Total Armageddon – A Slanted Reader on Design features a collection of brand new essays, as well as selections from the first 32 issues of Slanted. Edited by Ian Lynam, this book includes contributions from Steven Heller, Piotr Rypson, Gerry Leonidas, Yoon Soo Lee, Kiyonori Muroga, and more writing about design and culture.

The publication was successfully funded on Kickstarter when it launched in January 2019, and was published in March 2019. The book celebrates 15 years of independent publishing and uses Beatrice Display for headlines and Edit Serif for body copy.

The December 2019 issue of GQ Korea magazine featured Lee Dong Wook, Minhyun, Song Min Ho, Oh Hyuk. The December issue is habitually dedicated to notable men of the past year:

Men of the Year is GQ’s annual celebration of the year’s cultural high points, packed with interviews, profiles, and videos featuring the actors, musicians, politicians, designers, and more whose work we can't stop talking about.

Art director Kiyeol Kim explored an experimental typographic language merging Millionaire Script and custom geometric/illustrative letters for headlines. Body text is set in ABC Favorit and Sandoll GothicNeo.

From Alien Magazine:

Alien Magazine explores, twists and pushes the boundaries of the understanding of what an alien is. In a series of visual/written essays, interviews or investigative reports, it invites citizens, no matter their shape, size, color, profession, political party, creed, belief, nation, planet to rethink social norms and labels.

The word alien has acquired multiple meanings, from generally describing, in legal terminology, people who are in a place outside of their native nations, synonym to the concepts of foreigner or immigrant, to the sometimes cute, sometimes monstrous creatures portrayed in science fiction.

These contrasts and double meanings are explored with the use of two extremely different typefaces. Avara is a somewhat classic serif with hard edges, representing the rough edges of alienated people which don't seem to fit in; Graphik, a modern classic sans-serif, complements Avara with some softness.

Martha Stutteregger:

Published as part of the 55th Biennale di Venezia 2013 and based on previously unpublished photographs, plans and correspondence from public and private archives, this scientific 540-page bilingual publication presents for the first time a comprehensive overview of Austria's participation in the art biennials since 1895.

The concept and the editorial structure are the result of a close exchange between the editorial team and the design team, ideas for the formal conception influence the order of the contents as well as vice versa. Different material properties and page formats inside the book give structure to the comprehensive and detailed information and support the structure.

The volume was recognized as one of the most beautiful books in Austria in 2013.

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.

Tesseract in early use for the lastest issue of Wired Italia, a magazine about technology and lifestyle with art direction by Pitis e Associati.

Issue n. 91 (winter 2019/2020) is titled “Visioni 2020”. Wired asked twelve photographers to show how the world is changing. The prologue to the features is by Jeremy Rifkin. Japanese artist Hiroto Hikeuchi contributed the cover image.

Headlines are set in caps from Tesseract Display. Each of the features gets a different typographic treatment: Sliced words on sloping baselines for Preston Yarger’s “Post Acopalittico”, supersized caps interlaced with images for Brian Finke’s “Fenomeno Fortnite”, or letterforms of varying size hung on a line for Hiroto Hikeuchi’s “Cyber Funk”. The running heads at the bottom of the pages are set in Tesseract. The Text size of the typeface collection by Production Type is distinguished by a smaller x-height and a less pronounced stroke contrast.

Pitis e Associati paired Tesseract with Exchange (Frere-Jones Type) as well as Atlas Grotesk and the monospaced Atlas Typewriter (Commercial Type) for text. The business supplement in tabloid format is dedicated to the changes in the world of energy. Headings, infographics, and drop caps in this section use ITC Motter Corpus.

Cover with lettering by Alice Gavin (Groupe CCC) and text set in Syne Extra and Mono.

From the Temple&Fils website:

Founded in December 2017 by Anaïs Allias and Margaux Salarino, Temple is an independent magazine for art, fashion and graphic experimentation. It features contemporary designers and artists. The images are constructed by a principle of appropriation, reintervention and collage based on the contributions sent. The magazine consists of interviews, conversations and essays by creators gathered around a different theme in each issue.

The 7th issue of Temple magazine revolves around the theme “No Limit”. It features several photography series and interviews, in a daring layout making good use of Bonjour Monde’s Syne as well as several display typefaces by Groupe CCC and hand-drawn letterings by Anaïs Allias.

Several bookmarks are included in the issue, created by guest designers (Axel Pelletanche, Mathieu Selvatici, Matthieu Michaut, Revue Diorama, Golgotha).

Title in all-caps Cobra, text in Syne Regular.

Title in YG-droge, text in Syne Mono and Bold.

A wavy column with text in Syne Regular and Italic.

Lettering by Anaïs Allias, text in Syne Regular, Italic and Bold.

Pull quote in an unidentified typeface, text in Syne Regular, Italic and Mono.

Handwritten text by Anaïs Allias.

Titles and text in Cobra.

Bookmarks with texts by Baptiste Rossi, designed by (from left to right) Axel Pelletanche (ft. Futura Condensed and Jannon), Mathieu Selvatici (FF DIN), Matthieu Michaut (Avara and Fivo Sans Modern), Revue Diorama (Mesh), and Golgotha.

In its first issue, feeels tackles the concept of “fuzzy” from a myriad of critical perspectives. Written and visual pieces explore timely and timeless topics including fuzzy politics, foggy memories, language shifts, playful interactions between strangers, and clashes between modernism and cultural traditions. Contributors hail from a range of professional backgrounds—art, design, medicine, history, and sports mascots—and seven different countries, coming together in conversation through a common lens.

