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).

Columbia Sans in use for Sight. The debut novel by Jessie Greengrass was shortlisted for the Women’s Prize for Fiction 2018.

“Sight delves into a lot in under 200 pages: mothers and daughters, birth and death, loss and grief, finding one’s balance, the ardor and arduousness of scientific discovery. Readers willing to give themselves over to Greengrass’ penetrating vision will surely expand theirs.” — NPR

In Elena Giavaldi’s jacket design, the title set in tracked out uppercase letters takes center stage. Only then will the concentric circles draw the viewer’s attention to the women at the margin (photograph by Noell Oszvald). The stressed letterforms of Columbia Sans nicely contrast with the geometric monolinearity of the lines and the author’s name in Futura.

A concertina publication consisting of eleven dissertations. It was intended that the overall feel of the book would be that of a website. An endless scroll which flows easily and is entertaining to read. The structure was created to be able to be viewed online and as hard copy, by using a flexible grid and typefaces designed for both instances. — @feedesigns

Designed as a student project at the School of Communication Design, Falmouth University. The typography combines Fivo Sans Modern and Woodland.

Sometimes
it’s the small things
that matter most —
small stories,
small publications,
small events.

Sometimes
it’s the ordinary things
that are the most dear —
dearest objects,
dearest people,
dearest moments.

Graphic design for a small publication that is an ode to ordinary objects. Containing 55 word stories that are the results of a flash fiction workshop run at Onomatopee by Lara Chapman and Edoardo Tedone of the Master Department Design Curating and Writing at Design Academy Eindhoven. The booklet was written, designed and risoprinted during the Super Book Saturday, 30 March 2019 at Onomatopee, Eindhoven.

Cover drawing: Kirsten Spruit.
Special thanks: Josh Plough, Nadine Botha.

Banger is a quarterly music magazine featuring monthly gig listings, edited by Liv Sidall. It was created by our studio (c-ll-ct-v-ly) as an opportunity to do some self-initiated work about a topic we all enjoyed and experienced daily. We distributed the magazine around Shoreditch, at Rough Trade and a few other shops, to get more people reading it.

We wanted the magazine to be really experimental with the typography, a chance to be as creative as we wanted. This is why we chose Marc Rouault’s Trois Mille, a typeface with each weight having a unique style to it. TroisMille is intended to be used at gigantic sizes: “Make the logo bigger” is its credo. It is designed with flexibility in mind.

We chose Founders Grotesk Mono for body text as we felt it was a good match against the big and bold fonts. The logotype is made out of various weights of Druk. The Brainchild Festival poster additionally uses Gza.

This poster is a tribute to Kraftwerk, innovators and pioneers of electronic music. The poster is divided into 16 pieces, which corresponds to 16 steps in a normal sequencer. Each of their albums is placed in the grid. The designer uses different graphical vocabulary to interpret each album.

Kraftwerk is famous for electronic instrumentation, including synthesizers, drum machines, and vocoders. OCR-A is used to embrace the synthetic nature of Kraftwerk's music.

Hiking, hitch hiking, by feet, by gliding, in a hostel, staying over, in a refuge, wild camping, in a fully equipped campsite, in a tepee, or under the stars, to cross Montreal, Quebec, then Gaspésie , along the St. Lawrence River to finish in the fjords of Saguenay. — Lisa Mouchet

A beautiful 5/6 colors risograph printed book, featuring the work of the illustrator Lisa Mouchet. The illustrations were made following a solo trip in Québec. Published in a numbered edition of 350 by Quintal éditions / Oscar Ginter, using Self Modern.

Part personal history, part design philosophy, and part advocacy, this volume showcases the arresting work of Oliver Munday. Employing humor and menace in equal measure, Munday wields graphic design as a tool of empowerment, activism, and resistance. Drawing from the history and utility of twentieth-century agitprop, from Russian Constructivism to the Black Panthers, Munday updates a timeless medium for the social media age with his stark and often unsettling imagery. — Rizzoli publishers

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.

Politico’s European edition launched in print picking up — nearly wholesale — templates from the U.S. print edition, which is a very different beast. Not only is it geared toward an American audience with different sensibilities, but it also comes out daily when Congress is in session. The European edition publishes once a week and is thus straddling that space between newspaper and magazine.

My first task when I arrived five months after launch was to revamp it in such a way that it made sense for our audience, which is chiefly in Brussels, but also spreads to political influencers in London, Paris and Berlin. I made structural changes, introducing a grid that created nice pockets of white space throughout the book, changing the pacing of interior pages and introducing the option to have single- (or no-) story front pages that would showcase magazine-style pieces inside.

But by far the most significant change came with the typography. After working up prototypes with a handful of families, we settled on Publico (Banner and Text) for display serifs and body type, which, to me, has an instant European flair — and Guardian Sans (Headline and Text) for display sans serifs, and smaller bits like cutlines, graphics and infoboxes. I’ve found it to be versatile in the way it recedes a bit — and plays well with — Publico.

