On her personal portfolio website, Daria Cohen writes:

I’m a Type and Media trained type designer based in Berlin. I’ve worked on Latin, Cyrillic, and Greek with Dinamo, NaN, Swiss Typefaces and Vectro (to name a few) contributing to various retail typefaces as well as projects for Call of Duty, Spotify, Wise, and a generous number of NDAs.

My self-initiated projects revolve around one goal: making fonts my grandma would recognize.

The gravestone on my homepage ties into my passion for death studies. I dream of opening a funeral home someday, but until then, my fonts are free for all death-related projects.

The website was designed and built by Lena Weber, who comments:

Since Daria is a type-designer the goal was to build a home for her fonts & projects, linking to different foundry websites for purchase.

The site is an homage to extended glyph-sets, alternates, carefully crafted letters and – of course – to Daria. 🥀🕊️

On reload random characters are pulled from the fonts, creating encrypted inscribing on the digital headstone: The »Daria Cohen password-generator«?

The site is divided in »the living« (fonts, released and available for purchase) and „the rising“ stuck as for in progress fonts in the bony underworld.

The custom backend allows for font upload, everything else is generated automatically.
Free font conditions hidden in an easter egg. Thank you Daria for your trust to go wild! I really enjoyed working with a type-only asset pool, diving deep into details, digging for glyphs and expressing an idea through placement and color only.
Swipe for a graveyard of discarded designs as well!

Text on the website is set in Daria’s own Onlysans.

Serious Play is a publication on type design by gebr.silvestri, made in collaboration with robstolk printing in Amsterdam.

This compact, intimate booklet contains various type designs from the Silvestri brothers' design practice and is exquisitely printed with robstolk’s renowned printing technique.

Across 768 pages, the booklet presents the type designs for all numbers and letters in black and white as well as an overview of each typeface family. The publication also includes an introduction by Edgar Walthert of Letterspace Amsterdam and a critical essay by Maurice Meilleur of the College of Design at Iowa State University.

Edited and translated by Tom Johnston and Liza van den Dijssel, and bound by Van Hees-Patist boekbinders. Special thanks to Jacqueline van As, Jacqueline Heijmerink, Tanneke Janssen, Liza van den Dijssel, Tom Johnston and Jozee Brouwer. The book can be ordered from gebr.silvestri.nl.

Plain Text is a printed publication for exploratory type design, edited and designed by Lucas Descroix and Benjamin Dumond, and published by type foundry Plain Form.

From fiction to theory, from mystical analyses to visual works, Plain Text aims at exploring typographic imaginaries, moving beyond a strictly historical and technical framework, with a taste for the unknown and the dormant potential of writing.

The third issue launched in March 2026 and includes contributions by Alex Balgiu, Eugénie Bidaut, Mathis Borel, Gabriele Čepulytė, Lucas Descroix, Johanna Drucker, Benjamin Dumond, Mankun Guo, Hélène Marian, Luther R Marsh, Ariel Martín Pérez, Laurent Mbaah, and Mălin Neamțu.

The texts of this black-and-white, bilingual publication are all set in the unreleased duo Basically Serif for the English and Basically Sans for the French. Additional information is set in Baskemo, also Serif and Sans, an automatically monospaced-and-skelefont’ed companion to Basically.

A number of display typefaces designed by Lucas Descroix and/or Benjamin Dumond are used throughout, for the title of each contribution as well as various emphasis moments. These include: Michaux, Nostra, Paraiso Sans, Jester (in several styles), Ready Active, and an early version of the upcoming Ferro. Some unreleased display typefaces, either old or future, are also used but not shown here in the pictures.

Several typefaces are also showcased as part of contributions by their respective designers (shown here are Bye Bye Binary’s BBB ReadMe and Mălin Neamțu’s Segmentor).

• English and French
• 80 pages, 210×297mm
• offset print on Munken Print White
• 750 copies, March 2026
• ISBN 978-2-9597254-3-2

This third issue of Plain Text was kindly supported by Abyme, Blaze Type, Dinamo, DJR, Klim Type Foundry, Rosetta, The Designers Foundry, and XYZ Type.

Each issue starts with a few spreads showing a condensed, somewhat chaotic trip through the whole content of the publication (each contribution is represented by its title and an image, in order of appearance). It’s like wetting your neck before diving.

The title set in squeezed Michaux Bold.

The left page shows BBB ReadMe (Eugénie Bidaut, Ludi Loiseau & Clara Sambot) with its inclusive ligatures. The right page shows Eugénie Bidaut working on preparatory drawings.

