Photographer Nanine Renninger’s book Mementos | Erinnerungsstücke brings together personal narratives and visual fragments in a restrained editorial framework. Renninger approaches her material with a measured, poetic stance.

Designed by Vivian Förster of RoomArt, the book gives typography a central role. Easy Grotesk, designed by Alexander Rütten and Olivia Wood of Ligature Type (distributed by the TypeMates), is combined with Relais by the same designers (distributed by Blaze Type), creating a contrast in character and supporting the bilingual layout.

As Renninger notes on her website, the project “collects traces of memory in both text and image,” and a theoretical section at the end reflects on the nature of memory.

The Lack of Forest by Martyna Miller is a moving reflection on life in a landscape transformed by ecological disaster. The book is set in the Tuchola Forest region in Poland, where a violent storm in 2017 destroyed vast areas of woodland and deeply affected local communities. Over several years, the author lived and worked in this environment, observing how both nature and people adapt to loss. The project combines personal experience, field research, and conversations with residents who witnessed the destruction.

The book was designed by Zofka Kofta, who uses the typeface Softcore by Tekio Typefoundry on the cover and throughout the interior. It was published by Pamoja Press in Polish – as Brak Lasu – and English editions. The latter was translated by Weronika Zalewska.

Cover and album design by Jaemin Lee for Elaine’s debut album titled 1, released with the Korean label Beatball Records.

Words from the designer:

Elaine’s debut album “1”, previously released only on CD, has been reissued on LP for the first time with a newly designed package. In place of images or artwork, I used a short line of copy to make a statement of debut—bold and direct, yet precisely typeset. The silver-foil element at the bottom catches the light like roots and a stem, hinting at a beginning and what may grow from it.

Herbus Serif is used for all display typography. The typefaces used for the lyrics are YMG Munche Gothic (Korean) and Atacama Extra Condensed Light (English).

The exhibition Antípodas – Tão Distantes, Tão Próximos (“Antipodes – So Distant, So Close”) celebrates the 130th anniversary of the Friendship Treaty between Brazil and Japan, developed in partnership between Sesc Vila Mariana and the Japan Foundation. The project unfolds as a visual identity and wayfinding system for the largest spatial occupation ever held at the venue. More than placing artworks within the space, the exhibition design and signage needed to structure, orient, and guide visitors across multiple floors and formats of artistic production.

The starting point comes from the title itself: antipodes are opposite points on the planet, connected by an imaginary line – a direct image to speak about distance, relationship, and continuity between the two countries. The solution balances references from Japanese visual culture, such as rounded typefaces and codes embedded in the kawaii universe, with a graphic logic that shifts between restraint and excess. At times, white backgrounds and minimal elements; at others, color, layering, and density. This contrast organizes the journey and creates shifts in rhythm throughout the visit, extending into the printed materials as well.

The bilingual logic is central to the system: across all touchpoints, content is structured so that Portuguese appears at the top in blue and set with Brazilian typeface Elza Round, while Japanese sits below in red set with M PLUS Rounded. The colors directly reference the national flags, but primarily function as a consistent reading code across the entire communication system.

As an extension of this experience, custom eki stamps were created for each artwork. As visitors move through the exhibition, they can collect these marks, turning the visit into a progressive physical record of the show while revealing the paths each person chooses along the way.

Ama Terra is a bio-social farm that promotes a high quality of life through sustainable agriculture. The project was founded in 2010 by the non-profit association Cooperativa Sociale Ama Aquilone. Its protagonists are the people involved in the cooperative itself, who continue their commitment in the Piceno Hills, where the organization is based. The products created through sustainable social agriculture reflect a deep care for the environment. For this reason, Ama Terra represents a unique reality, promoting an agricultural model that encourages conscious consumption while safeguarding rural heritage, supporting the local economy, and fostering social well-being. This creates a virtuous circle connecting nature, work, territory, and social ethics. For the Ama Terra organic product line, simple and anti-ornamental labels were designed. The visual identity was developed through typography and illustration, which become the main expressive elements across the entire product line.

The illustration is based on the simplification and the abstraction to the geometric figures of the elements that constitute the oil: the leaf, the olive and the drop of oil. The various parts recompose distributing proportionally along all the front label. This geometric translation of the shapes is also recalled in typography; hence a grotesque signature was chosen, without graces, designed on the basis of geometric figures such as circles and squares. This typographic design is therefore able to guarantee a nitid and highly readable result, also in contexts hardly readable. The label is printed on textured ivory paper in four-colour process. A gold lamination ennobles the parts representing the heart of the fruit, recalling the logo of Ama Terra that is a growing grain seed.

