Nottetempo publishes culturally and intellectually profound books on philosophy, society, the arts and literature. The book series comprises over 100 titles, designed by the Milan-based graphic design studio Paper Paper. The designers wanted all the books in the series to have a common feature that would make them immediately recognisable, so they arranged the cover typography vertically and rotated it anticlockwise by 90 degrees, using Nocturno Stencil for the titles and author names. Nocturno​​​​​​​ is used inside the books.

Farley Mowat (1921–2014) was a popular Canadian author, known for his environmentalism (Never Cry Wolf, also a feature film), humour (The Dog Who Wouldn’t Be, Owls in the Family, The Boat Who Wouldn’t Float), and advocacy for indigenous people (People of the Deer). He was a contrarian with strong views, who responded forcefully to his many critics.

In the Second World War, he joined his local regiment at the age of 18. In the Italian Campaign, he was an infantry platoon commander from the landing in Sicily to the Battle of Ortona, which was infamous for fierce street fighting and heavy casualties. After Ortona, he became an intelligence officer, where his duties included organising food relief for Dutch civilians during the Liberation of the Netherlands. He also selected much of the equipment preserved for monuments and museums, including many of the pieces in the Canadian War Museum in Ottawa. And No Birds Sang (1979) is about his personal experiences in combat, while The Regiment (1955) is about the unit he fought with, the Hastings and Prince Edward Regiment.

He was published by McClelland & Stewart, which specialized in promoting Canadian authors, especially during the high point of Canadian cultural nationalism in the 1960s and 1970s. The typeface on this first edition cover is Graphis Extra Bold, by Les Usherwood (1932–1983) of Typsettra in Toronto. Graphis was later extended as Barnyard. The jacket illustration is by Alan Daniel and depicts Ortona.

The title is taken from the poem La Belle Dame sans Merci (1818) by John Keats.

The imprint uses Times New Roman with some Pilgrim.

Finding Providence: The Story of Roger Williams by Avi is a 48-page historical fiction chapter book focusing on the life of the Rhode Island founder and the theme of religious freedom. Illustrated by James Watling, the book targets readers aged 4 to 8, outlining Roger Williams’ exile from the Massachusetts Bay Colony and the subsequent founding of Providence. When found guilty, he flees into the cold, telling Mary that she must trust in God’s providence to see him to safety.

Most of the text on the cover uses McKenna Handletter NF in roman and italic styles. The title of the book series and the numeral 4 are set Horley Old Style, while “ADVANCED READING” is using Gill Sans.

Title page. The title of the book series is here set in Times New Roman.

Clément Le Tulle-Neyret designed the book Magdalena Abakanowicz. La Trame de l'existence / The Fabric of Existence for the eponymous exhibition that was presented at musée Bourdelle in Paris from 20th November 2025 to 12th April 2026.

He used his own interpretation of Akzidenz-Grotesk, CLTN Grotesk (working title), for the main text, in order to add warmth to block text without loosing the spirit of Akzidenz-Grotesk – rough, industrial, and, paradoxically, organic. Akzidenz-Grotesk from Berthold is used for italics.

He paired his typeface with Dutch 801 to embody texts by Magdalena Abakanowicz, and with EB Hymne for the titles, all typeset in full capitals.

The French-language publication has 168 pages with 84 colour and 15 black-and-white images and measures 210×280 mm. It was sewn-bound and printed in 3,000 copies.

In Royal Chambers, Wang & Söderström present a collection of five works exploring the evolving notion of home amid today’s digital and environmental transformations. Together, these pieces trace the interplay of shifting power structures and perspectives in an increasingly ‘phygital’ world—where the physical and digital realms intertwine. Beyond showcasing the artworks, the book delves into their creative processes and features essays by five contributors, each unpacking home as a dynamic, multifaceted ecosystem. A meditation on belonging, space, and identity, Royal Chambers invites us to reconsider what it means to inhabit a world in flux.

If we want to rewrite the history of design, we must take its beginnings into account. The period before the Bauhaus, the importance of “arts and crafts,” and, above all, the achievements of women in graphic design have long been neglected in the presentation of German design history.

UN/SEEN brings together previously unknown material and sheds light on the lives and work of female designers in the fields of book design, poster design, typography, illustration, and packaging. In ten chapters, UN/SEEN documents the latest research findings and uses numerous examples to show how successful and self-confident the first generation of female graphic designers was and which discourses from that time still shape the discipline today.