In its multi-faceted framework, feeeels highlights established and rising thinkers and makers, with often surprising interjections. At a moment when tactility is disregarded in pursuit of sleek, supposedly immaterial, digital interactions, we foreground it as a necessary foundation for understanding the 21st century.

See also the “Fuzzy Buzzy” insert.

Medium 0 is an internal printed publication, self-initiated by Medium’s design team with assistance from the editorial and marketing teams. It comprised a handful of the best pieces published on Medium in 2018, representing the broad spectrum of stories that appear on Medium from writers of all types.

This project came together in just over a week. The two designers worked together to establish a basic grid and typestyles, and then mostly separately to translate the articles from their digital form. In most cases, this meant creating a bespoke feature treatment from scratch as the original articles didn’t have accompanying artwork or display type.

Lars and an unreleased serif by Kris Sowersby are used for body text throughout. The front and back cover consist of a modified M from Maelstrom, creating an abstract front cover that reveals itself upon opening.

44pp, oversized newsprint. Design by Noah Baker and Dora Godfrey. Art direction by Ryan Hubbard. Special thanks to Bethany Heck and Renald Louissaint.

Further documentation by Bethany on heckhouse.com.

The narrow type in the black ovals is Cardinal Fruit, available from Production Type.

The X on the left hand page is taken from Breite Fette Antiqua by Forgotten Shapes.

Lonely City, with caption-like snippets set in WiseType’s Monarch.

Justified Compacta Black is paired with Klim’s unreleased serif for a powerful opening page.

All-caps Lars is contrasted with Klim’s upcoming Fournier-inspired serif.

The Light Observer – currently running as a Kickstarter project – explores the theme of light in a biannual publication.

Issue n. 01 (January 2020) will feature an exciting group of artists, architects, photographers and more on their relationship with light: Nathalie Du Pasquier, Rosa Barba, Guillaume Simoneau, Jessica Eaton, Mesura...

Designed to highlight the photography editing, the magazine proposes a sleek and minimal design. Neue Haas Unica gives a modern and timeless feel while Yoann Minet’s Traulha Regulara brings contrast and reinforces the magazine’s identity. The art direction has been supervised by Hugo Berger and Swiss designer Ronnie Fueglister.

Le Bonbon Nuit is a free monthly magazine about music, art and nightlife in Paris. Designed by République Studio, its titling typeface changes with each new issue, making the magazine a favorite among type enthusiasts.

The guest font for the June 2019 issue is the Italienne style from the Temeraire family. Body typefaces in the magazine are the usual Whyte Inktrap and Kessler combo.

Brasilia is a monothematic magazine of designs students of Hochschule Hannover, under the art direction of Hanover-based design studio Bureau Bordeaux (Jasper Eisenecker, Arne Meyer, Christian Vukomanovic).

“For Brasilia #1, we once set up some pretty rough typographical ground rules that specify the layout grid, the logo placement and the use of three typefaces—MT Grotesque, Times and an additional style font, that varies from issue to issue and fits the topic,” says the Bureau Bordeaux team.

The additional style font chosen for issue #3 is Dominicale Alpha (Altiplano Typefaces).

Issue #3 of Brasilia considers the notion of “waiting,” approaching the subject from all angles in a series of written, illustrated and photographic editorials.

Insert of Noel Arkoo’s poem “Fuzzy Buzzy” in the publication feeeels. Commissioned by feeeels, Jack Halten Fahnestock designed the typeface to embody the first issue’s theme, “fuzzy.” Named feeeels—fuzzy, it’s available for general licensing.

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.

The fifth issue of Plasma magazine features Tiny (Velvetyne) and ABC Whyte (Dinamo). From the Present Books website:

PLASMA 5 – 224 pages jam-packed with interviews, stories, behind the scene sneak peaks, photo series, posters, nerd guides, and all things science & art! Scientists from different fields, from Berlin to LA, all talking about their personal motivations and passions. A Berlin special introduces us to the diverse research areas this city is host to. Everything from the exploration of Mars to the creation of humanoid robots. From there we jump across the Atlantic to explore all the latest nerd hot spots in NYC, learn about the latest advancements in space exploration from NASA, and so much more!

Le Bonbon Nuit is a free magazine about cultural events in Paris. The August 2019 issue prominently features Nirvana (Altiplano) for section openers. See also this previous post about this year’s general editorial design by République Studio.

Grimace is a quarterly magazine devoted to contemporary art. The pilot issue was designed by Yann Eouzan and Estelle Petit of Yeep for Édition Éclats / La Nerthe.

Gemeli Micro was primarily drawn for sizes smaller than 8pt. Derived from Gemeli, it has a larger x-height, shorter extenders, wider proportions and looser spacing. In this project, it was chosen for its eye-catching ink traps, and used for display purposes. Gemeli Micro is paired with the seriffed Stanley. Both families are used throughout the magazine, in a number of styles.

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.

La voz de una ciudad (“The Voice of a City”) is a (fictional) newspaper that exposes the humane side of the city of Barcelona, through stories, places, profiles and small anecdotes of persons that serve as inspiration to reveal an authentic city.

A Barcelona that is lived, not visited.

Final class project for the Postgraduate Diploma in Graphic Design and Publishing Projects in ELISAVA School of Design, under the direction of Albert Folch (Folch Studio). This is a non-commercial project. See more at Behance.