This second issue of Mushroom People magazine, published by Broccoli, features “astromycologists, academics, architects, pharmacists, foragers, fashion designers, home cooks, shopkeepers, composers, and poets all inspired by the many radical ways of being fungi embody.”

Exploring the topics of “creation, destruction, attraction, and revulsion”, each chapter is printed on a different paper and uses a different set of typefaces.

The nameplate is set in all-caps Bradley DJR, and most body copy is set in ABC Marist and Calibre.

“Habitats for humanity” is set in Charlottenburg.

“Destuct” is set in Respira Black, “Two” uses Michaux and the small type is Calibre.

“Spores” uses ABC Asfalt.

“What” and “Lurks” are both set in typefaces from Dinamo: ABC Laica and ABC Maxi Round.

The text on this page is set in three columns of pink Certeau, with the headline added in Cancellaresca Script, partly arranged on a curve. The drop cap appears to be custom.

The design of this third volume for Galpão da Lapa was developed in close connection with the exhibition design for Apaixonados (“Passionate”). The show brought together works by contemporary Brazilian artists in a display that emphasized interaction, both among the artworks and with the space, sometimes by affinity and sometimes by contrast. This dynamic was spatially translated into a layout of curved concrete-block walls, shaping the exhibition space into zones of pause and interaction, where voids, textures, and shadows also played an active role in the narrative.

The book seeks to reflect this same spatial and poetic logic in its graphic and material structure. The dust jacket, featuring a die-cut pattern derived from the architectural design, acts much like the perforated walls of the exhibition: at times revealing, at others concealing images and information, creating layers of reading and points of contact between content and materiality. The choice of papers was fundamental to support this concept.

We selected a black 290 g/m² paper for the dust jacket for its solid color and natural texture, which allows for precise die-cutting without exposing white corners, while preserving structural integrity – reinforcing the idea of shadow and material presence, also central to the exhibition design – while alluding to the negative spaces formed by the curved walls. For the cover, a warm gray 120 g/m² paper was chosen for its texture and subtle tone, echoing the color of the exhibition walls and allowing for black offset printing of the title and artist names, partially hidden beneath the dust jacket, which carries only a white silkscreen print on the spine.

Inside, the book alternates between a coated paper – ensuring high-quality image reproduction – and an uncoated off-white paper for the first and last sections. These opening and closing pages feature more abstract, black-and-white details of the artworks, marking the beginning and end of the book with purely graphic interludes.

These choices align with the architectural concept of Galpão da Lapa, a former 19th-century industrial warehouse in São Paulo’s Lapa neighborhood, repurposed to host temporary exhibitions of Brazilian contemporary art. The publication is part of a bilingual series (Portuguese and English) documenting the exhibitions held in the space. Each volume was designed to establish a specific graphic relationship with the curatorial and spatial proposal of its show. In this edition, the book assumes a more tactile, sensorial character, functioning not only as a visual documentation, but as a physical object that carries, within its materiality and graphic structure, the concept of the exhibition and the identity of the space itself.

The book was one of the winners of the AIGA 50 Books | 50 Covers of 2024.

Photos: Nino Andrés and Allec Gomes

The white envelope, precious and still to be written, contains two volumes full of content.

The annual report 2019 for the Rome University of Fine Arts (RUFA) was designed by Intorno Design (Guido Lombardo, Roberta De Cristofaro, Tommaso Salvatori). This edition is dedicated to the memory of the first twenty years that have passed since the foundation stone was laid to build the creative melting pot that today is the Academy. The intent is to celebrate the continuous renewal of the original impulse, narrating the main projects and events of the past year.

The design uses several members of the Sang Bleu series by Swiss Typefaces, namely Empire, Sunrise, and Kingdom. The typography brings elegance and delicacy to a design with an almost nostalgic appearance.

In 2020, this edition of RUFA Annual Report won a Silver Award at the European Design Awards.

The first volume, in pocket format, includes in a single collective voice twenty testimonies of some of the protagonists of the years from 1998 to 2018.

The second is developed horizontally and evokes the old family albums, both in format and in visual content. The photographs also refer to the traditional albums through the shots of the “professional families RUFA”, from the schools of the different departments to the staff of the Academy.

The central insert is dedicated to the RUFA Contest and is printed in monochrome on Favini Crush Kiwi recycled paper.

The book is printed in five colors (CMYK plus Pantone silver) and uses six types of paper. The use of typography and the layout of the book is a mixture of elegance and experimentation. Taking risks to generate innovation is one of the characteristics of the Academy. The same can be said of the annual report.

Somewhere between a magazine and a fanzine, A°2021 is an original editorial object co-published by the École urbaine de Lyon and Éditions deux-cent-cinq. It brings together texts by numerous authors from a variety of scientific, literary and artistic fields that allow us to understand the notion of the Anthropocene.