UN/SEEN questions traditional narratives and contributes to the discussion about design and gender with new role models. The book is accompanied by the project platform unseen-women.design. The publication is available in both an English and a German edition.

Published by Slanted Publishers and edited by Petra Eisele and Isabel Naegele, this volume features a foreword by Ellen Lupton and contributions from Brigitte Baumstark, Friederike Berger, Julia Blume, Gerda Breuer, Petra Eisele, Aliena Guggenberger, Jana Haase, Antje Kalcher, Julia Meer, Julia Mummenhoff, Isabel Naegele, Julia Neller, Antje Neumann, Bettina Richter, Julia Rinck, Kerstin Stöver, Ute Thomas, Christina Thomson, and Sabine Wieber. Designed by Julia Neller, the book comprises 422 pages in a 18.4×26 cm format. Produced using full-colour offset printing, it is printed on Arena Rough 120 g/m² paper by Fedrigoni and bound as a hardcover edition featuring a lenticular foil cover and thread stitching.

Evi O. Studio’s design for the book Cao Fei: My City is Yours accompanies a major retrospective of Chinese artist Cao Fei’s work in the Art Gallery of New South Wales.

Spanning two decades, the publication presents themes of urbanisation, digital culture, and globalisation through essays, an artist interview, and rich imagery. The design merges contemporary aesthetics with nods to early Y2K style and Chinatown phone books, forming a unique blend of traditional and digital visual language.

The main font is Splinter by Mario Julián Gutierrez / Dum Dum Studio. It’s used together with Acid Grotesk by Pablo Fernández de la Fuente / Folch for English text. The fonts used for Chinese text are BoutiqueBitmap7x7, Fixedsys Excelsior, MF LangQian, and PingFang HK.

From the publisher:

Cao Fei is one of the most innovative artists to have emerged on the international stage, known for work that charts the breakneck urbanisation, environmental changes and social flux of China in the 21st century.

Born in 1978 in Guangzhou, Cao is a world-builder who works across videos, photography, sculpture and immersive installations. Her acclaimed practice mixes social commentary, pop culture, references to surrealism, and documentary and she has appeared no less than six times in Art Review’s ‘Power 100’ list of the world’s most influential people in art.

This book, published in conjunction with the first Australian retrospective of the Beijing-based artist, showcases key works from the past 20 years, as well as newly commissioned works that explore China’s deep ties to Australia. Together, they encompass a range of compelling themes including urbanisation, digital transformations, 21st-century globalisation, family histories and diaspora.

Designed by award-winning graphic designer Evi-O, the book offers new scholarship on the artist by the exhibition’s curators, Ruby Arrowsmith-Todd and Yin Cao, together with essays by the renowned scholar of Chinese contemporary art Hou Hanru and emerging Asian–Australian writers Michael Sun and Pao-chen Tang. An expansive interview with Cao Fei and short entries on key projects features alongside a rich selection of artwork stills, reproduction images of props and paraphernalia, and a playful array of archival material spanning the artist’s influences.

The images of the book are by Daniel Shipp. See more on the website of Evi O. Studio.

The title page additionally uses Futura Display in squeezed caps, set on a circle.

The chapter opening on this spread pairs Splinter (yellow and red) with OT 2049 from Off Type (green text).

The photographs featured in Viscidity by Boris Mikhailov were completed and sequenced in Kharkov in 1982 but only recently published as a book.

As Mikhailov states: “At first the texts tautologically repeated what was visible in the image, as though they were simply drawing attention to the photograph (the first book)… gradually the texts changed and became poetic and deeper (the second book)… then I added quotations in addition to my own reflections on photography (the third book).”

Each photograph is reproduced at their original scale and we have added translations on the facing pages from the Russian to English using Ostia Antica. The jacket designs takes one of Mikhailov’s accompanying texts, set in Agipo Bold Condensed, with the Russian on the front cover and front flap and the English on the back. The jacket, spine, and title pages and essay are set in Agipo as well.

When Bob Silverman designed the jacket for Maurice Yacowar’s book on the comic art of Mel Brooks, he chose Ruby Shadow for the title. He apparently deemed its M to be too tame for the topic. In any case, it got replaced by the sweeping glyph found in another bold 1970s script: the initials are taken from Charade.

