Catalog for the exhibition Francis Bacon: The Beauty of Meat at the Museu de Arte de São Paulo Assis Chateaubriand, dedicated to the work of Francis Bacon. The publication references art books from the 1950s, featuring a color photograph inset into a bas-relief cradle on a Colorplus-coated cover, with the artist’s name and the top edge in silver hot stamping. Fold-out pages reveal Bacon’s sequential works, reinforcing the sense of repetition and variation present in the painter’s practice.

While the book draws on traditional art publishing formats, the typography is rooted in contemporary queer typographic research. DINdong by Clara Sambot and Adelphe by Eugénie Bidaut and Bye Bye Binary introduce forms that shift normative structures, creating a dialogue with the contrast between control and distortion present in Bacon’s work.

Captions pair DINdong with ABC Favorit.

Exhibition poster, 36×48 inches

Where Nothing Has Ever Happened is an exhibition at the Gelman Gallery in the RISD Museum that proposes a pace shift, a reorientation toward the quiet and the barely perceptible. The works selected resist sensory hierarchy, delay knowing, and invite viewers to perceive the speculative, the out–of–focus, and the fragile. It is in this space of openness between seeing and sensing that clarity dissolves, yet new connections arise in the internal drift.

The exhibition was curated by Andrea Mato, Dahlia Aggarwal, and Kyle Dong. Andrea Mato also provided the graphic design, using Adobe Caslon and Neue Haas Grotesk.

Featuring work from: Andrea Mato, Anne Kim, Anthony Zhang, Asha Postins, Ashley Natasha Bedet, Charlston Britton, Dahlia Aggarwal, Daisy Benardo, Edgar Solórzano, Elle Wall, Elliott Golden, Izzie Middleton, Jasper Donner, Jiho Kim, Josephine Truscott, Kevin Tomas, Kyle Gyumin Dong, Leah Baron, Lingyi Hu (Ada), Mahrukh Khizar, Marky Salvati, Meka Tome, Minsik Joo, Natalia Kapitan, Nathaniel Campos, Olivia Saporito, Phoebe Quin Kong, Siran Liu, Tamar Chameides, and Vida Zamora, and Wenhan Hu.

Vinyl graphic, installation view, featuring An Amber Landscape by Edgar Solórzano

Installation view. Works pictured: δ_#01, Wenhan Hu; geometry (i), Vida Zamora; Piano Key A: a portrait of my late aunt Anna, Natalia Kapitan; Untitled, Marky Salvati; Beak Knots, Siran Liu; If I Change The Mirror, Can I Change The Reflected?, Leah Baron.

Exhibition postcards, 5.5×8.5 inches

Exhibition catalog featuring artworks from Marky Salvati and Meka Tome; 36 pages, 7×10 inches

Exhibition catalog featuring artworks from Edgar Solórzano

Exhibition catalog featuring artworks from Olivia Saporito

Installation view. Works pictured: Ellipsis, Izzie Middleton; Soft Rock, Dahlia Aggarwal; Memory in Three, Asha Postins; Sunrise Sunset no.1, Anne Yeoji Kim; 19:30–30 November w2025, Lingyi Hu (Ada).

Spray paint on acrylic

Installation view. Works pictured: Window Treatment, Ashley Natasha Bedet; de_re_construction.indd, Andrea Mato.

Published to accompany the 2023 exhibition at MASP (São Paulo Museum of Art), this book is the first monograph on the Huni Kuin Artists’ Movement (MAHKU). Founded in 2013, the group began its work by translating traditional songs of the Huni Kuin people into figurative drawings, developed in Indigenous teaching degree courses at the Federal University of Acre (UFAC). The group’s paintings derive both from these translations and recordings of songs, myths, and ancestral stories, as well as from the visual experiences generated by the nixi pae rituals—which involve the ingestion of ayahuasca and are referred to as mirações (“visions”), the title of the project.

The bilingual book (Portuguese/English) also features transcriptions of Huni Kuin songs and myths, along with essays on the history and meaning of the collective’s practices and representations, complemented by reproductions of much of their visual production.

