What if AI moved at the pace of care, kinship, and curiosity?

Restless Grounds explores this question through the lens of decolonial, feminist, and relational approaches to algorithmic technologies. Born out of the Slow AI research project, it brings together insights from a year of collaborative inquiry — through the likes of sound and somatics, divination, myth-making, and archival temporalities. The publication explores slowness as a speculative, critical, and embodied mode of engaging with algorithmic technologies.

The navigation consists of small squares at the bottom of the page. Their amount refers to page numbers and readers are animated to count the squares – in the table of content as well as on the page itself – to guide themselves through the pages of the newspaper. This gesture intentionally turns the use of navigation into something inefficient and centers slowness as a guiding principle of the publication.

It was edited and conceptualized by Mariana Fernández Mora and printed by DPG Media. The design and art direction was created by Studio SMS, and set in Bianzhidai by Xiaoyuan Gao (notyourtypefoundry), Eliza by Pawel Wolowitsch (Camelot) and FreeMono by Primož Peterlin and Steve White.

A newspaper of 24 pages designed for DenkBeeld. An advocacy group for the visual and audiovisual arts domain in part-time arts education, DenkBeeld represents and supports the academies by collecting, developing, and sharing expertise and knowledge. D’Academie is their annual magazine, and a timeless document of the art education in Flanders, Belgium. Issue no. 11 uses Sequel 100 Wide.

Visual identity of Carretta, a nomadic gallery run by Pauline Carretta. Designed by Charlotte Froget using Solæ by Gwennina Moigne and Sprat by Ethan Nakache.

On obtient la partie imaginaire en tournant le modèle d’un quart de tour is a research-based, transdisciplinary fiction developed by designer and professor Camille Chatelaine during a residency conducted in dialogue with the Laboratoire de Mathématiques de Besançon (LmB). The project explores parallels between artistic practice and mathematical thinking, approaching mathematics as a narrative and speculative tool rather than solely a system of calculation.

The research is materialized as a journal of residency, conceived as both a mediation object and a call for participation addressed to the LmB research community. The publication makes expressive use of Ready and Petit Frère, both distributed by Plain Form, to support the project’s fictional and conceptual framework. Ready is used on its own (tracked and not), as initials, and occasionally for its emoji.

The project is led by the École supérieure d’art de Franche-Comté (ISBA–SSAC) and supported by the DRAC Bourgogne–Franche-Comté.

In 2025, Julien Gosselin took charge of the prestigious Parisian Odéon Théâtre de l’Europe, previously known as Théâtre de l’Odéon. Atelier Choque Le Goff was commissioned to design a new visual identity for the theater. Playing with words, they used big type and expressive layouts, mixing letters and illustrations by Martin Groch on colorful backgrounds. The cast for the new identity is as follows: Insitu, Exposure, and Neue Haas Grotesk.

Photographer Woo See-Ming designed and published this 48-page collection of color photography in a broadsheet newspaper format (13.5″×18″). The book has essentially two covers, one on each side. The inside pages follow the orientation up to the center spread, which has no obvious orientation.

All the text and headlines are set all caps in Gertie by Mark Simonson Studio.

The Entrelacs cross-residency is being coordinated by the small troglodytic village of Villaine-les-Rochers in Touraine, France. This annual residency aims to draw a reflection on the new uses and know-hows of basketry. It hosts artists and craft practitioners who collaborate on contemporary creations. The main goal is to protect the local basketry production and to raise awareness about the art of basketry in France.

The poster, journal and brochure produced for each residency were created with modesty, efficiency and lightness. The intention was to put the work of the residents at the center of each piece of communication. The identity is carried through the sturdy and organic Droulers typeface and the kraft ribbon, acting like a wicker twig to intertwine the many communication devices.

This first edition sheds light on Clemence Althabegoity and Catherine Romand (from Romand’art Basketry), winners of the 2024 Liliane Bettencourt prize for l’Intelligence de la Main (“Intelligence of the Hand”) with their wicker shade structure Tresser l’Ombre (“Weaving the Shade”).

The fourth edition of BoCA (Biennial of Contemporary Arts) took place in 2023. Lisbon and Faro were the cities hosting a new and effervescent program from 2 September to 15 October.

Between commissions, world and national premieres by both established and emerging artists, performing in their own language or taking risks to create for other registers, BoCA built its 4th edition on the idea of “Invisible Present”.

Always aware of the current times – cultural/artistic, social and political – artistic director John Romão said he ‘wants to give visibility to living things that are not seen, either because of social, political, cultural, economic, legal or technological conditioning, or because we premeditatedly don't want to recognise the existence of otherness, to validate identities that inhabit the margins’. It is with this desire that the program reflected on issues related to the migrant crisis or gender identity, claiming the physical presence of what is not seen.