This spread showcases the typeface Segmentor (Mălin Neamțu), together with hand-drawn sketches by the designer.

The title set in Paraiso Sans and Michaux Regular. Illustration by Anne Zeum.

The title set in heavily squeezed Ferro Mono. The image is taken from Émile Javal’s research.

Both titles are set in Jester, stretched and blurred on the left page, squeezed and outlined on the right page.

The title set in Ferro Black, with additional ‘organic’ letters based on Michaux.

The title on the right page is set both in Paraiso Sans (black) and Ready Active (white).

The left page shows the work of Mankun Guo. The title on the right page is set in Nostra Stream (with a bunch of blur and grain effects), with a little Grandmaster cameo for “and”. Subheads use Michaux Light.

The title set in various versions of Ferro Mono. The book cover is the one for Missing sign, another printed publication from Plain Form.

Booklet and communication for the end-of-the-year exhibition of the Typography and Type Design department at Bauhaus-Universität Weimar:

What happens when order is disrupted and decoded? Constantly shifting between control and uncertainty. Join us in the lab and carefully move among tools, lists and handmade code. Here design becomes an act of survival, the showcased works being the traces left behind.

Design and concept by Anni Welz, Lea Sailer, Mona Kerntke, and Yasmina Khalil. The typeface in use is Ufficio Mono.

The fifth poster in this ever-extending series, which began with The Annex of Universal Languages, was initiated by Akiem Helmling, the curator of Alphabetum in The Hague. This poster was created in collaboration with Tim Brookes from Endangered Alphabets, who researched and wrote the 20 dream-stories presented in this publication.

From September 6, 2025 to January 25, 2026, Alphabetum hosted an exhibition of the same name, where the illustrations, writing systems, and their creation myths were presented. The translucent flags created a dreamscape that invited the audience to browse through and become immersed in the work.

In creating this poster, I prioritized Noto Sans and Serif versions of the writing systems where available, secondly looked to existing Unicode proposals, and as a last resort, quickly digitized blurry images. Eleven of the 20 alphabets and syllabaries have already been added to the Noto type family, while others had Unicode proposals clean enough to use. In the case of Bété, I reached out to ANRT alumnus Adam Yeo, who provided me with his digital interpretation of Frédéric Bruly Bouabré’s handwritten script.

The poster has been offset printed – locally in the Netherlands – with Pantone Gold and Black and was mechanically folded by a bookbinder in Haarlem.

Like the other parts of the series, this edition also uses my typeface Logical which, thanks to its inclusion of icons that can be transformed from words, initiated this whole adventure. Handing a specimen of Logical to Richard Niessen in 2018 caused him to invite me to participate in his Palace of Typographic Masonry by adding a new room. Logical has been released by Bold Monday and combines the warmth and legibility of humanist typefaces with the technical look of typefaces like DIN and Isonorm. Its markdown-inspired syntax to transform words into icons via OpenType features makes them easily accessible even in software without a glyphs palette. The underline feature, which ensures that descenders are not cut off, also gets heavy use in the referenced links below each panel.

The view when entering Alphabetum in The Hague. The publicly accessible library invites visitors to read books, have a coffee, or discuss language with others. Its brutalist yet warm architecture makes every visit to Alphabetum an enriching experience.

The poster side of the panel illustrates 20 out of 22 visions displayed in the exhibition.

Each of the 20 panels describes an origin story of the writing system presented below. The small number in the top right indicates the number of active users.

Another view of the exhibition in Alphabetum with the beautiful Foscarini Allegro Assai suspension lamp.

Behind the flags, each writing system is featured on two black A3 panels. On the left, the text and information provided by Tim Brookes; on the right, an example or the full set of glyphs.

Plain Text is a printed publication for exploratory type design, edited and designed by Lucas Descroix and Benjamin Dumond, and published by type foundry Plain Form. The second issue launched in July 2025.

From Plain Form:

From fiction to theory, from mystical analyses to visual works, Plain Text aims at exploring typographic imaginaries, moving beyond a strictly historical and technical framework, with a taste for the unknown and the dormant potential of writing.

This second issue includes contributions by Hervé Aracil, Tim Brookes (Endangered Alphabets), Aliona Ciobanu, Lucas Descroix, Benjamin Dumond, Mardi Forestier, Inscript festival, Elenor Kopka, Marcus Leis Allion, Pierre Pané-Farré (with HAW Hamburg students), Simon Renaud and Alec Vivier-Reynaud.