What I didn’t plan initially, but quickly found the need for, was a heavy, compressed display font that we could use sparingly on big news stories and harder-edged features. I’ve found Matt Willey’s wonderful Timmons to work perfectly for us in these situations. (We’re perhaps going to that well a bit too often of late, but it really filled a gap in our typographic arsenal.)

Benoît Bodhuin's Elastik in use for an artist's book from South Korea. Island, designed by Kang Joosung, consists of artworks that will be exhibited at Factory2 in Seoul from 11 May to 2 Jun 2018.

The book contains etching works by Choi Kyungjoo, plus a soundtrack by Lee Dongyoul (trumpet) and Kim Kieun (guitar). The musician recorded the island title song and added eight related tracks. To include sounds from various spaces, the music was recorded in three different spaces (AP shop, Studio Araby and Kim Jongwan’s Atelier). The 27 etching prints by Choi Kyungjoo are inspired by the songs and printed at Printon in Tallinn, Estonia.

Size: 230×310mm, 54 pages
Binding: hardcover, hand-sewn binding
Print: offset, silkscreen

Poster, riso-printed by Corners Printed, Korea

Norme & Tributi Mese journal covers topics including taxation, accounting, and corporate law. Working for them gave Bunker the chance to deal with complex and intricate themes, using a streamlined, well-balanced, and graphically refined tool. Since it first launched, this journal has always aimed at providing high quality contents, with an editorial board that includes the most influential and popular names in this field.

In the spring of 2017, Magasin III Museum for Contemporary Art presented an extensive exhibition by Swedish artist Gunnel Wåhlstrand. Wåhlstrand creates large-scale ink wash paintings featuring monumental landscapes, compelling portraits and serene interiors. Malmsten Hellberg has designed a large format hard cover book for the exhibition, with almost all of Wåhlstrand’s works to date along with an original essay by author Lars Norén. The text is set in Ivar, a new typeface from Letters from Sweden. The book, as well as the box for an exclusive edition with a photogravure print by the artist, was produced at Nava Press in Italy. The exhibition will also be shown at Museum Boijmans Van Beuningen in Rotterdam.

The Public Eye is one piece of a three-piece undergraduate thesis project called “Win: Reconciling a Legacy”. The project takes the form of a printed archive that investigates the life of a polarizing executive in the world of 1980’s Broadcasting, who was also a polarizing figure within the designer's own family: his grandfather, Win.

The Public Eye focuses on a specific piece of that legacy: instead of family records or stories, the content is all from newspapers of the time that published editorials, photos, and obituaries for Win, especially during his time as the President of Westinghouse Broadcasting. The design references the visual language of advertising, magazines and television at the time. It captures the achievements of a man, but also shows the values of men of the time, whose careers and achievements were especially important to their self-image.

The rich typographic palette is consistent across the three pieces, though each adopts a different visual system according to the tone of its content. The newspaper makes special use of the extremity of Berton Hasebe’s Druk Super Condensed to portray its brash, swaggering content, especially in a full-spread section that compiles every word used to describe Win in the extensive interviews throughout the project. Commercial Type’s Publico Text is used for the body of the newspaper as a workhorse news face.

Neuzeit S serves as the body for another piece of the project, but here it plays a supporting role in marginalia and captions. Neuzeit S was chosen for its period and its original creation as a corporate face, and to depart from the Swiss typefaces that permeated so much of the corporate design of the second half of the 20th century.

Other type, like Franklin Gothic, Courier, and a free-font version of the Westinghouse corporate font, introduced in 1963 and revived in 2013 as Westinghouse by John Sizemore serve a specific purpose—referencing actual materials collected in the designer’s visual research into the project.

This project was completed as an undergraduate thesis by Noah Baker at Washington University in St. Louis. View more project images on Behance or view the process blog where the designer puts type and design choices in more context.

Romance Journal:

Whether positive or negative, emotions are often the driving force behind the decisions we make. And whether or not we admit to having them, they vibrate into the atmosphere, where other people can feel them.

The first issue explores the role of emotion in life and work through the lens of some of the most compelling—and professionally successful—creative women of today. In opening up about their complex emotional lives, in some cases for the first time, these women paradoxically reveal a considerable strength.

Masthead and most of the body is set in Optima, constituting one of the best uses of this classic that I’ve seen this century. Supporting elements are in the very trendy bold extended weights of GT America, while headlines stand with personality thanks to the RoAndCo house typeface, Rococo.

FICCI (Festival Internacional de Cine de Cartagena de Indias) is an annual film festival in Colombia. We redesigned the event’s journal/newspaper for 2014. See more at Behance. This is a non-commercial project, only for academic purposes.