Al Elliott’s Charade – a Canadian creation just like the book – did come with a Shadow style. The shadow was customized to match the one in Ruby Shadow, though. Printed in two colors, the alliterating title is combined with what looks like skewed caps from Venus. The all-caps roman at the top is Hess Old Style.

About the book, from the inner flaps:

The critics hate Mel Brooks. But does that stop him? When a Playboy interviewer once remarked, “You've been accused of vulgarity,” Brooks replied, “Bullshit!” No critic could ever stop Mel Brooks from being one of the best-loved comedians in film history—in fact, his movies consistently out-gross (in every sense of the word) those of much-praised Woody Allen. Mel Brooks is funny, and the people love him.

How does he do it? Is he really as crazy as he seems? Maurice Yacowar, whose previous book (on Woody Allen) received unanimous critical acclaim, takes us on a Brooks-lover’s tour through his work on television with Sid Caesar’s Your Show of Shows, his records as the “Two-Thousand-Year-Old Man,” and all of the films from The Producers to Blazing Saddles, from Young Frankenstein to High Anxiety. The resulting tribute will have film buffs nodding their heads nostalgically, and fans laughing out loud on every page.

Mel Brooks turned 100 years old today. Happy birthday!

Device from the front flap. Note the two forms for s in “Madness”.

Tite page. The book’s interior was designed by Dennis J. Grastorf using Caledonia.

The cover uses Talon for the title and Helvetica for the subtitle and author name.

The Biology of Horror: Gothic Literature and Film is an academic book that analyzes how anxieties about biology and being organic figure in the history of the genres, using both early (e.g. The Castle of Otranto, published 1764) and then-modern (e.g. Seven, 1995) examples.

Half-title page

Title page featuring Talon for the title and Dante for the subtitle and author name. The publisher’s name is in Gill Sans Bold.

Contents

Ne rien jeter (33 ans après) (“Don’t throw anything (33 years later)”) is the title of an exhibition by photographer François Halard at Fondation Gallifet in Aix-en-Provence. The catalog uses the typeface Aman from Blaze Type.

Published by ArtAsiaPacific and Korea Arts Management Service (KAMS), Extreme Beauty: 12 Korean Artists Today features the work of twelve contemporary Korean artists and their unique styles and approaches to making art. This volume is the first of a yearly series by the same publishers and to-date always designed by the creative studio Barnbrook: Accelerating Realities (2023), Contingent Worlds (2024), Hidden Realms (2025).

From Barnbrook studio's Instagram post:

Our design approach experiments with an extremist typography style that aims to synthesize the new by crossbreeding legible and experimental fonts. This approach brings intensity to the design, particularly in the repeated words on the names of the featured artists, which benefits from the dynamism of brush stroke gestures. We balance this experimental typography with a clean and legible style for the body text, which includes generous space for featuring the work. We also highlight the work titles in the text using an inbuilt underline function of the font, which merges all descending characters to create unconventional letter shapes. Finally, we use red as a representative color for Korea, but also to evoke danger, courage, and passion in the design context.

The book title is prominently featured at the center of the cover and set in Swiss Typefaces’ Black Mamba. The title showcases all the peculiar features of the typeface, from the arabesques, to the bold uppercase and light caps alternates in the lowercase slots. Black Mamba also appears throughout the interior, notably in the index and for the artists’ names, where it is applied with horizontal repetition to create a brushstroke-like effect. Accompanying Black Mamba in the titles is NaumType’s Base&Bloom, while Dinamo’s ABC Favorit is used for the body text. A special detail is the use of Swiss Typefaces’ Vogy Smog for the X on the page after the flyleaf, before the colophon and title page. The same glyph reappears in the index to vertically spell out the book title.

Other typefaces used in this volume for the multilingual parts are Source Han Sans and Cairo. The latter is not shown in the included images.

The ArtAsiaPacific logotype (not part of the book design) is set in Tiempos.

春莺舞 is set in Source Han Sans.

Description of the book by the publisher Hauser & Wirth:

A visionary artist and radical thinker, Gustav Metzger asked provocative questions about the role of the artist and of conventional forms of artmaking and display. In this richly illustrated book, Metzger tells the story of his life and work in a series of interviews with the curator Hans Ulrich Obrist. He recounts his Orthodox Jewish childhood in 1930s Nuremberg and his arrival in England as part of the Kindertransport before shedding light on his development as an artist, including his early contributions to computer art, his leading role in the Destruction in Art Symposium of 1966, and his call for an ‘art strike’ from 1977–80.