Graphic motifs inspired by the skin of the boa constrictor—a central theme in the group’s songs, paintings, and drawings—run throughout many of the works and were adapted into a geometric pattern framing every page of the book. The title on the cover is printed in glossy screen printing, using the geometric typeface Tokyto. This font’s design, also used for the artwork titles and section openings, is composed exclusively of diagonals and steps, without curves, referencing the graphic motifs presented throughout the catalog.

Book about the work from Colombian artist Luis Roldán with black-and-white pen drawings. Designer Nicolas Consuegra of Postscript used Maroni Regular for titles next to Romain BP Headline (see SangBleu OG Serif) for running text. Big Maroni Initials are used throughout the text, paired with the serif typeface.

Deadlift is a booklet designed to accompany the exhibition by Nadia Perlov, presented at Kunstverein Grafschaft Bentheim. The exhibition brought together sculptural installations, archival material, video, drawing, and collage to reflect on the layered history of Jerusalem’s Mamilla Cemetery and its transformation over time. The publication extends this atmosphere into print, functioning less as a conventional catalogue and more as a quiet spatial and narrative companion to the works on view.

Netbus, used for the titles in both the booklet and the exhibition poster, anchors the visual identity with a firm presence. Its carved, somewhat archaic character subtly echoes the historical depth of Jerusalem and the ancient origins of the cemetery. Bookmania carries the body text as well as the captions, lending the publication a warmer, literary tone that supports the archival and essayistic material. Suisse Int’l appears in the numerals and conversational initials, introducing a neutral structural layer that organizes timelines, references, and shifts in voice. Together, the three typefaces establish a restrained hierarchy that mirrors the exhibition’s balance between material weight and historical fragility.

Stepping Softly on the Earth is a research-led exhibition featuring the work of twenty artists, most of them non-Western and Indigenous. Presented at the Northumbria University Gallery at Baltic, the exhibition invites visitors to reflect on human relationships with land and territory from decolonial and anti-colonial perspectives. It brings together artistic practices that understand the world as a pluriverse – a reality in which many worlds coexist and support one another, where all beings are interconnected and the separation between humans and nature dissolves.

The works address themes such as ancestral cosmovisions, spirituality, inter-species communication, embodied knowledge, oral traditions, autonomy, mapping and legal frameworks. The exhibition title revisits a passage cited by Indigenous activist, writer and thinker Ailton Krenak in his 2022 book Ancestral Future. Krenak refers to a speech attributed to Chief Seattle (c.1786–1866), in which he says that his people “step softly on the Earth” because they are deeply connected to it, and invites colonisers to teach their children to do the same.

The catalog adopts a graphic language structured around expressive typography and a restrained color palette, which together organize the visual identity of the publication. The central element of the design is an angular, fragmented typography, Backslanted, used for the cover and section titles. Its geometric forms approach drawing as much as writing, suggesting multiple visual traditions while moving away from a neutral or institutional Western typographic language.

The color palette is based mainly on two tones, an earthy red and an intense yellow, applied as gradients across page backgrounds and edges. These fields of color evoke natural elements such as earth, sunlight and atmosphere, and function as visual environments that move through the book, creating continuity between different sections. The materiality of the object also reinforces the project’s conceptual framework: the exposed sewn binding and the earthy-toned cover emphasize the physicality of the book, suggesting a tactile and crafted quality. The texts are set in Gal Gothic, a Brazilian sans-serif typeface with subtle stroke contrast.

Mothering Myths: An ABC of Art, Birth and Care is a 300-page book by Laurie Cluitmans and Heske ten Cate. It was designed by Bart de Baets in a softcover 24×32 cm format and published by Valiz (Amsterdam):

Motherhood is a theme that touches upon the core of life, but has nevertheless been kept in the private sphere, haunted by clichés, stigmas and myths for a long time. Motherhood has always been seen as trivial, not as a subject for real art. At the same time, artists with a womb faced the cliché that they had to decide between making art or having a child, as they both would take up all the time and energy of the mother.

