The title translates to something like Vitamine V – A reference book on vegetarian and vegan cuisine. It’s a comprehensive text book on vegetarian and vegan cooking that is used as course material in culinary schools. The first edition was self-published in 2019 by the author, Matthias Biehler. The book, set entirely in Profile, counts just under 800 pages and has a format of roughly 21.5×28.5 cm.

In an email exchange, the author said this about the design by Buch&Media GmbH: “[…] the typeface is brilliant; the V in particular is so lovely! I think the book is beautifully designed, and the typeface plays a big part in that.”

Issues such as mental health and the destigmatization of mental illness are particularly close to the heart of communication designer Jana Heinz. As part of her Master’s thesis whilst studying typography under Professor Andreas Hogan at Trier University of Applied Sciences, she developed the branding for a fictitious foundation that aims to raise awareness of these issues amongst young people.

GRŌA – the name of the foundation – was derived from the Germanic word ghro (which is the origin of the word green) and the Green Ribbon. Introduced in the early 1990s, the green ribbon is the international symbol for the acceptance of mental illness.

Jana Heinz’s aim was to create an image that conveys openness, diversity and closeness yet that was still convincing. At the heart of the design is a modular construction kit. Four basic patterns, four grid types, two font families and a variable scaling system enable an exceptionally high degree of design flexibility. Constants such as the characteristic typography and a fine-tuned color concept with a focus on shades of green ensure the brand’s recognition value.

Jana Heinz chose the strong character of Nikolai, designed by Franziska Weitgruber, as the corporate typeface for the foundation’s branding. It is complemented by the sans-serif New Reason by Miles Newlyn, which mostly appears in capital texts. Nikolai not only carries the GRŌA logo, but also characterizes the entire advertising communication as well as the editorial design of the foundation brochure and the in-house magazine Smaragd. With its expressive italics, strong contrasts and carefully balanced proportions, Nikolai gives the visual appearance an unmistakable voice – elegant, yet at the same time lively and approachable.

In addition to its visual quality, the corporate design was particularly convincing due to its suitability for everyday use. It also enables non-experts to create media content quickly and consistently – a deliberate focus, as communication tasks in foundations, associations and smaller organizations are often solved decentrally. So it’s no wonder that Jana Heinz’s work was awarded the Junior Corporate Design Prize shortly after publication. The jury was impressed. They praised the concept as “well-thought-out down to the last detail” and spoke of a “construction kit that invites experimentation”. The result is an identity-creating design system that not only communicates openness but actively enables it.

Business Sustainability Toolbox. Innovative Wege zur Nachhaltigkeitsstrategie (“Innovative approaches to sustainability strategy”) is a 280-page reference book on the development of sustainability strategies for SMEs, corporations and start-ups. It was compiled and written by Julia Weber and Marcel Farkhondeh-Hoy and published by Vahlen (Munich) and Versus Verlag (Zurich).

Step-by-step instructions, templates and numerous illustrations are used to simplify the complex processes across four chapters, making it easier for readers to get started with the topic. Macan is used throughout.

Protest Grotesk is the typeface used by Seasonal Fruit for Wir wollen baden! (“We want to go swimming!”), published by Neckarinsel Stuttgart in collaboration with Prima Publikationen. Additional display typefaces used in the book include Sometimes Times and Blocus.

From the publisher (translated):

This water guide is a handy companion for getting into cool waters on hot days. Even in the Stuttgart metropolitan area, temperatures are rising. At the same time, Stuttgart and the surrounding region aren’t exactly known for nearby lakes for swimming. That’s why we went searching for you—and we found them: from river swimming spots to hidden waterfalls and refreshing forest baths, here are the islands for cooling off.

On 14 tours through the region, we give you insights into the many ways to swim and cool down, sprinkled with information and facts about the waters, because water is much more than just fun in the pool: it’s our drinking water, wastewater, a habitat for flora and fauna, and even a means of transport. Easily accessible by public transport, the tours invite you to stroll, walk, hike, cycle, or paddle—alone or with friends and family.

And the best part: each tour comes with a postcard as a keepsake, to send, or to share, featuring scenes from your swimming adventure.

Shortlisted for the Most Beautiful German Books 2025.

