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.

Zollbureau für Zucker und Tabak (Portuguese: Mesa de Inspecção do Açúcar e Tabaco) is a Portuguese–German poetry book by Laura Erber. It was printed in blue typography and was published by Alba in collaboration with Siesta Verlag.

About the author, from Barrio (Bairro) Berlin (translated from the German):

Laura Erber (Rio de Janeiro, 1979) is a writer, editor, and researcher. In Brazil, she founded the publishing house Zazie Edições. Her literary work includes poetry, essays, chronicles, and fiction. In 2006, she published Körper und Tage in German with Merz-Solitude, the result of her residency at the Akademie Schloss Solitude, translated by Timo Berger. Mesa de inspeção do tabaco e açúcar was published in Portugal by não (edições) in the Mutatis Mutandis series. She currently lives and works in the Netherlands.

Photographer Nanine Renninger’s book Mementos | Erinnerungsstücke brings together personal narratives and visual fragments in a restrained editorial framework. Renninger approaches her material with a measured, poetic stance.

Designed by Vivian Förster of RoomArt, the book gives typography a central role. Easy Grotesk, designed by Alexander Rütten and Olivia Wood of Ligature Type (distributed by the TypeMates), is combined with Relais by the same designers (distributed by Blaze Type), creating a contrast in character and supporting the bilingual layout.

As Renninger notes on her website, the project “collects traces of memory in both text and image,” and a theoretical section at the end reflects on the nature of memory.

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.

The book brings together the best annual projects of the Academy. Printed in six-colour offset with the addition of a metallic Pantone, and partially in Risograph (internal insert), it employs hand-crafted movable type for the titles, with manual typesetting combined with black-and-white photography, as well as artist illustrations produced through intaglio and engraving, printed in two colours.

The layout is conceived as a fluid composition: a hybrid system of techniques and visual overlays that positions the book somewhere between graphic design and the artist’s book. While flipping through the pages, readers can access additional audio content related to the various activities.

Some of the typefaces used belong to the Academy’s collection of movable type. This includes a version of Inserat-Grotesk – possibly Fondografica’s Piacenza – and Motor. The names and origins of others are uncertain or undocumented.

The E and P are from an Art Deco typeface that’s similar to Triennale.

Dragon Reactor is a tabletop role-playing game by Nevyn Holmes and S. Quinn Morris, published by Dinoberry Press. Its gameplay is inspired by mecha media like Gundam and Neon Genesis Evangelion.

The team tasked me with mixing the style of military guides and documents, with elements from mecha anime and medieval manuscripts. The zine seeks to look slightly chaotic and unrefined, as if it was a document that has been photocopied and annotated by the characters. Small decorations lifted from medieval codices were used through out the book, along the black and white illustrations by Emma Harvey.

From the cover (art by Charlotte Laskowski) to the interior, the typography choices are eclectic and (save the title, set in Respira Black) meant to be accessible and free. Jost* was chosen due to the prevalence of Futura in some documents that we used as inspiration.

Трендвотчинг: аналитика подиума (“Trendwatching: Runway Analytics”) is a practical guide to trend research, made as student project at HSE Art and Design School in Saint Petersburg. The scope of a trend analyst’s work involves studying societal changes and identifying emerging needs. The author of this educational guide is Rosemary Thurman, a specialist in trend analysis and forecasting.

The typography is handled by the antique-style typeface Wermut by Brownfox. It is paired with the monospaced IBM Plex Mono by Mike Abbink and Bold Monday to maintain the serious tone of the educational materials.

Sudanese–Canadian poet and musician Mustafa the Poet has released his first literary work, Nour (نور). The title, Arabic for “light,” captures the essence of the book: a collection that moves between poetry, photography, Arabic calligraphy, and collaborative writing, exploring faith and memory in the face of grief. It was published in collaboration with WePresent and designed by Turbo Studio.

Development of logo and corporate design for CDI Ingenieure, a Berlin-based engineering firm. Implementation of a website and numerous printed materials.

The font used for the logo and all texts, including in the web application, is Akko, which is very well suited due to its technical appearance.

The color areas of the logo form the basis for a modular system that can be used in a wide variety of ways and has a high recognition value.

