weiter bilden 2/2018, “Debatte”

weiter bilden. DIE Zeitschrift für Erwachsenenbildung is academically rigorous and practice-oriented – serving as both a magazine and a medium for reflection. The journal is published four times a year by Deutsches Institut für Erwachsenenbildung – Leibniz-Zentrum für Lebenslanges Lernen (DIE), Bonn.

Each issue focuses on a specific theme from the field of adult and continuing education. Shown here are the issues 2/2018, “Debatte”, and 4/2018, “Fakt Fake”.

Design by Christine Lange, using Rational and FF More. The production, publication and distribution is handled by wbv Media GmbH, Bielefeld.

weiter bilden 2/2018, “Debatte”

weiter bilden 2/2018, “Debatte”

weiter bilden 2/2018, “Debatte”

weiter bilden 2/2018, “Debatte”

weiter bilden 2/2018, “Debatte”

weiter bilden 4/2018, “Fakt Fake”

weiter bilden 4/2018, “Fakt Fake”

weiter bilden 4/2018, “Fakt Fake”

weiter bilden 4/2018, “Fakt Fake”

weiter bilden 4/2018, “Fakt Fake”

10th (and final) issue of Die Epilog, a German magazine that deals with the change of our society. By looking into the small things that are changing in our everyday lives, it wants to explore and welcome the bigger shift around us:

It’s going to get gross! Die Epilog is approaching an unpleasant concept: strength. The opposite of brains! Or is it? The raw, the crude! We set out to find the positive side of strength: how it moves, how it changes. How does political momentum arise? How do anabolic steroids work? Can we find it, this post-disgusting power? To do so, we’re taking the discourse to the gym and looking at the forces of our time: social, psychological, physical and magical forces that simmer, build up and erupt beneath the surface of culture, of things, of the earth’s crust. We look at mountains of muscle and beneath masks, and pull marble from its pedestal. A power-packed issue on the strength of parcel delivery workers, the power of anger, and the power of pumpernickel.

Die Epilog’s standard typefaces Tobias, Kern and Cardinal Short Italic were complemented by T1 Korium, TWK Everett and Generation Mono for this issue.

A student project made by Arina Levitskaya at HSE Art and Design School supervised by Evgeny Korneev, Москва утопическая (“Moscow Utopian”) is a book on how social utopias shaped Moscow’s architectural image during the Soviet and post-Soviet periods, what ‘factory kitchens’ were built for, and why the so-called paper architecture is valuable. The book’s typography is set in CSTM Xprmntl 02 Italic by CSTM Fonts and Oceanic Text by Interval Type.

La Malpensante Moda is a special annual print edition of the Colombian magazine El Malpensante, dedicated to exploring the intersection of fashion, architecture, design, and craftsmanship. It is not a fashion brand or a retail platform, but an editorial project.

The first issue of La Malpensante Moda was published in April 2020, during a particularly adverse global moment. Conceived as an editorial experiment with no precedent within the broader corpus of El Malpensante editions, it marked a significant expansion of the magazine’s scope. Five years later, the project remains active and firmly established within the publishing group.

In this first edition, the editorial direction was led by Rocío Arias Hoffman together with Karim Ganem. Art direction was carried out by George Anderson Lozano, with design assistance by Tom Deason.

Headlines are set in Ogg Display by Lucas Sharp, while body text and paratextual elements are composed in Hoefler Text by Jonathan Hoefler.

The edition examines the relationship between design, contemporary aesthetics, and artisanal tradition. It reflects on how individuals “inhabit space” – both their physical environments and their own bodies – through clothing, adornment, and material culture.

This is the fourth issue of La petite collection, designed by Bureau Roman Seban. As with every issue, the number is printed on the cover and the colophon on the back cover, typeset in Bertin (here in Square style), the body text is set in Basetica, the captions in Muoto, all available from 205TF. The film titles and subheadings that punctuate the text are set in Nosferatu.

La petite collection is a series of texts dedicated to writing, typography, and book design, produced entirely by hand (from design to offset printing) within the Association Presse Offset in Paris. Each issue publishes one illustrated text in French. It is available for purchase on Association Presse Offset.

White Fungus is an art magazine and project based in Taichung City, Taiwan.

