weiter bilden 2/2018, “Debatte”

weiter bilden. DIE Zeitschrift für Erwachsenenbildung is academically rigorous and practice-oriented – serving as both a magazine and a medium for reflection. The journal is published four times a year by Deutsches Institut für Erwachsenenbildung – Leibniz-Zentrum für Lebenslanges Lernen (DIE), Bonn.

Each issue focuses on a specific theme from the field of adult and continuing education. Shown here are the issues 2/2018, “Debatte”, and 4/2018, “Fakt Fake”.

Design by Christine Lange, using Rational and FF More. The production, publication and distribution is handled by wbv Media GmbH, Bielefeld.

weiter bilden 2/2018, “Debatte”

weiter bilden 2/2018, “Debatte”

weiter bilden 2/2018, “Debatte”

weiter bilden 2/2018, “Debatte”

weiter bilden 2/2018, “Debatte”

weiter bilden 4/2018, “Fakt Fake”

weiter bilden 4/2018, “Fakt Fake”

weiter bilden 4/2018, “Fakt Fake”

weiter bilden 4/2018, “Fakt Fake”

weiter bilden 4/2018, “Fakt Fake”

All-caps Nymphic for the cover of a 1960 album by Annunzio Paolo Mantovani (1905–1980). According to the authors of British Hit Singles & Albums (via Wikipedia), the Italian British conductor, composer and light orchestra–styled entertainer was “Britain’s most successful album act before the Beatles … the first act to sell over one million stereo albums and [have] six albums simultaneously in the US Top 30 in 1959”. The track names are added in Trade Gothic Extended, likewise in capitals.

[More info on Discogs]

Stepping Softly on the Earth is a research-led exhibition featuring the work of twenty artists, most of them non-Western and Indigenous. Presented at the Northumbria University Gallery at Baltic, the exhibition invites visitors to reflect on human relationships with land and territory from decolonial and anti-colonial perspectives. It brings together artistic practices that understand the world as a pluriverse – a reality in which many worlds coexist and support one another, where all beings are interconnected and the separation between humans and nature dissolves.

The works address themes such as ancestral cosmovisions, spirituality, inter-species communication, embodied knowledge, oral traditions, autonomy, mapping and legal frameworks. The exhibition title revisits a passage cited by Indigenous activist, writer and thinker Ailton Krenak in his 2022 book Ancestral Future. Krenak refers to a speech attributed to Chief Seattle (c.1786–1866), in which he says that his people “step softly on the Earth” because they are deeply connected to it, and invites colonisers to teach their children to do the same.

The catalog adopts a graphic language structured around expressive typography and a restrained color palette, which together organize the visual identity of the publication. The central element of the design is an angular, fragmented typography, Backslanted, used for the cover and section titles. Its geometric forms approach drawing as much as writing, suggesting multiple visual traditions while moving away from a neutral or institutional Western typographic language.

The color palette is based mainly on two tones, an earthy red and an intense yellow, applied as gradients across page backgrounds and edges. These fields of color evoke natural elements such as earth, sunlight and atmosphere, and function as visual environments that move through the book, creating continuity between different sections. The materiality of the object also reinforces the project’s conceptual framework: the exposed sewn binding and the earthy-toned cover emphasize the physicality of the book, suggesting a tactile and crafted quality. The texts are set in Gal Gothic, a Brazilian sans-serif typeface with subtle stroke contrast.

Ara of Asa is an interdisciplinary multimedia project that explores the visualization of sound through a collaborative performance and exhibition. The title, derived from native Korean (아침의 파도), translates to “the wave of the morning,” referencing the dual nature of waves as both acoustic vibrations and the rhythmic movement of the ocean. It was presented by Dohoon Kim on November 24, 2024, at Wild Beast, CalArts.

The visual identity is anchored by a dramatic contrast between darkness and light to symbolize the transition from night to morning. This is further expressed through an inverted, mirrored layout where the typography is rotated.

To navigate this split environment, the design uses a rhythmic typographic system featuring Carta Nueva and Ogg Display from Sharp Type. Carta Nueva’s ball terminals serve as a poetic metaphor for musical notes, physically manifesting the rhythm of the soundscape. Across the transition of light and shadow, the typography maintains an organic flow that echoes the fluid qualities found in both water and ambient sound.