The texts of this black-and-white, bilingual publication are all set in the unreleased duo Basically Serif for the English and Basically Sans for the French. Additional information is set in Baskemo, also Serif and Sans, an automatically monospaced-and-skelefont’ed companion to Basically.

A number of display typefaces designed by Lucas Descroix and/or Benjamin Dumond are used throughout, for the title of each contribution as well as various emphasis moments. These include: Michaux, Grandmaster, Disc, Jester (in several styles), Ready Active and Clouded and an early version of the upcoming Ferro. Some unreleased display typefaces, either old or future, are also used but not shown here in the pictures.

The fiction work by Mardi Forestier is set in Exposure by Federico Parra Barrios. Imagined together with the author, the layout is an attempt at using an experimental typeface to underline and augment narration, its variations manifesting the idea of breath.

• English and French
• 80 pages, 210×297mm
• offset print on Munken Print White
• 1000 copies, July 2025
• ISBN 978-2-9597254-1-8

This second issue of Plain Text was kindly supported by Commercial Type, CSTM Fonts, Dinamo, Future Fonts, XYZ Type, and 205TF.

Title is set in Disc Heavy, while subheads use Michaux Light.

Left page shows works from Aliona Ciobanu (image in the center is a collaboration with designer Stefaniia Bodnia). Right page shows the work of Alec Vivier-Reynaud (featuring mushroom-printed ABC Camera).

Title is set in a early version of Ferro Fraktur IV. Images show works from Bettina Comte, Rüdiger Schlömer and Jonathan Mak.

Title set in Jester Fool (squeezed, tracked and slightly blurred).

Title set in Ready Active Regular (condensed and thinned).

Title set in Grandmaster Thin. The right page shows both designs and inspirations from Simon Renaud.

Left page shows designs and inspirations from Simon Renaud. Right page’s title is set in generously stretched Exposure.

A piece of fiction by Mardi Forestier, making use of Federico Parra Barrios’s typeface Exposure to manifest breath.

Title on the right page is set in heavily warped Jester Judgment (in black) and Jester Sun (in white).

Left page features Ohno’s Swear. Right page features Bureau Brut’s Totentanz.

Title set in Michaux Bold, for a conversation with French professor Hervé Aracil.

Left page shows student projects from HAW Hamburg, done under the direction of Pierre Pané-Farré (here the collective typeface Octagon Variable and A Type of Image by Fabian Stenzel). Right page’s title is set in Ready Clouded Bold.

Produced by Bodleian Library Publishing, Type Designers of the Twentieth Century written and designed by David Jury explores the many developments typefaces have experienced through the twentieth century. The book presents 37 type designers working at different times and with different technologies, how they have reacted to technological and cultural changes and the typefaces they created.

The book is typeset in Enigma Text with Shaker used for captions. Cover and title page feature Eurostile.

The World’s Best Typography, Typography 46 brings together the work of the winners of the latest TDC competition for typographic excellence from around the globe in communication design, lettering, and typeface design. For the past seventy years, the Type Directors Club has encouraged the design community to achieve excellence in typography through annual competitions. This high-quality volume showcases the award-winning selection while redefining the boundaries of visual communication.

Curated by the Type Directors Club, this year’s selection features outstanding projects from 33 countries – including Germany, Japan, Georgia, Israel, New Zealand, Peru, Thailand, Ukraine, the United States, and many more. The result is a compelling display of creativity and global diversity in contemporary typography.

In the Judges’ Choices section, each juror highlights their favorite entry, accompanied by personal commentary and insightful statements from the designers – offering readers a deeper look into the passion and process behind the work.

The Young Ones TDC winners provide an exciting glimpse into the future of typography. With their bold ideas and fresh energy, they inspire and challenge the status quo.

A carefully compiled index of the main typefaces used, complete with the names of their designers—makes this book not only a visual delight but also a valuable reference tool.

The World’s Best Typography, Typography 46 is more than just a design annual. It’s a tribute to the power of type, the craft of design, and the global community that continues to shape and advance both.

