c0da is an artistic research and publishing project by Katrin Mayer, conceived during a grant by the Berlin Artistic Research Programme. The website shows artistic contributions by different artists and writers that reflect on feminist modes of coding and writing, and it serves as a platform for activities related to its ongoing research and artistic production.

Katrin has invited a group of artists, writers and art historians to develop artistic contributions and correspondences loosely based around figures such as zeros, circles, holes and voids, which tie into concepts of feminist theory and philosophy and also reference the 0’s and 1’s that constitute the binary language of code and computation.

The typeface CMM Coda, specifially developed in the context of this project, is based on Dual Basic, a typeface designed in the 1960s for the IBM Selectric typewriter. It was one of the first machines where fonts could be switched and characters stored on magnetic band – thus an early analogue word-processor and important bridge technology between typewriter and computer.

Interestingly, both “typewriter” and “computer” were once terms to describe the female workforce operating the machines. Starting the late 19th century, typewriters enabled women to pursue careers such as typists, punchcard operators and telegraphists. Because women’s work used to be strongly associated with meticulousness, computing was considered well suited to women. In fact, the first people to write a computer program were women (ENIAC Six), the first software engineers in history. Thus, women have always occupied important roles in the transitioning of these technologies.

CMM Coda draws a conceptual and typographic connection between the notions of typing, coding and writing. It connects feminist histories of typewriters and software engineering with roles and visualities of monospaced and proportionally spaced typefaces characteristic for writing processes associated with typing, coding and writing.

Tender is an ongoing project initiated by A Published Event and supported by Public Office. The website hosts a collection of collaborative and experimental forms of writing, with numerous footnotes and cross-references. It was designed by Melbourne-based graphic designer Paul Mylecharane, who describes it as a “project about time and relations unfolding; and working through a multiplicity of ideas about self-publishing, writing and making with.” It features work by writers such as Margaret Woodward, Justy Phillips, Catherine Rose Evans, Ilana Halperin, Jen Bervin and Wendy Morrow.

Pillowtalk is the private journal for self-reflection.

With Pillowtalk, you can record, transcribe, or write on the go and receive transcripts in any language you want. Gain insights from your daily and overall entries to discover personal patterns, bring ideas together, find motivation, and even analyze your dreams.

We prioritize privacy. All entries are securely stored on your device, shielded from AI training, and solely accessible by you. We promise to keep the app ad-free and never monetize your data. To sustain this, we offer premium subscriptions.

The identity uses PolySans (in Slim and Neutral weights) paired with Self Modern SemiBold.

From Wikipedia:

Archive of Our Own (often shortened to AO3) is a nonprofit open source repository for fanfiction and other fanworks contributed by users. The site was created in 2008 by the Organization for Transformative Works and went into open beta in 2009. As of 28 November 2022, Archive of Our Own hosts 10,220,000 works in over 54,020 fandoms. The site has received positive reception for its curation, organization and design, mostly done by readers and writers of fanfiction.

Archive of Our Own uses Georgia for headers and the site logo, Monaco for publication timestamps (on machines where Monaco isn’t available: Consolas), and Lucida Sans for body text and buttons. The site also allows users to apply their own custom skins to the site itself and to individual works, allowing for the usage of different fonts on specific works.

For its debut issue, the student-run magazine El caldo at Centro de diseño, cine y televisión pursued a tongue-praising theme. Inspired by Mexican Spanish ambiguities and all types of idioms deriving directly from the “lengua” (“tongue)” concept, El caldo’s debut edition brings together multiple contributions ranging from poems and short stories to photo essays and interviews.

Written contributions reunite essays by Berke Gold, Daniel Berkstein Guillemot, Sebastián M. Finck, Natalia Padilla, Karla Muñoz, and Radamés Vargas.

The typographic approach also found its way through these ambiguites, choosing plurality over monotony as a manner of illustrating the diversity upon which the community builds itself. Hence the cover title is set in an array of Black Mamba, Manicotti, Roslindale and Krsna; subtitles in BRRR and Druk; and body text in Lausanne.

Visual identity for Carrément, a cycle of artist residence at a poetry house in Rennes, France. The identity is based on the use of image words, in the style of Magritte, to illustrate the process of each artist during the residence. The leaflet is printed in risography at Club Couleur in Rennes.

