Verzauberte Vorbestimmung by Jonas Lüscher is a German novel published by Carl Hanser Verlag in Munich. The cover design has been created by Barbara Thoben of the Cologne-based studio Lübbeke Naumann Thoben. The novel was nominated for the German Book Prize 2025, and won the 2025 Wilhelm Raabe Literature Prize.

Translated from the book summary on the publisher’s website:

An Algerian soldier is caught in the first German poison gas attack, decides that someone has to stop it, gets up and leaves. In the Cairo of the future, a stand-up comedian observes an android laughing at her jokes. A Bohemian weaver is replaced by an automated loom, steals a hammer and attacks the machine. What do we, the people of capitalism, dream of, and what do our machines, which are increasingly rising up against us, dream of? In the unique mirror space of this novel, no conflict is over and every story is still possible. Clever and mad, funny and sharp, Jonas Lüscher's story is at the height of his art.

The hardcover book comes with a jacket that pairs Swiss Typefaces’ TheW Clan GZA on the front with Adobe’s Arno for the back cover blurb and testimonials. The pairing reflects the book’s thematic tension between history and dystopian future. TheW Clan GZA, an anti-dogmatic serif hybrid, frames the front illustration: the protagonist of the historical engraving The Leader of the Luddites (1812). The typeface’s unconventional forms introduce a futuristic, slightly destabilizing note, contrasting with the engraving and Arno’s classical serif grounding on the back.

With the jacket removed, the hardcover uses TheW Clan GZA on the spine for the author, title, and publisher name, while the front cover takes a minimalist approach: the jacket illustration disappeared leaving behind only its shadow, extended to cover the page.

Sarah Hall’s novel Helm was published by Faber & Faber. The “Indie & Website Exclusive” book jacket combines big typography with an illustration by Patrick Fox. The title and author’s name are set in Ergon Thin and Thin Italic, while the captions are set in Futura​​​​​​ Medium.

Telka from Ultra Kuhl and Lyon from Commercial Type are used in the branding of Front Row Group, a global agency network specialized in brand growth and digital commerce. The bold, extended forms of Telka give the identity a confident, expressive voice, matching the agency’s positioning at the intersection of culture, creativity, and technology.

Always Allegra is a Southern California-based wedding planning and coordination service specializing in creating personalized and memorable celebrations. The company offers a range of services, including full-service planning, partial planning, and day-of coordination, tailored to meet the unique needs of each couple. Their approach emphasizes attention to detail, seamless execution, and a commitment to bringing clients' wedding visions to life.

The website of Always Allegra uses The Erupha by Pista Mova as main typeface. Kaelyna Script by Pixesia Studio is used for the selected subheading. Additionally, it uses Sweet Sans for some navigational elements and Quicksand for the body copy.

For performance supplement brand LVL UP, Date Of Birth delivers a bold, kinetic identity grounded in the commanding presence of T1 Korium. Coming from T1 Foundry, the typeface brings a sense of structure and intensity – qualities that align perfectly with the brand’s focus on energy, hydration, and next-level performance.

Used across packaging, digital, and branded content, T1 Korium’s sharp forms and engineered rhythm cut through the noise, helping LVL UP stand out in a saturated market. Its mechanical edge and condensed proportions lend the identity a futuristic, almost sci-fi tone — appealing directly to a target audience immersed in gaming, fitness, and digital culture.

Whether emblazoned across product labels or motion graphics, T1 Korium amplifies LVL UP’s brand voice with confidence and clarity. It’s typography with a pump of adrenaline.

T1 Korium is supported by Relative (Colophon) and, on the website, by Greed (Displaay Type Foundry).

Weast Coast is a game company offering "heirloom quality tabletop games with a focus on immersive illustration and clever strategy".

After a highly successful Kickstarter campaign for their first release, Snakes of Wrath, the company is now offering its games and accessories through their recently launched website.

Young Jerks, who also own and operate Weast Coast, designed the site. It features two fonts by the Chicago based foundry Central Type. Piegraf is used for the headlines. Cadet is used throughout for all other text.

Bringing together an East Asian drink with Western European Renaissance writing might appear audacious. But in fact it turns out to be an intercultural love match where “craftsmanship” is the core value.