The book is published by Slanted Publishers and edited by the Type Directors Club, with Griffin McCabe, Joe Newton, and Carol Wahler serving as editors. The design was developed by Slanted Publishers under the creative direction of Lars Harmsen, Pola Małaczewska, and Marian Misiak. Publishing direction was managed by Lars Harmsen and Julia Kahl, who also oversaw the final artwork. The book was released in October 2025, the book measures 21×28.5 cm, comprises 288 pages, and is published in English. It features a softcover with open thread-stitching and high-quality offset printing. Printing was carried out by NINO Druck in Germany, with bookbinding by Buchbinderei Spinner. The publication uses fine papers by Fedrigoni Paper and features the typefaces Heneczek, Radius, and Extract Semislab, all by Threedotstype. The ISBN is 978-3-948440-98-5, and the retail price in Germany is €69.

The cover of IDEA no. 411 embodies the theme of the special feature on Arabic calligraphy and typography. White text is set in the 29LT Ada Flat font from 29LT, and the emerald blue typographic elements were designed by Tarek Atrissi. Additionally used fonts include Univers and Plantin. The Mincho used for Japanese text is yet unidentified.

With La création typographique – Concevoir des polices de caractères (“Type Design—Creating typefaces”), Matthieu Salvaggio delivers a handbook for anyone looking to explore the world of type design. As the founder of Blaze Type and the creator of many contemporary typefaces, Salvaggio shares a detailed, experience-based methodology – generously illustrated and grounded in practical design logic. Conceived as a step-by-step manual, the book guides the reader through the entire process: from sketching and spacing to technical production and the creation of diacritics. The final chapters offer concrete advice on how to produce, distribute, and monetize a typeface in today’s landscape.

The graphic design was handled by Paris-based studio Hic et Nunc, founded by Sidonie Bernard and Line Monthiers. With a strong emphasis on typographic hierarchy and efficiency, the layout embodies Hic et Nunc’s motto: designing for the here and now, while aiming for timeless relevance.

The book’s typographic system is built entirely from Blaze Type’s catalog, using Rules for titles and section markers, Balette for body text, and Surt for navigational elements and annotations. Together, these typefaces form a cohesive, readable, and contemporary composition. The book features 324 pages, bound in a Bodonian binding format, and sized at 16×26 cm: a generous yet manageable canvas. The contents are completed by a series of vibrant still-life photographs by IGO Studio, a Marseille-based photography studio specializing in stylized product shots. Their crisp, colorful visuals highlight the book’s physicality with the same care given to its typographic content.

Website detail rendered in Aleksa

“Schriftwechsel T.” is a special feature offered on the website of Forum Typografie. Every year, the German typography organization presents a new set of typefaces. These typefaces can be selected from a dedicated menu. The selection is then applied to the entire website.

This typographic theme switcher allows type designers to showcase their work. At the same time, the visitors – mostly designers and typographers – can discover, observe and compare typefaces. The type designers introduce themselves on dedicated pages, providing background information on the process and images of specimens and in-use examples.

For this year, Forum Typografie invited Martin Tiefenthaler of typographische gesellschaft austria to curate a set of fonts. Martin focused on recent releases by designers with a connection to Austria. His selection comprises Bajazzo and Bajazzo Rounded by Lisa Schultz, Margit by Miriam Surányi, and Nikolai by Franziska Weitgruber.

A fifth, permanent option is Aleksa. The typeface by AlfaBravo has been in use since 2022. It was licensed in order to directly support Ukrainian type designers.

The profiles of typefaces featured in previous editions of Schriftwechsel T. can be explored in the archives.

Website detail rendered in Nikolai

Website detail rendered in Margit

Website detail rendered in Bajazzo

Website detail rendered in Bajazzo Rounded

Page for Aleksa, rendered in Nikolai

Page for Nikolai, rendered in Margit

Page for Margit, rendered in Bajazzo Rounded

Page for Bajazzo & Bajazzo Rounded, rendered in Aleksa

The latest volume in the Type in Use series by Victionary (2024–2025), this book highlights the use of display typefaces, renowned for their boldness and attention-grabbing qualities. They are adaptable across diverse design contexts, seamlessly integrating into print, digital, and beyond. Display in Use brings together the best fonts for big canvases, and provides a reference point for inspiration seeking designers and typographers.

The book was designed by Ben Lee at Victionary. While the D on the front cover is from AC Visual, the back features Dina Chaumont Display. This lowercase-only monospaced typeface is built around the DIN A ratio. This format is used in portrait and landscape; thus two different widths coexist. The letters are designed to fill the surface as much as possible in both cases. This feature gives a distinct appearance and plays on formal and dynamic variations. Instantly recognizable, expressive and playful, Dina Chaumont Display perfectly embodies its role.