BoCA 2023 used two primary colors, gray and yellow, throughout its identity. It used one primary typeface within its permanent, geometric and mutable logo: Neureal by Laura Csocsán (released on ECAL Typefaces) – including for titles and descriptions. LL Replica by Dimitri Bruni and Manuel Krebs (released with Lineto) was used for displaying longer texts within the newsprint pamphlet and for smaller information.

The 2012 graduation publication of the Bachelor of Fine Arts programme at the Zurich University of the Arts (ZHdK) takes the form of a small-format newspaper featuring a selection of works created during the course of study.

The cover, printed in gold on off-white paper, features text fragments by the graduating students – some from their first semester, others from their final one. These quotes vividly reflect the artistic development of the emerging artists.

“I was truly delighted when I began to understand and discovered new connections.”
“I shamelessly use my impatience to fuel my work.”
“Ideas are [...] conceptual thought approaches and don’t necessarily need to be pursued further.”

Fittingly for this moment of transition, the cover features a work by Veli & Amos, photographed at the Qalandia Checkpoint, titled: “HIP HOP!”

Each year we design a large wall calendar as a year-end gift for our clients and business associates. For each year’s calendar we create a completely new typeface and combine that with a unique type of paper. The 70×100 cm calendars are printed in an edition of 250, most often using a silkscreen technique. In 2012 we printed with Fluor ink on newsprint.

The typefaces are presented in a hand-bound A6 booklet, printed in black and white.

For the 2012 calendar we designed and used the typeface GS_2012, which is available on request. Each letter has two versions, one that starts at the top left and one that starts at the bottom left.

This directory lists the organizations hosted within Les Gens Jaurès, a third place managed by Plateau Urbain. Located in Jaurès, the 19th arrondissement of Paris, the site brings together 240 structures of varying sizes, reflecting a rich diversity of practices and activities.

Nieuwe Instituut presents SIDELINED: A Space to Rethink Togetherness, the Dutch contribution to the 19th International Architecture Exhibition—La Biennale di Venezia, developed in collaboration with curator Amanda Pinatih and social designer Gabriel Fontana. Hosted at the Rietveld Pavilion in the Giardini in Venice, the project reimagines the sports bar to question how architecture shapes social dynamics.

The museum describes the projects as follows:

How can architecture resist exclusionary social norms? How can we create spaces that nurture new ways of coexisting? SIDELINED explores these questions by presenting an alternative sports bar, continuing designer Gabriel Fontana’s investigation into social dynamics in through the lens of sport. By subverting traditional norms and suggesting deviations, the Dutch Pavilion strives to change the rules of the game.

Sport, as both a reflection and producer of societal conventions, shapes group identities and can often be divisive, polarising and exclusionary. Fontana challenges these structures by understanding sport as an architectural system—one that regulates spaces, bodies, and behaviour—opening the playing field to inclusivity, empathy, and solidarity.

In collaboration with designer Koos Breen, artist Jeannette Slütter, curator Amanda Pinatih, and including works by a range of artists, researchers, and others, SIDELINED shows how built spaces can be hostile or welcoming, encouraging new ways of thinking about bodies, spaces, and identities.

Responding to the Biennale’s theme of Intelligens, the pavilion stages encounters that disrupt the norms of sport and its architecture, inviting visitors to engage through play and observation. The font used for the pavilion is WT Skrappa by Jacob Wise.

Who Are We Cheering For? is the sports newspaper accompanying the exhibition.
The newspaper was developed by Gabriel Fontana and Amanda Pinatih, edited by Maia Kenney and produced with the help of Frank Verkade and Charly Blödel. It was designed by Doğa Gönüllü, using the typefaces Feraz by Giulia Boggio and Literata by Irene Vlachou, Veronika Burian, Vera Evstafieva and José Scaglione.

Hardcore Kids is a project developed by Claudio Bolzonello together with Filippo Anceschi at ISIA Urbino between 2022 and 2024. Bolzonello comments:

It involves the continuation and documentation of the workshop of the same name, held in Bolzano in partnership with the Rainerum Institute.
The project resulted in two publications: a broadsheet documenting the workshop’s outcomes, inspired by the “Hardcore Kids” concept, and a book that compiles and reflects on the overall experience.

Supervision by Nicola Chemotti Beutel. The book is set in one of the oldest cuts of Bastardo Grotesk.

Druga skóra / Second Skin is the result of the international project Interweaving Structures, exploring textile as material, method, and medium through seminars, residencies, and research. Hosted by the Central Museum of Textiles in Łódź with academic partners in Kraków and Bergen, the exhibition brings together contemporary installations that reinterpret museum textiles as vessels of memory. Artists engaged with the collection’s institutional context, challenging systems of classification and conservation to reveal hidden narratives. Organized into four thematic groups: Binding, Repetition, Unravelling, and Repairing; the works explore fabric as both personal and collective skin.

This exhibition catalog is designed by Daria Malicka and uses Romie Regular and Italic, designed by Margot Lévêque, as the headline typeface. The text typeface is David Březina’s Skolar.