Founded by brothers Ron and Mark Hanson in Wellington, New Zealand, in 2004, as a quasi-political manifesto, copies of the first issue were produced on a photocopier, wrapped in Christmas paper and hurled anonymously through the entrances of businesses throughout the city. Now a magazine featuring interviews, writing on art, new music, history and politics, White Fungus takes a dialogical approach to the work it covers. The name of the publication comes from a can of “white fungus” the Hansons found in their local supermarket in the industrial zone of Taichung City. Each cover of White Fungus is derived from a scan of the can.

The 18th issue of White Fungus features an 80-page interview with New York poet and novelist Eileen Myles. The conversation traces several chapters of their life, including becoming a poet in 1970s New York, reading at CBGB, and writing the cult classic Chelsea Girls. Myles discusses their mainstream crossover in 2015, their involvement in the hit television show Transparent, overcoming alcoholism, their writing process, and many other topics.

The issue also includes an epic feature on Hilma af Klint and the suppressed occult roots of modernist art. Taipei artist Yao Jui-Chung contributes a photo essay documenting animatronic depictions of the Chinese concept of hell, as seen in Daoist temples in Taiwan and Singapore. Yan Jun reflects on the life of Taiwanese noise music pioneer Dino (Liao Ming-He), who passed away in 2022. Also featured is an interview with artist Pavel Pepperstein on the influence of children’s literature and hallucinogenics in conjuring his surreal futuristic landscapes—a style he calls “psychedelic realism.”

Table of contents, set in Söhne, Sometimes Times and Athelas

Opening spread for an interview with Eileen Myles, set in Bell and Letter Gothic

Slightly modified Corinthia introduces the word “Hell”. The title of the artwork is set in the lower left corner in tiny DF Kai SB.

Opening spread for “Through the Prism of the Looking Glass”, pairing Lo-Res with Snell Roundhand.

Western Birds. An Audubon Handbook by John Farrand Jr. helps readers identify “the over 460 species of birds regularly found east of the Rockies.” It is a lengthy yet compact softcover of 416 pages, 1,314 photographs, and 100,000 words. Published in 1988 by McGraw-Hill, Western Birds is one of several books Massimo Vignelli designed for the National Audubon Society.

The book’s page layouts are built upon a simple two column grid subdivided into ten modules. All text is flush left. Paragraphs are not indented nor are they separated by an empty line. This creates a sharp, mostly uniform line on the left edge of text columns. Their right edge, in contrast, is particularly ragged due to hyphenation being dispensed with all together. Although the lack of paragraph indents and spacing and of hyphenation is somewhat unusual for such a text-heavy book, it is a hallmark of books designed by Vignelli and many of his modernist peers.

The book was typeset by Dix Type in Century Expanded, one of Vignelli’s preferred typefaces. As Vignelli was wont to do, the italic is used liberally throughout. The title on the title page is kerned in Vignelli’s signature tight-not-touching style. Two subsequent section headings are kerned in the same way but the kerning (or, rather, lack thereof) of the rest of text leaves much to be desired. The spacing between the characters of the body text is much more open than the tight headings – just as one would hope and expect. The problem, however, is that for the rest of the book, in both the body and in headings, many letters have awkward gaps yawning between them.

The tightly kerned title with the author’s unkerned name below.

A rare case in Vignelli’s work where text appears to be evenly spaced between rules. Usually when using rules, Vignelli would set the text closer to the rule above than to the one below, creating the impression that text is hung from the rule above. In his Canon, he mentions this as a “small but important detail.” 

One of 168 black-and-white drawings

On pages where rules are separated by images or multiple lines of text, the text does look as if it is hung from the rule above.

No elements of the layouts for recto and verso pages are mirrored. Instead, each page is uniformly designed as if it was a verso page with the page number always placed on a page’s bottom left.

A quite obvious example of the book’s kerning issues

One of three headings where text is kerned in a manner one would expect from a Vignelli-designed book.

The first page of the Index is numbered but all subsequent pages are not.

Back cover with description in italic. The ISBN is added in OCR-A.

“The Lives They Lived” is an annual special issue of the New York Times Magazine, published at the end of each year. The edition honors notable artists, innovators, and thinkers who died during the previous twelve months.