Mothering Myths unravels these clichés, stigmas and myths, through the lens of art, and a transhistorical and intersectional perspective, at the same time being very playful and open to many interpretations. It breaks the perspective of the individual mother-figure and makes space for collectivity, different forms of ‘mothering’ and political questions around self-determination. Mothering Myths presents the emancipatory nature of the artist- mother, the voluntarily childless woman, the non-female mother and the raven mother, through concepts as kinship, revolutionary parenting, womb consciousness and reproductive justice.

Vitamiin in use for Hüvasti, noorus! / Bye-bye, Youth! – an exhibition and a publication by the Estonian Health Museum, curated by Ülle Kask and Anna Rinaldo. Graphic design by Viktor Gurov with Martin Merirand, exhibition architecture by Valge Kuup Studio.

From the museum’s website:

No one remains indifferent to aging. Each person has a deeply personal and unique relationship with it. For some, it signals a gradual retreat from active life, while for others, it brings newfound freedom and the joy of new challenges.

Candid reflections by Laura Kalle, Marju Karin, Haide Männamäe, Toomas Tross, Valner Valme, Tõnu Õnnepalu, Helgi Põllo, and Margus Mikomägi offer a chance to connect with different aspects of aging and to seek balance and meaning at every stage of life.

Civa describes itself as follows:

The Civa media art festival highlights the interplay between contemporary technologies, realities, and experiences across digital, physical, and hybrid spaces. This year’s festival and exhibition, |indeterminate⟩⟨apparatus|, focuses on the realm of quantum physics. […] The artists engage with quantum concepts through poetic gestures, multi-layered embodied experiences, and playful abstraction. The festival is hosted by Belvedere 21.

Designer Manuel Radde took care of the exhibition design with Gerald Moser, and of the catalog design with Philipp Doringer. They chose NaN Display in Text and Display styles together with the newer NaN Tragedy Display Mono for the scenography, the website and the catalog. The use of pipes and chevrons in the exhibition name seems to insist on its scientific / technical theme.

The all-caps titles of the book, with their dynamic left-and-right alignments look like a missed opportunity to align characters between all lines on the rigid grid of the monospaced font.

A scanned picture of a book with a photographic picture of an exhibition showing the exhibition's scenography on the further wall in the picture. We need to go deeper.

Published by Éditions de La Martinière, this book brings together a wide range of writings by women artists—letters, diaries, memoirs, interviews, manifestos, and theoretical essays. It features the voices of forty women active in a vibrant, cosmopolitan Paris from the Belle Époque to the eve of the Second World War, both famous and little-known, from Berthe Morisot and Camille Claudel to Sarah Bernhardt, Nina Hamnett, and Amrita Sher-Gil. Organized around the key stages of an artistic career—training, perseverance, self-organization, and self-assertion—the book sheds light on their individual paths, shaped by ambition, desire, struggle, hardship, and success.

The texts were compiled and introduced by Lucia Pesapane and Delphine Wanes. The publication was overseen by Camille Morineau, AWARE, and Mathilde de Croix.

The titles of this book, designed by the French graphic designer Lisa Sturacci, are set in Louize Display Cond (Matthieu Cortat, 205TF), while the body text is set in Martina Plantijn (Kris Sowersby, Klim Type Foundry).

During the exhibition Être Méditerranée / Being Mediterranean at the MO.CO., visitors were invited to discover the Mediterranean coasts to reflect upon art, history, archeology and heritage. Around 40 artworks were displayed.

The show opened conversations about politics and identity, while showcasing the rich Mediterranean culture. The catalog includes pictures from the Montpellier-based museum and texts written by Rahmouna Boutayeb and Numa Hambursin. It was published by SilvanaEditoriale.

About 40 artworks were gathered in MO.CO Montpellier Contemporain.

This book by Ernst Gombrich presents the history of art from the Stone Age to the 20th century, told in the simplest terms. All Russian-language editions of The Story of Art (in Russian: История искусства) available today are quite bulky and not really convenient to handle. This was the reason why the HSE Art and Design School student came up with the idea of designing a non-bulky version — a handy-sized book and a website where you can view in detail all the images mentioned in the book. The project’s typography is executed using Trola by Jordi Embodas.

