Sessiz Kutlama (“Silent Celebration”) is a testimonial book by photographer Nurra Yazıcı, conveying her experiences of her son Ali’s heart transplant process through text and photographs.

The book is structured to allow the texts and images to sustain their own pace. Published bilingually in Turkish and English, the work is designed with a reading structure that does not accelerate the narrative but instead creates space for pauses, repetitions, and moments of stillness, stretching the temporal flow.

The monograph Seçkin Pirim 2000–2024 offers a comprehensive selection of Seçkin Pirim’s œuvre from the early 2000s to the present, tracing the evolution of his practice from the beginning of his career to today.

Each editioned copy of the publication features a unique cover designed and executed by Pirim himself as an original extension of his artistic practice. Structured around a chronological examination of Pirim’s œuvre in three periods, the book does not treat these phases as isolated or independent stages, but rather as a continuum of constant evolution shaped by the artist’s ongoing inquiries and explorations into the art of sculpture.

Enriched by curator Tommaso Tovaglieri’s analysis of the transformations in Pirim’s work and art historian Ebru Nalan Sülün’s essay situating the artist’s production within the history of sculpture in Turkey, the book also features Pirim’s personal reflections on each period as well as selected excerpts from previously published texts on his work. Edited by Erdem İlgi Akter, published as a bilingual edition in Turkish and English, the book stands out as a collector’s item.

A Norwegian production, The Ugly Stepsister is a satirical black comedy body horror film retelling the story of Cinderella from the perspective of one of her stepsisters. In August 2025, the film was released on the Mubi streaming platform. The title of the movie is set in the Blackletter style of CSTM Xprmntl 03.

The first physical release of Collisions.cc takes the form of a limited 12″ vinyl with a foldable 24×36″ poster. The edition features an original orchestral composition by Beni Brachtel, created for Ersan Mondtag’s installation Monument eines unbekannten Menschen in the German Pavilion at the 60th Venice Biennale, 2024.

The design employs an early version of Hagel Regular, a contemporary serif typeface by scifipoetry, to set the textual elements of the sleeve and poster. The typeface’s sharp detailing and calm rhythm complement the layered themes of memory, architecture, and sound that shape the installation.

Un Posto has established itself as Turkey’s first brand dedicated exclusively to focaccia, bringing authentic Italian street food culture to İzmir with a singular focus that sets it apart from competitors. The focacceria’s identity, crafted by Milan-based studio Velvele, draws from genuine Italian references while avoiding the tired visual clichés that often plague Italian-themed restaurant branding.⁠ They present the project as follows:

At Un Posto, every layer speaks its own dialect. As the naming reflects the simplicity of Italian culture, the menu encourages guests to use everyday Italian words when ordering. Each element in branding is thoughtfully put together to let their focaccia shine proudly, in the Italian way.⁠
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Our approach is clear: We turn concepts into experiences.⁠

Edited by Meriç Öner, Time Scale is the outcome of research and exhibition on architectural works of Erginoğlu & Çalışlar, established by Kerem Erginoğlu and Hasan Çalışlar in Istanbul in 1993. The book surveys the office’s thirty-year journey through objects gathered from the research, design, and implementation processes of their projects. It comprises original sketches, drawings, models, and photographic documents, displayed in chronological order. Published by Pelin Derviş and printed by A4 Ofset. English translation by Melis Şeyhun Çalışlar.

See also the post about the exhibition design.

Bursa Sanat Çalıştayı is an annual art workshop that takes place in Bursa, Türkiye, bringing together art lovers in a format that allows them to discover new ways of contemporary art. The posters and social media graphics combine FH Lecturis with an unidentified sans [edit: it’s CoFo Sans, see comments].

SÜPER NORMAL is a magazine that focuses on typography but also on all design areas that typography touches. In doing so, it is a publication that includes experimental designs as well as text, asking questions, investigating, and visualizing these within each issue’s specific theme. It is a space that contemplates what normal is, searches for movement and excitement within normality, and questions ordinariness and rules.

The theme of the first issue is “Is it readable?” (“Okunuyor mu?” in Turkish). Inspired by the question, the first issue establishes a visual language that challenges norms and rules.

Idea, design and direction by Emre Parlak, using ABC Diatype Plus Variable.

