About the book, by Pereine Press:

The country is flooding. Every day the sea claims another kilometre of land. The prime minister holds a daily press conference. Scientists try to find an explanation, without success. The museums are emptied of their valuable works. Some people stay. Most leave. Once the evacuation is complete, and the rest of the world is already moving on, a climate activist, a young poet and an oceanographer voyage across the new sea. They are drawn back into the heart of a changed nation, seeking what they have lost in the deluge.

About the author, via Penguin Random House:

Eva Meijer is a Dutch author, artist, singer, songwriter and philosopher. Bird Cottage is her first novel to be translated into English, has been nominated for the BNG and Libris prizes in the Netherlands and is being translated into several languages. Eva Meijer was awarded the Halewijn Prize in 2017 for all of the books she has written so far.

This Hungarian edition of Zee Nu (English: Sea Now) was translated from the Dutch by Orsolya Réthelyi and published in 2025 by Magvető Kiadó as Tenger Most. The montage, which brings Haeckel’s iconic illustrations to life, symbolizes the sea, featuring a yellow ring in the middle that suggests a lifebuoy.

Ne rien jeter (33 ans après) (“Don’t throw anything (33 years later)”) is the title of an exhibition by photographer François Halard at Fondation Gallifet in Aix-en-Provence. The catalog uses the typeface Aman from Blaze Type.

Szemet ​adtam neked, s te a sötétségbe néztél (“I Gave You Eyes and You Looked Toward Darkness”) is an audacious and entrancing novel in which the lines between the dead and the living, past and present, story and history are blurred. In it, Irene Solà draws on oral tradition as well as art, literature, and fairy tales to tell a completely new kind of story.

This novel is a carnival cavalcade of memory and forgetting, reality and fairy tales, light and darkness, with lots of color, desire and magic.

Irene Solà (b. 1990) is a Catalan writer. In 2020 she won the European Union Prize for Literature.

About the book, by publisher Book*hug Press:

From award–winning French writer Sibylle Grimbert comes The Last of Its Kind, a moving story of friendship, trust, respect, and the desire to endure and survive. In 1835, Gus, a young zoologist, is sent to Iceland by the Natural History Museum of Lille to study North Atlantic fauna. It is there that he witnesses the bloody massacre of a colony of great auks. Amidst the violence, the curious researcher pulls a single wounded bird from the water, unaware that he has recovered what will eventually be the last of its kind. Over the next fifteen years, Gus comes to realize that he is closely observing something inconceivable: the extinction of a species. From there, a singular preoccupation is born, and the inevitable fate of his feathered friend eclipses everything else around him.

Originally published as Le dernier des siens, the Hungarian edition was translated by Kornélia Kiss and published by Magvető Kiadó as Az ​utolsó egyed. The skeleton printed in spot UV on the cover instantly hints at a grim conclusion. Linotype’s Bodoni Bold Condensed is used for the title, combined with Adobe Jenson Italic for the author’s name.

Veus de Conte is an inclusive editorial project designed and illustrated for Cugat in collaboration with the ONCE Foundation and Joan Maragall School. The project creates an educational experience through nine stories read and interpreted by children aged 5 to 10 for visually impaired children of the same generation.

The publication combines braille, tactile illustrations, and NaviLens QR technology within a playful and accessible design system, creating a multisensory reading experience that encourages literacy, imagination, and inclusion for both sighted and visually impaired readers.

DIW specializes in high-end print finishing and custom packaging solutions. For their latest sample box I developed a design object that invites people to experience the possibilities of print first-hand. The message printed on the outer box sets the tone: “Sink into the box”.

Inside the outer box you will find six carefully curated samples that immerse you in the world of finishing techniques and special papers: hot foil, embossing, spot varnish, and more. Each piece highlights a different technique and demonstrates the precision and craft behind DIW’s work.

To emphasize the quality and flexibility of their production, we developed a custom lettering system. Each box features a unique letter, while additional custom characters appear across the text throughout the set – creating a typographic system that reflects the individuality and adaptability of DIW’s printing capabilities. TWK Lausanne by Weltkern works as a neutral and sturdy base typeface in contrast to the rest of the typography.

Branding and identity for Broad Leaf Spirits, a boutique offshoot of Michigan-based craft beer juggernaut Brewery Vivant, forged as a passion project of the restaurateur to explore non-traditional brewing and distilling techniques.

The design brief was an open invitation for experimentation and play. On-site conversations led to discoveries. The team’s philosophies and external positioning? A group of self-proclaimed mad scientists who share a love for cassette futurism and bygone electronics.

50+ unique graphics were created using a modular synthesizer and oscilloscope. Sounds from the synthesizer’s patch bay were plugged into the oscilloscope and captured at 1/50th shutter speed for analog light trails and haze.

The fuzzed-out 8-bit Unknown font signals the spirit type (vodka, gin, mezcal) while Futura supports with legible sans-serif copy and descriptors. Accessible technology for those who are blind or have low vision was incorporated by printing Braille DIN as raised text with a double-hit of spot gloss.