Postcard with all-caps Blocus on the back

Spread featuring all-caps Sometimes Times, rotated and with overlapping glyphs

The Shape of Letters in Sign Languages is an exhibition about a multilingual experiment involving Korean, English, and sign language.

Selected for the Seoul Design Foundation’s DDP Open Curating program and hosted by Gallery MUN at DDP (Dongdaemun Design Plaza), the exhibition presented research into sign language as a new typographic element. The exhibits are based on typography methods that use layout, color, proportion, and movement within a set system. We created the visual identity, translating manual gestures into graphic motifs.

This project was developed as part of my DSAA in Graphic Design at ENSAAMA in April 2025. It questions the place and connections between the many unread books in our daily lives. Following a survey of people from a variety of backgrounds, this wheel highlights these forgotten works. The identity of each book is meticulously broken down: title, author, weight, dimensions, publisher. But beyond the material characteristics, it is the relationship between the book and its owner that is explored: what were their expectations? How long have they owned this book? Why have they never read it? All this data intersects and blends to give rise to new imaginary books, new narratives. This codex thus offers a poetic and contemplative vision of these silent books, bearers of stories we do not yet know.

Some interesting customization was done for the title: double underlines that blend into certain letters; a flourished, angled crossbar and differing leg lengths for the A; and extended and shifted arms of the & and swash M.

While most community cookbooks have a reach limited to a specific time and place, some do go onto wider acclaim and use, as is the case with some of the cookbooks produced by Junior League associations. One example of such a cookbook is the Rochester chapter's Applehood & Motherpie. The cookbook has gone through at least 17 print runs, numbering over 250,000 copies. In 1990, it was inducted into the Walter S. McIlhenny Hall of Fame for community cookbooks.

Applehood is set overwhelmingly in varying weights of ITC Bookman, with titles and other key text using swash alternates. The one small exception is that the opening initials to passages dedicated to anecdotes and tips use swash neo-Bookman Bold Italic instead.

A green apple next to a recipe indicates that it ranked very well amongst the cookbook’s testers.

An example of the anecdotal text interspersed throughout the cookbook, seen here with a swash neo-Bookman A.

The Rochester area is a large producer of apples, thus the title and motif (and numerous recipes featuring the fruit).

The crease that runs horizontally across the cover is designed to be bent so as to allow the book to stand upright.

Handverk has made a portfolio showcase in the form of a small physical archive. All projects are sorted into categories. The archive will be permanently available at their premises at Galleberggata 31, Sande in Vestfold, Norway.

The typeface used is Store Norske Skandia from Skriftkompani.

Front Cover

commonSans (plus the yet unreleased commonSans Condensed) – both available from my notyourtypefoundry – are used in my design for the summer 2025 brochure of Dutch publisher Valiz alongside Iki Mono by Beatrice D'Agostino (released by CAST) and Seaweed Sans by Mother Type. From Valiz:

Inspired by what you've seen? You can (pre)order most of these titles now or soon in our online shop, or support your local independent bookstore and buy them there. We hope to see you all soon at book fairs, presentations and programs. In the meantime: we hope you'll continue to read and enjoy creative work by yourself or others. See you soon!

Browse the Valiz brochure online.

Rotated keywords printed along the edges of the brochure interior

Inner pages, close-up of keywords

Colophon

ALT Riviera (Alt.tf) and Space Grotesk (Florian Karsten) in use for The Guild's website⁠.
⁠
The Guild started out by being Atlanta’s first co-living company, creating spaces for changemakers — entrepreneurs, artists, and community organizers — to live, work, gather and thrive. In addition to providing live/work spaces, their program targeted venture and personal development. ⁠

The Guild’s workshops and trainings cover everything from advanced business basics, to personal finance coaching, and even things like mindful meditation, to provide holistic support to these changemakers who work to positively impact their communities. Since then, we’ve evolved and grown, when it became clear that these changemakers were at the threat of being displaced due to gentrification. Our city is grappling with both residential and commercial gentrification, with legacy residents and businesses both at the frontline of displacement. This kind of development only serves to widen the already existing racial wealth gap. Instead, we take a community-centered approach to development. Our upcoming deals are focused on creating a pathway for community ownership.
⁠

Published by Instituto Moreira Salles, Dicionário Drummond (“Drummond Dictionary”) endeavors to enrich the extensive critical legacy of the Brazilian poet Carlos Drummond de Andrade. This book compiles insightful studies of the author’s œuvre, adopting the format of a dictionary. Within its pages, readers will encounter entries meticulously curated to provide a holistic portrayal of Drummond's expansive literary universe.

