The creative industries magazine Rekorder is published quarterly and covers current topics from the Stuttgart creative region, showcasing companies and creative professionals. The magazine is published by the Wirtschaftsförderung Region Stuttgart (Stuttgart Region Economic Development Corporation).

Every issue is unique—each is designed by a different agency from the Stuttgart region. For the 02/2026 issue, the corporate communications agency campra was commissioned. The main theme, “Democracy & Creativity,” was incorporated into the design in a colorful and diverse way, just as democracy should be. Fincker Font Cuisine kindly provided its typeface library for this issue. As a result, several typefaces were used, such as Marblis for the body text, as well as Finador, Royalis and Garino for headlines. The illustrations and paintings by Juliane Herrmann completed the layout, resulting in a colorful and inspiring magazine.

De Roma is a historic cultural venue and community hub known for its carefully curated program of live music, film screenings, and social events. Run by a large network of dedicated volunteers supported by a small professional team, the organization has built a reputation for combining cultural quality with strong local engagement. Originally revived in 2003 through the initiative of a small group of cultural organizers and hundreds of volunteers, the venue continues to operate through this strong collective spirit.

In 2024, designer Rob Marcelis developed a complete redesign of De Roma’s logo and visual identity, updating the system to better reflect the venue’s contemporary programming and its increasingly digital communication channels. The venue’s logo itself is based on a modified version of Beatrice Deck, the high-contrast flagship style of the Beatrice superfamily designed by Lucas Sharp with Connor Davenport and released through Sharp Type.

The wider visual identity relies on Trois Mille. First introduced in 2016 as Marc Rouault’s TypeMedia thesis project and later distributed through Sharp Type, Trois Mille quickly attracted attention in a field where innovation often moves slowly. Initially inspired by the work of French typographic master Roger Excoffon, the typeface combines dynamic forms with an expansive construction that helped redefine contemporary display typography. In De Roma’s communications – from posters to event announcements – Trois Mille provides a distinctive, energetic voice that balances expressiveness with clarity, demonstrating how a singular display typeface can anchor an entire cultural identity.

Visual identity of the quarterly booklet, the quarterly program posters and the posters for all events for Maison CFC, a bookstore in Brussels, Belgium.

Cover for the August 1930 issue of the Süddeutsche Monatshefte, which at the time was not published monthly, but quarterly. The bold high-contrast sans at the top and bottom is Jakob Erbar’s Koloss. The focus of the issue,  “Ungarn” (“Hungary”), is presented in lively lettering, rendered as if it was following a TypeCooker recipe for “construction: roman / weight: bold /contrast amount: a lot / stroke endings: serifs / width: condensed / contrast type: expansion”. Below, contents are listed in italic and roman styles of Normande.

From Paul Hoser’s entry in nsdoku.lexikon, published January 16, 2025, by NS-Dokumentationszentrum München (translated):

The Süddeutsche Monatshefte was founded in Munich in 1904. The editor was Paul Nikolaus Cossmann, who moved more and more in a nationalist direction, and during the First World War he succeeded in forcing the democratic shareholders out of the publishing house and replacing them with extreme nationalists. After the collapse, he also had Weimar democracy disparaged. Above all, he fought against the Treaty of Versailles and the “war guilt lie”, i.e. the Versailles Treaty's stipulation that Germany alone was to blame for the outbreak of war. […] Despite its nationalist tendencies, the magazine was critical of the National Socialists. It hoped for the restoration of the Wittelsbach monarchy: Significantly, the January 1933 issue was entitled “König Rupprecht”. The magazine was discontinued in 1936. Cossmann died in the Theresienstadt concentration camp in 1942.

CBMO (Crystal Bridges Momentary) is a quarterly publication designed to reflect the distinctive character of Crystal Bridges Museum of American Art and its Momentary events space in Bentonville, Arkansas. The museum, renowned for its celebration of the American spirit, resides on a lush 120-acre property featuring innovative architecture by Moshe Safdie, which harmonizes with the natural landscape.

Designed and art directed by New York design studio Gretel, CBMO launched alongside the 2023 Annie Leibovitz exhibition. The magazine captures the museum’s seamless blend of art, nature, and architectural beauty. Drawing inspiration from Safdie’s use of convex walls and the flowing ravine beneath the museum, the design incorporates editorial frameworks that mimic the curvature and fluidity of the space.