Interview text set in Excelsior

Contesting Modernity. Informalism in Venezuela 1955–1975 features over 130 works that chart the trajectory of the Informalism movement in Venezuela from the mid-1950s through the 1970s. The catalog accompanied an exhibition of the same name at the Museum of Fine Arts in Houston. Published by Yale University Press, 2018. 272 pages | 9.5 × 11.5 inches.

Inside Out: The Prints of Mary Cassatt by Shalini Le Gall and Justin McCann was designed by Rita Jules of Miko McGinty, using Empirica by Frere-Jones Type. The sans serif used for body text appears to be Theinhardt by Optimo.

This exhibition catalog examines the radical experimentation and innovation of one of the finest and most creative printmakers of the 19th century. A collaborator with the impressionists Edgar Degas and Camille Pissarro, Mary Cassatt (1844–1926) made some of her greatest artistic achievements as a printmaker. It was published by DelMonico Books on the occasion of the exhibition at Colby College Museum of Art in 2021.

Loci Anima asked Studio Hudson Catty to design a book tracing the story of the Keiko Tower in Issy-les-Moulineaux, France.

The book features two covers, inviting readers to enter from either side: The Legend of Keïko, a novel written for the occasion by author Jean-Pierre Porcher, or The Birth of Keïko, which explores the genesis of the building through photographs, texts, and archival imagery.

Set in Kalice from Claude Type, designed by Margot Lévêque, the novel develops the metaphor of the building as a butterfly. The designers had fun extending this idea through the design, using a shiny, silky cover stock and creating a layout and monogram that evoke its metamorphosis, forming a transition between the two sides of the book.

The Japanese text uses Kozuka Mincho. There is also a sans serif that’s yet unidentified.

Penguin’s first paperback edition of Ulysses, published as Modern Classics 3000.

Mike Dempsey comments:

Penguin’s master typographer Hans Schmoller (1916–1985) designed this elegant cover in 1969 [1968]. Selecting the perfect typeface Spectrum, modifying the capital letters and arranging it perfectly on the blackest of backgrounds, making the result timeless and beautiful.

The interior – starting with a short bio of Joyce – is set in Plantin.

The open caps on the title page aren’t from Jan van Krimpen’s Open Kapitalen as one might expect. Instead, they are from Max Caflisch’s similar Columna, here used with an alternate Y.

The back cover has a drawing of James Joyce by Augustus John.

Book cover

Good‑bye, Curtis is a children’s picture book written by Kevin Henkes and published by Greenwillow Books. The story follows Curtis, a neighborhood mail carrier, on his final day of work after 42 years of service. As he makes his last rounds, he is met with gifts, hugs, and a surprise community party. The narrative highlights themes of gratitude, community, and everyday dedication. Illustrations by Margaret Dyer add warmth and charm to the farewell scene.

The cover typography uses the Equinox typeface. Its clean, geometric letterforms provide a modern and approachable design that complements the book’s tone.

Title page

Catalog for the exhibition Francis Bacon: The Beauty of Meat at the Museu de Arte de São Paulo Assis Chateaubriand, dedicated to the work of Francis Bacon. The publication references art books from the 1950s, featuring a color photograph inset into a bas-relief cradle on a Colorplus-coated cover, with the artist’s name and the top edge in silver hot stamping. Fold-out pages reveal Bacon’s sequential works, reinforcing the sense of repetition and variation present in the painter’s practice.

While the book draws on traditional art publishing formats, the typography is rooted in contemporary queer typographic research. DINdong by Clara Sambot and Adelphe by Eugénie Bidaut and Bye Bye Binary introduce forms that shift normative structures, creating a dialogue with the contrast between control and distortion present in Bacon’s work.

Captions pair DINdong with ABC Favorit.

Published by Smith Street Books, the Night series is a collection of four cookbooks written by Deborah Kalper, each dedicated to a single dish: Taco Night, Pizza Night, Pasta Night, and Burger Night (with Noodle Night forthcoming). The books were designed by George Saad with a bold, poppy aesthetic and vivid food photography.

Grenat is set exclusively in uppercase with generous letterspacing, ensuring no two letters touch, a deliberate departure from the typeface's default, where characters naturally overlap.

The author’s name is added in Coniferous, and the sans-serif caps set on a curve appear to be from Arial.