Nicht nur Mütter waren schwanger. Perspektiven auf Reproduktive Gerechtigkeit & Zeit[en] (English: “Not Only Mothers Were Pregnant. Perspectives on Reproductive Justice & Time[s]”) is an online project based on a book with a similar title, Nicht nur Mütter waren schwanger. Unerhörte Perspektiven auf die vermeintlich natürlichste Sache der Welt, which was published by Edition Assemblage in 2018.

The project poses questions such as: How have reproductive rights in Germany changed over time? What influence does the global rise in authoritarianism have on the desire to have children and family constellations outside the norm? How can we keep spaces of exchange on reproductive rights open, despite the various crises that favor isolation instead of solidarity?

Concept and curation by Alisa Tretau, Moooon
; design by studiokwi; plain language images by Simone Fass, and sustainable and accessible web development by visiert.

The YaleWomen community has received a new logotype designed by Oddity Studio. The visual identity of YaleWomen draws inspiration from the concept of connection.

This theme is represented through the interconnected letters of the logotype, the overarching swash of Romie Italic’s W, the patterns, and the underline style of titles and connecting lines.

The logotype combines Romie Italic’s swash W (designed by Margot Lévêque) with the serif Gestura Display by Sociotype Foundry, and Work Sans by Wei Huang.

From Mousse Publishing:

Conceived as a monographic reader, Vika Kirchenbauer: Works, Scripts, Essays 2012–2022 compiles for the first time an extensive, decade-spanning collection of Kirchenbauer’s seminal and profoundly perceptive essays, the scripts of her widely celebrated moving image works in conjunction with selected video stills, as well as exhibition views. This volume offers substantial insights into the Berlin-based artist, filmmaker, writer and music producer’s research inquiries and aesthetic vocabulary. It also includes Kirchenbauer’s two latest texts, exploring the relation between violence and visibility within the Western paradigm as well as the complex entanglements of European religious music and colonialism—research that has also fueled her solo music project COOL FOR YOU since 2015. This compendium is extended through novel essays by Oakland- and Los Angeles-based archivist, curator, and artist Leeroy Kun Young Kang and by Warsaw-based feminist philosopher and activist Ewa Majewska.

The typefaces used for the book design are ABC Monument Grotesk Mono by Dinamo / Kasper-Florio and Mule by Samira Schneuwly.

According to Nordico Stadtmuseum, the exhibition What the Fem✳︎? makes a discursive contribution to feminism by placing current artistic positions in dialogue with documentation of local feminist actions and performances from the last 70 years. The exhibits demonstrate how the political movement today, as in the past, has dealt with questions of equality, role attributions and their social consequences. It is precisely this form of debate that What the Fem*? also aims to evoke in the minds of the public.

From the museum website:

Feminism! A word that is hotly debated, ignored, suppressed and defended - in short: a term that polarizes. Feminism is both a range of ideas, a variety of theorizations, a political movement, a package of demands and practices, as well as an attitude, a way of life, many ways of life. In a nutshell: there is no such thing as feminism. This exhibition is an offer to deal with all these topics, to empathize, to take on new perspectives, but also to express yourself, to enter into dialogue, to ask questions, to find answers and to ask new questions.

Idea and curation by Klaudia Kreslehner, using Bastardo Grotesk and Boris (Giulia Boggio)

In the exhibition Anders Normal (“differently normal”), the Märkisches Museum Witten deals with the historical and existing underrepresentation of female artists. With an initial critical look at its own collection, 50 female artists from the holdings are presented. A sustainable museum practice must face the task of illuminating and questioning its own blind spots, the gaps in the art canon and its own museum and collection history.

The design of the catalog as well as the exhibition, traces the gaps in visibility that institutions exhibit. Without pointing fingers, the texts provide themselves with the space they deserve and push the color fields and engravings into their place. Colorful and bright, it reflects the wide spectrum of lifestyles and ways of working, recognizable as a rainbow directly on the open spine of the catalog.

The typography uses ABC Favorit by Dinamo, in two widths: Regular and Extended. Favorit’s Underline style is used for headlines and subheaders.

Silver Press is an independent feminist publisher based in London.

In 2017, Silver Press published The Debutante and Other Stories, the first collected edition of Leonora Carrington's short stories, and Your Silence Will Not Protect You, which brought Audre Lorde's essays and poems together in one volume for the first time. In 2018, they published a new edition of Nell Dunn's book of conversations from 1965, Talking to Women. In autumn 2019, they brought out the first translation of the filmmaker Chantal Akerman’s memoir from 2013, My Mother Laughs. In 2021 Silver Press published Revolutionary Letters by poet Diane di Prima.