The typographic approach further reinforces these themes. Aro by General Type Studio is used for striking display elements, while Rhetorik Serif by AllCaps provides an elegant foundation for body text, headers, and captions. Complementing these, Halyard Display by Darden Studio lends versatility to headers and captions. Together, these typefaces create a visual rhythm that mirrors the museum’s architectural lines and the natural flow of its surroundings, offering readers a curated journey through the museum’s collection and events.

RÜDO is a unique black-and-white photo magazine focusing on the deep connections between people and the built environment. The magazine is published quarterly and offers an immersive experience with 52 carefully curated pages of black-and-white photography.

Issue 3, “Fragments of Space in the Course of Time” by Marco De Ieso, is described as follows:

The third issue, is a photographic narrative that takes the form of an anthropological exploration, with the aim of investigating the link that is supposed to exist between the living being and the environment in which it resides and inhabits. Where actions, tensions and movements are intertwined giving rise to an unchanging universe.

The magazine was designed by Black Skew using ALT Riviera, with texts written by Laura Riva, and printed in the UK. RÜDO is a collaboration between Stefano Samà of Uhm! Publishing and Black Skew, and is available at Antenne Books.

Eye magazine is a quarterly print magazine on graphic design and visual culture. Each year they dedicate an issue of their magazine to type design. Featuring great names in the type field they interviewed Chantra Malee and Lucas Sharp from Sharp Type, related the journey of Anita Klinz at Mondadori, wrote about the challenges faced by Type Archive, remembered Phil Baines and finally questioned established notions of global type with Toshiya Izumo, TienMin Liao, Borna Izadpanah, and Sam Kim, Siyu Mao and Dokho Shin.

They produced three different covers with the same title set in three different fonts:
1. Sharp Grotesk Black 11, designed by Lucas Sharp of Sharp Type
2. Dash Casual Light, designed by Petra Dočekalová for Typotheque
3. Ceraph, designed by Emma Piercy for Sharp Type

The text inside is set up in Sharp Serif Text, a new text typeface designed by Lucas Sharp and released in spring 2024.

Sphères is a quarterly magazine featuring long-form stories and photography. Each 144-page issue is dedicated to a small community. After featuring climbers, boxers, and bikers, the 15th issue digs into the world of trains: travelers, railway workers, commuters, mechanics, enthusiasts…

While Production Type's Minotaur and Minotaur Sans are constants used on body text, captions, and subtitles, each issue features a different selection of display typefaces used on titles, emphases, and drop caps — here both Paraiso and Paraiso Sans (Plain Form), as well as Jean-Baptiste Morizot’s Bluu.

The art direction is by Élyse Delahaie, with a cover picture by Boby and a nameplate design by Océane Juvin.

Bahamontes is a Belgian quarterly magazine about cycling. Every edition has a theme and a companion title font. Edition #39 is titled “Kopman” – the team leader. The guest typeface for this issue is Heliuum by 205TF. The magazine’s stalwart typefaces are Tiempos by Klim Type Foundry and Sharp Grotesk (Sharp Type).

Radical Philosophy 26, Autumn 1980

First printed in 1972, Radical Philosophy has since been a long standing bastion for the critical theory and philosophy of the New Left. Still in print, the magazine has a rich history of covers and articles, accessible via a great online archive. Scrolling through the covers, I was most captivated by a great run spanning issue 26 (autumn 1980) to 38 (summer 1984), easily identifiable by their Cooper Black nameplate.

The monochromatic covers follow a general, but far from fixed, layout of headlines set in floating Times Bold accompanied by an illustration or photograph — more or less along the lines of what one would expect of a publication like this, produced in the late phototype era. More intriguing are issue 34 and 37 respectively. These two stray from the template not only with the use of Univers, but by breaking with all and any kinds of stylistic continuity.

Issue 34 employs repetition and glyph swapping in a way that feels strikingly contemporary, like the long lost link between academia and post-Kanye streetwear. No. 37 on the other hand feeds a bit more into the narrative of ’80s kitsch, yet with such stylish irony that it could have easily come out of a Trendlist best-of.