Unboxing Bauhaus is a multi-site exhibition by students of Fine Arts and Visual Communication at Bauhaus Universität Weimar, presented in KunstHaus Potsdam and Kunstraum Potsdam from 27 July to 24 August 2025. The project brings together painting, drawing, sculpture, photography and performance, developed both in advance and during a ten-day residency in the city.

The visual identity, designed by Ossian Osborne, Lilli Sörries and Annemarie Grund, makes extensive use of G2 Airdancer by Gruppo Due. Multiple cuts of the typeface are used and switched mid-word, creating a lively and highly dynamic typographic system. This shifting rhythm mirrors the exhibition’s premise of reframing perspectives and opening artistic processes to public view.

The designers expanded the exhibition’s central motif, the moving box, into a set of playful and oversized visual scenes. Boxes on trucks and billboards suggest the idea of the Bauhaus leaving its familiar bubble and entering new contexts, echoing the title Unboxing Bauhaus.

The cover photo of the Golden Gate Bridge is by Joe Norton.

A classic Columbia Records LP cover for Tony Bennett’s 1962 album I Left My Heart in San Francisco, featuring Normande Italic.

The design uses the high-contrast fat face for all text on the front cover, from the city name to the song titles, echoing 19th‑century display types.

The images show different pressings and crops of the sleeve, all retaining the same typographic hierarchy.

[More info on Discogs]

Title and artist’s name are shown in three lines of alternating colors. The colors are echoed in the slashes that separate the song names. Note also the sign painters’ quotes.

The back cover of this US pressing pairs Univers Italic for the bigger lines with Akzidenz-Grotesk a.k.a. Standard for the liner notes and track listing.

The back cover of the British release uses Gill Sans Italic and Monotype Grotesque. It was printed and made by the E.J. Day Group, London.

Hugup is innovative supportwear designed to keep expecting mothers comfortable, confident, and moving freely throughout their pregnancy. Founded by a mother who experienced health difficulties during her own pregnancy, Hugup was born from firsthand understanding of the challenges women face during this transformative time. As a women-led company dedicated to women's health, Hugup is committed to developing solutions that truly serve the needs of expecting mothers.

Hugup successfully created an identity that transforms pregnancy branding by embedding the experience itself into the visual language. The dynamic logotype, set in Moulin, serves as the conceptual foundation, where five letters orbit in circular motion to mirror the cyclical nature of pregnancy and fetal development. This movement directly references birth calendars, with expanding letter spacing that visualizes gestational progression – creating an immediate emotional connection between the brand mark using and the user's lived experience. Most text is set in all-caps Founders Grotesk Condensed.

The logo’s dual nature addresses both the emotional and practical aspects of pregnancy support. In motion, it represents growth and transformation; at rest, the half-circle formation suggests the protective embrace of a womb while simultaneously referencing the Hugup device itself. This visual metaphor extends the brand's core promise of support into every touchpoint, creating consistency between product function and brand expression.

The identity system breaks conventional pregnancy aesthetics through playful verbal patterns that inject rebellion and empowerment into a category often dominated by overly precious or clinical approaches. These fluid yet simple patterns maintain scalability across digital and physical applications, ensuring the brand can adapt to various contexts without losing impact or becoming overly complex in execution.

The circular motif becomes a unifying element that “wraps” content throughout the identity system, reinforcing the supportive gesture concept. This creates a cohesive brand world where every element, from packaging that literally hugs products to digital interfaces, communicates care and protection through visual form rather than just messaging.

The result positions Hugup as both empathetic and fashion-forward, striking a balance between emotional resonance and contemporary design sensibility. The identity successfully communicates the brand's core promise through elegant visual metaphors that make abstract concepts like support and empowerment tangible and immediately recognizable. The adaptable system ensures consistent brand expression whether animated or static, creating a vibrant yet practical brand ecosystem that scales across all customer touchpoints.

Source: www.esiete.com License: All Rights Reserved.

Visual system and communication elements designed by ESIETE, for the 2025 Fitness Festival campaign on the occasion of the Mercè festivities. Under the slogan “Uneix-te al Flow” (“Join the Flow”) the campaign revolves around a dynamic flow of colors that symbolizes energy, movement, and unity, running through all graphic pieces and conveying the vitality and collective spirit of the event.