The monospaced font used on the spine and also for the info on the typeface pages (not shown) is unidentified [edit: it’s Fraktion Mono, see the comments].

Dina Chaumont Display is also used for the contents page.

On the occasion of its 30th anniversary, Tipoteca Italiana Fondazione launched its new web app, a multimedia tool designed to enhance and expand the visitor experience.

Conceived as a 20-stage digital journey through the exhibition, the web app offers users an interactive guide enriched with audio content, descriptive texts, and historical documents. It is accessible free of charge via smartphone at app.tipoteca.it, whether used on-site for an independent visit or off-site to explore Tipoteca’s extensive archival collections.

This new tool features typefaces specifically developed for digital environments, inspired by the rich heritage of Italian typography. For its debut, the web app showcases Fabbrica, a typeface designed by Michele Patanè for CAST Foundry.

Tipoteca Italiana is a unique museum dedicated to the history and culture of type and printing. More than a traditional museum, it functions as a vibrant hub encompassing an archive, print shop, library, gallery, and auditorium. Through its exhibitions, workshops, and public programs, Tipoteca fosters dialogue between historical craftsmanship and contemporary design. It stands as Italy’s most important institution devoted to the art of letterpress and typographic heritage.

Type Thursday Tbilisi is a monthly gathering in Tbilisi for type-lovers from all walks of life and all levels of experience. After a two-year hiatus, the format was revived by Erika Ivashkevich and Adelina Shaydullina, and I had the chance to design a poster and some additional graphics for the June event that took place at Kera Space.

To celebrate the event I decided to use a new playful geometric Onlysans typeface by Daria Cohen (available at Contemporary Type), therefore, the architecture of the letters became the basis for the architecture of the poster.

The work exists as a classic 70×100 cm poster and a tiny A3 version, so it can fit on bulletin boards in cafes and other indoor spaces.

Jim Parkinson, who sadly passed away last Thursday, June 26th, 2025, was one of the designers of the groundbreaking ITC Bodoni series in three optical sizes (ITC Bodoni 6, ITC Bodoni 12 and ITC Bodoni 72), arguably one of the most spectacular Bodoni revivals of all time.

After decades of somewhat “watered-down” modern versions (from the likes of ATF, Bauer, Berthold, Monotype, etc.), ITC Bodoni was a godsend for lovers of the strong Italian flavour that makes the original Bodoni unique – and Parkinson’s own particular sensitivity and taste for gentle mischief (see his remarkable italics in the smallest optical size), were central to this achievement.

U&lc celebrated the release of the family in its Fall 1994 issue with a lengthy report by Sumner Stone, the lead designer on the project, fittingly entitled “Notes from Parma”.

The front cover shown here is set using ITC Bodoni Seventy-Two Book and ITC Bodoni Twelve Bold and Book, as well as ITC Franklin Gothic Demi.

Karuta is a traditional Japanese card game where players listen to short descriptions read aloud from a reader’s card. Each turn, players race to grab the matching card with the corresponding picture or text, and the player with the most cards at the end wins.

Font Karuta is a variation designed for typography enthusiasts. Instead of pictures, the reader announces the font name and description on the reader’s card, and players compete to pick up the card displaying that font. The player who collects the most cards wins the game.

This edition is the “extension package” featuring only blackletter designs.

From top left to bottom right: Respira Black, FF Brokenscript, a couple letters from Breitkopf-Fraktur, Blackmoor, Claudius, an e and an exclamation mark from Old English, Wallau, Amador, Fakir, San Marco, American Text, Caslon-Gotisch, Engravers Old English, Marian Black, Fette Fraktur, Lucida Blackletter, JAF Herb, Gutenberg Textura, Alte Schwabacher, Goudy Text, Fette Kanzlei, and a tiny bit of Fette Gotisch. Featured in the game but not shown in the images are Deutsche Schrift and Wedding Text.

The box front features the title in Amador, with Clairvaux for the list of included typefaces. The Japanese font appears to be DNP Shuei ShogoMincho. The Font Karuta logo is in Akko.

The German-language game instructions are set in Gutenberg Textura with a headline in Blackmoor, in caps of alternating colors.

Museum Plantin-Moretus in Antwerp has been using DTL VandenKeere for approximately 25 years in its exterior and interior signage, as well as in its publications. This typeface is prominently featured throughout the museum. Its return to the museum was significant, as Hendrik van den Keere (ca. 1540–1580) originally cut the Parangonne Romaine (known as Reale Romaine by Christophe Plantin), which served as the model for the digital variant, in 1575. Plantin first employed this type in 1576. The italic of DTL VandenKeere, on the other hand, is based on a model by the French punchcutter François Guyot (ca. 1505–1570).