Radical Philosophy 27–31, Spring 1981–Summer 1982

Radical Philosophy 32, Autumn 1982

Radical Philosophy 34, Summer 1983

Radical Philosophy 36, Spring 1984

Radical Philosophy 37, Summer 1984

Radical Philosophy 38, Summer 1984

Sarah Fisher designed Connect, a quarterly magazine published by Christ Church Southhampton. She writes on her website:

The magazine is designed to have a handful of short articles paired with a couple of longer ones, and is text-focused rather than relying on imagery. The typography is fun but easy to read and is designed to push the message of the article to the forefront by using plenty of whitespace, together with bold headings and pull quotes.

Rift is used for headlines and emphasis while Study is used for the body copy. Both fonts express a sense of warmth but function at different scales, making for an engaging and efficient typographic pairing.

Sitstand is a quarterly printed zine that features one artist per issue.

Because there are often limited options for lesser-known and even established artists to showcase artwork, our main purpose is to expose up-and-coming artists in order to give them a platform to connect with an audience. We're interested in getting to know about each artist's technique, process, history, and purpose.

Issue 02 presents ette, the design practice of Kate Richard.

10×5.75 inches
28 pages
singer sewn binding, green thread
printed on Mohawk Vellum paper

From Estiu’s website (translated):

PRINT is Impresum’s quarterly printed publication. A physical newsletter created to mark the 25th anniversary of this printing house.

Each issue has a guest professional and serves as an excuse to endulge in everything that surrounds the world of typography, papers, inks and finishes. A meeting point “on paper” where you can gather the recommendations and trends of the graphic arts sector and offer them to your clients.

With every new guest editor the typeface selection can vary, while keeping Theodor as a constant factor. In issue 5, Inklination is used in a range of styles. It is paired with Graveur. All eight issues can be downloaded as pdfs from Impresum’s website.

L'Almanacco is a quarterly magazine published by the association La Terra Trema. Each issue has 16 pages. For the best environmental sustainability, only two colors (black + one Pantone color) are used. Furthermore, the final format is designed to cause as little paper waste as possible.

Antique Olive is used for headlines, in various styles including the Bold Condensed, and for all the other special texts (e.g. quotations). ITC Mendoza is used for the main texts. The logo is based on all-caps Kabel Black.

Film a doba is a critical quarterly about film which follows and reflects on progressive tendencies in the field’s developments. Apart from feature films the journal also discusses documentaries as well as animated and experimental titles. Along with reviews of works present in the local distribution, it also brings reviews from major Czech and international film festivals. Film a doba publishes interviews with domestic and international filmmakers, overviews of national cinemas and their main figures, as well as articles dedicated to film history.

X–Width Sharp is used for the logo and other display purposes. The text is set in Kolektiv Grotesk.

Sphères is a quarterly magazine that focuses each issue on a very specific community of passionates – pipe smokers, deep-sea divers, pilgrims, historical reenactors –, with an important place accorded to photography.

Body text, captions and subtitles are set in Minotaur and Minotaur Sans (Jean-Baptiste Levée, Production Type) with discretionary ligatures, paired with several typefaces for headlines and quotations: Boogy Brut Poster (Julien Priez, Bureau Brut) Motter Ombra (Othmar Motter, Motter Fonts), Obviously Narrow and Ohno Blazeface (James Edmondson, OH no Type Co.). The logo has been drawn by Océane Juvin in September 2020 ft. Fazeta (Andrej Dieneš, Adtypo).

From Sphères no. 4, January 2021. Half title page set in Boogy Brut Poster.

From Sphères no. 4, January 2021. Boogy Brut Poster paired with Minotaur Sans, both in all caps.

From Sphères no. 4, January 2021. Headline in caps from Obviously, introduction in Minotaur.

From Sphères no. 4, January 2021. Boogy Brut Poster paired with Minotaur Sans.

From Sphères no. 4, January 2021. Motter Ombra paired with Minotaur.

From Sphères no. 4, January 2021. Quotation set in Minotaur and Minotaur Sans.

From Sphères no. 4, January 2021. Boogy Brut Poster paired with Minotaur Sans.

From Sphères no. 4, January 2021. Headline in Minotaur Sans.

From Sphères no. 4, January 2021. Headline and quotation in Boogy Brut Poster.