The book collection uses Apoc (Blaze Type) as the main typeface for their covers series, occasionally paired with other typefaces, like Beatrice (Sharp Type) for Fugitive Feminism. Design by Rose Nordin. Photographs by Sarah Shin

März Texte 1, 1969. Compilation of texts by Bazon Brock, Peter O. Chotjewitz, William S. Burroughs, LeRoi Jones, Uve Schmidt, Hermann Nitsch, and others.

Among German publishers, März is probably the most iconic example for our tag “typeface plus color equals brand”. In this case, the first ingredient is Block, a bold advertising typeface with rough contours that was first cast by the Berthold foundry in 1908. The second one is the color yellow, or rather the color combo yellow, red and black. März has stuck to this formula throughout its turbulent history, creating a striking identity for their emancipatory books.

Richard Stoiber describes what made their publishing program special:

[MÄRZ] used to publish what other publishers didn’t dare to: Beat literature from the U.S., comics, poetry collections, sex ed books, pornography and political theory. For many years, MÄRZ set trends for a new aesthetic and a new political movement in the old Federal Republic. Leonard Cohen’s poems were published at MÄRZ, long before he became a singer-songwriter in Europe. For 20 years the publishing house offered the German public a multi-layered program.

The publishing house was founded in Frankfurt/Main in 1969 by Jörg Schöder and others. It was also Schröder who came up with the concept for the cover designs and the typeface choice. The co-founders left already in 1971, and in 1973, Schröder had to file for bankruptcy for the first time. The company was rebooted a year later, now with Zweitausendeins as distribution partner. Barbara Kalender joined Schröder in 1981. In 1987, after Schröder suffered two heart attacks, März Verlag had to be liquidated. The project lived on in the form of the März Desktop Verlag, which relocated to Berlin in 2005.

When Schröder died in June 2020, it seemed that März had come to a final end. In 2021, however, Richard Stoiber together with Kalender relaunched the publishing house. You can read about this new chapter in the post by Andreas Seidel, and see his custom typeface MaerzType in use on the new covers.

Manifest der Gesellschaft zur Vernichtung der Männer S.C.U.M. by Valerie Solanas, translated by Nils-Thomas Lindquist, 1969

Sexfront by Günter Amendt, 1970 (this printing: 1978). In 2007, Schröder described this controversial book about sexual education for teenagers as the “most memorable and important März title, because it made a whole generation happier.” The red T is a play on words, allowing an alternate reading as “Sexfron” – Fron is German for drudgery.

Die Befreiung Guineas by Basil Davidson, 1970

Antiautoritäre Erziehung und Psychoanalyse. Ausgewählte Schriften, Bd. 3 by Siegfried Bernfeld, 1970

Kampf um Mozambique by Eduardo Mondlane, translated by Heidi Riechling, Stefan Rössel, Burkhard Bluem, 1970

Lernen und Freiheit. Aus der Praxis der First Street School by George Dennison, 1971

Dunkelbraun by Michael McClure, translated by Heiner Bastian, 1971, with MÄRZ in yellow letters – the exception proves the rule.

Laß jucken Kumpel by Hans Henning Claer, 1971. For some reason, the Ä in the logo was made smaller.

Mondstrip. Neue englische Prosa by Rolf Eckart John, 1971

Aktionen auf der äußeren Rinde by Paulus Böhmer, 1972, featuring two of Block’s compact capital umlauts

Acid. Neue amerikanische Szene by R.D. Brinkmann & R.R. Rygulla (eds.), 1975. At that time, März books were distributed by Zweitausendeins.

Hamlet by Peter Kuper, 1980 (third edition, 1981)

Hamlet oder die Liebe zu Amerika by Peter Kuper, 5th edition, 1982. This paperback cover uses a wide E and a narrow T in the title, as well as a K with curved arm in the author’s name. The dust jacket of the hardback edition shown above uses different forms for these letters.

Blumen für Hitler by Leonard Cohen, 1982

Die Küche der Armen by Huguette Couffignal, 1982

Schläfer erwacht by Kenneth Patchen, translated by Marc Adrian, 1983

Das große Der Die Das by Gunter Schmidt, 1986 (2nd later edition)

Black Campaign School is a year round leadership, political education and strategy program started in 2017. I was approached by BCS in the summer of 2022 to work with the team at Three Point Strategies to revamp the brand identity of Black Campaign School as well as develop the identity for the resurrection of “Black Camp”: a hands-on, immersive camp.

