Milk Magazine is a cultural and fashion publication focused on kids, and families in general. It also features in-depth interior design reports of cultural figures’ apartments or houses. The Milk Magazine website was updated by FCINQ, followed by its print version, designed by Claire Aupois under the artistic direction of Karel Balas. It features Karl by Source Type and Self Modern by the Bretagne type foundry. The sans used for the English slogan at the bottom of the cover is Aperçu. The logotype remains unchanged.

Front cover of the design research edition

Habiter l’entre-deux (“Inhabiting the In-Between”) is the name of my Master’s thesis in social and ethical design at Campus Fonderie de l’Image in Bagnolet, France.

Between Morocco and France, this project is rooted in a personal and familial history that echoes the broader historical and social context of North African immigration to France in the 1970s.

Through visual research, this written work brings contemporary practices into dialogue with colonial legacies, highlighting how art and design can serve as tools for cultural emancipation and visibility within experiences of exile and migration in France.

Drawing on the writings of Frantz Fanon and Édouard Glissant, the thesis explores the possibility of a relational and situated Afro-diasporic design practice. It asks: how can two cultures be brought into dialogue?

Situated at the intersection of multiple disciplines history, sociology, psychology, ethnology, and sensitive family archives this research lays the groundwork for a future collaboration with Transplantation, a Paris-based socio-cultural association, art gallery, and documentary archive, as part of the final diploma project.

Research and writing support by Loan Grac. Featured artists, researchers, and designers include Françoise Vergès, Chimurenga Chronic, Ahomé Studio, Maya Inès Touam, Babelfont
Akakir Studio, Syncretical, Atelier Eddy Terki, Nontsikelelo Mutiti, Transplantation Project
Appartement 101, Kmar Douagi, Uncivilized Collective, Hannah Puzenat, Mohamed Bourouissa, Kawthar Bina, Douce Dibondo, Lydia Matiegous Keita, and Kawtar Bihya.

Volver is a space in Barcelona where families can find balance and authenticity through music, yoga, and movement. According to their website (translated), Volver focuses on “body, play, movement […]  and unhurried shared time. A space where each family finds its own rhythm, observes more, and demands less.”

The identity was designed by local studio Instinto with a customized version of Gaya for the logotype.

Familial Lexicon explores words that exist only within a family – private expressions that outsiders don’t understand. These intimate terms form a micro-language, showing how language grows through shared experience, closeness, and everyday life.

The cover is made from aluminium with an embossing effect.

Designed by Enzygal at Kunstuniversität Linz, making early use of DGM Saffron. Arabic and Armenian text are added in ABC Diatype.

Have you ever opened a book and felt a whole household breathe?

At Plantain, we transform lived histories into beautiful, bespoke books. With the Ferreira family volume, a chorus of voices, memories, and carefully kept artefacts finally found a home between covers.

When we started this project, we were invited to step into a living museum: rigorously researched family histories, earlier interviews, photographs softened by time, vinyl records, Granny’s garlic pork recipe, and artwork by masters such as Louison and Hinkson. Our brief was simple but exacting: make it coherent, honest, and beautiful – a book future generations would actually want to hold.

Over months, we conducted interviews, shaped a narrative, and curated more than 65,000 words and 437 images into a 356-page volume.

The design draws on the geometry of Portuguese azulejos, reimagined as grids and rhythmic layouts, with layered blue accents inspired by the Caribbean Sea. Warm creams and soft greys temper the palette, while a restrained typographic system lets the family’s voices sit easily beside photographs and ephemera.

Regions covered: Portugal, Trinidad, the United States.

Lying in the Weeds is a 64-page book dedicated to decolonizing social injustice in war. The Guatemalan Civil War is infamous for the countless lives that were killed, tortured, and traumatized. Using my own family’s story, who fled in search of asylum, this book is an effort to preserve and share the testimonies of those who have been silenced.

Riso-printed A3 poster, fluorescent orange + cornflower ink on Munken Print Cream

A3 poster and A5 flyer for Fragments d’une famille ordinaire, a play co-directed by Chrystel Rochas and Yann Quelennec.

Their shared passion for Japanese cinema brought them together for this project, inspired by the film The Taste of Tea by Katshuito Ishii. They developed a work in which poetry emanates from the small gestures of everyday life. A gentle, poetic story that will be presented on stage for the very first time on 31 January 2025.

