What if AI moved at the pace of care, kinship, and curiosity?

Restless Grounds explores this question through the lens of decolonial, feminist, and relational approaches to algorithmic technologies. Born out of the Slow AI research project, it brings together insights from a year of collaborative inquiry — through the likes of sound and somatics, divination, myth-making, and archival temporalities. The publication explores slowness as a speculative, critical, and embodied mode of engaging with algorithmic technologies.

The navigation consists of small squares at the bottom of the page. Their amount refers to page numbers and readers are animated to count the squares – in the table of content as well as on the page itself – to guide themselves through the pages of the newspaper. This gesture intentionally turns the use of navigation into something inefficient and centers slowness as a guiding principle of the publication.

It was edited and conceptualized by Mariana Fernández Mora and printed by DPG Media. The design and art direction was created by Studio SMS, and set in Bianzhidai by Xiaoyuan Gao (notyourtypefoundry), Eliza by Pawel Wolowitsch (Camelot) and FreeMono by Primož Peterlin and Steve White.

From Tai Kwun Contemporary:

The panoramic exhibition Stay Connected: Art and China Since 2008 presents twenty-first century art that addresses changes in social realities in China and their impacts on the world. Framed through the dual lenses of digital technology and the manufacturing supply chain, the two chapters, titled Stay Connected: Navigating the Cloud (26 Sep 2025 to 4 Jan 2026) and the forthcoming Stay Connected: Supplying the Globe (27 Feb to 31 May 2026), trace a constellation of innovative and alternative artistic practices as well as cultural transformations during this period.

The project uses commonSans Condensed SWAP, a nonlinear variable font by notyourtypefoundry. Chinese characters are custom drawn based on the curves and non-linear animation nature of CommonSans Condensed SWAP.

The designers of Studio Pianpian He and Max Harvey comment:

In Pianpian’s hometown, Changsha, six subway lines were built in just eight years. By the time we returned in 2018, paper money had sort of disappeared. The textures of daily life, and how one perceives the country has shifted entirely when comparing it with the previous century. The early 21st century is marked by plastic surfaces, hyper-cloud networks, and mass consumption. As the curatorial foreword suggests, China itself becomes not just a subject but a concept, one that continues to shape artists’ practice and thinking.

With this in mind, we focused our reasoning on how the visual identity could reflect an environment that fosters this new generation of artists and the dramatic social transformations they navigate. The elusive cloud first led our choice of a typeface: CommonSans, designed by Gao Xiaoyuan. You might think of it as a “bubbly” or “clouded” Heiti, or a Yuanti, the ubiquitous sans serif font and rounded sans of our era, akin to Helvetica, its rounded counterpart or VAG rounded. If Heiti represents the clarity, reliability, modernity, and an emblem of mass production of this time, then CommonSans in its variable form is what remains after, post production: a worn, shaky and hazy face, yet carrying a distinct trace of its moment. Together with Wang Xuechun, we extended this idea by developing a matching Chinese variable font for a fixed amount of characters (not all the thousands), thus completing the visual identity for the exhibition.

An assemblage of artistic reflections and perspectives that grew through and together with the collective experiences of inhabiting a garden in Villa Romana, Firenze.

The book design uses Ouvrières by Laure Azizi (in affamées and agricultrices styles), Grancy by Minjong Kim, Bianzhidai (in Base and Ring styles) and Kiddo by notyourtypefoundry, FA_AAAIEMOADDP and FA_PTGWDOBSHK by Full Auto Foundry, and OPS Cubic by OPS Type. Lincoln/MITRE was used as well, but isn’t shown in the images.

The exhibition Text to Image was held at the Korea National University of Arts in Seoul in summer 2025.

The moving posters were created by conceiving the location’s media wall itself as a frame, and interpreting the content displayed on the screen as a kind of portrait, based on the text by curator Dongjong Lee. To convey the sense of an analog frame, I used commonSans from notyourtypefoundry – designed to evoke the effect of ink bleeding on paper – and hand-lettered the Korean text harmonize with it.