OT Magister is used for AB Collection. Design studio Soup describes the project as follows:

AB Collection is an ever-evolving printed archive of works acquired by a private collector. The identity of the collection centers on the fortuitous initialism of the collector’s name, and is used to form the basis of an alphabetical index that runs throughout.

We produce a cloth-bound box annually to document all pieces acquired that year. Within, each artwork is reproduced as a loose sheet in a range of formats and stocks to complement the piece, with blind embossing and UV varnish finishes used to further accentuate formal features of selected artworks. The loose sheets are sorted alphabetically into four folders, and a coding system assigns each artwork a unique reference number for easy location. An accompanying bound book comprises a text about each artist and a visual index with key artwork information. Each volume also includes a poster with an overview of all artworks added to the collection that year, reproduced to scale. Here, a spot UV is applied to the images, giving them a tactile finish against the matte paper stock.

Atelier Bulk is a French boutique printer specialising in high-quality embellishments – hotfoil, embossing, debossing, and bespoke print finishes for luxury brands. Originally known simply as Bulk, the company faced a perception gap: a name that suggested mass production for a business built on craft and precision.

Bordeaux-based studio Abmo led the rebrand, drawing inspiration from luxury fashion houses to position the printer as a leader in its category. The new designation incorporates the term “Atelier” to signal artisanal character and distance the brand from industrial associations, supported by the descriptive line State of the Art Printing. The visual system pairs an elegant minimalist monogram with a powerful, timeless wordmark – clean and disruptive within a traditionally conservative industry. A unified website replaced the previous fragmented digital presence, integrating all services under a single identity.

Martin Stoecklin and Melina Wilson of A Language used OT Scholar for a book with works by artist Monia Ben Hamouda. They describe the project as follows:

Path of Totality is the first monograph dedicated to the work of Monia Ben Hamouda (Milan, 1991) and is published on the occasion of her exhibition at Museo Casa Rusca in Locarno, curated by Gioia Dal Molin. Drawing on the metaphor of the total solar eclipse – the “path of totality” is the area on Earth in which this phenomenon can be seen – the book reflects on night, suspension, and the conditions of making art in a time of political and existential uncertainty. Conceived as the “crystallization of a moment,” the publication brings together images and texts in a porous, polyphonic structure. Contributions by Övül Ö. Durmuşoğlu, Beya Othmani, and Sira Pizà expand the project through multiple perspectives, situating Ben Hamouda’s work within Mediterranean, spiritual, and political contexts.

Created to promote the Rives paper range by B&F Papers, Touchy Feely is a printed publication designed to be touched, pulled apart, kept and returned to.

The project was developed to highlight Rives Laid, the newest stock in the Rives collection, while also presenting the wider range as a premium choice for luxury print work. Rather than creating a conventional paper promotion, Touchy Feely turns the paper itself into the subject. Across 20 original artworks, the stock specifications become the content, allowing each page to demonstrate the material’s texture, tactility and print performance.

The publication’s soft-glued spine allows the pages to be removed and enjoyed as individual artworks, or kept together as a complete set. This simple production detail gives the piece a life beyond a standard sample book, positioning it as both a visual object and a practical reference for printers, designers and creative studios.

Throughout the book, the Rives range is explored through a combination of paper textures and innovative print techniques, showing how the stock can shift between subtle, intricate and expressive applications. By inviting the viewer to touch, feel, read and keep the publication, Touchy Feely creates an emotional and sensory connection to the material.

More than a promotional piece, the project acts as a lasting resource. It demonstrates the versatility of the Rives range while giving B&F Papers a printed object with longevity, one that continues to be used, shared and referenced long after its first encounter.

For a deeper dive go to It’s Nice That and Studio Fuman.

In dialogue with the exhibition History is Painted by the Victors by Kent Monkman, the visual identity for the Montreal Museum of Fine Arts’ Museum Ball 2025 navigates between institutional heritage and contemporary expression, translating a tension between structure and expressive disruption.

Design by Caserne using Ninna Regular by Margot Lévêque, supported by Suisse Works by Swiss Typefaces.

The Mammoth Book of Best Crime Comics is a compilation edited by Paul Gravett:

Paul Gravett edits and Peter Stanbury designs The Mammoth Book of Best Crime Comics. This is a 480-page collection of 24 mean, moody masterpieces, many painstakingly restored by Stanbury. They range from classic newspaper strips and notorious uncensored pre-Code comic books to the finest in American, British and European graphic novels.

The line-up includes: Dashiell Hammett & Alex Raymond, Will Eisner, Johnny Craig, Mickey Spillane, Bernie Krigstein, Alan Moore, Joe Simon & Jack Kirby, Neil Gaiman, Alex Toth, Jacques Tardi, Jordi Bernet, Paul Grist, Jack Cole, Charles Burns, Max Allan Collins, and José Muñoz & Carlos Sampayo. Highlights include the first comic book appearance by Mike Hammer’s prototype written by Spillane and shot from the original comic book artwork, and the never-before-reprinted last ever comic book by EC genius Bernie Krigstein, a bizarre 87th Precinct tie-in to Ed McBain’s famous characters.