Newsprint brochure designed by Rimasùu for the participation of design studio dach&zephir and Antonin Mongin in the 35th Festival International de Mode, de Photographie et d’Accessoires de Mode de Hyères (France, 2020) with their collection Bijoux de Têtes.

People Love War Data & Travels is the first monograph on the internationally acclaimed French Algerian artist Neïl Beloufa. Love, hatred, war, technology, social unrest, bodies and words in crisis: this is the material of which Beloufa’s work is made. His films, sculptures and multimedia installations audaciously explore how art can address today’s issues, challenging contemporary representations of social relationships, power games, and political and economic structures. An artist favouring collaborations over authorship, and responsive strategies over predetermined intentions, Beloufa has invented his own work methods, and a particular approach to the studio.

The book presents the artist’s projects over the past 12 years, including recent experiments with online platforms and NFTs, taking as its starting point Beloufa’s solo show, Digital Mourning, at Pirelli HangarBicocca in Milan, and offers a non-conformist take on the genre of the monograph, thanks to its playful and inventive book design (After 8 Books).

People Love War Data & Travels was published by After 8 Books (2021) and designed by Olivier Lebrun. It is set in Mercure (Abyme, 2021) and Vevey (Clemens Piontek, 2018).

The Summer Reading Guide (SRG) is Australia’s leading independent bookseller catalogue, published annually since the 1990s for the holiday period. Organised by Readings in Melbourne and Gleebooks in Sydney, it is distributed through a network of 18 independent bookshops nationwide. For the 2024/25 edition, TRiC was tasked with redesigning the guide to make it more engaging and contemporary, positioning the bookshops as independent tastemakers. This edition introduced editorial contributions from authors, incorporating a more literary design language while maintaining its format as a catalogue. Key considerations included ensuring legibility for a diverse readership and addressing colour usage on lightweight paper to prevent show-through.

The redesign drew inspiration from contemporary book design, literature, and editorial layout. Australian-designed typefaces, such as Quadrant Text for headings and Herbik for body text, were chosen for their distinct and humanist qualities, enhancing the guide’s storytelling energy. A simple structure was established for the reviews, using typographic hierarchy, generous spacing, and pops of colour to highlight special-price books. Leading the publication is a striking cover illustration by Ilya Milstein depicting an iconic ocean pool scene that captures the magic of summer reading in a richly coloured and distinctly Australian setting.

The result is a fresh and engaging Summer Reading Guide that combines a contemporary literary aesthetic with accessible design, elevating the reviewed content and reinforcing the guide’s position as a key resource for book lovers across Australia.

Weaponized Innocence is a newsprint publication made as student project at the ArtCenter College of Design. It explores the exploitation of children in warfare, combining striking visuals, impactful storytelling, and a thoughtful design. It transitions from the harsh realities of child soldiering to messages of hope and recovery, emphasizing UNICEF’s vital role in protecting and rehabilitating affected children.

Permanent Headline was chosen for headers due to its bold intensity and resemblance to war headlines. In the first half of the editorial, the tightly tracked, blurred, and posterized letters convey the chaos and brutality of war. In contrast, the second half transitions to loosely and evenly tracked letters, symbolizing the hope and freedom UNICEF brings to children.

Pitch was selected for body text, offering a contemporary take on monospaced typewriter fonts that lend a governmental and matter-of-fact tone. Quotes are highlighted in red in the first half and blue in the second, with larger, all-caps type emphasizing key points at the end of each paragraph.

POSSESSED is a magazine published by Paris-based running brand Satisfy. This publication is about trail, running, and culture related to these practices. This is how they are presenting the 56th issue:

This issue of POSSESSED—POSSESSED No. 56—is our inaugural print issue, and if you’re at UTMB, you can hopefully score a copy at our Chamonix Off Road Supply. If you didn’t, that’s a bummer. Still, you can check out the digital version, which features our exclusive interview with Courtney Dauwalter, our exclusive interview with her husband Kevin Schmidt, a timeline of C.D.’s incredible professional ultrarunner journey, a look inside her photo album, a nutritious Dauwalter Family recipe that you can cook at home, an up-tempo playlist of Courtney’s favorite tunes, PLUS some upper body exercises to stop you from turning into Kermit the Frog, your running stars, reader mail, lots of dumb jokes, aliens, and more!

The We Are Water Foundation is an initiative by Roca. For their 2020–2023 activity report, we combined black-and-white photographs of the intervened locations with watercolor illustrations to create a dramatic and vibrant visual effect. This visual treatment highlighted the impact of the projects through the contrast between the sobriety of the images and the dynamic color of the illustrations. The modern layout complemented the aesthetic, while the use of recyclable materials underscored the commitment to sustainability, offering an attractive and coherent report that aligned with the foundation's values.

The report uses Playfair Display and Inter throughout; the foundation logo is set in Gotham.