What we propose to call the “Anthropocene” is the historical moment that began after 1945 with the onset of the phase of generalised urbanisation of the planet, during which it becomes undeniable that human activities are having an increasingly strong impact on biophysical systems. These upheavals can be observed everywhere, both globally and locally. To such an extent that the Earth’s habitability for humans and non-humans is being questioned.

The aim here is to revisit thought and social phenomena based on the recognition of this crisis of habitability on an unprecedented scale and to propose avenues for reflection and action so that we can collectively invent new ways of co-habiting.

Ensuring that we can reflect on and discuss these major contemporary issues is a requirement at the heart of the second issue of the magazine and of the Urban School's public service mission.

To design this publication, Bureau 205 have exclusively used fonts distributed by 205TF: Molitor, Muoto and Zénith by Matthieu Cortat; Album Sans and Album Slab by Thomas Huot-Marchand; Cardone by Fátima Lázaro; Romain 20 by Alice Savoie.

WithPrint and Believe in® collaborate to explore the beauty of sustainable print.

Teamwork makes great work — and in a truly collaborative spirit, WithPrint teamed up with UK / Canadian-based design studio Believe in® to create their new super-sustainable 2021 desktop calendar. The result is a functional, beautiful piece that demonstrates the possibilities of environmentallyfriendly materials and print processes.

Working with partners chosen for their environmental commitment, the ethos is reflected throughout. Papers selected for the cards are all chosen from G.F Smith’s environmental range, showcasing 19 different stocks; foil embellishments use animal-free materials from FoilCo, with all waste foil being fully recycled; the wrap is a meadow flower seeded paper from Frogmore Paper, which can be planted once used; and finally the Alba base is produced by Smile Plastics from recycled yoghurt pots, made from approximately 20 pots for each base.

A considered, utilitarian design approach with a subtle industrial feel allows the materials to shine — a different stock is used for each month, with environmental credentials highlighted along with notable dates and seasonal information on the reverse.

CoType’s Ambit typeface complements the overall design language: providing a modernist, crafted touch with particularly distinctive tabular oldstyle numerals. A set of six supporting ‘figure’ cards explore just some of the inhouse techniques that WithPrint provide and have built a reputation for (such as duplexing and embossing), and serve as inspiration for future design and print projects.

F37 Bolton by F37 Foundry in use by Studio Mothership for WithPrint 20th Anniversary Issue.

Word's from Studio Mothership’s portfolio post:

‘XX’ celebrates 20 years of WithPrint in the print industry and some 30,000 projects from small to large format. To mark this occasion we designed a booklet showing 20 selected projects. The booklet mixes different ratios of paper sizes and weights and was produced using offcuts and waste paper stocks left over from other projects produced by WithPrint. This created a number of variations and outcomes but also helped reduce put a number of redundant paper stocks to good use reducing the environmental impact of the booklet.

F37 Bolton by F37 Foundry in use by Hingston Studio for a publication about One Poultry, an iconic office and retail building in London.

Words from Hingston Studio’s online portfolio:

Hingston was commissioned to reinvent this unique landmark, through the creation of a contemporary brand identity, marking a new chapter in the redevelopment of the site. Drawing on the distinct visual language inherent within the architecture and developing a bold colour palette to reflect its radical, post-modernist scheme, the identity is formed of a series of dimensional letterforms.

Using this core visual system, the concept was then carried through into digital, print and installation. A limited edition, collectable brochure completes the project, featuring essays, quotations and archive imagery that tells the story (and the battle) of this most celebrated British building.

At a time of a weakened planet, Bureau 205 and the École urbaine de Lyon [Lyon urban school: an interdisciplinary experimental project for research, PhD training and economic, social and cultural development of scientific knowledge] question the editorial process. The magazine A°2020 is the first result of this investigation.

Editing “anthropocene” means reflecting simultaneously on all aspects of the process, paying attention to people (authors, publishers, printers, designers, distributors, booksellers, librarians…) with the search for qualified and certified skills, attention to materials — from forest to paper, from plant to ink —, general attention to the optimization of human and material resources by favoring short distances in order to lessen the impact of transport, by imagining an editorial policy that’s inventive in order to limit waste.

Bureau 205 set out to design an object that could transmit the content gathered in this magazine whose authors come from various fields: academic, scientific, literary and artistic. Their contributions make it possible to grasp the concept of the Anthropocene from complementary points of view and gain a detailed understanding of the issues.

As we question ourselves more and more about the future habitability of the earth, about the just and ethical conditions for implementing the strategies of ecological reorientations of our cohabitations, it is crucial to make known the anthropocene realities, to analyze the dynamics at work, in particular those linked to urbanization and bringing into discussion what can guide our collective action.

Each part of the magazine has a specific layout, illustrating the complementarity of the contents and their mutual enrichment. To limit the magazine’s carbon footprint, only leftover paper available from the printer was used. The magazine is then printed on five different papers for this first issue.

The magazine exclusively uses typefaces created by designers affiliated with 205TF.