Published by Éditions de La Martinière, this book brings together a wide range of writings by women artists—letters, diaries, memoirs, interviews, manifestos, and theoretical essays. It features the voices of forty women active in a vibrant, cosmopolitan Paris from the Belle Époque to the eve of the Second World War, both famous and little-known, from Berthe Morisot and Camille Claudel to Sarah Bernhardt, Nina Hamnett, and Amrita Sher-Gil. Organized around the key stages of an artistic career—training, perseverance, self-organization, and self-assertion—the book sheds light on their individual paths, shaped by ambition, desire, struggle, hardship, and success.

The texts were compiled and introduced by Lucia Pesapane and Delphine Wanes. The publication was overseen by Camille Morineau, AWARE, and Mathilde de Croix.

The titles of this book, designed by the French graphic designer Lisa Sturacci, are set in Louize Display Cond (Matthieu Cortat, 205TF), while the body text is set in Martina Plantijn (Kris Sowersby, Klim Type Foundry).

Ubani, an independent Tbilisi cityscape research centre, published a guidebook in English and Georgian addressing the architecture and history of Tbilisi’s Kala district (კალა). The guidebook is produced by an interdisciplinary team, it brings together the work of David Brodsky, Ana Chorgolashvili, and Nata Tatunashvili, with concept development by Brodsky and editorial direction by Chorgolashvili. Contributions include text by Nino Bughadze, graphics by Aleksandre Gaphrindashvili, Oleg Glebov, and Georgiy Gnilorybov. The publication was designed by Daria Yarzhambek and Yury Ostromentsky, with the lettering created as part of Tsartserebi, a project rethinking the historical Georgian typography.

Body text in both English and Georgian versions is set in Loos by CSTM Fonts, while the lettering on the guide’s cover is inspired by a partially faded inscription on a 1877 tombstone located in the Anchiskhati Basilica of St. Mary.

From the University of Chicago Press:

Andrew S. Berish’s Hating Jazz listens to the voices who have denounced, disparaged, and mocked the music. By focusing on the rejection of the music, Berish says, we see more holistically jazz’s complicated place in American cultural life.

Brian Chartier designed the punchy and distinctive orange and black cover for the book. Set in Manicotti with slightly-rounded corners, the word “JAZZ” is split onto two lines that occupy nearly the entire book. I love to see it!

Photos of jazz instruments are subtly overlaid atop the bold letterforms, and the word “HATING” is scrawled over the whole thing in handwritten white marker.

The author and subtitle are typeset in Zavier Leslie Cabarga’s BadTyp, set at various point sizes to reinforce its chaotic randomness.

Hvad skulle vi gøre uden fantasien? (“What would we do without imagination?”) is the title of a retrospective exhibition by Henry Heerup.

The exhibition design uses Neureal Mono by Laura Csocsán to display quotes throughout. The accompanying publication utilizes Neureal for the titles and cover and Neureal Mono to display smaller captions, as well as a yet unidentified serif typeface for body text [edit: ABC Gaisyr, see comments].

The exhibition is described as follows by the Kunsten Museum:

Henry Heerup (1907–1993) is an original in Danish art history and is often described as ‘popular’, widely known for his colourful and symbolic expression. Seen today, Heerup stands as the ultimate symbol of freedom, who, as part of the 20th century avant-garde, wanted to re-enchant the world and break the fixed structures of society.

The exhibition book provides exciting information and beautiful illustrations from the exhibition Henry Heerup – What would we do without imagination? The exhibition presents a wide selection of Henry Heerup’s works spanning 60 years of work and provides a nuanced insight into the multifaceted aspects of Heerup's work, which addresses life's big questions, the collective angst of the times and the small moments of everyday life.

Heerup, who died 30 years ago, was a master of imagination and cultivated the magical potential of the world and life. He created alternative worlds. And he insisted on going his own way and being free of established rules and systems.

The Danish-language book is published by Kunsten Museum of Modern Art Aalborg.

Riposte Editions is an intimate literary journal featuring poetry and essays from a range of contemporary voices. Shaz Madani, the designer of Riposte, chose the recent Typotheque release Rapida (by Michelangelo Nigra) as the sole voice of the publication.

Grad je sinteza (“The city is a synthesis”) is a book about public spaces of Zagreb, containing interviews with architects, urbanistic planners, designers and general public. It was designed by đkć, printed by Kerschoffset, and published by Vizkultura.

Photos by Bosnic+Dorotic

O monstro e outras histórias is the Portuguese title of The Monster and Other Stories by Stephen Crane (1871–1900), translated by Jayme da Costa Pinto and published by Editora Carambaia.

The graphic design of this book is inspired by fire as a key element in the plots. In the project, it’s represented by the monochrome use of marbled paper prints, a material that has been used for centuries to decorate books.

Clifton, which appears on the book’s cover and openings, was designed by Yoann Minet and released with the French foundry 205TF. It’s a reinterpretation of Athenian Extended (c.1889). It’s also similar to Fantail (1860). Both typefaces originated in the United States, adding to the book the American spirit of the late 19th century, when the stories are set.