The only typeface chosen for the entirety of the book is Heldane—a contemporary serif family that draws inspiration from the Renaissance works of typographers such as Hendrik van den Keere, Claude Garamond, Robert Granjon, and Simon de Colines. This deliberate choice reflects a commitment to a more literary aesthetic rather than a purely utilitarian one. Although the graphic design may evoke the structure of a conventional dictionary, the content within unfolds as a poetic and subjective exploration, transcending mere functionality.

The cover design engages in a typographic interplay, employing low relief to subtly weave together the words "Drummond" and "dictionary." This design element reinforces the underlying poetic essence of the content, juxtaposed against the utilitarian connotations of a traditional dictionary. In essence, the book seamlessly merges form and function, inviting readers to embark on a journey through the eloquent and nuanced landscapes of Carlos Drummond de Andrade's literary legacy.

Launched in March 2018, the E162 website is a platform, a showcase, an archive, a directory, for and by students in the DSAA Typographic Design program at the École Estienne in Paris. The site aims to showcase the typefaces, projects and dissertations of the students. The section’s Instagram was launched at the same time.

The Savon typeface family, created as a self-initiated project by the class of 2018, was collaboratively designed for this specific occasion (Regular by Fanny Hamelin, Bold by Marion Sendral, Italic by Loan Bottex and Léo Guibert). A launch event was held for the site at Batt Coop on 29 March 2018. On this event, there was a specimen print on demand workshop, the website of which is still accessible here!

Волхонка. Неторопливая прогулка (English: Volkhonka. The Unhurried Walk) is a book about the history and architecture of Volkhonka, one of the oldest streets in Moscow situated near the Kremlin. Written by architectural historian Federica Rossi, the book is something more than an ordinary guidebook. A big historical and archival research preceded the writing of the book. Written in an easy manner the book opens new pages of thrilling history of the district. It is richly illustrated with both modern and historical materials, many of which are published for the first time.

The book was designed by and for White City Project Foundation, with art direction by Ivan Aleksandrov and graphic design by Ekaterina Yumasheva and Elena Byalaya. The typography uses Geometria (Brownfox) and Gauge (Alexander Tarbeev). It won several awards, including Red Dot (“Best of the best” nomination, Winner 2020), European Design Awards (Silver, 2020), and Zharkniga (Grand prix, 2020).

For more info and images, see Behance.

On the cover, “ИЛИОН” is in Antonym, with the Latin “ILIOS” added in Bitum and the Greek “ΗΛΙΟΣ” in what appears to be a custom derivation thereof.

One of the most legendary archeological discoveries made by Heinrich Schliemann is described in this book titled Илион. Город и страна троянцев (Ilion. Gorod i strana troyantsev, English: Ilios. City and Country of the Trojans). It was made by Diana Zinchenko as a student project at Moscow Polytechnic University, using Antonym and Bitum. From Diana’s Behance page:

Excavations of Troy, its treasures and myths around this place even in 150 years are thrilling and famous among professional community and amateurs. The publication is supplemented by quotes from Homer's Ilias, which was a key source during Schliemann’s searchings. Different number of blue lines of poem with markers on the edge of page create a dynamic rhythm on every spread.

This catalog with items produced at Bruynzeel’s factories was issued in c.1932 (Invaluable Auctions), 1936 (Art Institute of Chicago), or c.1937 (eMuseum). The typography and design is by Piet Zwart (1885–1977), with the vignette on the cover drawn by Vilmos Huszár (1884–1960). The book measures 17.5×12.5 cm and is distinguished by round corners and a thumb index that allows the reader to quickly access the various sections. Most pages are printed in three colors: orange, blue, and black. Technical drawings are combined with photomontage. For the typography, Zwart used two sans serifs of wide proportions throughout the catalog: the bold Annonce Antieke and the light Kaart-Antieke.

