SÜPER NORMAL is a magazine that focuses on typography but also on all design areas that typography touches. In doing so, it is a publication that includes experimental designs as well as text, asking questions, investigating, and visualizing these within each issue’s specific theme. It is a space that contemplates what normal is, searches for movement and excitement within normality, and questions ordinariness and rules.

The theme of the first issue is “Is it readable?” (“Okunuyor mu?” in Turkish). Inspired by the question, the first issue establishes a visual language that challenges norms and rules.

Idea, design and direction by Emre Parlak, using ABC Diatype Plus Variable.

The participants in issue 01 were Ali Emre Doğramacı, Christopher Çolak, Deniz Cem Önduygu, Emre Parlak, Erman Yılmaz, Esen Karol, E S Kibele Yarman, İbrahim Kaçtıoğlu, Onur Yazıcıgil, Okay Karadayılar, Ruslan Abasov, Sabri Akın, Seda Yüksel, and Umut Altıntaş.

The magazine was printed by Ofset Yapımevi on Fuoriso Magno Volume paper (115 g/m²). Close-up photographs by Deniz Cem Önduygu. Many thanks to Dinamo for the font support, Ofset Yapımevi for printing support, and all the participants who made the magazine possible.

Spread with a design by Sabri Akın

Text on the left in ABC Diatype Semi-Mono. The visual on the right is by Ruslan Abasov.

Spread with the contribution by Okay Karadayılar

SPQR Now, Imaginarios contemporáneos en torno a la antigua Roma (“SPQR Now, Contemporary Imaginaries of Ancient Rome”) was written by Tono Vizcaíno Estevan and published by Sans Soleil Ediciones, in a design by Carles Rodrigo Monzó.

During his fellowship at the Real Academia de España en Roma (Spanish Academy in Rome), archaeologist Tono Vizcaíno Estevan conducted research on the contemporary reception of the classical past. Its aim is to analyze the new languages generated by the confluence of Archeology and mass culture in the 21st century Rome.

This intersection serves as the foundation of the book’s design concept, blending ancient with contemporary inspired elements to create this contrast that defines its identity.

The 16:9 book format, like the standard mobile proportions, reflects how we perceive the world today; the embossing of a marble jpg, distorted by an internet-sharing error, adds a feeling of pixelated rocky surface; a typeface that merges classical elegance with a contemporary edge evokes a grandiloquent yet unmistakably Roman aesthetic; and the inner page layouts draw inspiration from romantic old-fashioned designs with a brutalist twist.

From the press release:

(...) MAC VAL (Musée d'Art Contemporain du Val-de-Marne) has undertaken a major investigation into the subject of the “fait-divers”, resulting in a major exhibition bringing together 80 artists from a wide range of backgrounds and formal practices. (...) The inspiration for the theme came from Roland Barthes‘ essay Structure of the Fait-Divers (1964). Described by the semiologist as the “unorganized discard of news,” the fait-divers help us to name and identify the aberrant causalities and coincidental relationships that disrupt everyday life.

The bilingual French-English exhibition catalog for Faits divers was designed by Félicité Landrivon. The typographic design features a range of typefaces, including KTF Rublena, KTF Metro Roman, and KTF Metro Blueline, all by Kyiv Type Foundry. The dot matrix font seen on the cover, the inner flaps and elsewhere is WL Rasteroids by Writ Large. The italic on the cover comes from 205TF’s Exposure, which is also used in upright form for the text inside the book, alongside Fluxisch Else, OSP-foundry’s digitization of the Selectric version of Univers. The monospaced font is GUST’s Latin Modern Typewriter. Credits at the end are set in Transducer by JTD Type. In addition, Landrivon used a few other fonts just once for titles, but these are not displayed here and are therefore not listed.

256 pages, 268 images, 20×27 cm. See more images on the designer’s Instagram account.

The title on the right pairs KTF Rublena with Exposure Italic and handwriting.

Outlined KTF Metro Roman for “Murder is a design hobby”

Text page set in Exposure

The list of contributors on the left combines KTF Rublena with Fluxisch Else.

Latin Modern Typewriter for the description of the MAC VAL, with Transducer for the credits

The alphabetic list of words on the back cover uses all-caps WL Rasteroids.

Time to Play, published by Archipress Editions, was conceived and edited by SCAU Architecture. The book was art directed and designed by Neo Neo, with the assistance of Mateo Broillet, and features illustrations by Stephen Vuillemin. It was typeset in HAL Timezone (HAL Typefaces) as well as a custom headline font, ES Playtime, produced by Extraset. The book was printed in Italy by Musumeci Printing Atelier.

From the publisher’s website:

In the run-up to the Paris 2024 Olympic Games, Time to Play explores the many facets of play in order to understand how it shapes our cities and our societies. The pages of this exquisite corpse include texts on the experience of grieving in video games, play therapy in psychiatric asylums, bigorexia or the practice of sport to excess, the unbalanced rules of the international trade game, the porous boundaries between sporting fervor and sacred rites, the great history of color and its symbolism in sports, the architecture of addiction with casinos, the dangers of online betting, gender equality in French sports, parkour and skateboarding or the art of reclaiming the city, etc.

Time to Play is a project born of the desire to talk about play through playing, in a free interpretation of the exquisite corpse game: here, the authors do not continue the work of the other guests, but each composes his or her own score, all brought together in this polyphonic ensemble. Interviews, photo reports, illustrations, analyses, essays, articles, excerpts… the game is analyzed here in a variety of forms, according to each guest’s approach. All with the aim of offering readers the freedom to divide up their reading as they see fit.

Tiquismiquis.club was responsible for the design of the ADG Laus 2024 annual, showcasing the award-winning projects from the latest edition of the ADG Laus Awards in one book, as well as the 2024 honorary awards in another, landscape format publication. The Laus Honor Award was presented to Enric Satué and the Laus Companies and Entities Award was given to Vila Viniteca. Beyond serving as a compilation of projects, the books provide insights into the main trends and the current state of graphic design and visual communication.

The concept originates from two everyday questions: What is your name? and Where are you from? These questions were used to establish a more personal connection and reflect on how an individual’s origin and experiences enrich design. From this perspective, design is seen as something that does not occur in a vacuum; it is deeply influenced by the stories of people and the places they inhabit. This idea guided the entire creative process and runs through the editorial piece as a whole.

The focus on territoriality aims to emphasize diversity, identity, and human connections. While certain locations have played a key role in the development of the design industry, the book also seeks to draw attention to other territories that contribute to enriching the field. This publication approaches design from a human perspective, highlighting how places and people intertwine. To convey this, graphic resources were used, such as textures from various geographical points, meridians (understood as lines that connect rather than divide), non-political maps, and directories. These elements are designed to showcase how design draws inspiration from its surroundings and the stories that shape it.

The typefaces used are Neue Haas Grotesk (the corporate typeface of ADG-FAD) combined with Stanley. We wanted to retain the association's corporate typeface and combine it with another to create contrast between the two, while also giving personality to the publication.

A redesigned identity for the 25th anniversary of publisher Éditions de La Pastèque. The developed identity is playful and varied, to represent the diversity of the publisher’s offering, which includes children’s books as well as non-fiction for teenagers and comics for adults.

I used my own typeface Large Roman (available from my Alexandre Créquer foundry) for my school thesis at LAAB Rennes. Fais Pas Genre deals with representation of women in hip-hop music. Large is paired with Newsreader from Production Type for body text. Printed at Copyright 35, Rennes, and handbound by myself.