The 2024 issue was designed by Annie Jen under the direction of Gail Bichler. The typography combines Farmacia by Nguyen Gobber for headlines with Timezone by HAL Typefaces and NYT Mag Sans and NYT Mag Serif by A2-TYPE for copy text.

This is the sixth issue of La petite collection, designed by Bureau Roman Seban. As with every issue, the number is printed on the cover and the colophon on the back cover, typeset in Bertin (variable font), a typeface available from 205TF. The body text is set in Axo by the author, Charles Mazé, available from Abyme.

La petite collection is a series of texts dedicated to writing, typography, and book design, produced entirely by hand (from design to offset printing) within the Association Presse Offset in Paris. Each issue publishes one illustrated text in French. It is available for purchase on Association Presse Offset.

In March 1996 TassinariVetta took over the art direction of Casabella, the historic architectural review founded in 1928. From that moment on the magazine has become part of the everyday life of the studio, where it is designed month after month.

Aiming to go beyond the traditional concept of ‘typographic architecture’ – which sees graphic arts subject to the universal compositional rules expressed in architecture – and to offer a new perspective on the world of letters, the 2024-25 cover design sets editorial objectives ahead of graphic ones.

Taking advantage of the constraints inherent in monthly publication in sectoralization and serialization, and enhancing repetitive elements—the masthead, headlines, but above all the sequential number—the project brings editorial content to the cover through the choice of the font used to compose the number, its graphic interpretation, and the explanatory note published on the inside pages, which is an integral part of the project itself.

Faithful to the magazine tradition, issue after issue, the choice of lettering or typeface moves through the 20th century between avant-garde and modernism, with forays into adjacent spaces suggested by unlikely discards or ambiguous analogies, while exploring the development of the industrial means underlying mechanical writing.

With philological respect—using fonts available under license, photographic reproductions of original specimens, or vector redrawing, as appropriate—and with the calibrated use of a color palette consistent with the magazine visual history, the graphic interpretation ultimately aims to bring the historical artifact into the present, contextualizing it in a contemporary and accessible language.

no. 976 – Lettering for the Tomba Veritti (Udine, Italy), Carlo Scarpa, 1951

no. 975 – Univers, Adrian Frutiger, Deberny & Peignot, 1957

no. 974 – Prisma, Rudolf Koch, Klingspor, 1930

no. 973 – LL Le Corbusier, Nico Schweizer (da Le Corbusier), Lineto, 1999

no. 971-972 – Memphis, Rudolf Wolf, Stempel AG, 1929

no. 970 – Ingenieur, Wim Crouwel, 1964, The Foundry Types, 2012

no. 969 – bayer-type, Hebert Bayer, Berthold, 1931

no. 968 – Mexico 68, Lance Wyman, 1966–68

no. 967 – Our Bodoni, Massimo Vignelli, Tom Carnase, WTC (World Typeface Center), 1989

no. 965-966 – Futura Black / Paul Renner / Bauer, 1929

no. 963 – Fat Face, Herb Lubalin, Tom Carnase, ITC International Typeface Corporation, 1970

no. 962 – Kabel, Rudolf Koch, Klingspor, 1927

no. 961 – Stop, Aldo Novarese, Nebiolo, 1970

no 959-960 – New Alphabet, Wim Crouwel, 1967

no. 958 – Frankfurter, Bob Newman, Letraset, 1970

no. 957 – Universal, Herbert Bayer, 1925

no. 956 – Oakland, Zuzana Licko, Emigre, 1985

no. 955 – Aldina (Aldino), Nebiolo, redesign Adalberto Libera, 1938

no. 954 – Kombinationsschrift, Josef Albers, 1926–28

no. 953 – Bifur, A.M. Cassandre, Deberny & Peignot, 1929

The book brings together the best annual projects of the Academy. Printed in six-colour offset with the addition of a metallic Pantone, and partially in Risograph (internal insert), it employs hand-crafted movable type for the titles, with manual typesetting combined with black-and-white photography, as well as artist illustrations produced through intaglio and engraving, printed in two colours.

The layout is conceived as a fluid composition: a hybrid system of techniques and visual overlays that positions the book somewhere between graphic design and the artist’s book. While flipping through the pages, readers can access additional audio content related to the various activities.