Original British theatrical posters for Nicolas Roeg’s 1976 film The Man Who Fell to Earth. The poster uses two fonts against a Vic Fair artwork: Busk for the title and David Bowie billing – before the font was further popularized by heavy metal band Iron Maiden – and Capone for the credits.

British Quad (30″×40″) poster

British Three Sheet (39.5″×79″) poster

KOLORIT is an open platform that realizes concerts in the fields of experimental sound, electronic music and audiovisual art. The campaign represent a new chapter of its concert series, turning Schleuse Zwei into a space where sound becomes reflection. This time, the question is no longer just what we remember – but how memory takes shape when we listen.

Inspired by ideas from philosophy and psychology, KOLORIT explores memory as something fluid and alive. A constant negotiation between what stays, what fades, and what transforms. Between echo and silence, recollection and invention, music becomes a way to sense what usually remains hidden.

The line-up for the show on November 29, 2025, included Kuoppamäki & Herbst, Multipolar, Phasenmensch & Antoine Saint-Martin, Eyal Talmor, and Laktose Intolerant (DJ).

(Text by KOLORIT, with slight edits. See also the press release by Hochschule Düsseldorf.)

The promotional materials were designed by Jan Schmidt Bist and present the first use of Memoir, a free all-caps typeface by Daniel Gremme. The KOLORIT logo (not part of this design) appears to use Futura Bold.

Isaac Julien: I Dream a World is the first US retrospective for the British artist known for his immersive, multichannel video installations.

Julien's films revisit the past to create spaces of cultural memory that invite us to reframe our priorities in the present. In response, we wanted to source typography that was historically-grounded. As a newly acquired FAMSF artwork and one of the centerpieces of the de Young presentation, Lessons of the Hour (2019) served as the catalyst for typographic research. “Lessons of the Hour” is a poetic meditation on the life and work of writer, orator, and abolitionist Frederick Douglass. We chose EK Roumald as a typeface that recalls the Scotch Roman typographic tradition of Douglass’s time. Roumald’s contemporary features – most notably its curvature and the softness added to the counterforms to create an almost blurry feel – also served as an appropriate nod to the dreamlike quality of the artist’s work. In constructing the title lockup, we explored treatments that were fragmented, generating a sense of movement or choreography across the page. This was intended to reference the kind of visual rhythm the artworks possess in the multichannel installation format.

The presence of mylar in Once Again... Statues Never Die (2022) led us to incorporate reflective materials into the title wall graphics using chrome vinyl. The gallery didactics were primarily housed in a central atrium, where individual films or pairs of videos branched off in a “choose your own adventure” style. The FAMSF design studio commissioned the fabrication of photographic facsimiles to accompany each didactic text and embedded these aluminum mounted prints into the surrounding text. The composition of text and image employ the same visual rhythm and movement that inspired the title lock-up.

A powerful message through design: the “Pagesia o Mort!” (“Peasantry or Death”) poster is a striking visual statement that draws attention to the peasant struggle and their fight for land. Designed by Gerard Joan under the concept of Elisenda Rosàs for Lo Fato, this iconic piece holds immense political significance.

The typeface chosen for the design – GS Triomf by GS-Type – amplifies the message with power, resilience, and authenticity. The font’s solid, grounded forms reflect the strength of the cause and the Catalan context from which it emerged.

Triomf was selected for this project because of its ability to convey serious, weighty messages. The typeface’s strong, elegant lines, combined with its sharp and clean structure, create a striking visual experience that enhances the urgency and clarity of the message.

Since its appearance, the poster has been featured in numerous demonstrations and has become a symbol of the peasant struggle against political decisions made far from the rural communities they affect.

The fall exhibition of the first-year MFA students of the Yale School of Art 2022 was held under the name Blanket Statement. The visual identity and the exhibition were designed by then-students Osvald Landmark in collaboration with M.C. Madrigal, using TWK Everett Regular by Nolan Paparelli throughout. From Osvald Landmark’s website:

The exhibition design uses typography and symmetric lines to populate and transform the transparent surfaces of the gallery and in turn the architecture itself. By masking and de-masking the surfaces, the design areas act not only as screens, but rather as matrices. A matrix is a concept and means of transmission very familiar in graphic design, namely in print processes: A physical surface that can be manipulated to hold ink, which is then transferred to paper through a reversal. Most, though not all, matrices are able to print the same image many times.