Source: www.esiete.com License: All Rights Reserved.

Source: www.esiete.com License: All Rights Reserved.

Source: www.esiete.com License: All Rights Reserved.

Source: www.esiete.com License: All Rights Reserved.

Source: www.esiete.com License: All Rights Reserved.

Source: www.esiete.com License: All Rights Reserved.

Source: www.esiete.com License: All Rights Reserved.

Source: www.esiete.com License: All Rights Reserved.

KUG – Kunsthalle UG (Underground Gallery) is an art space initiated by Schöne Felder e.V. and opened in 2023 in an underground passage in the city center of Augsburg in South Germany. MMW Studios has been realizing the communication of the exhibition since the beginnings.

The posters and social media posts use a combination of NaN Hyena Sunset and Sunrise for all titles; mostly using the rounder Sunset version. For all captions the open-source Sligoil was used; its crisp inktraps echoing Hyena’s likewise crisp curve-to-stem connections, and ever more crisp and spicey in its Sunrise version. For the nameplate of the art space, a custom arrow was drawn and used instead of the letter K.

This fictional civic platform was conceived as a student project at ArtCenter College of Design.

ARC/LA offers a structure that mirrors the reality of Los Angeles: decentralized, diverse, and dynamic. As a participatory and connected civic platform, it reflects on the city’s architectural memory through stories, print-based tools, and neighborhood activations, turning collective memory into a living archive.

ATELIER 7 is an interior architecture studio crafting objects and storytelling spaces, blending interiors, furniture, art, and accessories. Its visual identity was designed by Synonime, a creative studio led by Gosia Obara, specialising in graphic design, art direction, and web design.

The branding is set in Romie, designed by Margot Lévêque, paired with what appears to be Switzer by Jérémie Hornus, used mostly in all caps. The logo is made with Héctor Gatti’s Archivo.

“Selected Objects” uses Syaf Rizal’s Thesignature in all caps.

There Is More to Life is a gospel album by George Beverly Shea (1909–2013), released in 1970 by RCA Records and featuring a blend of traditional hymns and more contemporary gospel sounds.

[More info on Discogs]

As its name suggests, Folder Records merges the flair of analog archives with the groove of music in a time of digital manifestation. The visual identity, developed in collaboration with Pira, mirrors that contrast. The colour palette references an “office core” atmosphere with pastel tones and bold RGB accents.

The logo, set in PF Mellon with its playful positioning of the “DE”, was inspired by the tactile motion of flipping through records, while the monospace Director alludes to a bygone era when typewriters clattered away in the background.

Equally important alongside the bold, condensed PF Mellon was the use of publicly accessible digital imagery from libraries, museums, and other archives.

Leaving on a Jet Plane is an album by Percy Faith and His Orchestra and Chorus released in 1970 on Columbia Records. It’s named after the opening track, a song written by John Denver in 1966. All main text on the cover is set using a phototype adaptation of Helvetica Bold a.k.a. halbfett.

[More info on Discogs]

Strauhof is a literature museum located in Zürich, exploring the intersection of literature and spatial experience. Its exhibitions engage with the dualities inherent in literature, such as analogue vs. digital or displaying vs. hiding. The proposed visual identity embraces these dualities, translating them into a system that reflects both the conceptual and physical dimensions of the museum.

At the core of the proposed identity is a custom monospace typeface, originally named Literature, designed by Outline Online (at the time: Samira Schneuwly and Laura Csocsán) specifically for this project. The typeface has since been released on the Outline Online platform under the name OO Arketa. In the proposal, it is used across the museum’s communication materials, including posters, flyers, and brochures.

For display sizes, OO Arketa is used with a stylistic set developed exclusively for this context. The custom display style references the interface aesthetics of digital writing tools, subtly alluding to the environments where much of today’s literature is both written and read.

The identity further incorporates handwritten texts from authors and literary figures, closely tied to the respective exhibitions. These handwritten elements repurpose the printed materials into previews, providing a direct link to the literary content and personalizing each exhibition's visual language.

This identity proposal was developed as a school project at ECAL, exploring the relationship between literature, typefaces and visual identity.