Published on the occasion of Guillermo Kuitca’s summer 2019 solo exhibition at Hauser & Wirth Los Angeles, this book debuts two new series of Kuitca’s works—The Family Idiot and Missing Pages. The catalog includes two richly illustrated essays by acclaimed art critic Christian Viveros-Fauné and writer and artist Chris Wiley, and its extensive plates section and installation views present readers with an immersive experience of the exhibition and the artist’s works.

An aesthetic rooted in classical sensibilities was employed through the use of justified typography, paper selection, and overall layout. Kuitca’s interest in opera, literature, and cartography led to the use of Perpetua Titling and Arno.

The book also uses two color stocks—one matte for the image plates, one uncoated and rougher for the texts.

With Talisman – Contemporary Symbolic Objects, the IN Residence Cultural Association commissioned 46 international designers to design as many contemporary talismans. BRH+ studio gives shape to the project with the catalog, the communication and the display project of the collective exhibition, held in 2017 at Palazzo Clerici, in the context of the Fuorisalone in Milan.

As in alchemy, the visual system designed to identify and communicate the project comes from the analysis, breakdown and reassembly of the recurring elements of graphic imagery connected with the theme of the talisman. The result is a set of symbolic, evocative signs, graphically treated in different ways depending on the medium that conveys them – analog or digital communication, catalogue or exhibit – but all based on the same matrix.

The small format of the catalog, which contrasts with the large number of pages, is inspired by the sacred books, breviaries and formulary. The book is bilingual, has two covers and two senses of reading, which meet in the center, where the generous photo gallery of the 46 talismans take place. It was published by Corraini Edizioni.

All items are set in GT Sectra by Grilli Type, paired with LL Akkurat by Lineto.

Addendum is an Austrian print magazine published by QuoVadisVeritas (QVV). QVV is a media and research platform, financed by Red Bull founder Dietrich Mateschitz.

The magazine’s layout was developed by the New York-based agency Sagmeister & Walsh. Title and headlines are set in the characteristic font Larish Alte. Sagmeister and Larish Alte have both Austrian origins. The Vorarlbergian Sagmeister started his career in Vienna. Larish Alte is a renewal of Plinius, a typeface developed in the early 20th century by the Viennese calligrapher and designer Rudolf von Larisch.

On the inside, the magazine shows two very different fonts: The sans serif Mériva is a rather new, affordable, and relatively unknown font and comes with headstrong details which pay tribute to the early grotesque typefaces of the 19th century. The serif Lexicon No. 2 is a classic, exclusive, world-famous font, and a role model of Dutch type design. The layout uses these two fonts to differentiate between special issue (Mériva) and general content (Lexicon).

The subject of this doctoral thesis in the field of editorial design (at the Academy of Fine Arts in Katowice) was the preparation of a text about the design of books in the 16th century in Poland and the graphic design of the publication. The resulting book has a general and popularizing nature. The aim of the project was to provide the collected and structured material showing the formation of the Polish Renaissance book to people interested in the history of books, as well as experienced and beginner graphic designers.

The graphic concept of this project is based on the division of text into 2 parts, each with respectively 5 chapters assigned. Book structure is extended and multi-layered, it required typefaces crafted to work together in close harmony. Visual cohesion was needed. Superfamily Tempera (Tempera Biblio and Tempera) was designed for setting continuous text in books, offering a collection of economically proportioned sans and serif typefaces with efficient spacing and low contrast. For this project, I have used 10 styles, and two widths, occasionally using the built-in swash characters, ornaments and other advanced OpenType features.

More about this project can be found at Behance.

Fictional poster for science fiction movie Fantastic Planet (René Laloux 1973). The big type is Pilowlava, designed by Jérémy Landes and Anton Moglia, available from Velvetyne Type Foundry.

The Match Book showcases a collection of over 150 matchbooks collected by Randy Shaw, founder of the Tenderloin Museum [in San Francisco]. Mucho designed the book to showcase the fronts and backs of the collection at actual size. The cover is constructed from craft paper, foil stamped and blind embossed with a typical matchbook shape. The spine of the book is created from strike material so it can be used to light a match.