Rahim Fortune’s new monograph titled Hardtack was designed and published by Loose Joints:

Fortune uplifts the long-enduring nature of Black culture and traditions in the American South across ten years of portraiture rooted in history and the landscape.

The Loose Joints team used Phlegm on the cover and back cover plus ABC Marist for the text inside.

De l’invention en architecture. Initier, situer, durer (“Invention in architecture. Initiating, situating, sustaining”) written by Stéphane Bonzani, was published by Éditions deux-cent-cinq:

What does it still mean for an architect to invent in today's troubled Anthropocene landscape? And if there is such a thing as invention in architecture, how does it differ from other modes of inventiveness?
At a time when the world's habitability is in crisis, the notion of invention, common to both philosophy and architecture, is being re-interrogated according to other coordinates.
The novelty we expect from all invention - and today, perhaps even more than ever, we need to invent, create and imagine in order to re-inhabit - can no longer be based on destruction, invisibilization and simplification, unless it leads to further devastation.

Bureau 205 used several widths and weights of the typeface Muoto, designed by Matthieu Cortat, and Cardone designed by Fátima Lázaro, both available from 205TF.

Catalog for the exhibition held at the Centre Pompidou, in partnership with the Fundação Calouste Gulbenkian, focusing on the artistic relationships between Amadeo de Souza-Cardoso and Sonia and Robert Delaunay.

The catalog comes in two versions: a Portuguese edition with an orange cover (Correspondência) and a French one with a green cover (Correspondences).

From Fundação Calouste Gulbenkian:

This edition explores the relationship between Amadeo de Souza-Cardoso (1887–1918), Sonia (1885–1979) and Robert Delaunay (1885–1941) based on a selection of the correspondence between the three artists published by Paulo Ferreira in 1972: Correspondance de quatre artistes portugais, Almada-Negreiros, José Pacheco, Souza-Cardozo, Eduardo Vianna avec Robert et Sonia Delaunay (Paris: Presses Universitaires de France).

The catalogue also features images of all the works on display, 17 by Amadeo de Souza-Cardoso, five by Sonia and six by Robert Delaunay. The curatorial text by Helena de Freitas and Angela Lampe is also a correspondence between the two curators and introduces the meeting of work that was developed by both in Paris, precisely around the idea of sharing and the relationship created between the two collections: CAM – Centro de Arte Moderna Gulbenkian and Centre Pompidou.

De papillons de nuit et de l’échelle de Muybridge / Of Moths and Muybridge’s Scale by Yann Annicchiarico is the second publication in the collection from the Contemporary Art and Historical Temporalities research unit. It is part of a project publishing thinking by contemporary artists. The thinking, developed through visual and sound forms, gestures, and as through dialogue and dialectical exposition, is presented in a distinctive format, with a layout designed by graphic designer Rémi Forte, developed by Juliette Flécheux and set out in a clear and flexible framework. Written language is one element of the collection project. But it remains partial, to be grasped along with the essential elements that complete it: the artworks, accompanied by documentation of exhibitions, archives, and other approaches of thought that the authors develop progressively with the research unit publications.

This collection is composed with the typeface Immortel Infra G2 and Immortel Acedia designed by Clément Le Tulle-Neyret and distributed by 205TF.

See les presses du réel for more information about this book.

Anna Atkins. Cyanotypes, published by Taschen in their Famous First Edition series, showcases the works of the first woman to use photography as artistic medium to document botanical species. Taschen reprints her British Algae and Cyanotypes of British and Foreign Ferns in its entirety.

The book was set in Flecha for the spine and titles, and Hoefler Titling for body text. Directed by Benedikt Taschen and edited by Peter Walther, it was published in English, French, and German (images of the two former editions are shown here).

I was doing design research for a publication I’m working on and came across this lovely humble book. It appears that the entire book – titles, headers, subheads, text blocks, captions, and page numbers – are typeset in one typeface, in one weight: ITC Novarese Book (+ Book Italic).

The book was first published by Aperture in 1994. It was reprinted in 2004 and 2005, using the same typography. Book and jacket design by Wendy Byrne, with composition by Jenny Ma-Tay Isaacs.

From the inner flap:

Why People Photograph is a book by a professional photographer about the relationship of art and life. In 1981 Robert Adams published a volume of essays entitled Beauty in Photography, in which he suggested that art is too important to confuse with interior decoration or an investment opportunity. Its real use, he contended, is to affirm meaning and thus “to keep intact an affection for life.” Why People Photograph gathers a selection of Adams's writing since then. His subjects vary, but again he questions accepted prejudice, this time not only the view that art is trivial but that artists are separate. He demonstrates that many understand themselves to be bound to the world by complex and important obligations. Adams’s writing is free of academic jargon. Readers will also appreciate his attention to common experience the talks about trying to earn an income), his enjoyment of the unorthodox one essay concerns dogs and photography). and above all his conviction that art matters, Photographers “may or may not make a living by photography,” he writes, “but they are alive by it.”