The goal was to create a brand that separated itself from the typical political / Washington DC world. Something that showed intentionality but also screams joy and black excellence. Organizing and campaigning is loud, in your face and direct, therefore I knew that the logo needed to be a reflection of that. After a lot of exploration I found the recently released Artex type family from Optimo and we knew that it fit perfectly. Redaction is used as the secondary typeface.

Upon further exploration we kept stumbling upon the theme of horizon. Knowing that BCS would be hosting Black Camp at Haley Farm for the foreseeable future, we took the prominent and historic library and paired that up with the motif of a new horizon for the logomark.

Our stories in STEM: 40 Stories of Amazing 21st Century Canadians in STEM is a collection of stories of Canadians currently working in science, technology, engineering and math fields (abbreviated as STEM). The self-published book is initiated by community builder and tech worker Aaiman Amir:

The impact of storytelling through role models at the early childhood education level is enormous. Research shows that girls under 10 absorb the most information in visual and literary formats. That’s why we created 'Our Stories in STEM'. 'Our Stories in STEM' is a children's book about Canadian women currently working in STEM fields from diverse backgrounds. What makes our book different is that it features relatable and current stories of triumph and struggle of women who look just like the girls who are reading the book!

Illustrations by Céline Gariépy. Design studio Equal Parts Studio chose to work with Agrandir throughout both the book and the accompanying website.

Archives des luttes des femmes en Algérie (“Archives of women's struggles in Algeria”) is a collective lead by Awel Haouati, Lydia Saïdi and Saadia Gacem, and an independent project whose objective is to shed light on the history of the Algerian women’s movement since 1962, which has long been marginalized and unknown. Through the construction of an open access digital archive, the project aims to make accessible a set of written, printed and visual materials produced within the framework of Algerian women's organizations and collectives, which are today preserved by women who have participated in such mobilizations.

Launched in March 2019 in the context of the hirak (popular uprising in Algeria), the project emerged from the observation that only few resources about the history of struggles in independent Algeria exist today, and even less when it comes to those led by women for emancipation and equal rights. The material “traces” of their actions and mobilizations remain inaccessible and little known to the new generations.

In this publication, made in the framework of documenta fifteen, they relate a particularly dense and prolific part of the history of the Algerian feminist movement, from 1988 to 1993. In 1989, a brief democratic opening enabled many women's collectives and organizations to exist legally and more freely than at the time of the single party. The publication gathers photographs and documents - some of which were fundamental in the evolution of the movement - from this period of intense political and militant activity.

The publication, design by Studio Akakir, is trilingual, featuring its text in Arabic, French and English languages. The Arabic texts are set in Amiri by Alif Type for the titles and 29LT Zarid Serif by 29LT for the running text. NaN Success Text and Sans by NaN are used for French and English titles, while Bitter by Huerta Tipográfica carries captions and running text.

From a typographic point of view, this publication (and this archive in general) might be as interesting for its layout as it is for its archived material showing, among other things, graphic material (journals, political tracts, posters, bulletins…) produced in Algeria between the end of the 1980s and the beginning of the 1990s.

A note: During documenta fifteen Kassel, this project (and another art piece, not linked here) brought the topic of antisemitism in the conversation through the exhibition of an issue of the Algerian feminist magazine Présence de femmes from 1988. It focuses on Palestine. The article features illustrations by Burhan Karkoutly and Naji Al-Ali criticizing the Israeli army. Those illustrations have been judged as antisemitic by a part of the audience (source: wikipedia.fr). Here is the answer given by the collective.

For more information, see the project’s website and the book’s page.

This publication - created in the book module at the Luzern School of Art and Design - refers to the unequal representation of artists in Swiss museums. Based on the archive of artist Elisabeth Eberle, I designed a prototype on this topic.

I used my publication as a platform to make female artists from the university visible: Elisabeth Eberle, Giuliana Gjorgjevski, Emma Bertuchoz, Bertilla Spinas, Brikena Buqai and Laura Jana Lutterbach.

ABC Whyte and Apoc are paired throughout.

One of America’s favorite mottos – ‘United we stand, Divided we fall’ – brings to light a fundamental value cherished by the United States: unity. However, in my eyes this sentence illustrates perfectly the fragile political climate the country has been living in since its foundation, and is today at its peak.

I have always taken an active interest in the historical conflicts of the U.S., especially those dealing with slavery and the Civil Rights Movements. Furthermore, the George Floyd protests that erupted last year made me even more angry and outraged.

Through this project I wanted to expose division and racism, driven by white supremacy, a matter that has rocked the country since its birth.

I wanted to illustrate this failed melting pot through a personal editorial book, comprising of a short timeline of the African-American History, as well as historical photographs of fourteen major American riots and marches for Equality, from the 1950s to today.