Breathing Tea is a small business based in Hong Kong that fully focusses on producing all sorts of Kombucha tea. As of fall 2024 the firm is represented in six places across Hong Kong and offers an online shop. Name and website of the brand make it clear that the purpose of the enterprise is to offer mindfully handcrafted brews, following the centuries-old tradition.

And it is here where you can see how well the chosen typeface fits in: Francesco was designed by Franck Jalleau on the basis of early Italian Renaissance printing, especially from the presses of Aldus Manutius. The typeface’s name pays tribute to Francesco Griffo who was the punchcutter of Manutius and is seen as one of the central figures in transforming Humanist calligraphy into typography.

Instead of copy-pasting recurring elements of type design, like for instance the serifs, Franck Jalleau strived to emulate the spirit of early punchcutting craftsmanship and to individually balance each letter in its own right, leading to more variation in those details.

Yet Francesco is not a mere revival, but a contemporary take on the Renaissance topic. Most noticeable are certainly the filled black counters of a and e, a characteristic that makes the typeface recognizable and therefore suitable for identity projects. Francesco comes with a variety of stylistic alternates and also provides full Greek and Cyrillic character sets. It was published by Production Type in 2017.

That same year appeared the geometric Halcyon by Jonathan Gibson, the complementary face used on the website of Breathing Tea.

Francesco is used with ample letterspacing. In the logotype, the letter i is represented by the dot only. The compact logo version combines a single letter B (modified to have one open counter) with that floating dot.

Social media typography doesn’t have to be loud or sloppy: a customer testimonial is carefully set using Francesco in roman, italic and small caps, with a discretionary st ligature and hanging punctuation

Box set with two bottles of tea

Homepage

Flavor selection menu

Product page

Kombucha in the making

From the project website (translated from the German):

“Man spricht Deutsch” is an autobiographical art project by Sandra Singh and Francesco Giordano, which deals with everyday racism, German migration history and the media landscape of the 00s. The aim is to create a space for encounters and exchange for people with a migration background through an exhibition and various participatory projects.

In December 2023, Sandra Singh and Francesco Giordano presented “Man spricht Deutsch” in an exhibition at FLORIDA Lothringer 13 and Artothek München.

The identity of the project was designed by Salomea Wörner who used Holise for titles and Rotis SansSerif for body copy.

From ancient whatu kākahu to contemporary installation art, Frances Hodgkins to Merata Mita, Fiona Clark to Mataaho Collective, Sight Lines tells the story of art made by women in Aotearoa New Zealand. With more than 150 striking images and essays by Chloe Cull, Ngarino Ellis, Ioana Gordon-Smith, Rangimarie Sophie Jolley, Lana Lopesi, Hanahiva Rose, Huhana Smith and Megan Tamati-Quennell alongside the author, Sight Lines is a bold new account of art-making in Aotearoa New Zealand through 35 extraordinary women artists.

Designed by Studio Katie Kerr, Sight Lines: Women in Art in Aotearoa is a 444-page book with a fabric-bound hardcover, that is debossed and foiled. It pairs two typefaces, Caslon Ionic and GT America, with vivid color and crisp artworks to create a warm and engaging layout.

Words by Art New Zealand magazine:

Sight Lines is a material object in its own right. The scale and feel of the book is more serious art-historical companion piece than lush coffee table book. Bright pops of colour and shifting fonts are used to mark transitions between texts and authors. Artworks are given space, either half- or full-page spreads. They punctuate the texts, but also offer a flow of their own.

From ElevenLabs’ About page:

ElevenLabs is an AI audio research and deployment company. Our mission is to make content universally accessible in any language and in any voice.

Our research team develops AI audio models that generate realistic, versatile and contextually-aware speech, voices, and sound effects across 29 languages. Our product team tailors these models to the needs of everyday users, prosumers, and businesses.

Our technology is used to voice audiobooks and news articles, animate video game characters, help in film pre-production, localize media in entertainment, create dynamic audio content for social media and advertising, and train medical professionals. It has also given back voices to those who have lost them and helped individuals with accessibility needs in their daily lives.

We develop our tools mindful of their impact. AI voices offer a preview into the future of digital interaction and making them safe is our priority. Our goal is to ensure that our products are developed, deployed and used safely, while continuing to drive positive and creative applications.

The website was designed using a customized Waldenburg with a single-story a.