Under the motto “To play (with type) is to resist stasis,” Lisbon-based design studio Desisto initiated typography courses with the intent to share enthusiasm and knowledge regarding type in the Portuguese community.

The first workshop is about Desisto’s very own modular font TBD Brick, the second one is a Masterclass and Workshop hosted by Nikolas Type.

Risograph-printed posters use the grid system of  TBD Brick, paired with the workhorse Neue Montreal Mono (Pangram Pangram) and Solare Intense from Nikolas Type.

Book cover featuring Tor grotesk Bold and Tor grotesk Mix Max

Support Independent Type II is the follow-up book to the acclaimed 2020 edition, continuing to celebrate the bold, vibrant world of independent type specimens. Showcasing over 300 cutting-edge type foundries, the book highlights a wide range of fonts—from experimental to boundary-pushing designs—offering a compelling alternative to mainstream font distributors.

More than just a catalog, it’s both a manifesto and a visual art object, reflecting cultural shifts and typographic innovation through carefully curated specimens and design.

The book features Tor grotesk Mix, a custom remix of Tor Grotesk with reworked punctuation and diacriticals—designed for playful exploration between letterforms and geometric form. Created specifically for the book by us at Threedotstype, it’s joined by our Tor grotesk and Di grotesk type families.

Edited and designed by Lars Harmsen, Marian Misiak, and Pola Małaczewska.

Spread showing A2Z Foundry with A2Z Faucet

Plain Text is a printed publication for exploratory type design, edited and designed by Lucas Descroix and Benjamin Dumond, and published by type foundry Plain Form in January 2025.

From fiction to theory, from mystical analyses to visual works, Plain Text aims at exploring typographic imaginaries, moving beyond a strictly historical and technical framework, with a taste for the unknown and the dormant potential of writing. The first issue of Plain Text features voices from various backgrounds and generations, many offering a personal, even intimate or spiritual, approach to letters.

With contributions by Anne-Dauphine Borione, Lucas Descroix, Benjamin Dumond, Kirsten D. Dzwiza, Stefan Ellmer, Ayasha Khan, Zuzana Licko, Arman Mohtadji, William Skeen, Verso Wurm and Eager Zhang.

The texts of this black-and-white, bilingual publication are all set in the unreleased duo Basically Serif for the English and Basically Sans for the French. Additional information is set in Baskemo, also Serif and Sans, an automatically monospaced-and-skelefont’ed companion to Basically.

A number of display typefaces designed by Lucas Descroix and/or Benjamin Dumond are used throughout, for the title of each contribution as well as various emphasis moments. These include: Jester (in several styles), Michaux, Nostra Sett and Stream, Ready Active, Bygone and Clouded. Some unreleased display typefaces, either old or future, are also used but not shown here in the pictures.

The page numbers are set in Jester Hermit.

The publication opens with a number of dense pages showing hints of all upcoming contributions in their order of appearance.

Title set in largely squeezed Jester Hermit. The illustration on the right page shows Bonjour Monde’s Syne.

Title set in several layers of Ready Clouded Light. The article showcases the work of Anne-Dauphine Borione a.k.a. Daytona Mess, including her typefaces Sichem and Baleze Display, visible on the left page.

Title set in Michaux Bold. Left page shows a piece of lettering by Eager Zhang, part of her series “Family Portraits”.

Quote from Eager Zhang’s essay set in Michaux Bold for the English and Michaux Light for the French.

Title set in a generously squeezed Jester World. On the left we can spot bits of Ellmer Stefan’s asemic writing research.

Quotes from a conversation on asemic writing with type designer Stefan Ellmer ( The Pyte Foundry)

Title set in all-caps Nostra Sett

Title set in warped Ready Bygone Light, with a few floating outlined glyphs from Michaux Bold

Title set in all-caps Nostra Stream, together with works from Zuzana Licko

Title set in Ready Active Bold, with illustration by Arman Mohtadji. Left page shows bits of Tangly by Zuzana Licko / Emigre.

“Express Exegesis”, set on a circle in Jester Sun with a whole lot of negative tracking. The right page features the work of Julien Priez, a.k.a. Boogy Paper, with the unreleased Montreuil, his diploma project from Estienne ESAIG back in 2011.