The typewriter face is Olympe, designed by Émilie Rigaud and released through her A is for foundry. The sans is Antoine Elsensohn’s EB Trainer Grotesk.

Avian Loop is an ongoing publication produced by a monthly art writing group first established by The Physics Room contemporary art space in Christchurch in 2017.

Each issue uses a non-authored format to present relatively anonymous texts to a relatively anonymous audience. Instead of assigning authors to a single piece of text, the publication provides them a space to write freely, personally, or experimentally. Their names are presented as a list in the colophon and don’t refer to specific texts.

Each issue is produced in a limited run, as cheaply as possible and distributed freely among various institutions around New Zealand.

Epub versions of back issues are available via The Physics Room website.

The title is set in Avara, body text in Swear, and information details in Monotype Grotesque.

A Delicate Sight is a project initiated by the visual artist Sam Winston, known for his work of exploring language through writing and his acquaintances to drawing. In 2015, Sam Winston put himself through a month-long “darkness residency”, in order to question the effect of darkness and sensory reduction on his creative process. At the end of the residency, the artist sealed the works he had done in the dark, and subsequently tried to re-create with the help of sight what he thought he did during this period. After this experience and over the course of five years, Sam Winston invited other creatives to perform a darkness residency which could last from a few hours to one night.

This project is documented by a film, an exhibition to come, and a book. They put the works of Sam Winston in perspective with those of the authors Bernardine Evaristo and Max Porter, as well as the poets Raymond Antrobus and Don Paterson – who all accepted to be part of the experience. The book was designed by London-based studio A Practice for Everyday Life: from the start, the book shows the peculiar attention to sensation that comes with the darkness, with the title printed in reverse on the paper jacket, to be seen in transparency. The book will be launched at the Barbican for the exhibition opening, and the public will be invited to take part in the darkness experience, and to use the unwrapped book jacket as support for their creation. Some of the jackets will be drawn upon by Sam Winston himself, and distributed as gifts.

The beginning of the book is a plain gradient of black to white, announcing the texts written during the residency, a white that fades again after the final contribution. This fading is visible on the edges of the book. While reading, it gives the impression that the texts emerge from the darkness. This feeling of something barely apprehensible is supported by the use of Spectral from Production Type: even though this typeface was initially commissioned for screen reading, the lightness permitted by the media conveys a fragile aspect in the context of a printed book. Titles are set in Spectral Light and texts in Spectral Regular.

LittleTalks is a support framework that aims to protect the relationship bond between children and their loved ones in prison. It does this by using alternative tools of communication that are consumable for the child.

By sharing information, playing games and embarking on a research project, they can stay updated, inject fun and positivity into their time together and learn about each other's skills and interests.

Support is sustained at key touchpoints by LittleTalks liaisons in local support centres, as well as in prisons. In the end, LittleTalks offers the opportunity to pay it forward through mentorship and advocating.

The typeface Grenette by Colophon Foundry was chosen to emulate a tone that would appeal to both children and adults. A charming and friendly logotype was created that evokes trust and credibility in the brand identity. All other text uses Dazzed from Displaay Type Foundry. This typeface was chosen to ensure the character of the brand and while not comprimising legibility to the text.

Failles Flots Fils Flammes is a website created for translator and writer Joëlle Marelli (and her alter ego Jo Mrelli). Conceived as a creative space for the diverse writing practices of the author, the website is divided into four categories: one dedicated to the work in progress, experiments; another to theoretic texts; one to interventions; and a last one to reflections about translation.

The website was designed by studio des formes, who chose to work with Spectral from Production Type. The elegance of the typeface and its synthetic aesthetic manage to render a literary aspect to the texts, while being perfectly adequate to the materiality of the surface of the screen. This digital journal, neither a diary nor a blog, is in between: it finds a specific form for a type of space not yet defined on the web. Spectral helps reconciling the apparent antagonic aspects of a private yet literary writing made visible. Conceived in the legacy of Elzevir typefaces but optimized for immersive reading on screen, Spectral brings a literary style rooted in our visual imagination for centuries into the mutable space of web design. One detail we enjoyed in particular is the possibility to switch from light to dark mode, making even more visible the will to create a reading and writing space dedicated to the web: the usual hierarchy between black typeface and white paper (twisted here with the use of a light colored tone) is overthrown, showing at the same time the new mobility of text on screen.