Some of the typefaces used belong to the Academy’s collection of movable type. This includes a version of Inserat-Grotesk – possibly Fondografica’s Piacenza – and Motor. The names and origins of others are uncertain or undocumented.

The E and P are from an Art Deco typeface that’s similar to Triennale.

From Marsèll's press release:

Indice is the yearly publication that collects and celebrates Marsèll’s most important projects and collaborations. Like every object produced by the brand, this book is a limited-edition release that puts method into practice: experimenting with form, materials, creative processes, and diversity.

Founded in 2001, Marsèll is an Italian luxury footwear brand born from a new craft culture that reinterprets traditional shoemaking through a deconstructed, countercultural lens. The brand subtly distorts classic forms with innovative leather treatments, unexpected cuts, and sculptural silhouettes, blending experimental design with traditional artisan craftsmanship. Every shoe is handmade in the brand’s in-house atelier near Venice.

Marsèll Indice 2023 is the second issue of the brand’s annual publication, gathering all campaigns, editorials, and special projects released throughout the year. The book is divided into two sections, dedicated to SS23 and FW23–24 respectively, separated at the centre by a four-page signature containing the foreword, index, and colophon. The index is meticulously designed to reflect the structure of the book itself. All text is set in a single typeface, Times New Roman Seven, and kept at a consistent size throughout.

Spineless softcover plus book case
245×305 mm, 132 pages
Printed on Munken Print White, Fedrigoni Sirio Blu and Perla, and Sappi Magno Volume

Cover pages (detail) of the Switzerland and Norway travel guides by Lonely Planet, set in Pangea SemiBold

The story of the travel publisher Lonely Planet begins in the summer of 1972. The newly married Australian-British couple Maureen and Tony Wheeler had just completed a trip to Asia that lasted several weeks. Black in Melbourne, their circle of friends kept pestering them with questions about their trip, so they decided to write a book about it and publish it themselves. The success of Across Asia on the Cheap laid the foundation for what was to become Lonely Planet.

Today, the Australian publisher claims to be the world’s largest provider of independent travel and language guides. They publish 650 titles with a total print run of around 55 million copies. The company employs over 400 people in its offices in Melbourne, Oakland, London and Paris and has a staff of around 150 authors.

In 2022, Lonely Planet commissioned the New York creative studio Garrett Elizabeth Office with a comprehensive redesign of the brand. The aim was to modernize the travel guides and website and make them more attractive to both long-time users and a new generation of travelers.

Following the relaunch of the brand, the internal design team set out to find a new corporate typeface. They came across Fontwerk’s multilingual Pangea Collection via an internet search and were fascinated by the story of an “adventurous” font that goes on a world tour with extensive language development. Ultimately the decisive factor in the decision was Pangea’s sustainable licensing model: 25 percent of Christoph Koeberlin’s designer royalties go towards rainforest conservation and large-scale reforestation projects.

Shortly afterwards, Lonely Planet began the complete redesign of all printed materials. For this purpose, the publisher licensed Pangea and Pangea Text Regular, Italic, SemiBold and Bold. In order not to delay the new editions of the travel guides, city maps and maps, the design team even received some Pangea Condensed weights before their official publication. The serif used for body copy is Matthew Carter’s Miller. The Lonely Planet website was also refreshed and – until recently – was set in six Pangea styles.

The Lonely Planet travel guides are aimed at individual travelers who want to get off the beaten track.

Lonely Planet’s updated city plans and maps have been using Pangea and Pangea Condensed for years.

Lonely Planet’s international website has also been converted to the Pangea font family.

The 2023–24 edition of the RUFA Annual Report, conceived as a collective performance, goes beyond documenting the year’s activities to become a shared design act focused on intention, process, and collaboration.

Inspired by Vilém Flusser’s idea that “everything depends on intention (design)”, the report was created through a 48-hour creative marathon involving 50 selected students alongside designers, visual artists, photographers, copywriters, and faculty members. Working together in an open laboratory, the teams produced content, images, data, and narratives that shaped the final publication.

The volume unfolds through ten keywords defining the Academy’s identity, a photographic selection of undergraduate and postgraduate theses, and an overview of the year’s activities, including events, workshops, talks, and international projects. Data Humanism–inspired infographics, based on interviews and questionnaires with students and faculty, complete the narrative.