Both typefaces were available from Typefoundry Amsterdam. Annonce Antieke originated at the punchcutting company Wagner & Schmidt in Leipzig and also went under various other names, including Aurora-Grotesk V breitfett at Weber. Amsterdam issued their version around 1913 (and again in 1955, then as Vette Annonce). Hans van Maanen digitized Annonce in 2006 for Canada Type. I believe that Kaart-Antieke is a version of Inland’s Litho Gothic from 1910/1911, but due to a lack of comprehensive samples, I can’t say for sure. Zwart famously used Kaart-Antieke for his never officially published essay about modern typography called “Van oude tot nieuwe typografie”. Florian Schick’s Trio Grotesk is a digital interpretation based on that use.

C. Bruynzeel & Zonen was founded in 1897, by Cornelis Bruynzeel sr. (1842–1901) and his two sons Willem (1873–1918) and Cornelis jr. (1875–1955). The company initially produced wooden floorboards, planing products and, by 1911, school desks. After the steam carpentry plant de Arend (“The Eagle”) burned down in 1919, the company relocated from Rotterdam to Zaandam in 1920. There, they built three specialized factories: one for doors, one for floorboards, and a planing mill. In the 1930s, Bruynzeel branched out to other product groups such as cabinets and pencils.

In 1939, Piet Zwart designed the company’s first kitchen. Already before, Bruynzeel commissioned modernist architects and designers like Jan Wils and Bart van der Leck – who, like Huszár, were founding members of De Stijl. Both Zwart and Huszár worked for Bruynzeel over a long period of time, see for example these catalogs from the 1960s. With the reconstruction after World War II, Bruynzeel products were in great demand. By 1965, the company had twenty-eight factories in fourteen countries, employing a total of 12,000 people. The factories in Zaandam were decommissioned in the 1970s, and broken down in 2016. The company is still in business, after more than 125 years, with separate branches for kitchens, home products, and storage.

Index page with an explanation of the thumb index. The eight sections are: 35mm and 40mm interior doors; balcony and garden doors; veneer doors; locks, moldings; dust sills, plinths, buttresses; cabinet shelves, and the vertical French cleats and horizontal laths that hold them in place. V for vloeren (“flooring”) looks like a last-minute addition that gets highlighted in the top left quarter, together with the contact info. At the bottom left, in all-lowercase letters: the names of the designer and the printer, Luctor et Emergo.

Door profiles are shown at actual size. Kaart-Antieke is mixed with Annonce for emphasis.

The Bruynzeel door model 11. Note the use of proper multiplication signs (×). The superscript 5 following the length (in cm) appears to indicate five millimeters.

More door profiles shown at actual size

Balcony and garden doors, models 83 and 84

Veneer doors: “the door is and will remain level”

“Bruynzeel doors remain superior”. The reflection in the door shows the silhouettes of two people, one of them giving the OK sign.

This image and the ones below show a different edition dated c. 1932, with a slightly different thumb index.

In 2008 Finch Paper unveiled a new brand identity as simple and friendly as the company’s business practices. The brand identity was developed by Bart Crosby of Crosby Associates in Chicago. They created a straightforward identity and design program including a proprietary type, a rendering of the Finch name, and a unique F symbol. The result is a fresh, cohesive look across all of their corporate product and promotional materials. The identity revolves around a new, more contemporary and less industrialized Finch Paper logo, presented in an all-lowercase typestyle customized with a special fi ligature for Finch by Swiss designer André Baldinger from his BVH Baldinger typeface.

Catalogue cover with all graduate names on the front fold

The Design Academy Eindhoven celebrated its 75th anniversary in 2022 with more than 200 Bachelor’s and Master’s projects catalogued in this book, with a reflection on the evolving identity and works of the student body. Every year, thousands of visitors attend the graduation show, which is one of the world’s most influential exhibitions by new designers. Responding on climate crises to digitisation, the new alumni engage with a range of presentation formats, performances, and hybrid practices to explore potential new futures, offer critiques on our current reality, and engage with complex ideas about what design is, what it does, and what it should do.

Project descriptions and essays are set in Maison by Milieu Grotesque and project titles are set in Self Modern by Bretagne. Other headings are set in MAD Sans by Colophon which is part of Design Academy Eindhoven’s visual identity.