The participants in issue 01 were Ali Emre Doğramacı, Christopher Çolak, Deniz Cem Önduygu, Emre Parlak, Erman Yılmaz, Esen Karol, E S Kibele Yarman, İbrahim Kaçtıoğlu, Onur Yazıcıgil, Okay Karadayılar, Ruslan Abasov, Sabri Akın, Seda Yüksel, and Umut Altıntaş.

The magazine was printed by Ofset Yapımevi on Fuoriso Magno Volume paper (115 g/m²). Close-up photographs by Deniz Cem Önduygu. Many thanks to Dinamo for the font support, Ofset Yapımevi for printing support, and all the participants who made the magazine possible.

Spread with a design by Sabri Akın

Text on the left in ABC Diatype Semi-Mono. The visual on the right is by Ruslan Abasov.

Spread with the contribution by Okay Karadayılar

The AOS-100, made by Best Elektronik A.Ş., is a school bell timer/clock made for use in PA-integrated school bells that are used in Turkish public and private schools. It has 23 preset monophonic melodies, with additional functions such as playing the Turkish national anthem (İstiklal Marşı) and bells manually, automatic bell, announcement, holiday setting with one key, holiday mode, announcements, weekly lesson programs, automatic holiday days and a monochrome LCD display.

The device used Donald Handel’s Handel Gothic for information text. The Best logo is based on Othmar Motter’s Motter Tektura.

Variant with MP3 player and USB support

TT Fors has become part of A101 Hadi’s corporate identity.

A101 Hadi is Turkey’s largest supermarket, where you can find everything from basic necessities to home appliances at pleasant prices.

Behind It Something Intimate comprises selected drawings and poetic texts by İnci Eviner in a reflexive conversation with each drawing and published in two languages, English and Turkish.

Lying at the centre of İnci Eviner’s creative practice, drawing, for the artist, serves both as a means of expressing the unconscious and a tool for exploring her concepts. It is a space where the interplay between the conscious and unconscious can unfold, revealing the complex entanglement between the societal and the psychic. It also serves as the foundation upon which she discovers and develops new ideas, forms, and spatial constructs.

The publication was edited by Erdem İlgi Akter, designed by Ruslan Abasov, and published by Dirimart.

Self portrait / Otoportre is the title of the first solo exhibition by Turkish sculptor Hakan Çınar. It was held in Zülfaris Karaköy, İstanbul, from 19 to 28 October 2021. The poster, catalog and other materials accompanying the exhibition feature Arthemys together with TWK Everett and Ogg Display Italic.

Anadolu Hayat Emeklilik is a Turkish individual retirement and life insurance company owned by İş Bankası. The logo resembles a sliced rhombus, similar to the logo of Chinese company Juejin, but instead has four segments, with the top segment being green instead of blue.

The logo typeface is Edwin W. Shaar’s Futura Extra Bold. The company has recently started a social responsibility project named “Tohum Biriktir Geleceği Değiştir” (“Collect Seeds, Change the Future”) for engaging kids and to help them improve the nature.

Pera Museum’s Bir Arada / Together concert series brings together women's voices. The brochure was designed with abstract forms and vibrant color transitions. The design contrasts sharp and blurred shapes to symbolize unity and harmony.

The bilingual title is set in Jules Durand’s Sinistre. It is paired with Gilroy, a sans serif designed by Radomir Tinkov that’s used on the body text.

The Argonotlar Almanak is the first printed publication by Argonotlar, an online art journalism platform that has been active since 2020. The almanak brings together a comprehensive selection of contemporary art content published on the website. The publication aims to offer a comprehensive and critical view of Turkey’s contemporary art scene. Prepared as an archival material, this ambition is supported by a strong and memorable design that enhances the content.

Druk Wide and Baryton are used for the cover. Druk Wide is used for headlines in the interior, where Baryton is the main typeface.

Courtesy of Vienna-based designer Manuel Radde and Viennese creative agency LWZ, independent football print magazine ballesterer is not only a remarkable publication dedicated to the love of the game – made in response to the poor coverage of the sport in Vienna – but a sensational typographic playground.