The exhibition title was designed by combining commonSans with Arial, a typeface that has recently come to function as an image in its own right.

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Nose is a publication cultivating olfactive curiosity. The project is described as follows:

Our first edition invites readers to tune in – smell more intentionally, more thoughtfully. It’s a gentle immersion into the vast world of scent: how it lingers in science and language, in memory, culture and everyday life. Through essays, interviews and visual work we explore the overlooked sense of smell, hoping to spark curiosity and deepen your awareness. Let this be your top note.

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Like the nature of olfaction, Nose cannot be defined by any singular thing – rather, it embraces the liminal. The magazine – printed on creamy uncoated stock – features no solid black; instead, everything exists in shades of grey. This space between black and white is symbolic of our sense of smell – deeply personal, intangible, and impossible to pin down.

The publication also adopts a framework of layered typography, introducing depth and rhythm throughout. Typography shifts between soft and sharp, light and dark – a visual echo of the elusive, multi-sensory world Nose explores.

Editors-in-Chief: Saskia Dodds-Painter and Olivia Rattray-Wood
Design and art direction: Marissa Hor and Jenny Fang
Cover: Harry Burmeister
Styling: Steph Reid
Talent: Eli Flavell
Printer: Printgraphics Printgreen

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Research and design by Anna-Lena Schmitt and Josephine Schröder in the context of a workshop format with the same name. They describe the project as follows (translated by the contributor):

We researched anger in the context of female socialisation. The aim of our work is to make anger visible. FLINTA* who have changed the world are rarely described as angry, although anger was often their driving force. Due to gender-specific historiography, FLINTA* lack both anger role models and the opportunity to be seen as such themselves.

The publication Wuträume (spaces of / for anger) documents our exploration of the topic. It takes you through the workshops and guides you through the thoughts, statements and emotions of the participants. The publication is a workshop to take away.

Set in Bastardo Grotesk by Giulia Boggio, Bianzhidai by Xiaoyuan Gao and Nomo Mono by Lea Johanna Becker.

Front Cover

commonSans (plus the yet unreleased commonSans Condensed) – both available from my notyourtypefoundry – are used in my design for the summer 2025 brochure of Dutch publisher Valiz alongside Iki Mono by Beatrice D'Agostino (released by CAST) and Seaweed Sans by Mother Type. From Valiz:

Inspired by what you've seen? You can (pre)order most of these titles now or soon in our online shop, or support your local independent bookstore and buy them there. We hope to see you all soon at book fairs, presentations and programs. In the meantime: we hope you'll continue to read and enjoy creative work by yourself or others. See you soon!

Browse the Valiz brochure online.

Rotated keywords printed along the edges of the brochure interior

Inner pages, close-up of keywords

Colophon

Cover photo by Rafael Prado / Viva o Balão

Fan fiction magazine Danke is a biannual literary journal edited by Marion Regenscheit and Lucien Haug. In Danke, authors find space for a new, constructive approach to (old) texts.

The magazine’s editorial team, consisting of Lucien Haug, Marion Regenscheit, Richard Stoiber, Dorothee Elmiger, Chris Möller, Svenja Viola Bungarten, and Mazlum Nergiz, together with the authors Svenja Reiner, Dietmar Dath and Scholastique Mukasonga, presents the first issue of Danke.

Display fonts of different type foundries and type designers supplement every issue. Among them are KTF Cirk, KTF Labyrinth, KTF Rublena, KTF Metro Sport and KTF Compact by Kyiv Type Foundry. Danke magazine also uses the fonts Rhymes, Selecta, Signs, Eurocat, OCR-X, Modelo and Cornbread by Maxitype, BC Prkno by Briefcase Type Foundry, and Kiddo by notyourtypefoundry. The origin of Cosmic Cult is unknown.

Metropolis M is an independent bimonthly magazine on contemporary art. Issue no. 4 from August/September 2024 was designed by Elisabeth Klement and Benjamin McMillan.