Vesper Voyage is a capsule collection series by Vesper Milano that embarks on a journey beyond everyday perception. The project explores a philosophy of wanderlust, creating objects with variable uses that invite the audience to travel to another place or time. Produced in small provincial workshops, the artifacts enhance the beauty of blurred memories and are conceived as objects not meant to be forgotten.

The collection’s first project, Noctambulist, sits between day and night, exploring the threshold between the conscious and the unconscious. It features a loose-fit, unisex pyjama and a handmade toothbrush, both made in Italy, alongside a soap with real green frankincense from Oman. The limited bundle includes a poem card tucked inside, guiding its recipient along a path of dreams.

The logotype and all printed assets are set in all-caps Modern Gothic. The signet is a bespoke reinterpretation of the lowercase v from Magnificat, originally sourced from a Letraset sheet, intended to function as the brand’s double-v initials. It is deployed consistently across the identity: embossed on envelopes and cards, and integrated into the labeling system.

Creative direction by Vesper Milano. Design by BIFFIPOL with type design assistance from Michelangelo Nigra.

J.R.R. Tolkien’s Silmarillion was first published by Allen & Unwin in London (with Hawthorn for the jacket typography). Shown here is the first U.S. edition, by Houghton Mifflin, with cover art by Tolkien himself. The display typeface is Rubens.

Note how the J towers a little over the other capitals because its base was aligned to the line of the frame, instead of letting it overshoot.

The typography on the spine and inside the book follows the British precursor, with Perpetua and Imprint.

[More info on ISFDB]

Founded in 2015 and currently based out of New York City, Pomegranate Press is an independent publishing house specializing in limited edition publications of contemporary photography through books and other ephemera. In August 2025, to celebrate their tenth anniversary, Pomegranate Press organized Breathless in Glowing Air, a large group exhibition at London's 10 14 Gallery featuring work from 62 photographers. A similar exhibition was also held in November in KAMP Gallery in Portland, Oregon.

A book, sharing the same name as the two anniversary shows, was released in a limited run of only 250 copies. Featuring 100 images from the exhibitions, the book includes work from Brian Karlsson, Morganne Boulden, Caroline Tompkins, Heather Sten, Oji Haynes, Matthew Genitempo, Carlos Jaramillo, Julian Klincewicz, Lucia Bell-Epstein, Will Matsuda, Lisa Sorgini, Andrés Vargas, Andy Jackson, Jess Tran, Andres Sanjuan, Peyton Fulford, David Brandon Geeting, Marcus Maddox, Samone Zena Kidane, Steven Molina Contreras, Scott Rossi, Sinna Nasseri, Marisa Chafetz, Eric Chakeen, Daniel Jack Lyons, Christian Michael Filardo, Lina Sun Park, Henry Archer Grade Solomon, Jingyu Lin, Daniel Dorsa, Jerry Hsu, Pia Paulina Guilmoth, Rosie Marks, Kyle Berger, Daniel Arnold, Mikayla Jean Miller, Chris Llerins, Tamara Blake Chapman, Kirk Lisaj, Daniel Rampulla, Matt Eich, Jack Bool, Tyrone Williams, Allan Sallas, Rose Marie Cromwell, Chris Maggio, Willem Verbeeck, Sarah Walker, Juan Brenner, Andrés Ríos, Jacob Ogden, Melissa Alcena, Henry O. Head, Meghan Marin, Brad Ogbonna, Alana Celii, Stephanie Stamatis, Clark Hodgin, Enrique Escandell, William Mullan, and Adam Powell.

The book, designed by Jesse Feinman, is 116 pages, measures 7.5×9.5 inches and comes in a linen-bound hardcover with silver foil text using Carta Nueva by My-Lan Thuong, available from Sharp Type. The delicate calligraphic letterforms pair nicely with the intimate and raw photographs celebrating everyday life and love.

Copies of Breathless in Air are still available for purchase from Pomegranate Press and KAMP.

Poster for the show in London. The title in Carta Nueva is paired with Suisse Int’l and Junicode Italic.

Poster for the show in Portland

Book design and art direction for Silvia Prió’s photographic project Gypsy Witches by Gwennina Moigne. Through photographs, it retraces a journey across Romania to the Moldovan border, in search of the legend of witches among Romanian Roma communities. Blending artistic and documentary approaches, the project explores this mysterious folklore, as well as the rituals, relationships, and practices of a women-led community living in a small village in Romania. Solæ is used for the text, with a custom version designed for the title. The book was published by Éditions Odyssées and printed by Escourbiac.