Spectral is complemented with Work Sans for menu and navigation.

The writing workshop Aula d’Escriptura, held in Girona, is a space to fly with words. Quotation marks are predisposed to creation and freedom, while clouds form a simulated text open to free interpretation. Double quotes – inverted commas – are also called “cometes volades” in Catalan (literally “flying quotes”) and ragged text is also known as “text en bandera” (literally “flagged text”).

The font used for the quotation marks is Poster by Íñigo Jerez. Text is set in Aribau Grotesk by Eduardo Manso. Aula d’escriptura’s logotype (not by Senyor Estudi) appears to be based on Akzidenz-Grotesk.

Identity and web design for Carla who wanted to write. The site is a diary, personal but at the same time shared online. With dated but unordered entries. Without images (except one, hidden) where the texts are the protagonists of the diary.

The texts on the website are composed in Times New Roman. Ballast by XYZ Type serves for headlines. The wordmark uses Tiempos.

Each section of the site animates titles into view using Recursive's variable Weight axis, transitioning from Light (300) to a bit heavier than Black (930).

Agyei Archer worked with Rochelle Amour to write a simple but effective website to showcase her services in writing and knowledge translation. To accent these skills, the website uses a (nearly) all-typographic design, using a vibrant color palette plus the variable axes of Recursive to make for an experience that energetic, visually compelling, and quick to load as a website.

A vibrant color palette and subtle rotations on big headlines strike and energetic and inviting tone throughout the site. All-caps headlines use Recursive's Casual styles (CASL=1) to be bold without being shouty, while Linear styles (CASL=0) provide supporting text that is matter-of-fact without being plain.

A nearly all-typographic design palette brings visual impact to a website showcasing the knowledge translation and writing abilities of the owner.

Game of Awesome is a hilarious, educational game designed to inspire year 5–8 students to write creative stories — whilst increasing their literacy levels. Playing the game helps students generate ideas quickly, from which they can explore, expand and write stories.

More information and a downloadable version at awesome.tki.org.nz.

Fast Company reporter Joe Berkowitz investigates the bizarre and hilarious world of pun competitions from the Punderdome 3000 in Brooklyn to the World competition in Austin.

I’m not sure why the small text couldn’t be hand lettered like the main title is, but at least the font they chose works pretty well here.

The Hazlitt is an online magazine by Random House of Canada. The platform is to strengthen the company’s new digital strategy by featuring original content from established and emerging writers, digital storytelling and commentary.

The redesigned website—developed by Wayne Thayer and Art Director Michèle Champagne—makes use of a range of webfonts: Headlines are set in Aurèle Sack’s LL Brown mainly and in Larish Alte by Radim Peško. Further marginalia and embedded media player are set in Type Together’s Tablet Gothic. The website’s typographic palette is completed by the use of FF Franziska by Jakob Runge for the main reading text.

The Hazlitt logo appears to be based on Minion Condensed with a custom decorative ligature.

This site is a design portfolio for Ian Grivois and a place to share his experiments and writing. Aften Screen performs superbly at small sizes on the screen and has a serene and elegant character. Lyon has a familiarity that gives a sense of quiet to bodies of text, perhaps because the typeface draws upon references to the ubiquitous Times Roman. Lyon also has a distinctive and contemporary flare that does not prevent the reader from getting lost in text and ideas. The reserve of the roman cut joyously lets loose in an exuberant italic. Gibson is a wonderful workhorse typeface that is used here for headlines. The overall texture of the words have a beautiful fit and finish and there is gorgeous subtlety to be found in the reverse curves of the italics. It is a typeface that raises funds for a good cause (Canada’s national design organization) and has an exceptional price point. I am surprised it is not seen more widely on the web. The portfolio slideshow has H&Co’s Sentinel for headings, but that is not a standard part of site’s type palette. Overall, it is thrilling to have such quality web type available for design and to practice how best to use these on a personal site.

Nitti is used for the iA writer desktop and iOS applications.