From the magazine’s website (translated from the Dutch):

How do you want to live? By competing with each other (Competing), or by helping and supporting each other (Composting)? Metropolis M Number 4 is about competition. How do artists deal with it? Do they go along with it or do they resist it, and if so: how

The typefaces in use are commonSans (notyourtypefoundry), JL Pirelli (JungLee Type Foundry), Equitan Sans (Indian Type Foundry), and Eurocat (Maxitype).

Poster (square)

天空签名 Sky-Writing is a solo exhibition by artist 张业鸿 Zhang Yehong. It was shown at 拟像空间 Simulacra in Beijing, China, in 2021. From the gallery’s website:

The exhibition revolves around a now-defunct commercial tool – “sky-writing” – in which the artist starts with an anonymous sky-writing enthusiast starting with a chance flight pattern left by an anonymous sky-writer, the artist navigates through a multitude of found texts and images, searching for echoes of the different frequencies left by technology on the timeline.

The smoke screen of the First World War inspired a British Air Force major to take business to the skies and in 1922 issued the first introduction to sky-writing – ‘HELLO’; PepsiCo employed a large fleet of propaganda aircraft in the 1830s and 1850s to The Germans saw writing in the air as another means of circumventing the Treaty of Versailles, secretly training air force pilots through squadrons of commercial advertising; the Chilean writer Bolaño depicted in Distant Stars a mysterious puzzling skywriter who is both a murderer and a poet ......

The political and the mundane, the fictional and the real, the war machine and the performance apparatus, are intertwined like a Borromean knot, weaving a polyphonic historical situation; in the spiral of the narrative, it eventually comes back to the traumatic dimension behind the poetic image of the sky-writing.

The exhibition was directed by 赵邦 Zhao Bang. Space design by 张镜澜 Minato 林鹭琪 Lin Luqi. Xiaoyuan Gao provided the graphic design and the custom type design. The main font in use is Jack Halten Fahnestock’s Tiny (Velvetyne Type Foundry). The Chinese title is custom type based on Tiny, drawn by Xiaoyuan Gao. Additional fonts include Gao’s own Barbecue (old version, notyourtype) and Resource Han Rounded by Cyano Hao.

Poster

Leaflet

Leaflet

Title of the exhibition

Folded leaflet

Poster

Custom type design

Metropolis M is an independent bimonthly magazine on contemporary art. Issue no. 4 from August/September 2022 was designed by Elisabeth Klement and Benjamin McMillan.

From the magazine’s website (translated from the Dutch):

Issue 4 deals with LARP (live action role play), masks, masquerade, code switching, witchcraft and other role play – how everyone adapts to circumstances in every possible way and why. With the artists Aneta Grzeszykowska, Philth Haus, Yamuna Forzani, essays by Laatje Bauwens, Carina Erdmann, and Erika Sprey […] To the delight of the many fans and art scouts, our annual cross-section of the graduates of the art academies from the Netherlands and Belgium: final exams 2022, this year with almost 70 portraits!

The typefaces in use are JL Pirelli (Jung-Lee Type Foundry), Equitan Sans (Indian Type Foundry), Clock 1st (notyourtype foundry) and NEW-FONT (by Quirine Kennedy).

For Kaiserslautern in Zahlen, students of Fachbereich Architektur der TU Kaiserslautern (FATUK) dug deep into statistics and numbers about their hometown Kaiserslautern. The occasion was the question of how, for example, land consumption in Germany can be transferred to Kaiserslautern, a city in southwest Germany. Three working groups on the topics of land use, consumption, and mobility reviewed material from a wide variety of sources and developed concepts to present them.

The A5 leaflet unfolds to an A2 poster, completely printed in two Pantone colors.

The design features Barbecue and Clock by Xiaoyuan Gao (notyourtype foundry) for titles and pie charts. Px Grotesk by Optimo is used as part of FATUK’s identity (by Deutsche und Japaner) for body text.

Design: Simon Bretz and Hannes Brischke. Photos: Simon Bretz.