Opting for Colophon’s Archive Pro, and A2-TYPE’s Grot10, alongside Florian Fecher’s Lektorat front and centre as the magazine’s masthead, the diversity of typefaces across the magazine reflects both the variety of topics covered across the now 24-year-old magazine, including culture, economics and politics, and the breadth of character on and off the pitch.

Since its rebrand in 2015, this has continued to be the case, with recent issues ever expanding on this theme. In March 2024, ballesterer turned east towards Istanbul for the subject of issue #186, where they introduced NaN Tresor as their feature typeface, bringing a warmth to the editorial design through its striking swashes and perfectly imperfect construction.

Identity and posters designed for the Mahnmal Keupstraße, an anti-racist learning and memorial site in Cologne, Germany.

In Cologne, there is a fight for a memorial. It’s intended to commemorate the two right-wing terrorist bombings by the National Socialist Underground (NSU) – one in 2001 in Probsteigasse and another in 2004 in Keupstraße. In 2016, artist Ulf Aminde's proposal for a memorial was selected. However, it has not been realized to this day. The affected individuals, the artist, and initiatives have been fighting for the learning and memorial site at Keupstraße for more than eight years.

Over the past one and a half years, Marie Teigler, Lena Würsching, and Volker Buchwald – members of the Studiengruppe Informationsdesign at Burg Giebichenstein Kunsthochschule Halle – developed a visual language for the memorial site and the website. This was done in collaboration with Ulf Aminde and in exchange with the initiative Herkesin Meydani – Platz für Alle,

On Sunday, June 9, 2024, marking the 20th anniversary of the attack in Keupstraße, the designers presented their work as part of the commemorative festival Birlikte, alongside Aminde (project management and conception) and headtrip immersive media GmbH (mobile UX design and augmented reality) on Keupstraße. The poem is by Aminde, the translation by Engincan Kumlalı.

Curated by Meriç Öner, Time Scale explores the architectural works of Erginoğlu & Çalışlar, established by Kerem Erginoğlu and Hasan Çalışlar in Istanbul in 1993.

The exhibition surveys the office’s thirty-year journey through objects gathered from their projects’ research, design, and implementation processes. It comprises original sketches, drawings, models, and photographic documents, displayed chronologically. Objects borrowed from the office’s physical and digital collections are presented in a manner consistent with their substance. The exhibition organizes project representations by period, also providing a clear pathway by which to trace changes in architectural technologies. Running parallel to the works, events inserted into Time Scale extend throughout the exhibition’s scope across a shared historical narrative, evoking significant milestones from the past thirty years in both Türkiye and the world.

Okyanus Kolejleri (English: Okyanus Colleges) is a Turkish private school founded by Orhan Özbey in 2004. I have some friends who went there, such as Ceren, who is a little bit younger than me, and Melis, who is a bit older than me. The logo uses the bold version of Times New Roman, designed by Stanley Morison and Victor Lardent in 1938. The school is said to teach “how to learn” in its slogan, and is home to Gelecekte Bir Gün Meslekte İlk Gün (meaning “A day in the future is the first day in business”).

From Dirimart:

This monograph was published within the context of the exhibition titled Eternal Resonance by Bedri Rahmi Eyüboğlu, which was held across three different venues at Dirimart’s Dolapdere and Pera galleries from 27 December 2023 to 21 January 2024. Bringing together Eyüboğlu’s previously unseen works and archival materials and providing a comprehensive exploration of the artistic practice of this pioneering figure in Turkish art history, the bilingual book in Turkish and English is enriched with articles by Ömer Faruk Şerifoğlu, Burcu Pelvanoğlu and Emre Zeytinoğlu, design by Ali Emre Doğramacı, and artwork photographs by Nazlı Erdemirel.

Dedicated to the unique artistic odyssey of Bedri Rahmi Eyüboğlu, a passionate artist, enthusiastic poet and visionary teacher, this comprehensive monograph serves as a sincere testament to his intensity as an artist, poet, and teacher. Weaving together the previously unseen works and archival materials, its narrative results in a comprehensive exploration of his artistic evolution in time. The book pays tribute to a life devoted to the arts, acknowledges the enduring impact of his work, and celebrates the collaborative spirit that brought forth this testament to Eyüboğlu’s unparalleled genius.