David Attenborough celebrates his 100th birthday today. The BBC pays tribute to the great natural historian and broadcaster, and the Guardian has a list of his 100 most spectacular TV moments.

On Fonts In Use, we take a look at the titles for The Living Planet. A Portrait of the Earth. Written and presented by Attenborough, the BBC nature documentary series first aired in 1984.

From Wikipedia:

The sequel to his pioneering Life on Earth, it is a study of the ways in which living organisms, including humans, adapt to their surroundings. Each of the twelve 55-minute episodes (one fewer than his previous series) featured a different environment. The executive producer was Richard Brock and the music was composed by Elizabeth Parker of the BBC Radiophonic Workshop.

Title designer Margaret Perry worked with a typeface that hasn’t come up here before: it’s Ageratum, a serifless roman – or calligraphic sans – with distinct contrast, flared stems, and large x-height. It was issued in the 1970s for phototypesetting by Headliners. I haven’t found out the name of its designer yet. The name of the typeface is, quite fittingly, derived from the natural world: Ageratum is a genus of flowering plants in the Asteraceae family, and better known in the United States as whiteweed.

Blending imagery, personal accounts and sociology, Uber Life recounts the five years photographer Tassiana Aït-Tahar spent working as an Uber Eats delivery driver. Set against a backdrop inspired by internet culture, the book features a collection of photographs, collages and scans of various objects – a veritable logbook documenting her daily life and that of her fellow delivery drivers.

Far from wallowing in self-pity and speaking with frank candour, Tassiana shares a story punctuated by anecdotes, recounting both her moments of joy (resilience, humour, mutual support) and the many difficulties of the job (job insecurity, various forms of violence, the dominance of the algorithm, physical exhaustion, the Covid-19 period, etc.). The book is published by Fisheye Éditions.

Lisa Millot, designer for Fisheye Éditions, used Install Rounded Bold for the book cover and titles, with tight spacing, creating ligatures among the titles. The text typeface is Saans.

This book tells the story of Bizet Bizar, an activation of a former car park in Brussels, Belgium, between 2022 and 2024. As part of the Bizet Sustainable Neighbourhood Contract, Dear Pigs, Werkplaats Walter, and MUS-E were appointed to breathe new life into the site pending a new urban development.

From three perspectives – urban nature, art, and community – various processes emerged that make the site what it is today. Project partners, residents and neighbourhood organizations found each other in unexpected collaborations; new networks took shape. At the same time, the process raised many questions: When will the garden finally be ready? When will the gate be open?

In this book, we outline the development of Bizet Bizar through an alphabet of words and images. Each word opens a window onto the rich archive of the place. The abécédaire inspired six authors – Sonia Dermience, Gideon Boie, Pascal Gielen, Eleonora Campenella, Edith Wouters and Jolien Naeyaert – to reflect on the project. The ‘alphabet primer’ and essays interlock and engage in dialogue with each other. They can be read in any order: an exercise in open-endedness that invites us to reflect on and fantasize about how we can shape our social environment.

Bizet Bizar continues to produce and collect stories. This book is therefore neither the conclusion of two years of action, nor a classic project documentation, but rather a look at future actions in the urban space.

With this publication, Dear pigs takes up a position within the architectural and urban planning discourse that advocates the importance of experimental development models and practices of permanent temporariness. Not to offer solutions, but to create space for questions, for cross-pollination, for the unfinished. We hope that readers will be challenged to celebrate unexpected twists, chance encounters and open endings as ingredients of an inclusive city.

The typefaces used are Exposure by 205TF and Neue Haas Grotesk by Christian Schwartz.

Main text is set in Exposure, a typeface that balances an intentionally unfinished character with full legibility. Secondary content is set at a slightly smaller point size in Neue Haas Grotesk.

Graphic design by Els+Onno. Concept and composition by Dear pigs, (Martha Meijer, Jasmien De Ryck, Jan Laute and Lode Vranken). Photography by Sarah Michielsen and others.

Asfalt Billboard Coiffeur. Notes on Bizet Bizar is available from Public Space.

Description of the project by designer Chezarit Mattie:

I spent a year documenting the same spot from my balcony. One day I went out onto the balcony and took a picture of the garden across the street. There was something about that image that compelled me to repeat it. That image became a habit. The habit, a record. In those twelve months, I understood that looking is an almost poetic discipline; a sustained practice of attention and time, of understanding cycles, listening to intuition, and giving patience space to do its work.

