed true to their rock and roll roots, personalising the style with their stoic, dark lyricism delivered through the front man’s bellowing baritone as heard on prior releases.

To design the cover of this record, Beau Hardy used the typefaces Louize Display, Theinhardt and Courier.

[More info on Discogs]

This monograph edited by Vincent Romagny and Hugo Pernet, designed by Bureau 205 and published by Éditions 205 presents Frédéric Houvert’s work over fifteen years, through his relationship with the notions of ornament, decoration and abstraction. It’s punctuated by four “albums” of images that bring together the different media used by the artist (painting, sculpture, photography, and drawing).

Bureau 205 used the typefaces Zénith designed by Matthieu Cortat and Album Sans by Thomas Huot-Marchand, both published by 205TF.

Provence Art Contemporain is an organization that unites all art museums, galleries and residencies in the region of Provence, France. Each year, they organize a festival sharing the same acronym, PAC, called Printemps de l’Art Contemporain (“Spring of Contemporary Art”). Started in 2009, the festival takes place in different places of the region, whether in the city or in the breathtaking natural landscapes that we find there. The festival combines exhibitions and events such as performances and concerts, while also offering art tours for a whole day.

For its 13th edition, the PAC is subtitled “Cet incessant désir de récolte”: there lies an ambiguity as much in the French as in the translation. An English version might read: “This incessant desire of yield”, and then refer to the harvest of this rich region; but you could also translate récolte to “collecting”. This double interpretation pays homage to the region of Provence and at the same time opens up towards contemporary practices of art where the principle of collection is more and more visible.

Graphic designers Léna Araguas and Alaric Garnier played on this ambiguity and designed an identity where elements seem to be constantly adding up. We see different kinds of material finding their place on a common background, consisting of the acronym PAC on a yellow background. First, the subtitle, where each word is considered as a material unity and seems to be played with, in order to create different linear patterns into the format. For social media, this initial yellow space welcomes pictures of artworks which seem to be thrown carelessly on a surface: we can identify the potential untidiness of a compulsive collection, as if the collector emptied their pockets on the table, after having been on the prowl.

This principle is grounded by the use of two typefaces: Mars and Cardinal Fruit Italic from Production Type. Mars was designed by Alaric Garnier himself and fits well into the imaginary of a vernacular Provence, where signs of the 1950s and 60s are still very much visible. It’s featured with custom angular alternates for the letters of the “PAC” acronym. Cardinal Fruit is used for the phrase “Cet incessant désir de récolte” and contrasts with the very steady sans serif: its dancing italics and its very tight width evoke this instability and the flurry of a collector who is always on the hunt for the next object. This is very much visible in all multimedia visuals created for the identity: whether in small animations, where the words of the subtitle appear one after another, or in the website, where the hover effect makes the pictures appear and disappear.

We worked with Cleo Valentine for the release of her first track “Thinking About It”. It has a very ethereal vibe to it, definitely a challening song to work to, but a beautiful outcome. We used Canela Thin for the main title. For details we used Neue Haas Grotesk.

From the HIAS website:

The Hamburg Institute for Advanced Study (HIAS) hosts outstanding scholars and researchers, as well as representatives of both the visual and the performing arts, who will find an interdisciplinary space of research and exchange in Hamburg, Germany. HIAS promotes scholarship and research in the fields of the Humanities and Social Sciences, Life Sciences, Natural Sciences, Engineering and the Arts.

Surt is used throughout in a few weights.

Since 2010, Élodie Petit and Marguerin Le Louvier write sexual and political poems. Associated under the name Éditions Douteuses, they self-publish their works through A5 or A6 format zines, printed in black on neon or colored paper. The poems were distributed during performances, in micro-editions events, globally in alternative circuits. After a decade of publishing, Anthologie Douteuses brings together all these publications in one book, where we can trace the chronological evolution of the authors’ literary expression.

Alaric Garnier and Léna Araguas designed a book that keeps the codes of zines in an indirect means. The usual neon paper on which zines were photocopied is found back in the neon pink cover, while the whole interior is printed in black on white paper. Even though out of standard in proportions, the book is still a small format and can be carried around easily. Some details take the publication out of the low budget self-publishing codes. The title is printed in silver hot foil stamping and the half-title page is embossed: these aspects not only give the publication a bibliophilic quality, they also work at giving an impression of a decadent nobility. We have in hands a small and precious erotic book, that back in the times, were ornamented and flourished by the few who could offer themselves this guilty pleasure.