Riso-printed in two colors (fluorescent orange + cornflower) by Quintal Atelier.

The typefaces are Aronde for the headline and Caracol for the body text.

Detail of the Riso print

Cutting paper for the poster

Riso-printed flyer, fluorescent orange + cornflower ink on Munken Print Cream

Detail of Riso-printed text in Aronde

Detail of Riso-printed text in Caracol

Traces is a EP by Nine is the Level, a project by musician Doug Tolley. For designing the artwork, Jon Hicks of Hicks Design asked Tolley to search through his family photo archives to provide material, and also to provide some background about the subject of each of the tracks, which are named after his four grandparents. For the typography, Hicks worked with all-caps F37 Beckett.

Despite the chaos, the must-see spots, the food poisoning, and the lost-in-translation moments, the memories of family vacations are preserved in the poorly framed photos and the laughs shared over the pickles encountered along the way.

In Os Hassums, comedian Leandro Hassum embarks on a motorhome journey with his family through the United States and explores the pains and delight of traveling with loved ones.

The show’s identity takes a contemporary spin on the retro and kitsch visuals associated with travel postcards, motorhomes, and motel graphics adding saturated colors and expressive type to their air of faded glory. Each trip stop gets its own type treatment and title card responding to the place's vibe.

The show logo mixes Eubie Script and an extruded version of BN Dime Display. Supporting copy and credits use Fraunces.

Design by Bárbara Abbês, with motion design by Renan Vasconcelos.

Visual identity for Molendrift, an organisation of ambitious and optimistic pioneers in healthcare, working in the north of the Netherlands. The rebranding consist of a new website, a brand book, print materials, signage, postage stamps and wayfinding.

Studio6 is used throughout in a single weight. The visual identity was designed by Studio de Ronners with illustrations by Megan de Vos. Slash 2 worked on the website.

Spectral and Basis Grotesque in use for Koryo-saram, a personal project by Yegor Kim.

The student at HSE Art and Design School rebuilt the history of the Korean part of his family for the last hundred years, made a map of their relocations, introduced his own childhood memories and brought it all up into a heartfelt longread. From the project description about the Koryo-Saram (Russian: Корё-сарам; Korean: 고려사람, 고려인; translated):

In the post-Soviet space – in modern Kazakhstan, Uzbekistan, Russia and a number of other countries – live half a million descendants of those Koreans who moved to the Russian Far East in the 1860s. They received the name “Koryo-Saram” (“Koryo” refers to the name of the Korean state from 918 to 1392 AD, “Saram” means “man”, “people”.) In 1937, during a wave of repression, most Koreans were resettled to Central Asia: to the Kazakh and Uzbek steppes. During the 20th century, the Koryo-saram slowly spread from regional centers throughout the Soviet Union. They ended up in Kalmykia and Siberia, the Baltic states and Zaporozhye, Moscow and Leningrad. The wider the distribution of points on the map, the thinner the ties between the settlers themselves and their ethnic homeland and its culture became. Certain traditions were preserved, replacing the original meanings in the context of the large Soviet country.

Korean words (not shown here) are rendered in Sandoll GothicNeo.

Read the full article on type.today’s journal.

This book is an intimate journey into a family story. Memoria del Mal d’Africa is a photography book made of lost & found photographs, documents and memorabilia of an Italian officer during the UN decolonization mission in Somalia in the middle of the 1950s.

Andrea and Pierluigi have collected all the materials and tried to reconstruct the story of their father and this moment of his life immortalized in the photographs that were later forgotten.

Hand binding by Flaminia Masotti

Moje Korzenie (“My roots”) is a monograph of the Banasik family. The author, Paweł Banasik, devoted a few years of his life to the creation of this book. With his painstaking research and chronicler’s hard graft, we can now enjoy the Banasik family history in book form.

Design by Meteora. The titles are set in Cako. Body copy is set in a yet unidentified typeface [edit: it’s probably Karmina, with Karmina Sans, see comments].

August is a book design project made at DHBW Ravensburg.

Memories are based on the objects around us and the connections we have with them, which go beyond their color and shape. Documenting is a form of preservation, and what is preserved tells a story. They are the traces of an existence. But what happens when these memories of a loved one fade? What happens when only materiality, the visibility of objects, and immaterial memories remain as the only trace to remember a person?

The project August attempts to remember my grandfather by presenting the traces of his life in a documentary book, both through narratives and photographic images of personal objects. At the same time, the project takes the attempt to sensitize readers* to socially relevant issues such as aging, generations & fear.