In spring 2020, unprecedented measures were put in place in Switzerland and elsewhere to protect people against Covid-19. These actions against the disease have transformed our lives. Their impact, however, is specifically tied to our living conditions, housing, financial resources, state of health, and previous experience. The World March of Women (WMW) gives a voice here to those who are heard so little, and yet have often learned to go beyond the walls. Common point among women witnesses: to have one day lived in exile. What resonance did the pandemic have for them? How did they get through this period? What can they teach us?

Julie Ciatti Photography specializes in headshots and portraits designed to enhance clients' confidence, with a meticulous attention to detail and a commitment to ensuring each client feels comfortable. Julie Ciatti crafts each session to showcase their distinct personality and style.

Julie Ciatti Photography uses Westiga as main typeface for logo, headline and heading, in addition to Kanik for subheadings and navigational elements and Red Hat Display for the body copy. Some selected texts are displayed in Promenade Italic.

Buffalo Skincare is a skincare and beauty service that offers medically licensed, results-driven, and personalized care tailored to individual needs. They emphasize a personalized approach that allows clients to understand the reasoning behind each step.

Buffalo Skincare uses Pixesia Studio’s Merilux as all uppercase logo and headline. In addition, Commuters Sans is used for subheading, Misspiece for some selected text and block quotes, and Work Sans for the body copy.

TT Commons is used in Hatch’s branding.

Hatch provides you with natural sleep and healthy routines, finds what works best for you to get high-quality rest. Discover new ways to make sleep magical for babies, adults, and everyone in between with Hatch.

TT Travels Next is part of the Tortillería Taiyari’s identity. On the website, it’s used together with Artegra Sans. Kumla is the font chosen for the logo.

From Studio Mingus:

Tortillería Taiyari is the first authentic Mexican tortillería and molino in the Netherlands. Tortelleria Taiyari makes delicious authentic tortillas from all-organic ingredients. Inspired by the traditional ‘ojo de dios’ I made a colourful identity that represents the rich history of Mexico, its people and of course its cuisine.

Source: www.instagram.com Michael Stars. License: All Rights Reserved.

Michael Stars is a brand for ladies’ fashion based in Los Angeles, California. It was founded in 1986 by Michael Cohen and Suzanne Lerner who remains the sole CEO after the passing of her husband. A central selling point of the brand is its stance on corporate responsibility: more than two thirds of its garments are produced locally in L.A. in order to guarantee fair wages, high quality, and a smaller carbon footprint, 80% of the staff are women and all clothes are made to last long. By means of the Michael Stars Foundation, the company seeks to support grassroots organizations who share the values of gender, race, and socioeconomic equality.

The brand typeface is Alaric Garnier’s Mars, used in its Extended width and in all-caps typesetting. On the website, Mars features for the menu, buttons, and headlines. It’s combined with the geometric sans-serif Sailec by Nico Inosanto of Type Dynamic for reading text and product info. Mars was first released in Extended and Condensed styles in 2018, in 2021 a Standard width was added to the trio available from Production Type.

Source: www.michaelstars.com Michael Stars. License: All Rights Reserved.

Homepage

Source: www.instagram.com Michael Stars. License: All Rights Reserved.

Source: www.michaelstars.com Michael Stars. License: All Rights Reserved.

Source: www.michaelstars.com Michael Stars. License: All Rights Reserved.

Source: www.michaelstars.com Michael Stars. License: All Rights Reserved.

Product page with Mars Extended for the “Add to Bag” button

Source: www.instagram.com Michael Stars. License: All Rights Reserved.

Source: www.instagram.com Michael Stars. License: All Rights Reserved.

Source: www.instagram.com Michael Stars. License: All Rights Reserved.

Source: www.michaelstars.com Michael Stars. License: All Rights Reserved.

Spread from the Winter Lookbook

Source: www.michaelstars.com Michael Stars. License: All Rights Reserved.

Spread from the Winter Lookbook

Source: www.michaelstars.com Michael Stars. License: All Rights Reserved.

Source: www.instagram.com License: All Rights Reserved.

Source: www.instagram.com License: All Rights Reserved.

Source: www.instagram.com License: All Rights Reserved.

The GOODList is a community of creative freelancers committed to helping clients in finding the right talent for the project at hand. With its more collaborative model and a focus on diversity, it aims to provide an alternative to traditional recruitment platforms and representation agencies.