Headlines set in BallPill by Benoît Bodhuin, paired with Helvetica or similar for text.

More Water Than the Eye Could See is a photographic project that sits between documentary practice and a sensitive exploration of place, developed around Lake Lanier, located in the southern United States (Georgia). By closely observing this artificial lake created in 1957 and walking along its shoreline, French-American photographer Tempé Storm Cole searches for traces of the painful history it submerged. The landscape resists, revealing little.

The publication by Bluff Books comes with a copy of map of the dam as published by the U.S. Army in 1970. For a closer look at the map, see a 1975 edition using the same design (also using Balloon Extra Bold as the main font).

Wang Laboratories was a renowned Massachusetts (USA) manufacturer of desktop computing and word processing technology through the 1970s and 1980s. Founded by Dr. An Wang in 1951, the company started out in typesetting and calculator equipment before becoming more successful and well-known for office computing equipment.

The Wang System 2200 was a series of desktop minicomputers with a built-in BASIC language, introduced in the early 1970s before the advent of popular microcomputing. The printed documentation for this line of systems employed a couple different design languages, but the style shown here with this typography was in consistent use through at least 1977’s PCS-II. 

The publication Der Prozess ist der Parcours – Wie Antworten über Fragen staunen oder wie Spiele Wissen infrage stellen (“The process is the course”) is a publication and documentation of my Master project made at Burg Giebichenstein Kunsthochschule Halle. It captures the process of the exhibition and the multimedia and participatory exploration of curiosity. It is about the potential, the downsides and the promotion of curiosity. It is an attempt to spatially represent this driving force, allowing for mishaps that enable moments of critical self-reflection and knowledge production, and methods that stimulate curiosity. In particular, it focuses on playing, questioning, establishing connections and moments of irritation.

The softcover publication has 128 pages and measures 125×185 mm. It comes with a silver scratch-off sticker and changing papers.

Typeset in EB Trainer Grotesk Regular by Antoine Elsensohn of Électro-bibliothèque,
Adelphe by Eugénie Bidaut of Bye Bye Binary, and HAL Timezone Mono by HAL Typefaces. Concept and design by Alexandra Vögtle.

Eleventy LibDoc is an easy-to-use and content-focused starter project for Eleventy to craft slick and responsive documentation. It was developed with awareness for accessibility and a low-tech mindset which allows to reach good page speed performance. It contains self-made Vanilla JS components like search, primary navigation, table of content, code highlighting, and sandboxes. Every page created with LibDoc is printable and can work properly even without Javascript by maintaining only essential features.

UNCHORUS 2023 features the practices of the twenty artists who have participated as the third cohort of the Freelands Artist Programme. It contains commissioned texts by 21 writers, poets, philosophers, artists and curators, as well as artists’ interruptions and a lexicon of artist development.

The Freelands Artist Programme was a five-year initiative (2018–2023) by the Freelands Foundation to support 80 emerging artists and strengthen professional art practices across the UK by partnering with four regional arts organisations. Artists received funding, studio time, and development support over two years, culminating in exhibitions and public engagement. The program aimed to foster local art ecosystems, build artists' networks, and retain artistic talent outside of London, UK.

The publication is designed by Studio Kristin Metho using Boogie School Sans for the cover title and chapter openers. Atlas Grotesk and Optima are used for the body copy and titles.

The publication Streitsache Straßennamen (“Street names in dispute”) documents the process of renaming streets in Darmstadt between 2013 and 2022. Over the course of 219 pages, it details the debates, decision-making processes, and the work of experts who critically examined the biographies of controversial street namesakes from the National Socialist era. The book also includes content from the exhibition of the same name, shown in 2021 at the Justus-Liebig-Haus, as well as transcripts of lectures presented during a symposium held online on June 1, 2021. Designed by Florian Schimanski, the publication is an important contribution to the ongoing reflection on the city’s history and how it is commemorated today.

The book is set in HAL Timezone, Tor grotesk, and Monotype Grotesque. Produced in collaboration with Büro für Erinnerungskultur and edited by Stadtarchiv Darmstadt, it is printed on Circle Offset and Circle Silk paper. It measures 170×210 mm, and is published in an edition of 1,000 copies.