The designer duo chose to set the book in Kessler Super Display, Kessler Text, and the brand new Kessler Text Mono, designed by Alaric Garnier and distributed by Production Type. Therefore, the book shows a diversity of style while keeping the same spirit all along: one of subverted classicism, that at the same time brings irony and fiercely grasps on this legacy to take its assertive power. Anthologie Douteuses (2010–2020) was published by Rotolux Press, together with a poster.

Embossing die.

Promotional poster.

From publisher Pioneer Works:

How can we co-opt digital tools to build a more beautiful future? In the spring of 2020—amidst a global pandemic, economic depression, and transformational movement for racial equity—we talked to artists and activists about tech’s potential to help reinvent our shared realities. Published by Pioneer Works Press in collaboration with The Creative Independent and Are.na, Software for Artists Book: Building Better Realities is edited by Willa Köerner, and features contributions from Salome Asega, Stephanie Dinkins, Grayson Earle, ann haeyoung, Rindon Johnson, Ryan Kuo, and Tsige Tafesse—plus 47 Digital Diary entries from our community.

This book was made collaboratively with Pioneer Works' Tommy Martinez and Daniel Kent, with help from Leo Shaw and Charles Broskoski of Are.na. For the typography, Daniel Kent used BallPill by Benoît Bodhuin, paired with Suisse Works and Suisse Int’l from Swiss Typefaces.

Softcover, 128 pages, 120×210mm

Box and spine view

Founded in 1900, Nikken Sekkei is a world leader in architectural innovation, urban planning and technology. Instrumental in achieving the modernization of Japan itself, the company is both a national icon and a renowned international creator of architectural, engineering, and environmental landmarks.

This book, edited by Rosa Maria Falvo and published by Rizzoli International, is an elegant tribute to Nikken Sekkei’s remarkable achievements and contributions to world architecture over the last 120 years. A poetic, photographic journey features Nikken’s approach to timeless design: its integrated perspectives, meticulous craftsmanship, and quintessential Japanese traditions.

The book's layout is inspired by Japanese typographic traditions and clean spaces, featuring Futura – Nikken Sekkei's institutional font – and the monospaced Iki Mono in several weights.

Box and backcover detail

Double spread

Spread with index

Index detail

The O.T.W. zine is a promotional publication distributed in Vans stores throughout Brazil. It aims to reaffirm the cultural bases of the brand through interviews, articles, and images related to the three main pillars of the Vans universe: action sports (skate, surf and BMX), music, and art.

In 19×25.4 cm format, containing 100 pages printed in offset on Couché Fosco 150g and Offset 90g papers, the publication comes in a silkscreened plastic packaging, and includes three stickers.

Arial and Times New Roman used for the graphic design of Design in Conservative Times.
We aimed to create a very conservative design, mixed with modern influences.
The book has two chapters: Graphic Design and Fashion Design. This is the reason why the book has a cover on each side. From publisher Onomatopee Projects:

Design in Conservative Times tackles conservatism in and around design, challenging both designer and user to actively engage with, and reflect upon their positions within our current, politically charged landscape. The focal point of this reflection at large ranges from hands-on issues within specific practices, to the broader, more fundamental motivations that fuel them.

Within this book, Onomatopee wishes to explore the conservative currents and cadence in and around design(ed) culture. By inviting both graphic design and fashion design professionals to comment, reflect, promote, critique, provoke and/or contemplate on conservative culture in relation to their own visions, design practice and designed goods, we wish to lay bare the intricacies and dynamics of design(er) in society today. As a result, issues of feminism, decolonisation, queerness, engagement, ecology, production and preservation in relation to conservatism today come to the forefront of conversation.

Editor: Joannette van der Veer
With contributions by: Ramon Tejada, Huda Smitshuijzen-AbiFarès, Annelys De Vet, Yamuna Forzani, Studio PMS and Marjanne van Helvert

Rasender Stillstand is an artist book about Max Bresele (1944–1998). Although he was mainly known as an harsh outsider artist and one of the key figures of the anti-nuclear movement in Wackersdorf 1985, my own research revealed that behind the facade of this impulsive anti-capitalist and misfit there was also quite calm and peaceful person.

This publication attempts to show the other side of an artist who was often misunderstood and received little to no attention. The place where this side became most visible was the garden on his small property, or as he himself said, “My garden, where I can be all sister.”

Self-published in a limited edition of 25 copies, using my Karlsbader Grotesk throughout.

TorinoDesign.info is a list of design professionals from Turin (Italy) and its province. Much like a paper phone book, it collects over 360 freelancers, studios, and junior designers (recent graduates or without VAT), listed based on the professional category and the services offered.