Bruno Tomberg. Disaini leiutamine / Invention of Design was an extensive retrospective exhibition and monograph of Bruno Tomberg’s work at the Estonian Museum of Applied Art and Design in Tallinn, curated by Kai Lobjakas. The exhibition offered an overview of Tomberg’s nearly six-decade-long career, exploring for the first time in greater depth his roles as both designer and educator. It also brought a wealth of previously unknown and unexhibited materials to the public.

Bruno Tomberg (1926–2021) was an interior architect, designer, artist and educator, recognised as a leading voice in Estonian design during its intense development from the early 1960s onward. Through his diverse creative, pedagogical and administrative activities, he embodies the story of Estonian applied art and design.

For this occasion, the display typeface Bruno 100 was created by Tüpokompanii. The font is based on Tomberg’s poster designs from the 1970s, strongly reflecting his style as a product and interior designer where diagonal lines and rhombic shapes were frequent motifs throughout his career. A fuzzy texture was added to the type in the graphic design (by Indrek Sirkel), and exhibition wall texts were roll-painted over stencils to achieve a fabric-like surface to echo the materiality of Tomberg’s textile work and rug designs. The accompanying typeface is Ladna.

While Bruno 100 was custom-made for this project, it can be licensed to the public, so feel free to reach out to Tüpokompanii if you’d like to use it.

Focusing on contributions that explore composites as art and design forms, as research methodologies and practices, and/or as theoretical concepts, issue 60 of the review Azimuts – Design Art Recherche proposes that composites can be understood as a mode of presentation or representation of realities. Different hypotheses have been explored by the researchers and creators gathered here.

Reading their proposals, we can consider that their narratives define composites either as smooth, since the glue that aggregates the various components is invisible, or as rough because the glue, conversely, is visible.

Thus, this issue of Azimuts proposes, through the authors, to understand and define the specific materialities of this glue in that it is a binder, negotiating relationships. It is then a question of considering these sticky materials as a space, a transition, a break, or even a silence. Or, to quote novelist, poet and philosopher Édouard Glissant, “as a relationship, an opposition or a consequence”.

It is published by École supérieure d’art et design de Saint‑Étienne.

On the occasion of her exhibition Total at Lafayette Anticipations, this catalog traces the practice of artist Martine Syms (b. 1988). Between intimate references, historical archives, cultural representations of blackness, feminist history, and invocations of spirituality, Total is a survey of the artist’s creative production and artistic sensivity since her career start in 2002.

Text by Guillaume Houzé, Rebecca Lamarche-Vadel, Claudia Rankine, Hannah Black, and Martine Syms. Edited by Antonine Scali Ringwald, and Martine Syms.

Русские в Африке (“Russians in Africa”) is a book that explores — through art, poetry, and philosophy — how Soviet Russia of the mid-20th century tried to understand the culture of African countries. The book, published in 2023 by ABCDesign, was designed by Katya Yumasheva. The typography in the publication is executed using CSTM Xprmntl 02 Bold by CSTM Fonts and Geometria by Brownfox.

The design of this third volume for Galpão da Lapa was developed in close connection with the exhibition design for Apaixonados (“Passionate”). The show brought together works by contemporary Brazilian artists in a display that emphasized interaction, both among the artworks and with the space, sometimes by affinity and sometimes by contrast. This dynamic was spatially translated into a layout of curved concrete-block walls, shaping the exhibition space into zones of pause and interaction, where voids, textures, and shadows also played an active role in the narrative.

The book seeks to reflect this same spatial and poetic logic in its graphic and material structure. The dust jacket, featuring a die-cut pattern derived from the architectural design, acts much like the perforated walls of the exhibition: at times revealing, at others concealing images and information, creating layers of reading and points of contact between content and materiality. The choice of papers was fundamental to support this concept.

