Perverted Norm, Normal Pervert is a project by artist Kuang-Yi Ku. Inspired by scientific research, it explores the normality and abnormality of sexual activities among humans and snails.

This bilingual book focuses on gender fluidity, depicting the reproductive system, reproductive structure, and mating posture of snails and humans in four chapters with black and white illustrations. On the cover, it attempts to echo the definition of “pervert and normality” explored by the artist by switching the sequence of the Chinese characters “變態的正常.”

The title and the running texts are set in Neue Machina by Pangram Pangram, and Chinese texts are set in Source Han Sans TC.

COTE is a womenswear and accessories brand from Milan, Italy, founded in 2010 by designers Tomaso Anfossi and Francesco Ferrari. COTE means shelter and protection, refers to instinctively accessible themes. This stylistic and existential signature is reinterpreted in a contemporary vein by the two designers, whose collections stand out for their refined and cutting-edge designs, entirely produced in Italy according to the best “Made in Italy” traditions. The designers’ creations stem from a continuous exchange of ideas, inspired by inquisitive, spirited and naturally elegant women. Previous studies and adolescent experiences have had a significant influence on the designers’ creative process and the style of the collections: Francesco’s optician training fostered a particular sensitivity towards the study of colour, geometry and attention to detail, allowing him to develop an attentive, dual understanding and perspective of the world. Whereas Tomaso refined an exquisite inclination towards the world of nature, a recurring theme in the creations COTE.

With women who don’t take themselves too seriously in mind, the play of superimposed, well-defined shades of colour allow each creation to express a new concept of linearity, in which austerity is permeated by an indispensable touch of irony. The collections focus on feminine silhouettes, restoring the natural and refined sensuality that is innate in every woman.

The typography pairs Apoc (Blaze Type) with ABC Favorit (Dinamo).

Using humor, sensitivity, and precise interventions, the American artist Brad Downey investigates the underlying structure of our cities, our landscapes, our sacred sites, as well as the forgotten peripheries and contested borders. In the process he weaves entirely new narratives with their chaotic patterns, obscuring the separation between art and everyday life. Slapstick Formalism presents a synopsis of his overall multifaceted oeuvre: sculptures, architecture, performances, installations, films, drawings, collages, and activism, each of which is inspired by the objects and activities of daily life.

Brad Downey (*1980, Louisville) is a Berlin-based artist from Kentucky. He studied at the Pratt Institute in New York City, and the Slade School of Art in London. His radical, inspiring works of art, which he creates around the world, generally in the public space, are of a strongly socio-critical, performative character.

Artist’s monograph about Brad Downey co-published by Hatje Cantz and Possible Books, designed by Matthias Hübner with Everett and Suisse Works. First edition published in September 2018 (sold out) and second expanded edition published in July 2020.

Development of the new identity and website of the contemporary art gallery Bradley Ertaskiran. The monochrome identity and the use of TWK Lausanne gives the work of art space to reveal themselves.

From This is Jackalope:

This is Jackalope is a nonprofit organization dedicated to the creation, dissemination and management of contemporary artistic practices founded and directed by Cristina Anglada and Gema Melgar. TIJ is conceived as a platform that aims to develop international action from which to produce cultural projects that experiment with formats and discourse and generates a place for exchange and dissemination between existing discourse in different artistic communities. It also seeks to promote partnerships and encounters between people, in order to produce and disseminate knowledge.

Issue 02 of This is Jackalope magazine (the third issue, after Issue 00 in 2018, and issue 01 in 2019) uses Suisse Int’l, Suisse Int’l Mono and Suisse Works throughout.

Gino Buscaini, François Labande, Maurice Brandt: The highest Alps summits is a book that covers a list called the UIAA List. It indexes all the Alpine summits that exceed an altitude of 4,000 metres. To make this repertoire more complete, a route is provided for each summit. The technical text is toned by satellite images of the summits that appear as abstract textures.

This book was made by Integral Typography using Suisse Int'l Medium for all the text.

Catalog for the exhibition Avant le Musée, shown at the Musée des Beaux Arts de Strasbourg. The publication was edited by Dominique Jacquot. It has 112 pages, measures 200×285 mm, and was printed in five colors by Geers Offset. Published in 2019 by Musées de la ville de Strasbourg.

For the typography, Brest Brest Brest paired Knif mono (© Building Paris, A. Pelletanche, A is for Apple) with Stuart Text (© M. Cortat, 205TF).

Icarus Complex is launched in 2019 as both a website and a magazine. The aim of the bi‑annual publication is “to dissect humanity’s icarus complex, this idea that we have jumped off a cliff, mid-flight and confident in our own momentum, but in denial about the impending crash if we do not change course.”

