Limbo magazine is making generous use of Schmale Egyptienne No. 12 FSL, subtly accompanied by LL Catalogue. The magazine logo is based on Fanfare. From the magazine’s website:

LIMBO Magazine is a not-for-profit venture to support unemployed artists and creatives. We’ve assembled a team of out-of-work editors, designers, writers, illustrators, and artists and asked them to reimagine what a magazine might look like for the state we’re in. Submissions from an incredible cast of contributors bring it to life. Our aim is to provide much-needed work, a positive outlet for creative energy, and—along the way—a time capsule of this strange moment.

The first issue of LIMBO Magazine captures the spirit of this uncertain moment with work from 100 contributors including Wolfgang Tillmans, Miranda July, Tyler Mitchell, Peaches, Collier Schorr, Ed Ruscha, Vivienne Westwood, Stephen Shore, and more. All profits go to the out-of-work artists and staff who created the magazine.

Publisher: Nick Chapin
Editor: Francesca Gavin
Creative Director: Dave Lane
Art Director: Lauren Barrett
Contributing Editor: Anne Bourgeois-Vignon

The first issue comes with four cover variants.

This book is a personal work designed in honor of poet Miguel Hernández (1910–1942), who fought alongside the Republicans in the Spanish Civil War. The book consists of poems and a biography of the poet, and my illustrations inspired by his poems.

More images can be found on Behance.
Self Modern is used throughout.

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.

Waka Waka is a Los Angeles based studio focusing on wood furniture and functional objects designed and handcrafted by Shin Okuda.

In celebration of Waka Waka’s 10th year anniversary, we wanted to build a timeless showcase of the work made to this date. The project spanned print and digital mediums, including a series of posters, shirts, print catalog, website, interview, and portraits of Shin himself, as well as his functional objects in Collections N01, N02.

The typographic visual system was applied to the Anniversary Collection materials. At scale, the inktraps in Whyte Inktrap gave the titles an architectural feeling that echoed some of the design details found within Shin’s pieces without overpowering the photography. Suisse Int’l and Times Now are used to support.

Published by the Bauhaus Kooperation Berlin Dessau Weimar, bauhaus now is the official magazine of the Bauhaus centenary 2019.

Brands need design and language to breathe. The magazine bauhaus now shows how we network both with each other. Our designers and editors worked closely on the dramatic staging of stories, formats and visuals from the very first minute of the project. But we didn’t think in trades, we thought in roles.

Designers developed content, editors worked on the bauhaus now look. Together they built up a network of authors and artists who shared our idea of a modern Bauhaus magazine. This becomes visible through the depth of the details: the typography and typesetting reflect the anchor theme in each of the three editions. Despite their individuality, the magazines form one entity in terms of content and visuals. Photography, graphics and journalistic formats don’t steal each other’s show but rather stick up for each other.

The fonts in use are Lab Grotesque by Letters from Sweden as the all over typeface in issue one. For each of the subsequent issues, we added a new headline font. For issue two it is Stadt by Michael Cina and for the third and final issue it is Totentanz by extrabrut.shop. See and read more on Stan Hema’s website.

Issue 1 featuring Lab Grotesque.

Issue 2 featuring Stadt.

Issue 3 featuring Totentanz.