The presented photographs and interviews are visualized and represented by memories of the past, which are dealt with in the present. The project aims to transform memories of the past into reframed representations of the various themes: Generations, Aging, and Fear into our future selves.

At Plantain, we help transform stories into beautiful books. But we don't always write the content... Sometimes, families and companies have already written their story, but need help crossing the finish line: fine-tuning or editing the narrative, typesetting the design, or taking the book to print. One such book is Doreen’s:

Her grandson, Damian, brought us her memoirs (which she had handwritten and dictated to him) shortly after she passed away. He wanted us to transform them into something meaningful.

The book’s design had to match Doreen’s personality, and we made use of bold reds (C: 17, M:100, Y:89 K:8) and striking fonts (ITC Caslon No. 224 and Lora). The book was printed on white uncoated paper (70# paper, 105 GSM).

The quality of our books tends to reflect the synergy with our clients, and Damian was a dream to work with—trusting, decisive, and responsive. We thank Damian and the rest of the family for allowing us to document their legacy.

Doreen's project is also Plantain's first print-on-demand book. What that means is that each family member ordered any number of books they wanted at the click of a button on our website…. In the past, clients had to bulk order their books and personally distribute them among family and friends.

Les Trésors de Gilberte is a familial recipes book based on Gilberte H. Acampora’s kitchen notebooks. Book design by Léa de Pannemacker, setting in Kalice (by Margot Lévêque), Maison Neue (by Milieu Grotesque), and Snell Roundhand (by Matthew Carter).

Dedicated to her family, her children and grandchildren and strongly inspired by the grandparents' retro-romantico-mediterranean aesthetic house, this object is a small part of memories with which new memories will be created through time and generations.

Volume one was made in 2021, volume two followed a year later.

At Plantain, we transform stories into beautiful, bespoke books.

This book in particular, The Ladder We Ascend, chronicles the ascent of the Waldron clan, a family dominated by strong women who overcame tremendous obstacles to become a family of successful entrepreneurs, professionals and academics.

Among them is Cheryl Bowles, and the book includes fantastic insights into how she started a thriving beauty and wellness business that includes the famed Cher-Mère brand.

The Waldron family commissioned us because they see the book as a means to transfer knowledge and values across generations. They see this as a prerequisite for ensuring intergenerational wealth.

Their hope is also to inspire other families with their stories of commitment, determination and resilience.

The book’s design is inspired by the family’s history, interests, and the companies they have founded.

My grandfather died in 1984. I was 4 years old. I didn’t remember anything about him except the stories my family told. On 7 October 2019 his body had to be exhumed to be moved next to my grandmother’s body. Two months later I created an exposition in which I show memories of his story through his objects, my drawings and his handwritings.

The exhumation of his grandfather's body gave Martínez Cánovas a sense that results in this project called Splendor Lucis Aeternae, which closes his doctoral thesis based on enduring in time, death and eternity, and which is called “Identity, stamp and revision of the concept of death in figurative artistic creation in the Region of Murcia (2000–2019)”. Splendor Lucis Aeternae was shown at the Centro Cultural Puertas de Castilla Murcia in 2020.

A small white book that represents everything that the artist discovers about his grandfather when he was exhumed , inside another absolutely black book that shows the darkness of being buried.

For the typography we have used Editor Condensed in regular and bold, and Minion for the long texts inside. Strictly speaking, the font that was used is Adobe Devanagari. The book exclusively uses the Latin part of this Indic script typeface, which is equivalent to Minion.

From DJA:

Centered around family and relationships, Family Portrait magazine is a series of visual essays revealing intimate and personal insights from its contributors and exploring the depth and dynamic behind the meaning of family. With a total of 9 vibrant covers, Issue 01 documents personal stories from nine photographers. The vibrant colours and script typeface add to the humanist warmth of the content.

Asphalt is used throughout, and redrawn in a circle for the front cover.

A font in indirect use: The handpainted signs of the Heit Family Dentistry in Santa Cruz, California feature lettering that’s based on Premier Shaded. While the sign with the opening hours closely follows Colin Brignall’s typeface design, the one shown above takes more liberties, and has bolder strokes. In addition to the shadow, the letterforms are enhanced with a bright inline that fades out toward the bottom.

Spotted by Frank Grießhammer in 2015.