Rather than attempt to mimic the vintage lettering or typography of the matchbooks featured within the book, Mucho opted for a purely contemporary approach for the cover and typeface choices. The title is set in SangBleu Empire, whose sparkling contrast and angular details play up the foil stamping. The plainspoken Suisse Int’l, also from Swiss Typefaces, is used throughout, allowing the imagery to take center stage and not competing with their own eclectic letterforms. I like the choices — the only thing that could improve them is if they sourced typefaces made in the San Francisco Bay Area.

Overall, the book is a beautiful thing, with a great lay-flat binding that you really need to experience in person.

Proposal for the first issue of Arquitectura Encubierta (“Hidden Architecture”), an independent publication that contains a brief selection of texts and articles building a bridge between architecture and vegetation, to be concerned with increased integration in nature nowadays. The project has not been realized.

Inspired by the work of Fernando Higueras, all photos were taken by Diego Moratalla, showing how nature invades the visual space of human structures. This contrast is reflected in the typographic choices: While the geometric TT Firs Neue represents solid architecture, Pinyon Script is the organic path that overlaps it, as it usually happens in those spaces where plants and concrete coexist. The text on the angled sticker/barcode on the cover uses a mix of Founders Grotesk and Kennerley.

The publication accompanying the exhibition Planet B – 100 ideas for a new world is a collection of different ideas for a new world – a Planet B. The most visionary artists, designers, architects, writers and futurologists in the world present their political, poetic, odd and radical ideas for a new world. — NRW-Forum

The use of changing layouts, typefaces and font sizes creates a never boring reading experience—almost every page turn surprises. Still, the “navigation bars” on the pages’ sides keep everything together, so the reader won’t get lost. All used fonts are listed in the book’s colophon. Several of them are shown here, and are identified in the respective image captions. The book additionally uses Aileron, Arimo, Astloch, and Junicode (not pictured). See more images on the website of designer Matthias Hübner.

Contributions by Rachel Armstrong, Nelly Ben Hayoun, Ernst Bloch, Stewart Brand, Brad Downey, Kevin Kelly, Ray Kurzweil, Chusz Martínez, Niklas Maak, Lucy McRae, Philippe Rahm, raumlaborberlin, Tomás Saraceno, Space Caviar, Jakob Tigges, Friedrich von Borries and many more.

Published in January 2016 by Verlag der Buchhandlung Walther König
Editors: Alain Bieber & Lukas Feireiss
17.5×24 cm, 240 pages, softcover
Texts in English and German

The text on the cover and the spine is set in Sporting Grotesque.

Body text set in Sporting Grotesque, with italics from Chivo. The headlines are set in caps from Reglo. The serif used for page numbers and subheads is Old Standard.

The big type on the left page is Autopia.

Steps Mono is used for page references (“N on p. 18 / DE S. 19”).

From top to bottom: Sporting Grotesque Gras (running head), the Latin part of Ume Mincho (underlined), Autopia (headline), Steps Mono (subheading), Sporting Grotesque Normal (body text).

The serif used for the texts on this spread is Bagnard.

Line Script Diary is a Miami-based quarterly journal of text-based works edited and published by Alan Gutierrez, with contributions from local and international artists and writers. The scope of texts is limited only to the physical constraints of the journal’s format, in an effort to commission, cultivate, and distribute forms of experimental written language.—ICI Miami

Alias Harbour is used for the LSD logotype, with Gill Sans and Gill Facia.

Northernness, a book designed by Cedric Verhelst accompanying the exhibition of the Belgian artist Johan Tahon, at the National Museum of Ceramics in Leeuwarden, Netherlands, made on the occasion of Leeuwarden Cultural Capital of Europe 2018. The book uses Thesaurus on the cover and for all inside text for the book, including introduction and captions.

Soil 2017 is a book published by Slow Money, a non-profit dedicated to catalyzing the flow of capital to local food systems. This book serves as a wide-ranging, often irreverent reference on the topic of nurture capital, from global economics to microbes in local soil. We worked closely with author and Slow Money founder Woody Tasch, to create a book that reflects its sustainability-focused contents.