Creating matrices are laboursome work which in turn enables very efficient reproduction techniques used in mass communication to this day. Even our LED screens can be seen as matrices of light. They form an illusion of shared orientation; imagine instead if your received texts arrived in reverse. Our perception of the world is that things have an inside and an outside or a front and a back, but how about typography?

With the design we wanted to expand the moment of shared meaning using the contact between subject and matrix as a metaphor for pure and invisible transmission (no one can ever witness it actually take place). Locating moments of mutual non identification can be the first step leading towards communal understanding, as we need to accept that we do not see the same thing even though we are looking at the same thing.

“I have been passing through this building, looking at the shadows, mulling over the absurdness of the imaginary line that sits in-between architecture and graphic design.”

Match Point (full title: Match Point. Sfide, campioni e momenti che hanno cambiato lo sport, in English: “Match Point. Challenges, champions and moments that changed sports”) was published in Italy by Nomos Edizioni. Author Dario Ricci collected “thirty stories of competitive spirit in their epic dimension, thirty moments that have changed sports history thanks to the incredible performances of great champions and new talents.”

On 288 pages, 40 athletes are represented in 22 sports disciplines which are illustrated with artwork by Daniele Simonelli plus a set of tiny pictograms: basketball, fencing, football, rugby, tennis, volleyball, golf, equestrian, swimming, athletics, marathon, car racing, obstacle course, handbike, gymnastics, road cycling, chess, skiing, sailing, motorcycling, long jump, and boxing.

Words by the designers of Atipus:

Le Petit Ballon offers a way to discover and buy wine through monthly subscriptions and personalized recommendations according to subscribers' preferences.

When it comes to summer in France, Rosé reigns supreme, eagerly awaited by enthusiasts. That's why our aim for the 2024 edition of Batti Batti, as we have approached it in previous ones, was to craft the identity of a great wine, to impress and entice a new audience this season.

For this 4th edition, we kept the signature elements that make Batti Batti unmistakable: the bold circle, the playful name placement, and a clean secondary typography. These details tie the identity together, giving the label its fresh, modern feel.

What’s new this year is how the design interacts with light. The label reacts to sunlight, almost disappearing when hit by the brightest rays. This effect isn’t just about aesthetics; it’s a playful nod to summer moments where the focus shifts from what’s in your hand to what’s happening around you, and invites you to soak in the surroundings.

We paired this concept with a typeface, Bourrasque by Bureau Brut, that adds an easy-going touch, giving the whole design an energy that feels perfectly in tune with the Mediterranean spirit.

The secondary fonts are Founders Grotesk and an unidentified serif.

See also the 2022 edition.

TOT Studio has redesigned the website for Madrid-based video production company Vietnam Estudio. The typeface used is the bold cut of Store Norske Skandia from Skriftkompani.

The advertising for Berl-Berl – A Live-Simulation was designed by Skala using the Bold weight of Melange Grotesk. From the Museum für Gestaltung Zürich:

Jakob Kudsk Steensen’s Berl-Berl transforms the Ausstellungsstrasse auditorium into an immersive installation. A large screen wall and precisely synchronized sound system create a virtual swamp in the museum. The wetlands surrounding Berlin, including the local flora and fauna, as well as old swamp mythologies are interwoven into a digital landscape. Visitors are invited on a journey into a world that is constantly oscillating between hyperrealism and fantasy. Berl-Berl reveals the hidden beauty and complexity of wetlands as well as their ecological and historical significance.

See the animated poster on Instagram.

The exhibition 다시 쓰는 떡전골 Rewriting Tteokjeongol by 송지형 Jihyung Song took place from October 5th to 31st, 2024, in Hwaseong, Gyeonggi, South Korea. A series of posters as well as a booklet were designed on this occasion by 박채희 Chaehee Park, typeset in HAL Timezone Mono, published by HAL Typefaces, and 지백 Ji-Baek by 박진현 Jin-hyun Park.