—

Different typefaces has been used in the three first issues, for headlines and drop caps, before a slight redesign for the fourth one: such as Charon (Matthieu Visentin, ECAL Typefaces) and Radiator (Ellmer Stefan, The Pyte Foundry) in Sphères no. 1, or SangBleu OG Serif both in Sphères no. 2 and 3.

From Sphères no. 3, September 2020. Headline and drop cap from Ohno Blazeface, paired with SangBleu OG Serif.

From Sphères no. 3, September 2020. Ohno Blazeface paired with SangBleu OG Serif, both in all caps.

From Sphères no. 1, January 2020. Radiator (Ellmer Stefan, The Pyte Foundry) in all caps.

From Sphères no. 1, January 2020. Radiator (Ellmer Stefan, The Pyte Foundry) in all caps.

From Sphères no. 1, January 2020. Charon (Matthieu Visentin, ECAL Typefaces) in all caps.

From Sphères no. 1, January 2020. Headline in Minotaur Light Italic.

From hello gorgeous:

The hello gorgeous foundation’s mission is to normalize (living with) HIV by reducing stigma and self-stigma. We’re a community organization that wants to empower people living with HIV so they can become more visible: more visibility of HIV is the best way to reduce stigma.

Since 2010, we have produced several anti-stigma campaigns and unique concepts to tackle stigma and self-stigma. We produce a quarterly print magazine in Dutch for people living with HIV and their friends, families and health care professionals, and have made several ant-stigma campaigns for general audiences.

The logo is set in ITC American Typewriter. FF DIN Round is used for the smaller bits on the cover. Inside the magazine Vista Slab and Vista Sans are the leading fonts.

From Rubio & del Amo:

Dínamo is a quarterly publication that includes the youth program of the City Council of Murcia along with interviews to the freshest of the city. Each issue revolves around a specific theme, which serves as a backdrop to introduce the programming contents of the city’s youth services. Three youth centres, youth creation support programmes, outdoor activities, languages… and tailor-made content developed for each issue.

The typography pairs various weights of two grotesks: the narrow Akkordeon for headlines and Beatrice for longer texts.
llustrations by Paula Navarro, Rayo Salvaje.
Dínamo won a “Laus de Plata en Publicación Periódica” at the Laus Awards 2019.

Two covers of the quarterly journal Muntermacher.

Muntermacher, that’s what the quarterly journal of the market town of Moosburg in Carinthia (Austria) is called. A Muntermacher is a person or substance that wakes you up. And yes, it does. Great to see a journal from a small market town offering information to its inhabitants in such visual quality.

The magazine was conceived by Austrian architect and journalist Wojciech Czaja and by Austrian graphic designer Helga Innerhofer. It is entirely set in Acorde and Sindelar which complement each other perfectly well.

Various impressions of Muntermacher which perfectly show Acorde’s and Sindelar’s excellence.

Two headline faces with a similar feel and weight in use. Domaine Display (narrow) is used for the masthead (and for headlines on the Gippslandia website), Caslon Graphique for headlines inside the publication. Both are paired with a workhorse companion for all other text: Calibre (designed and marketed by Klim, as is Domaine) and Caslon (URW++?).

Gippslandia is a quarterly magazine in newspaper format, for, and about, the Latrobe Valley & Gippsland. It’s an ever-optimistic take on regional, national and global issues, in a local context. Oh, and it’s free.

Gippslandia, the publication, draws from a variety of different media. The title pays homage (with our tongue firmly in cheek) to the US offbeat comedy, Portlandia, which so cleverly satires the unique nuances of their population. Gippslandians frequently enjoy a self-deprecating chuckle amongst themselves. Inspired current affair and analysis focused titles such as Monocle or Assemble Papers and the Melbourne street press paper Broadsheet have also influenced Gippslandia. In fact, we believe Gippslandia will likely find a home in a magazine stack alongside the aforementioned titles – as Gippslandians love to stay informed.

Founded by the creatives, designers and travelers that form, and collaborate with, Traralgon-based design studio The View From Here, Gippslandia will seek to identify trends, movements, points of potential change, improvement or growth and rather than get emotionally negative, we wish to present you with ideas that could assist in transitioning Gippsland into a more attractive destination for local, interstate and international business and tourism. –– The View From Here website