We selected a black 290 g/m² paper for the dust jacket for its solid color and natural texture, which allows for precise die-cutting without exposing white corners, while preserving structural integrity – reinforcing the idea of shadow and material presence, also central to the exhibition design – while alluding to the negative spaces formed by the curved walls. For the cover, a warm gray 120 g/m² paper was chosen for its texture and subtle tone, echoing the color of the exhibition walls and allowing for black offset printing of the title and artist names, partially hidden beneath the dust jacket, which carries only a white silkscreen print on the spine.

Inside, the book alternates between a coated paper – ensuring high-quality image reproduction – and an uncoated off-white paper for the first and last sections. These opening and closing pages feature more abstract, black-and-white details of the artworks, marking the beginning and end of the book with purely graphic interludes.

These choices align with the architectural concept of Galpão da Lapa, a former 19th-century industrial warehouse in São Paulo’s Lapa neighborhood, repurposed to host temporary exhibitions of Brazilian contemporary art. The publication is part of a bilingual series (Portuguese and English) documenting the exhibitions held in the space. Each volume was designed to establish a specific graphic relationship with the curatorial and spatial proposal of its show. In this edition, the book assumes a more tactile, sensorial character, functioning not only as a visual documentation, but as a physical object that carries, within its materiality and graphic structure, the concept of the exhibition and the identity of the space itself.

The book was one of the winners of the AIGA 50 Books | 50 Covers of 2024.

Photos: Nino Andrés and Allec Gomes

Friday Bird is an art gallery opened in 2024 in Berlin by Nicola E. Petek and Nora Vogel. They specialize in works on paper and original art prints.

The logo of the gallery, created by Katja Koeberlin, uses NaN Tresor and shows off one of its swash alternates for the second R of the name, with its long leg extended under the baseline. The logo was made as a woodcut for the signature gift cards of the gallery.

For the exhibition dedicated to artist Dennis Scholl, I Called Your Name from Beyond the Stars, a catalog was published showcasing the works alongside texts extracted from the Bible. The catalog makes extensive use of NaN Tresor together with Work Sans for contrast.

Cover of the German-language edition

Description of the project by Sammlung Wemhöner:

The catalogue Follow Me Behind the Mirror. Positions of the Wemhöner Collection highlights the impressive breadth of the Wemhöner collection through Philipp Bollmann’s curatorial eye, replacing conventional order with associative juxtapositions. Showcasing a selection of around 400 works from the much larger collection, Bollmann’s dialogical approach opens up new perspectives and underscores its complexity.

This book contains works of numerous artists, including Marina Abramović, Nevin Aladag, Kader Attia, Georg Baselitz, Hans Op de Beeck, and many more. It was published by Distanz.

Cover of the English-language edition

Dongtan Station Art Station_MARS 151 is an art project that imagines a journey from Hwaseong, a city on Earth, to Mars, a planet in the universe. Through this journey, visitors are invited to envision a sustainable future through art.

In Korean, the name of the city Hwaseong (화성) refers both to the city where Dongtan Station is located and the planet Mars. This shared pronunciation creates a poetic link between reality and imagination.

The number 151 refers to Dongtan Station’s address (151 Dongtan-yeok-ro), a major transportation hub, while MARS symbolises an alternative planet envisioned by humanity.

Over three weeks of exhibitions, performances, lectures, and children’s workshops, Dongtan Station was transformed into the boarding platform of the Eco Spaceship MARS 151.

The project’s visual identity, designed by studio moonanhan, features a dynamic key image that conveys a sense of motion through time and space. The accompanying poster series combines tactile visual textures that invite multiple interpretations in line with the exhibition’s concept. Recognising the symbolic importance of Dongtan Station within the project, the design also visually emphasises B4, Dongtan Station.

For the main title, Hofmann by Nguyen Gobber was selected for its bold, futuristic character. The fluid curves of these Latin letters are contrasted by the rather straight geometric lines of the figures, which are set in Slight Chance by David Jonathan Ross. Dates are set in PF Expo by Parachute Type Foundry, and all Korean text was set in Noto Sans KR by Sandoll, and Pretendard by Hyung-jin Kil.