The website Silent Witness promotes the eponymous photobook by Cornelia Suhan. The book addresses the systematic rape of women during the Bosnian War and serves as documentation of these traumatic experiences. Each photograph links the stories of the victims with specific locations, which are pinpointed using geodata. The book addresses the consequences of sexual violence.

The website is characterized by a clear structure and bold typography in Suisse Int’l. The minimalist black-and-white style complements the seriousness of the subject matter.

Source: www.juli-arbol.com License: All Rights Reserved.

During Ramadan – when nights come alive with culture, energy, and connection – Cadillac launched Brightest Nights, a mobile-filmed docuseries capturing the often-overlooked vibrancy of night culture during the holy month.

The visual identity was built around a striking bilingual type system: Cadillac Gothic, with its bold, modern geometry, anchors the brand’s English voice, while Adobe Arabic Shin brings fluidity and clarity to the Arabic counterpart. Together, they create a cohesive and expressive system that balances heritage with a contemporary edge.

The submitted posters – used across branding and animated social content – reflect the duality of the series: raw and authentic in tone, yet refined in design. The typographic choices play a central role in reinforcing the cultural relevance and visual sophistication of the campaign.

Art director and graphic designer: Juliana Arboleda​
Writer: Rohan Kodialbail​
Creative director: Bruno Barbosa​
Agency: Saatchi & Saatchi Dubai
Director: Amirah Tajdin

Source: www.juli-arbol.com License: All Rights Reserved.

Source: www.juli-arbol.com License: All Rights Reserved.

Source: www.juli-arbol.com License: All Rights Reserved.

Source: www.juli-arbol.com License: All Rights Reserved.

Source: www.juli-arbol.com License: All Rights Reserved.

Source: www.juli-arbol.com License: All Rights Reserved.

Source: www.juli-arbol.com License: All Rights Reserved.

Source: www.juli-arbol.com License: All Rights Reserved.

Source: www.juli-arbol.com License: All Rights Reserved.

Списки (Spysky, “Lists”) is a new book by Myroslav Laiuk, published by Ukraïner publishing house in May 20, 2025. It contains reports and essays about losses during the war, about what is valuable to a person and why. Quietism Poster Regular by Michael Rafailyk is used in the book’s cover and titles.

The book is the result of three years of work: trips, interviews, observations, textual and photographic documentation of what Ukrainians call their greatest losses during the war. It follows up on Myroslav’s previous book, Bakhmut, for which he was awarded the Yuriy Shevelyov Prize in 2024.

These are testimonies of military and civilian personnel and reflections of the author. These are the photos that Myroslav Laiuk took during three years of trips and observations: from the front line to the rear hospitals. These are stories about art in Kharkiv and the moment of the shelling of Derzhprom, about flooded Kherson, about the work of the rehabilitation center near Lviv and the Kyiv military hospital during the capture of Avdiivka. These are also stories about fighters who lost their sight, about a firefighter who came to his own house on call, about children who study at a school opposite the Kinburn Spit and lose their childhood. These are stories about how Ukrainian classics interpret the concept of freedom and land and how this affects modern narratives.

The OH Catalogue website offers a comprehensive overview of the fonts available at the co-operative printing studio Officina Helvetica in Biel, Switzerland. The project aims to systematically document, catalogue, and digitally archive the studio’s collection of wooden and metal typefaces. To date, 81 wooden typefaces in sizes ranging from 3 to 60 cicero have been recorded, while over 70 metal typefaces, from 5 to 72 points, are still awaiting documentation.

Each typeface has been printed on individual 297×460 mm sheets, compiled into a portfolio of 25 prints, produced in a limited edition of 50 copies. This documentation not only preserves and showcases traditional craftsmanship but also supports the planning of future printing projects. Both the physical and digital catalogue are designed to serve as a valuable resource and source of inspiration for designers.

Reflecting the name Officina Helvetica, the website honors the iconic typeface by using the digital version of the original Neue Haas Grotesk.

The project was initiated by Thomas Hirter, Philippe Marmy, and Simon Moser, with a beautifully crafted website designed by mutoco.ch in Bern.