Each month, the team of The GOODList asks a curator to select three creatives from their network that they believe are pushing the boundaries in their field. The emerging talents are spotlighted in a series of video clips titled Curator Series. For the fifth edition in August 2023, The GOODList invited Harry Butt. Earlier this year, the acclaimed motion designer and founder of Butt Studio joined the newly launched Nexus Design Studio in the role of Creative Director.

Butt used this platform to highlight the works of three artists: Maïté Marque, an illustrator based in Paris; Juna Horstmans, a visual artist from Australia who currently lives in the Netherlands; and Bettina Comte, an interactive designer from Paris.

The typeface selected for the titles and the names of the featured women is Tempel Softland. Designed by Reymund Schröder as a variation of his Tempel Grotesk, it was released with Production Type earlier this year. The GOODList used Tempel Softland in the widest of its three styles, the Condensed, and mostly in tightly spaced capitals. Softland is supported by The GoodSans, a custom typeface designed in 2022 by Briton Smith at Family Type.

Source: www.instagram.com License: All Rights Reserved.

Source: www.instagram.com License: All Rights Reserved.

Source: www.instagram.com License: All Rights Reserved.

Source: www.instagram.com License: All Rights Reserved.

Source: www.instagram.com License: All Rights Reserved.

Source: www.instagram.com License: All Rights Reserved.

Source: www.instagram.com License: All Rights Reserved.

Source: www.instagram.com License: All Rights Reserved.

Source: www.instagram.com License: All Rights Reserved.

This 2023 campaign marks a change in direction at Pasquart Kunsthaus Centre d’art Biel/Bienne, Switzerland. Different quotes from the past ten years of the Kunsthaus's guestbooks were collected and placed on the streets of Biel, conveying whether Kunsthaus is appreciated or not:

“It was cool, then I got hungry.”

“Your art is funny. I like!”

“Very nice exhibitions despite what people say.”

This campaign was integrated with the promotion of their first exhibition of 2023 about painter Francis Baudevin, who has been developing a body of abstract work since the end of the 1980s. His work is known to be rigorous, coherent, and playful. Always following the same method, the artist takes abstract graphic compositions from our visual domain (multinational logos, packaging from manufactured goods, book and record covers, etc.) and then removes all text references—hence, all meaning—to keep only the form itself.

All the material for this occasion has been designed by Marie Cuennet, featuring LL Blankenhorn and LL Ruder Plakat from Lineto, and NEXT Mono from Optimo on all the communication materials and on-site graphics:

The change of the direction and program of the Kunsthaus Centre d'art Biel Bienne was visualized through a series of posters with visitor comments. We decided together with the new director, Paul Bernard, to bring excerpts from the guestbooks of the past 10 years into the streets of the city of Biel. LL Blankenhorn was chosen to suggest a spontaneous and authentic voice.

Soon afterwards, the the first exhibition of the year (Francis Baudevin and more) was announced. Here LL Ruder was introduced as a second layer on the same posters.

LL Ruder was also used in the interim to label the various exhibition spaces. The complete redesign of the visual identity of the museum will be unveiled in 2024.

For the past 20 years, Fusebox had been a hidden gem in Austin, presenting unforgettable live performances from some of the world’s most inventive artists.

The rebrand and accompanying campaign captures what’s exciting, daring, and irresistible about Fusebox in a way that speaks to the experience-loving people of Austin. In the campaign, fans recount their favorite shows stumble into what’s kept Fusebox from welcoming lots of new people: how hard it is to explain outside the context of the moment.

The brand identity is about capturing that excitement of discovery. It’s anchored by a custom-drawn corner-shaped logo that both represents intersection, and is an open frame that adapts to possibility.

This festschrift celebrates one hundred years and five generations of Anderson Concrete, a family business from Columbus, Ohio. From the foreword by Jessica Anderson, President:

It’s my distinct privilege to recognize and celebrate our first century of business at Anderson Concrete. From our humble beginnings as a sand and gravel hauling company in 1921, we have innovated, adapted, and sustainably grown to become a prominent and successful family business in central Ohio.

As our 100-year milestone was approaching, my family and I wanted to do something special to honor this accomplishment. We decided to create a commemorative book, which resulted in a 194-page culmination of our rich history, showcasing the family legacy, the lifelong relationships, and the generational grit and determination that got us where we are today.

The publication was designed by Zach Wilke and Neil Wengerd at Nonfiction. Copywriting by Brit Eaton, printing by Pressworks Inc.