The font used on cover is VTC Carrie by Vocal Type. Its designer Tré Seals designs typefaces that highlight a piece of history from a specific underrepresented race, ethnicity, or gender. The serif used for copy is Cormorant.

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WOMXN: Sticks and Stones is a book written by Lexy Wren-Sillevis and illustrated by Margaux Carpentier. From the publisher:

“There are so many words, insults, labels and boxes for women to be packaged and packed off in. Often, but not always, they’re words coined by men.”
Why that is, is a bigger conversation that is starting to be had by women everywhere. We’re slowly, but oh-so-surely, making it clear that there is no man in womxn. We’re writing him out and writing us back in, and we deserve a suffix all of our own that is free from patriarchal roots. So from here on in, we are WOMXN.

Sticks and Stones is a powerful reclamation of the slurs and insults thrown at women for centuries. It’s a righting of wrongs – a rewriting of sexist, belittling and shaming language. It’s a tool for breaking free from the stereotypes and impossible standards used to confine women, transforming them into messages of resilience and resolve. And, most importantly, it’s a rallying call for change, healing and empowerment.

It takes the words, slurs, insults and labels that are used to diminish women every day and breaks them down and tears them apart. It transmutes and rewrites these words – sometimes with all of the pain they trigger, sometimes in the form of positive affirmations, mantras and poems – all told in acrostics.

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The cover was designed by Evi O. Studio and the interior by Hannah Coughlin at Pyramid. The typeface chosen for the title as well as for the reclaimed slurs and insults is Vulture. Drawn by Ellmer Stefan for his Pyte Foundry in 2016, this all-caps design is “wrong” in terms of contrast: conventionally thick letter parts here are thin, and vice versa. Vulture brings together various 19th-century influences: the reversed contrast of Caslon’s Italian is married to the trumpet-shaped flare serifs of faces like Athenian. In his review for Typographica, Frank Grießhammer commented: “This design satisfies voyeuristic tendencies; it feels like I’m seeing something I shouldn’t be looking at.”

The play with broken conventions is taken to extremes on the cover: With the stacked letters, the title “WOMXN” looks as if it was mirrored. This vertical arrangment works less smoothly for the initial letters of the acrostics. Especially the thin I lacks presence and doesn’t lend itself to vertical reading – it only really performs well in the context of a (horizontal) word image. Vulture is paired with Lexia, a low-contrast slab with humanist proportions that provides a strong contrast. The spelled-out words are repeated to the left of the poems. Here they are cleverly set rotated, and hence aren’t instantly graspable – like the solution to a riddle.

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Source: www.booktopia.com.au Pyramid. License: All Rights Reserved.

Source: www.booktopia.com.au Pyramid. License: All Rights Reserved.

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Source: www.booktopia.com.au Pyramid. License: All Rights Reserved.

Source: www.booktopia.com.au Pyramid. License: All Rights Reserved.

Source: www.booktopia.com.au Pyramid. License: All Rights Reserved.

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Issued in 2021, this stamp honors Dr. Chien-Shiung Wu (1912–1997), one of the most influential nuclear physicists of the 20th century. Art director Ethel Kessler designed the stamp with original art by Kam Mak.

Forever Stamps were first issued by the U.S. Postal Service (USPS) in 2007. As the name suggests, they can be used to mail a one-ounce letter regardless of when the stamps are purchased or used and no matter how prices may change in the future.

Several stamps with this denomination feature iconic people and events that helped shape American history. Since 2018 Periódico was used on a number of stamps.

Stamp from March 2018 commemorating Mister Rogers (1928–2003), a popular American television host. Art director Derry Noyes of Washington, DC, designed the stamp.

The “19th Amendment: Women Vote” stamp was issued in August 2020, to commemorate the centennial celebration of the ratification of the 19th Amendment to the U.S. Constitution, guaranteeing women the right to vote. Art director Ethel Kessler designed the stamp using art by Nancy Stahl.

Pararemos Todo (“We will stop everything”) is a series of ten posters to raise the voices of women during the women’s strike in Mexico on March 9th 2020. Read the full story (in Spanish) on Vice.com.

Art direction and concept by Debora Rodam. Photography by Sol Bela, assisted by Jenny Tran. Designed by Álvaro Franca using several weights and widths of Sharp Grotesk.

The Carl A. Fields Center challenges Princeton students to confront institutional racism and classism through collaborative discourse and action. Isometric created a visual identity and spatial graphics that frame the experiences of students of color past and present on the walls of the Center’s historic architecture. The design makes minority voices heard and a marginalized history visible, projecting new possibilities for a better, shared future.