A die-cut dust jacket revealing the names of the participants and a concluding photographic report underscore the collective nature of the project. The annual report thus stands as both a document and a method, reflecting the Academy’s growth through shared experience, research, and collaboration.

Four-colour printing plus white and fluorescent yellow Pantone on Favini paper.
Typographic composition in Milligram by Zetafonts.

Design by Guido Lombardo, Davide Luccini and Francesco Paolo Incantalupo at Intorno Design, with illustrations by Francesco Fidani. For a full list of credits, see the RUFA website.

Parenthesis is the journal of the Fine Press Book Association. This issue was published in spring 2025, edited and designed by David Jury. A handsomely produced journal of 64 pages at 210×300 mm. It is set using a selection of weights and optical sizes from the Ravenscar family.

Cercle is a themed magazine, with its 11th issue published in May 2023 dedicated to mythology. For the occasion, Ariel Martín Pérez designed a custom typeface named Luperca. The typeface, now published by Tunera Type Foundry, is inspired by Roman capitals, with contemporary calligraphic influences in some of the letters and various ligatures, alternate glyphs and nested characters. The five optical sizes of the typeface means that it could be used in several kinds of titles, quotes and subtitles.

Luperca can be downloaded for free on Tunera.

The standard typefaces used for the magazine are Wigrum by Production Type and ITC Spirit by Jovica Veljović.

CCC – Catania Civitas Civtatis was made as a student project at ABADIR, a design school in Catania, Italy.

A three-volume work on how editorial design shapes the perception of visual content, showing how format, layout, and narrative can redefine (or reinforce) a work’s meaning.

The first edition of New Book features Dean Gothic by Tim Vanhille and Inès Davodeau for the main title, paired with Neuzeit S by Arthur Ritzel for the body text.

Words by New Studio:

New Book is an annual print publication about ‘Creative Resilience’. Per issue it curates interviews and works of 10 progressive creatives in the fields of art, photography, fashion and design. We spark conversations with the creatives about their inspirations, their challenges of nurturing and sustaining creative juices, and how to stay true to oneself.

Fan fiction magazine Danke is a biannual literary journal edited by Marion Regenscheit and Lucien Haug. In Danke, authors find space for a new, constructive approach to (old) texts. This year’s edition is themed “The Heidi issue”.

Display fonts of different type foundries and type designers supplement every issue. Among them are KTF Roman, KTF Jermilov, KTF Rublena, and KTF Tiemann by Kyiv Type Foundry. The designer – Dual Room’s Emmanuel Crivelli – also uses Cornbread, OCR-X and Selecta from Maxitype, plus BC Monument and BC Unciala by Briefcase Type Foundry.

The magazine’s editorial team consists of Lucien Haug, Marion Regenscheit, Richard Stoiber, Dorothee Elmiger, Chris Möller, and Mazlum Nergiz, together with the authors Johny Pitts, Enis Maci, Simoné Goldschmidt-Lechner, Hendrik Otremba, Marina Skalova, Clemens J. Setz, Anna Gien, Leonie Ott, Lotti Spieler, Leo Lemke, Tania Röttger, Dominic Oppliger.

The outstanding Sali e Tabacchi Journal is a publication that explores the relationship between the creative arts and Italy’s unknown rituals, habits and traditions. Founded by Elisa Carassai and Leonardo Pellegrino, the magazine is designed by Aisslinger Pellegrino and has published its fifth issue, Riv.05, “La Via del Fuoco”. The Milanese magazine, written in English and Italian, investigates fire as a primordial element – from molten lava and volcanoes, to eros, love and its twin flames, to spirits, will-o’-the-wisps, perpetual flames, and sacred fires – tracing how this perpetual force has shaped humanity’s existential condition since its origins. The volume brings together essays, images, and literary fragments.

The magazine is set in OT Magister by Omnitype, a faithful revival of Aldo Novarese’s Magister, for its title, and paired with AL Linea Book for the text, a precise revival of Umberto Fenocchio’s FTC Linea by Alex Lescieux. These two modern Italian typefaces, reawakened from slumber, resonate with the dual nature of fire, enduring and regenerative.

The release of Riv.05 was celebrated on October 23, 2024, at Fonderia Battaglia in Milan, with a launch event held in collaboration with Carhartt WIP.