Concept: Claire Matthews, Nadine Botha, Vincent Thornhill
Editorial team: Joseph Grima, Nadine Botha, Vincent Thornhill
Graphic design: Claire Matthews
Project leader catalogue: Stijn van der Vleuten
Student assistant design: Sonia Górecka
Paper: Munken Lynx 400gsm 1.16 (cover), Arena Natural Rough 120 gsm 1.35 (inner)
Production: ArtLibro, Trudy Dorrepaal
Printing and lithography: ArtLibro | Cassochrome
Binding and finishing: Boekbinderij Patist

Open catalogue with front and back fold-out wayfinding indexes shown

Project page with front wayfinding index shown

Course divider

Cover detail with project descriptions

For more than 50 years, less-lethal munitions like rubber bullets, bean-bag rounds, pepper balls and tear gas canisters have injured, disfigured, and killed people. Don’t look away; the victims have built a powerful case against these weapons.

The website pairs Office Times Round and its fixed-pitch companion Office Times Mono with GT America Mono.

From vigia.tech (translated from the German):

Virtual Realities: From the home office to the virtual office and with glasses to digital entertainment. A number of leading companies announced the manufacture of new VR worlds and products in the last year. But VR is also finding new areas of application apart from such commercial visions, for example as a collective design space, a stage for exchange and activism or in behavioral biology. All of this reveals both the potential and the danger of a technology that promises empathy and communication but all too often leaves isolated users behind. This issue takes a look at VR, its history, its potential and its dangers in the quest for a good life.

Vigia is a biannual print magazine devoted to technology issues related to their societal and political importance. The editorial team wants to open a space for political and scientific discussions and visions about how technology shapes our lives, who it serves, who it enriches or who is enriched by it, who has access, who is excluded and why this is so, which narratives it follows and which discourses arise from this, which affirmative or resistant practices result within and outside of certain applications and which emancipatory future designs are possible. They do not work for profit and try to finance themseves in the long term through subscriptions and magazine sales.

The visual identity of the magazine is built around the very sharp serif Armag (Blaze Type) and the neutrality of Suisse Int’l (Swiss Typefaces).

From Pentagram:

Black artists and entrepreneurs have been instrumental to moviemaking from the start, helping to shape this most modern and popular of art forms while facing racism and prejudices that limited opportunities. Presented by the Academy Museum of Motion Pictures in Los Angeles, Regeneration: Black Cinema 1898–1971 explores the rich history of Black participation in American cinema from its beginnings to just beyond the civil rights movement. Pentagram partner Eddie Opara and team [Jack Collins, Brankica Harvey, Dana Reginiano, Jun Jung] have designed a companion book for the exhibition that aims to be an essential resource on this heritage.

Co-curated by Doris Berger and Rhea L. Combs, Regeneration seeks to revive lost or forgotten films, filmmakers and performers for a contemporary audience, focusing on the foundational period that led to the explosion of mainstream and independent Black cinema that followed. (The exhibition takes its name from an independent all-Black-cast movie from 1923.) It is only the second exhibition presented by the Academy Museum since it opened its doors in September 2021 and coincides with the arrival of its newly appointed Director and President Jacqueline Stewart, a leading scholar on Black cinema and film preservation.

The book design employs an eclectic approach to typography inspired by the eye-catching posters and their dramatic display type that drew audiences to the films. The designers selected an ensemble of typefaces that hint at the period as well as the posters’ expressive lettering, most of which was originally hand-drawn. The lead role in the book is given to Sharp Grotesk, chosen for its sheer versatility and a range of widths that allows it to be everything from powerful to whimsical. The elegant geometric Parafina is a supporting player, and other fonts include Domaine Display, Surt and Arizona Flare.

The cover repeats the title in strong upper-case type (set in Sharp Grotesk Black), projecting out of the dark like a film in the theater and suggesting an evolution into a bright future. (“The title Regeneration is not just from a race movie, but it’s about the successive waves of Black filmmakers,” Stewart says.) The contrast gives the cover a sense of dimension, heightened by a foil varnish.

The designers developed a bright, modern color palette that draws from the posters. The vibrant color is used to offset the sepia tone of the historical materials, and visually echoes the title of the curators’ introductory essay, “A Spectrum of Black Cinema.”

Regeneration is helping to write history, the book is intended to serve as a valuable reference beyond the exhibition. The design encourages readers to flip around the pages and to follow various narratives. A system running along at the fore edge serves as a guide, indexing the essays, case studies, filmographies and interviews into separate sections.

The book is published by DelMonico Books in collaboration with the Academy Museum of Motion Pictures.