What's refreshing about old phone books is the plainness used in displaying names and phone numbers: tens of thousands of names, sorted alphabetically. This is a rare sight in the age of algorithms, where computers decide how and if information are shown. That’s why the directory does not give visibility to the linked portfolio websites according to search engine algorithms, but lists everything democratically by alphabetical order.

Being dedicated to Torino, it makes sense for the website to pay homage to fonts originally designed in the same city, specifically by Aldo Novarese at Fonderie Nebiolo. Pairing Forma DJR and Canada Type’s Recta Condensed, TorinoDesign.info achieves the same kind of typographical contrast found in phone books.

The title of the website, doubles as main logo thanks to the custom arrow which is also used for all the links within the list.

“Sticker, Sticker on the wall – who is the fairest one of all” is an archive of stickers and inspiration. It is a collaborative and non-profit art and design project, developed by Anne Krieger for the creative mentorship program from OFFF Academy powered by Adobe, and mentored by Liza Enebeis from Studio Dumbar.

The idea is to give stickers new attention and a new place. Stickers are made to stick, to spread their message. Many stickers lie in dusty boxes in attics and basements. But even this collection is already gathering dust on a hard drive. So the purpose of this platform is to bring the stickers back to life. To provide an archive from which you can draw inspiration for your own creative work.

The website was designed by Anne Krieger using Bastardo Grotesk by Giulia Boggio. Web development by Wemove.

Century Expanded for a text-heavy ad by Chevron, with double indication for the paragraph breaks (large indents and vertical whitespace) as well as double emphasis (italics and underlines) for the key message.

Were you one of thousands of people who had auto seat belts installed at a Chevron Station in the past 3 months?
If not, do it now. We’ll put belts in your car for only $5.95 each. Installation is free.
Why are we making this non-profit offer? Because seat belts save lives. Read what the experts say about them …

Parliament: A photographic index

We live in an age of omnipresent and calculated images; what opportunity do photographers have to approach a historically charged prestigious building without the risk of being instrumentalized? Is it possible that photographs and artistic work in an empty building can say more than that the building is temporarily no longer used for its original purpose?

In a cooperation project of the University of Applied Arts Vienna with the Directorate of the Austrian Parliament, students of the Department of Applied Photography and Time-Based Media had the opportunity to investigate the historic building shortly after the parliament had moved out, and to find answers to these questions.

The result is a photographic investigation about interaction of architecture, art and politics. 782 images from the Austrian parliament building in vacancy, printed in web-fed offset on newsprint.

Authors: Parliament Directorate, Republic of Austria; Pascal Petignat, University of Applied Arts Vienna

Work in progress: unbound sheets before the binding.

Flyer for “Welcome to Greenland”, a cannabic experience by Dum Dum Studio in collaboration with High Social Dinner. Photograph by Lea Stuedahl.

Four typefaces in use: Serial A and Clarel Serif from Dum Dum Studio plus Millionaire from Altiplano and Windsor Elongated (originally from Stephenson Blake).

Les Avrils is a publishing house launched in January 2021. Its editorial direction is to publish French contemporary literature that tells stories of our time. Avril is the French word for April, the month of spring and sowings, the time of the year when everything begins, and is representative of a publishing house dedicated to publish young authors.

The identity was created by Atelier 25 and gives a fresh boost to editorial canons of literature: the covers, displaying a diversity of Pantone colors, step out of the majority of editorial propositions by their simplicity and colorful impact. The horizontal cut of the cover between the title and the author’s name remind us of the emblematic poetry collection of Éditions Nous, a reference in the publishing of audacious poetic texts from the 20th century. The contemporary turn given to the identity relies also on the use of Dr from Production Type. The geometric sans serif designed by Bureau Brut is far from literary classics, and the boldness of its construction, barley optically corrected, is much more evocative of constructivist Bauhaus traditions than even the most daring literature covers of the 1960s. Besides, the large size of the type on the covers reminds us strangely of digital logics of display. This dissociation is what makes the design of these books so contemporary: a mixture of styles and references, that makes us rethink what a novel should look like.

The website, relying on Atelier 25’s identity, was designed and programmed by Malabar Design, combing Dr with Lora. It shows a similar simplicity while playing with the interactivity proper to web design. The ergonomic interface makes us focus our attention on les Avril’s logotype, a book seen from top, whose imperfect pages tells us that literature is always about getting off the beaten track.

Stratton & Black is a website with artist interviews, performance art and book reviews made by J. Scott Stratton. The website uses IvyPresto Headline and Text for, well headlines and text.