Half-title page

Title page

Table of contents

Foreword

Opening of an essay on humor

Text page with italics used for a quoted verse

Opening of the essay “In the Nineteenth-Century West”

Variazioni sul Silenzio (“Variations on silence”) was a student project made during Mauro Bubbico’s class at ISIA of Urbino, Italy, academic year 2019/2020.

The project is a study on Italy’s abandoned places which proposes an alternative perspective on the fetishist gaze often cast upon ruins. Images of these places taken from Google Maps, “god’s eye” that records everything in a nonjudgmental way, establish a visual and conceptual dialogue with images that belong to the realms of myth and metaphorical narration: they create an imaginative weave that looks at abandoned ruins as a tale-maker live matter.

Fulmar by Leo Philp is used throughout, in combination with Marr Sans (designed by Dave Foster and Paul Barnes).

This Agenda for the year 2022 was commissioned by the Bibliothèque nationale de France. It has 128 pages with 50 illustrations and measures 11.5×16 cm. From BnF Éditions:

In 2022, make way for color and the forces of nature with this decorative arts inspired planner. Designed as an elegant, inspiring and handy object, it is ideal to take with you to stay creative and organized throughout the year.

It was designed by Paper! Tiger! The titles and numerals are set in Cako by VJ-Type. It’s paired with Gräbenbach by Camelot.

Magic as Medium was written by Shawn DeSouza-Coelho and published by THE NEAT REVIEW. From the publisher:

Magic as Medium is an introduction to linguistics, semiotics, phenomenology and the meaning of art, all through the lens of magic and theatre. It explores the space between the ideal and the real. It prods at the moment of astonishment.

Magic has been relegated to the seemingly permanent status of light entertainment, dwelling on the fringes of other, more legitimate art forms. Its profound beauty and affective power eclipsed in the eyes of its audiences, magic does not seem to offer an audience the transcendence that art does... but why not?

For the typography, Callin Mackintosh made early use of Affairs by SM Foundry, paired with Lars Mono from Bold Decisions. Illustration by Jordy van den Nieuwendijk.

Mesta is illustrator and designer Andrea Ihl’s Bachelor thesis in Communication Design at FH Aachen:

In her work she explores the joys and frustrations of everyday lives while focusing on themes of vulnerability, emotion and gender.

How does it feel to leave everything you once knew behind, while never really being able to fully let go of your old life? Why do we long for a home that isn’t there anymore and probably never will be? And what does it mean to constantly be searching for a sense of belonging? Mesta (derived from the russian “место”, meaning “space” or “position”) is a collection of stories and perspectives by 26 people who reflected with me on several questions about our (post)migrant identities. The publication aims to empower the participants to share their experiences on the topic of migration, to take up space and talk about what in the past has been left unspoken.

The typefaces in use are Suisse Int’l (Swiss Typefaces), Apoc Revelations (Blaze Type) and Panama (The Temporary State).

Voix Off : imprimerie de femmes (“Voix Off: women’s printer”) deals with a non-mixed printing company founded by four activist women from the MLF (Women Liberation Movement) in Paris in 1982 (Voix Off translates to “Voice Over”). By printing texts written by fellow women, feminist and lesbian magazines, posters, pamphlets and books, they showed resistance to male domination over the industry.

The book is the first release by Cahier des typotes. Their collection intends to showcase singular women in history and visual arts while questioning women’s positions in the editorial creation world. The typefaces used for their publications (Knif and Tongari) were chosen from the A is for catalog as an effort to support a French foundry run by a woman, Émilie Rigaud.

Liberation Day is –

the first short story collection in ten years from the Man Booker Prize-winning, New York Times-bestselling author of Lincoln in the Bardo.

MacArthur genius and Booker Prize-winner George Saunders returns with a collection of short stories that make sense of our increasingly troubled world, his first since the New York Times bestseller and National Book Award finalist Tenth of December.

The British hardback edition was published by Bloomsbury in October 2022. It has 256 pages and measures 234×153 mm. Greg Heinimann’s jacket design “features a flock of illustrated gloss black geese, and hailstone endpapers which feature a pattern of whiskey ice moulds from [his] freezer.”

From Heidi Specker’s website:

The catalog for the exhibition in the Kunstmuseum Bonn offers the first comprehensive overview of the work of Heidi Specker and brings together important groups of works from the last 20 years. Rather than presenting her series chronologically, the images are sporadically combined. This brings the intertwining of their motifs and themes to the front and invites the viewer to delve into the layering of Heidi Specker’s vast œuvre.

The entire catalog is set in Folio FSL by Forgotten Shapes. It was published in a bilingual edition (German and English) by Verlag für moderne Kunst (VfmK).

Read Simone Reber’s review (German) of Specker’s 2017 exhibition at the Mies van der Rohe Haus in Berlin.