Page numbers are translated to a code using moon phases.

Material Meanings was an exhibition shown at the Art Institute of Chicago from February 22 to July 5, 2020. The accompanying catalog, edited by Matthew S. Witkovsky, is distributed by Yale University Press:

This book features 31 objects from Constance R. Caplan’s noted collection of 20th- and 21st-century art, including works in a variety of media by artists such as Hans Arp, Lydia Benglis, Liz Deschens, Claes Oldenberg, and Cy Twombly. Rather than specialize in one medium, artist, or movement, Caplan has instead assembled paintings, photographs, drawings, sculptures, and examples of decorative art that include voices from both the school and the museum of the Art Institute of Chicago. Yve-Alain Bois provides a historical overview of the collection's genesis, with a particular focus on the dialogue among works from different artistic disciplines.

The book was designed and typeset by Emma Cole, pairing Granville (Jean-Baptiste Levée) and Univers (Adrian Frutiger). The cover shows a detail from Louise Bourgeois’s Observer (1947–1949) and features silver foil stamping.

Franco Pepe. Pizza Chef is a book published by Phaidon, available to pre-order since June 2025:

The story, ideology, and recipes of master pizzaiolo Franco Pepe, founder of the world-famous Pizzeria Pepe in Grani.

The cover and some chapter headlines use James Stencil from OTT. The rest of the text and the titles are set in LL Bradford from Lineto.

Red edition with golden type

This hymnal with 19th century gospel songs was first published in 1967 by the Tabernacle Publishing Company, Wheaton, Illinois. Over the years, various editions have been issued, in different colors and cover materials, and also by others like Standard Publishing from Cincinnati, but always with an embossed cross. The title is set in a wide Clarendon variant that was made available by Lettering Inc. around 1956, as No. 1083. The book is still in print today.

Red edition with black type, Tabernacle Publishing Company

Green edition with golden type, Tabernacle Publishing Company, 1974

11th edition by Standard Publishing, 1975

Black edition with golden type, Tabernacle Publishing Company, 1993

In 2023, Henie Onstad presented the second edition of  New Visions, the Henie Onstad Triennial for Photography and New Media. The triennial takes the pulse of experimental practices within contemporary photography and new media. The second edition of the triennial presented works that push the boundaries of photography and automated image-making, to examine acutely relevant issues such as resource extraction, energy distribution and data harvesting. ANTI have designed the exhibition and the accompanying catalog.

The title of the triennial refers to Hungarian artist and photographer László Moholy-Nagy’s text “A New Instrument of Vision” (1932), which greatly influenced the development of experimental photography in the 20th century. In the early decades of the last century, photography enabled new perceptions of an increasingly mechanized and industrialized world. Similarly, today’s artists use photography to explore the entanglements with machines and processes of automation and extraction. The identity signals dynamism, fluidity and changeability. The holographic cover reflects the nature of photography, by capturing the light and its surroundings.

The New Visions catalog was edited by Susanne Østby Sæther. It includes a foreword by Caroline Ugelstad, a curatorial statement by Inga Lāce, Reem Shadid, and Susanne Østby Sæther, and an essay by scholar Eglė Rindzevičiūtė, in addition to artist presentations. Publishing by Henie Onstad Kunstsenter and Mousse Publishing.

The text typefaces used in the catalog include Helvetica (or similar) and Freight Text, with some words in PicNic.

Logo

In 2024, the Museum of the San Ramon Valley in Danville, California, became MuseumSRV. The rebrand used type as a bridge between the Valley’s past and its present younger, diverse community. We chose OH no Type Co.’s Fatface and Compadre for their mix of historical flair and modern charisma. We wanted something expressive enough to engage kids and families, yet refined enough for longtime supporters. Their bold curves and contrast brings warmth and friendliness to everything from exhibit titles to donor materials. Paired with a bright, Valley-inspired palette, the typefaces helped transform the museum’s voice into something fresh, welcoming, and alive. See more on the Small Forest website.

Stationery

Swag for students in educational programs run by the museum

Home page header

Social posts

Premium membership status for extra generous donors

Printed quarterly newsletter

Annual craft beer stroll to support the local business community

Timeline feature from the website. Smaller text is set in Georgia and Fira Sans Condensed.

Gold foil and a combination of Hawthorn and Fust & Schoeffer Durandus 118G for the cover of this book talking about Tolkien’s ideology in Middle Earth, written by Sébastien Fontenelle and published by Lux Éditeur.

A variation of the publisher’s regular logo is used on the back cover.