The optical sizes available in GT Sectra (Text, Display and Fine) were all used extensively in this book. Robinson was used for sidenotes and captions.

Soil 2017 uses various weights of Neenah Conservation, a beautiful line of paper that’s 100% postconsumer recycled. Conservation is also exceptionally economical, making it a great choice for projects with limited budgets. We were thrilled that the book’s writing, editing, design, print production, and binding all took place within a five mile radius. Not only is this hyper-local approach analogous to the book’s core proposition, it results in a markedly reduced environmental impact since, typically, a significant portion of a book’s carbon footprint comes from transportation emissions.

With Louize Display (designed by Matthieu Cortat) Atelier AAAAA designed the layout and illustrated the cover of the poem “Un monde en fragments” by Pierre Barré, the first publication of the young publisher L’Atteinte in Metz. The publisher’s logo uses Totentanz by Yoann Minet.

Barcelona based studio DOMO–A designed a publication (see this post) which makes different lectures from Museu Picasso’s “Master Conferences Jaume Sabartés” available to everyone. In order to explain to the client how typographic hierarchy works, a poster was designed as a guide.

East London Food, The people the places the recipes collects interesting places – the classics, new spots and hidden gems – and meets the people amongst this thriving scene. Whether new or old, the book is a celebration of the variety of food and drink on offer in this corner of London.

The book takes the form of large features, location shoots and interviews to build up a indepth overview of the area. Working with photography by Helen Cathcart and words by Rosie Birket we designed the book throughout and worked closely with Hoxton Mini Press to bring this production together.

The book includes a separate 20 page insert with recipes from the featured chefs. The paper-wrapped cover comes in three different colors, each finished with a copper foil.

East London Food by Rosie Birkett and Helen Cathcart.
255×196mm, 288pp hardcover plus 20pp pull-out recipe booklet,
copper foiled, available in 2 colours randomly selected.
(Hoxton Mini Press)

Aurore Chassé has been artistic director of La Terrasse since September 2017. She designed the model with the typeface Basetica (205TF), created by Matthieu Cortat. Basetica is paired with Romain (Swiss Typefaces). The only one of its kind, La Terrasse, a free monthly created in 1992 by Dan Abitbol, ​​covers the theatrical, choreographic and musical news of the Paris region and highlights the living spectacle of quality in all its diversity.

In cooperation with the MuseumsCenter & the City of Leoben, Studio Marie Zieger was in charge of art direction and editorial design for the city’s official self-titled photo chronicle. A new color theme & modular layout were developed to accompany the extensive use of large-scale imagery and to create a more contemporary look. The typography picks up on the theme of mining & steel production that the area is commonly known for. The hard edges & pointed serifs are echoed in the almost chiseled typography.
–– Marie Zieger

The font in use is Yoann Minet’s Traulha Regulara. It is paired with roman and italic styles from FF Quadraat by Fred Smeijers.

Wundern über tanawo‘ is a festival for contemporary Iranian art & culture. See the full project and design concept on Behance.

Asphalt is a collaborative project, started by graphic designer Artem Strizhkov and editor-in-chief and photographer Alexey Lapin, and is also the first independent skateboard culture magazine in Russia. Asphalt’s layout, photos, stories, and aesthetic take no influences from the most popular skate magazines, but are inspired by the current crop of culture magazines. Asphalt represents a new kind of magazines about skateboarding and skateboarding itself as an art and a new look at the cities of the Post-Soviet space with their architecture and monuments.

Alpine Modern’s quarterly magazine explores architecture and design in mountain regions around the world. The stories and photography express the emerging design ethos of a minimal, refined life entwined with the outdoors.

Park Books:

An exploration of the role of narrative, history, appropriation and craft in the work of London based 6a Architects.

D&AD:

The design, developed by John Morgan, is inspired by the processes of bricolage, which is also a prominent influence on the work featured in the book. The large type size, combined with black and white photographs, focuses the images on the ideas, drawing new connections between them and allowing chapters to be read as independent pieces or as parts of a larger discussion.