The entire book (outside of the comic reprints, of course) uses two fonts for everything: Tarnation and Cooper Black. Even the legalese and barcode! The cover illustration is by Jordi Bernet and design is credited to Peter Stanbury.

The visual identity for Staatsballett Berlin, designed by Eps51, combines expressive typography with a restrained contemporary layout system. As one of Germany’s leading ballet companies, Staatsballett Berlin plays a central role in the development and preservation of ballet, both locally and internationally.

The identity translates the grace, energy, and emotional intensity of dance into a graphic language that balances movement and structure. The typographic palette pairs Similar with NT Zeu, whose proportions and rhythm complement the geometric character of Similar while introducing a contrasting voice across editorial materials, posters, and digital applications.

Developed in close collaboration with the team at Staatsballett Berlin, the system reflects both the tradition of classical ballet and the company’s contemporary cultural presence in Berlin.

Branding, web, and packaging design for Coaltown, a coffee roaster based in Wales, with creative direction by Smörgåsbord Studio and featuring VFX by Dima Rodionov. The rebrand was launched in January 2026. From an Instagram post by Smörgåsbord announcing the project:

An exercise in evolution, not revolution. Coaltown’s foundations were already strong; our role was to refine and elevate. We began by rearticulating the brand strategy, clarifying Coaltown’s purpose and its reason for being. From there, we shaped a new visual language.

We chose to ‘celebrate the slab’. Coaltown’s logotype had long relied on a serviceable but unremarkable slab-serif typeface, so we sought a more crafted, characterful successor. That search led us to ‘Successor’, by New York–based Commercial Type.

Drawn by Tim Ripper and released in 2023, ‘Successor’ is a contemporary interpretation of the nineteenth-century English slab-serif – often referred to as Egyptian or Antique. Slab-Serifs dominated poster design from the Industrial Revolution through to the early twentieth century, when the Welsh coal industry was at its height. With 16 weights and cuts, it allowed the entire brand to be built from a single type family.

‘Coal Black’ remains Coaltown’s signature colour, complemented by five rich, muted tones inspired by the ‘House Coffee’ range. We’ve also introduced ‘Purpose Orange’ as an accent, drawn from the National Coal Board’s iconic donkey jackets – worn by miners from the 1960s to the 1980s and long a symbol of working-class identity.

MAISON Ë is a contemporary magazine celebrating design, culture, and craftsmanship through carefully curated content. Positioned at the crossroads of design, architecture, fashion, and culture, MAISON Ë explores spaces, objects, and ideas that shape a thoughtful way of life.

With a timeless aesthetic, its visual identity is defined by the prominent use of the Rizoma typeface, from R-Typography, on the logotype and for the headlines. Text typefaces include Chamberí (Extratype) and Suisse Int’l (Swiss Typefaces), with some sprinkles of Dinamo’s ABC Honeymoon.

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.

Record cover for AcidSitter’s 2025 album Escape from Egoland designed by Jacek Rudzki featuring an early use of Dioda for the title, alongside with Druk Wide, Neue Helvetica and Times New Roman.

AcidSitter is a Polish/Japanese psych rock band. Debuted in 2023 with the album Make Acid Great Again on Interstellar Smoke Records, they are exploring a wide range of psychedelia with rock ’n’ roll passion and punk energy.

[More info on Discogs]

Audio book cover

Green Dot is the first novel of writer Madeleine Gray. Published in the UK by Weidenfeld & Nicolson, the book was praised by Caitlin Moran for its humorous take on an office relationship, and was shortlisted for the 2025 British Book Awards Debut Fiction Book of the Year.

The book and associated marketing make use of the font Droog, designed by Rian Hughes and released through Device. On the cover of the edition shown here, Droog is embossed in a glossy finish that gives tactile contrast to the flat, bold colours of the illustration.

The title of the book references the ‘green dot’ that indicates a person’s presence online – a motif echoed visually by the circular font and its distinctive holes, some of which are used in lieu of counters.

Cover design by Steve Marking with illustration by Tatyana Alanis.

The praise is added in ITC Avant Garde Gothic.

Shanghai-based designer Nagisa Chen of notadesign was the first to use Lava CJK in an editorial project published by Ventura / Guangxi Normal University Press, designing a series of nonfiction translations by Friedrich Nietzsche, Sigmund Freud, and André Gide. With his careful type choices and refined layouts, Nagisa set out to evoke timelessness and elegance—deliberately contrasting with the historical weight of the texts themselves. Lava is used for Chinese, combined with Mercure, designed by Charles Mazé, a digital revivals of Louis Perrin’s type, for the Latin texts and numerals.