The 120-page publication is both visually striking through its sleek design and compelling photography, and intellectually stimulating, through its quality and well-researched writing. With a clean and sharp design approach, the typography has a main role in the entire magazine, where, depending of the kind of article, it is used in more playful or more serious ways.

From logo to headlines and body text, the magazine uses Victor Serif, designed by Christian Jánský, and released through his Kometa Typefaces in April 2019. It is paired with another typeface by a Czech designer: F Grotesk (2011), a revival of Breite halbfette Grotesk by Radim Peško.

Besides the typography, the photography and the illustrations appears to emphasise the written content, giving sometimes a different perspective through the eyes of its author.

illustration André Carilho

photography Daniel Beltrá

Detail.

Here Magazine is the travel magazine by Away Travel Luggage that tells compelling, thoughtful and unique travel stories through the lens of local, creative, and influential people. The magazine is designed by Chloe Scheffe and uses a wide array of typefaces like Girott Bold by Radim Pesko, News Plantin, GT America and GT Zirkon. Find more images and all articles via the Here Magazine Issue 8 web page.

Far Kurnell is a collaborative photobook project between Sydney based contemporary art photographer Michael Garbutt and Melbourne based designer Yarron Felder.

This photo series tells the story of the haunting and forgotten land of the Sydney suburb of Kurnell. It beauxtifully documents the juxtaposition between the natural and the unnatural world that is so evidently in conflict. A bleak and tainted place that inhabits the fringe of modern society.

The book design plays directly on the displacement that Kurnell as a suburb has undertaken. I wanted the book to be sensitive to the imagery while building a subtle narrative between the photo pairing and layout.

Steinbeck (published through The Temporary State) was used for the typographic elements. This perfectly imperfect typeface lent itself to irregular and lively typesetting – nodding to the mutant, weird and sometimes unsettling landscape in the photographs.

Kindled by the creation of crumbs and its source — the humble loaf of bread, Crumbs Journal No. I dedicates the exploration of depth, warmth and transformation on one of the oldest prepared foods in the world. In this season, we travel through many forms of homes that has gathered our bellies and spirits together, sharing stories on how bread is more than just sustenance but an intimate medium that has taught us patience, resilience and love. There are endless ways to share the knowledge of food. As an extension of Crumbs, we created a seasonal-themed publication with a concept of a journal to do just that, but to also have a physical collection of memories over the course of the season.

Made as a student project at ELISAVA. Century Schoolbook is used for the cover and the text, with its monospaced sibling used in all-caps for titles. Author names and captions are set in the sans-serif Maison Neue.

Urbanlike is a lifestyle magazine focused on urban life and issues in Seoul, published by Urbanbooks since 2013. For every issue, the editorial team chooses a topic that revolves around us in the city life, for example hotels, meals, printed matter, stationery.

Issue 39 is about workplaces where creators like artists, designers, or photographers make something meaningful. In this issue, we used a number of different fonts to reflect the diversity of workplaces. Likewise, the texts and images have a wide spectrum. We chose each font to adequately express the character of the topic.

The issue’s title uses PP Monument. The Urbanlike logo is based on Futura.

The table of contents combines Gopher with Sandoll GothicNeo and Neue Haas Grotesk.

This article features GT Super Display.

Dominic Xavier is a Melbourne based photographer. His latest series showcases the diversity of Iran’s landscape and the ornate daily rituals of its inhabitants. The contemporary calligraphic typeface nods to Persian type traditons while providing a beauty and elegance — juxtaposing against the rugged landscape captured throughout the work.

The profession of designers is characterized by change. With each new social, technological, and economic development, the way in which messages are conveyed changes: professional fields emerge and disappear, new media and design tools are developed, and the needs of the recipients of our messages are constantly evolving. How do designers deal with these changes?

Constants & Variables offers an insight into the creative work of today and tomorrow. The book was made as Master’s degree project by Doğu Kaya & Philip Jursch at Münster School of Design. Supervised by Prof. Rüdiger Quass von Deyen and Prof. Claudia Grönebaum.

The topic of the book is partly very technical. We discuss the tools designers use and also talk about AI, processing and creative coding in the interviews. Despite all the technical possibilities that designers have, we are both convinced that the most important resource of human designers is empathy. This contrast between the extremely technical developments in our profession and the human empathy we have also worked out in the design.

TWK Everett is sterile, digital, technical, and humanistic. We’ve used it including its monospaced variant. Noe Text provides a nice contrast, with its sharp corners and edges.

Softcover, sewn bound / 148 pages / 170×250 mm / two paper stocks.