The photographic book BREATHE IN: Emotions of the XVIII Chopin Competition by Filip Dowjat offers a unique behind-the-scenes look at the 2021 Chopin Competition.
Filip Dowjat captured the emotions of the participants, from their intense concentration before performances to the anxious moments awaiting results. The project was developed in close collaboration with photo editor Joanna Kinowska, who curated the image selection and sequence, and designer Andrzej Dobosz, who crafted the elegant visual presentation.

BREATHE IN stands out for its elegance and subtlety, complemented by the sharp serif Migra (Pangram Pangram), emphasizing both the prestige and contemporary feel of the publication. The clearly integrated trilingual text (Polish, English, Japanese) allows readers worldwide to immerse themselves in the competition's atmosphere.

A distinctive feature is the photographic index, providing details about the location, date, participant's name, and the Chopin piece performed at each captured moment, enriching the emotional context for readers.

The title “WDECH / BREATHE IN / 胸に息を吸い込んで” symbolizes the silent moment before the first notes are played.

The book was published by the Fryderyk Chopin Institute (NIFC) and co-funded by the Ministry of Culture and National Heritage.

Clodagh O’Leary is a photographer documenting the Irish republican tradition of internment bonfires in Derry. This photo series focuses on the experiences of young people from the areas of the Bogside and Creggan, exploring the politics shaping their lives and identities.

The republican symbol of the Easter Lily is woven throughout the publication. Abstracted into a topographical map, the Easter Lily begins to mirror some of the physical and ideological boundaries in Derry.

Two alternative half covers were created for the publication – a tricolour and a gold version – both adorned with the Lily and a map of Creggan. The creep and bind stitching have been intentionally left untrimmed. For the publication and exhibition launch, a series of promotional posters were also created.

Riso printing by Way Bad Press, with digital printing by Plus Print. The display typeface is Medieval Edition by Elias Hanzer. It’s supported by Founders Grotesk for text.

Who Fears to Speak is available from Clodagh O’Leary / 1eurofiddy.

From designer Ben Weaver:

Sugar Paper Theories explores the investigation of the supposed murder of two missing persons in Iceland in the 1970s and the conviction of 6 people based solely on their confessions. Jack Latham’s photographs are combined with material from the original police investigation files, a copy of the case files obtained by a conspiracy theorist and excerpts from a diary kept by one of the accused. This source material is reproduced using a variety of printing methods, paper types and sizes, and is sequenced to create a nightmarish, disorientating experience of the investigation. A written account of the case by Professor Gisli Gudjónsson CBE, a forensic psychologist whose expert testimony and theory of memory distrust syndrome are central to an ongoing inquiry, is integrated into the sequence.

The book uses the typeface Landnáma throughout.

Sugar Paper Theories was first published by Here Press in 2016. A second edition followed in 2019. Text by Gisli Gudjónsson with a foreword by Erla Bolladottir and photographs by Jack Latham. The book comes with a perfect bound card cover with cloth spine. It measures 31×23 cm and has 180 pages.

RT Alias is used spectacularly throughout the book Videothek: Eine nostalgische Erinnerung. The publication was designed by Thomas Martin as his Bachelor thesis at HS Pforzheim. It processes memories and impressions around classic video rentals. It offers a nostalgic glimpse into a world before streaming services and 24/7 availability of entertainment.

Documentation of the graffiti and streetart festival which took place from 20th November 2015 to 6th December 2015 at the Bundeskunsthalle in Bonn.

The German-language publication was edited by Allan Gretzki, Johanna Adam, Matthias Hübner, and Robert Kaltenhäuser, with texts from Rein Wolfs, Allan Gretzki, Robert Kaltenhäuser, Johannes Stahl, Harald Hinz & Patrick Gau. It was published by Possible Books.

Matthias Hübner provided the book design, using Ostia Antica and Totentanz, both from Bureau Brut. See more images on his website.

160 pages, 23 cm×18 cm.

Hovedstaden bag facaden (“The capital behind the facade”) by Ulf Svane and Mathias Kobberrød Rasmussen of Copenhagen Archive is a 400-page photo book, published by Lindhardt & Ringhof, documenting the small, local, historical, and unfortunately disappearing businesses of the city of Copenhagen.

Spine Studio did the layout using Malamocco and Century Schoolbook.