Digital typefaces have largely become invisible online-only products, buried in an endless stream of new releases. Even once you’ve found the right one, purchasing a license is just a dry, functional click.

Born from the idea of making type discoverable through unusual channels and creating a fresh, tangible encounter with Viennese typography, the Digital Font Box presents three selected phospho typefaces as local, physical objects: Giramisu, Luxus Brut and Neonoir.

In collaboration with Stadtschrift – Vienna’s association dedicated to preserving urban lettering – these typefaces appear in a small-edition series: each box contains a unique download code together with a postcard showing the respective façade, neatly packaged as a collectible object, with the boxes themselves typeset in Dazzed. The 3.5″ floppy disk is a playful nod to how fonts were sold before the rise of the internet. The font boxes are intended to be discovered in museum shops and concept stores in Vienna.

Elusive is a true passion project from the beginning. As global supply of a certain ubiquitous green liqueur saw a sharp drop in availability a few years ago (due to the production philosophy of the Carthusian monks who make it), the idea of not being able to serve some of the essential classic cocktails felt wrong in a proper cocktail bar. The solution for Echo Spirits was to make their own interpretation, painstakingly, by hand. What started as a practical solution for the bar led to a massive response and demand from guests and the community—this stuff is good enough to share.

The packaging aims to capture a sense of the same craft, and attention to detail, and finesse that went into the spirit within. We broke from the aesthetics that have defined the brand so far, and went all-in on lush illustration, calligraphic typography, and maximalism to evoke the same handmade feeling. Each of the (approximately) 40 ingredients is pictured and represented on the label, rejecting the mystery of “secret ingredients” in favor of strong visual storytelling.

“Elusive” is set in a very slightly modified Talu by Beasts of England, making use of its extensive alternate character sets. Supporting type is set in Tiller by Fort Foundry, relying on its flares to bring a more refined vibe, and its structural similarity to Interstate (used as Echo's primary brand type family) to connect back to other products.

Slanted magazine #46, “Cairo”, is a visual journey into the vibrant heart of Egypt’s creative scene. The dynamic design culture of Cairo – and beyond – reveals just how diverse, innovative, and powerful creative voices in Egypt are today.

From graphic design, typography, and visual communication to architecture and product design, Slanted #46 showcases outstanding projects that are shaping the cultural present and future of the region. Whether through progressive branding concepts, experimental approaches, or striking visual storytelling, this issue reflects the powerful creative energy flowing through Egypt. Slanted gives space to designers, illustrators, and artists from Cairo, other Egyptian cities, and abroad—highlighting their work and personal statements. In-depth essays and articles on cultural, social, and creative topics related to Cairo and Egypt round out the issue.

Slanted #46 is a compelling portrait of a design scene in motion—bold, diverse, and brimming with fresh perspectives. On our trip to Cairo, we conducted numerous interviews with people from the creative industries, which have been edited into the short film Cairo Unscripted—Exploring Cairo’s Past, Present, and Creative Future by design studio Ntsal. It is available for free from slanted.de/cairo.

To mark the release of Slanted #46, Slanted is launching a special edition with five stunning photo prints by Markus Lange, as well as a striking hoodie collaboration with Reell and Negmedine Khaled.

From the website of author Maxie McCoy:

DAISY is a sweeping historical novel that follows the extraordinary life of Juliette “Daisy” Gordon Low – a woman whose strong spirit and steadfast friendships helped her create an enduring movement for women and girls.

Determined to live beyond the confines of Southern society, Daisy set out for a grander life in New York City, only for tragedy to call her back home to Savannah, Georgia. Heartbroken yet resilient, Daisy finds strength not just in herself, but in the steadfast sisterhood of her friends, whose loyalty and love help her reimagine what life could be.

These friendships carry her through a turbulent marriage to the charming yet elusive Willy Low, and ultimately give her the courage to push past expectations and carve a new path. From the cobblestone streets of Savannah to the stately halls of England, DAISY brings to life a network of enduring friendships that enable her to resist societal norms and build a legacy that spans generations.

Raissa Pardini designed the book using Romie in Roman and Italic on the cover, with the Black weight on the book spine. Romie is designed by Margot Lévêque.

A renowned trio of author (Michael Gleich), photographer (Christian Klant) and designer (Clemens Theobert Schedler) worked on this monumental photography book entitled Orte der Stille in Südwestfalen documenting the places in Germany holding special cultural, spiritual and historical significance. Schedler requested a custom version of Lava, lighter than originally published for typesetting of the book. Since then, these cuts were published and are part of the standard Lava package.