An introspect at six years of casts and molds. New jewellery book for Tom Wood ?
130 pages, silver cloth, silver gloss. Printed with Japanese HPT with FM raster. Published by Pseudonym Publishing, Oslo.

Designed by Bleed Design Studio using Lausanne by Nizar Kazan and Ogg by Sharp Type.

Poster and website designed by U-P for the Molonglo symposium and public lectures program titled Landscape as Protagonist:

The day-long, by-invitation symposium and three public lectures is organized by Molonglo as part of Melbourne Design Week, an initiative of the Victorian Government in collaboration with the NGV.

A program that attempts to challenge our own and the development industry’s perspectives on plants and landscapes in the built realm; where generally speaking, they are viewed as aesthetic objects used to beautify.

Landscape as Protagonist takes place on the traditional lands of the people of the Kulin nation. We acknowledge that sovereignty was never ceded and pay our respects to elders past, present and emerging, and extend this respect to all indigenous australians.

Droulers is used throughout.

Renowned as art history’s leading kinetic artist, Jesús Rafael Soto (1923–2005) explored the dematerialization, or ‘disintegration’ of the art object, breaking new ground while anticipating conceptual strategies to come. A believer in art historical evolution, Soto built upon the work of artistic masters that preceded him in order to challenge figurative tradition via abstraction and repetition. Imbued with vibration and movement, Soto’s early works constitute a breakthrough in his output, laying crucial groundwork for his later kinetic works and the uniquely fluid style that shaped his artistic vocabulary.

The 120-page softcover publication is wrapped in a silkscreened PVC dustjacket, creating an optically-layered cover. Ludovic Balland’s Stanley was chosen for its sharp line quality, and Neue Helvetica was chosen as a contrasting typeface for its clean Modernist roots.

“Offline”, momentarily disconnected from the urgency to produce in order to be able to lift the nose of the handlebars and contemplate the path traveled, Offline will propose, twice a year, a critical selection of what has been done, what has been said, of what moved, amused or surprised, the space of a semester at ECAL.

This first publication showcased an early version of Everett Regular mixed with an italic light cut of Scottish, a serif typeface by Tancrède Ottiger. Both fonts started as diploma projects and evolved since then. Offline is a biannual publication about ECAL’s bachelor students theses, made by graphic design students, art directed by Jonas Berthod and printed at ECAL in black + 2 spot colors by Benjamin Plantier. Publication directed by Alexis Georgacopoulos and redaction directed by Angelo Cirimele and Deodaat Tevaearai.

Spread about ECAL Typefaces featuring Terrazzo (Luke Archer) and Stretch (Daniel Hättenschwiller).

The archive – a place where data of the past is being stored. Archives, as we know them only existed from the 18th century. Basically it’s only data which is not being used any more, so that our descendants can always have a look in the past. Our message into the future. Having more options to store big loads of data on storage that’s always shrinking, makes it easy to store a whole private life. Doing this, we’re saving our daily made pictures, music and movies in moving them onto a external hard drive. But what will be left in 30 years? Will we have time and be willingly looking through those data? Will we still be able to open those files? Or will the technology be so different that there will be now more JPG, TXT and MP4 format, so that we can’t use them anymore? Is that a reason to trust and use streaming- and cloud based services more and more to avoid archiving?

We’ve taken a look into the past by buying and reading and analyzing lots of floppy disks, to find out about the future. What happened to the archives which have been created – deliberately or unwittingly? Are they still useful? An archive of the past — a look into the future.

The book was conceived and designed by David Broenner & Lucas Hesse as a student project at HS Mainz, using Lausanne (old version) by Nizar Kazan and IBM Plex Mono by Bold Monday. Hesse comments:

Since the content is largely based on datasets and tables, we used IBM Plex Mono to imitate the typical database style with monospaced type. Lausanne harmonises very well with Plex and adds some zest in the larger headlines.

In extremis was an exhibition exploring climate extremes, shown at Arts House, Melbourne's centre for contemporary performance, in November 2017.

Climatic extremes are the new meteorological normal for our planet. This screen-and-audiobased exhibition offers human, interspecies, plant and geological perspectives, and visceral experiences of the fragility, resilience and collapse of systems and ecologies. in extremis is lightning storms, dry winds, urban heathaze and contorted railway lines; parched riverbeds and flooded cities; panting, sweating, fainting and hallucinating.

Exhibiting artists included Leah Barclay; Daniel Browning; Madeleine Flynn, Tim Humphrey & Jen Hector; Jill Orr; Zoe Scoglio; Latai Taumoepeau; and wāni.

The exhibition catalog was designed by M.Giesser using Practice (François Rappo) and Lausanne old version (Nizar Kazan). A pdf version is available for download.