The choice of Onehunga Sans as a display typeface sets a declarative yet approachable tone that forcefully declares a space of equity and inclusion without feeling overly confrontational. The type is often masked in colored shapes, with trenchant, expressive angles that contrast with the rounded warmth of the font. The secondary fonts, Maison Neue and Maison Neue Mono, provide a more trenchant yet approachable counterpoint for easy absorption.

Isometric designed a new brand identity to foreground the ethos and work of the Center for Reproductive Rights. Its visual specificity and editorial elegance appropriately communicate the bold vision, rigor, and sophistication of a respected global legal entity at the forefront of reproductive rights advocacy. Nonprofit communications typically raise funds by depicting people as powerless victims in need of saviors. While the Center certainly responds to urgent issues around the world, its brand depicts people and their stories with dignity and agency, emphasizing the power of the rule of law to make long-term structural impacts.

The principal typeface, Lyon Display, is deployed in large and staggered formats to create active yet dignified compositions that represent the importance of legal structures and activism. The secondary typeface, Agipo, is used to create a sense of humanist heritage with a contemporary edge. GT America Mono is used for captions, offering a sense of empirical importance.

The Atavist Magazine publishes one longform, deeply reported nonfiction story each month with a custom design. The July 2020 issue is about a group of Black mothers in 1950s small-town Ohio who spent two years marching every day in a battle to integrate the local schools.

VTC Bayard from Vocal Type – named after civil rights leader Bayard Rustin and inspired by protest signs created for the 1963 March on Washington – was used for display copy, with Crimson Pro (by Jacques Le Bailly) for the subtitle and Crimson Text (Sebastian Kosch) for body copy.

For logo and website, The Atavist Magazine use Atlas Typewriter.

A collection of essays, published as a staple-bound pamphlet, supporting the Equal Rights Amendment (ERA), a then-proposed amendment to the United States Constitution designed to guarantee equal legal rights for all American citizens regardless of sex. Booklet contains "The Case for the Equal Rights Amendment" by Diane Feeley, "What are Equal Rights?" by the Socialist Workers Party 1970, and a list of additional readings in women's liberation from the publisher, Pathfinder Press. Cover set in Antique Olive Bold.

Respect. Stop Violence against women is a project in favor of gender equality created for the Italian statistical institute Censis with the Presidency of the Council of Ministers, Department for Equal Opportunities. The project result is a book/exhibition, made up of three different parts: Rspct (“Respect”), is the main report of the research carried out by Censis which also acts as an introduction to all the work; followed by Bd'I (“Bellezze d’Italia”, Beauties of Italy) and Adm (“Atlante della Misogenia”, Atlas of misogyny), two visual investigations on the theme of misogyny made by photographer Alessandro Scotti.

In Bellezze d’Italia, the theme of gender gap is investigated through a gallery of pictorial images inspired by the biblical episode of Susanna and the Elders. An episode narrated by Daniele, the prophet, where two elderly judges threaten to denounce the young Susanna of adultery if he is not granted them. She refuses to be blackmailed and she is arrested and put to death for promiscuity when the young Daniel interrupts the proceedings and save her.
Selecting over 100 Italian artists from 1300 to 1900 and cutting out and re-associating their paintings, a huge scene is created that represent the evolution of man-woman relationships and the perception of femininity over the centuries. The bronze and black backgrounds of the pages reinforce the contrast between the museum quality of the works and the crudeness of the story of violence.

Atlante della Misogenia is a corpus of orthophotos of the twenty Italian main cities divided into tables as in a road atlas. In each city, streets, avenues and plazas named after female figures have been highlighted in red. With great immediacy, we evidence how cities are a cultural representation of a society marked by the domination of the male: female toponyms are in fact very few, almost never in a central position and almost always aimed at figures of saints or royalty.

These two visual investigations have been bound with a metal spiral with the main aim of making this book a simple and inexpensive tool for creating exhibitions on the theme of gender equality in the school. Taking two copies of the book and cutting them with a cutter near the ring binding, you will get loose sheets which, following the instructions at the end of the book, can be placed side by side to compose boards to hang on the wall. In the case of the Atlante della Misogenia you will get twenty large maps of Italian cities, while in the case of Bellezze d’Italia you can compose a long continuous strip or cut the individual characters and arrange them in infinite combinations and relationships.

We wanted to use a “plain” typeface, that can work well with art and also with the great amount of maps and small detail in the book. Union by Radim Peško sits somewhere between Helvetica and Arial. Union is a kind of neutral typeface that works very well both in small size and in display size: perfect for this kind of project.