A brief description of the exhibition, provided by the designer:

As the name suggests, Byeongjeom in Hwaseong City is a braille letter for rice cake shops. Since there were many rice cake shops where scholars coming from the provinces to take the civil service exam would fill their hungry stomachs, it was called Tteokjeongol. Tteokjeongol was a midpoint where people from outside and inside the country could come together and benefit each other.

The exhibition will be held in four non-exhibition spaces in the Tteokjeongol area near Byeongjeom Station. The exhibition consists of three general commercial facilities and one private space, and new videos, flat works, installations, audience-participatory installations, and audience-participatory performances will be presented.

This exhibition experiments with the practice of art as an “Exchange of inheritance,” a theme the artist has dealt with for a long time, at Tteokjeongol in Byeongjeom.

Graphic design studio Self-titled held a one-night exhibition to celebrate ten years of Self-titled, titled Self—reflection. The typeface used is Store Norske Ja from Skriftkompani.

Showcased across large digital screens, the exhibition included a project from each of the last ten years that featured a learning, milestone or reference point that has helped shape the way Self-titled thinks about design.

The project features custom beers by Bad Shepherd Brewing Co., signage by Outcry Media, space by Hawker Spaces, and photography by Brent Lukey.

In April 2023, poet Michael Waters read from his book Sinnerman, published that year with Etruscan Press. The poster for the reading event pairs two all-caps typefaces, Marvin Visions by Mathieu Triay and a condensed style of Sequoia by Rachel Kick. The design takes advantage of the fact that in Marvin Visions, the author’s initials form a near-perfect mirror image when stacked on top of each other.

The cover features Fabio XM, Margo+Beuys and RYM.

Same Bold Stories? Type Design by Women and Queers in the 20th and 21st Centuries is a bilingual publication accompanying the exhibition of the same title (see the dedicated post).

From an article written by turbo type for Fontstand (with added links):

A book accompanying the exhibition was released on August 23rd, offering an informative theoretical extension to the exhibited works. Essays and interviews by and with contemporary acteurs of the international type scene, such as ALT.tf, Nadine Chahine, Katharina Koch, Laura Meseguer and Teal Triggs, reveal that historiography is rarely “complete” and that gaps can only be filled, if at all, by consciously engaging with them.ly engaging with them.

Edited by Klingspor Museum and Naomi Rado, the publication includes contributions by Petra Eisele & Isabel Naegele (UN/SEEN – SEEN), Teal Triggs, Giulia Boggio, Amber Weaver, Nadine Chahine, Laura Meseguer, Katharina Koch, Dorothee Ader, Tatjana Prenzel, Valerij Ledenev, and Naomi Rado. The book design was provided by Leonie Martin of turbo type together with Masha Egorova, using a range of typefaces designed by women and queers. One typeface that’s featured in the book but not shown in the included images is CoFo Sans Mono.

Contents spread ft. Fabio XM, Margo+Beuys, Sisters, Kéroïne, Unfamiliar, Bastardo Grotesk, Gupper Display, and V1olet.

Preface with Milkman, Domino Mono, and Bastardo Grotesk

Questions over questions in Fabio XM

Mini glossary ft. Kéroïne in roman and italic

“ABCDEFLINTA*” in Galgo Condensed

Text about Anna Simons set in Kéroïne

Kafa by Nadine Chahine and Sisters by Laura Meseguer, plus ALT Rigatoni for the byline

Interview ft. Fabio XM

Margo+Beuys and Fabio XM

The interview with Teal Triggs is introduced with V1olet.

Interview with Giulia Boggio and Amber Weaver in Margo+Beuys and Bastardo Grotesk

The headlines in Katharina Koch’s contribution are set in her Unfamiliar.

Spread ft. .notdef glyphs and Oakland a.k.a. Lo-Res 9 Wide Bold Alt

Bibliography ft. Women’s Car Repair Collective and Kéroïne

Exhibition flyer

The Reflected Self: Portrait Miniatures, 1540–1850 examines the functions of portrait miniatures through the centuries, from those held in the hand of Queen Elizabeth I to their eclipse by the invention of photography.

Curated by Compton Verney and The Limner Company. The 3D exhibition design is by Ali Brown. Photography by Simon Bevan. Badrock Design is responsible for the identity, typography and 2D design.

The motif used throughout the show, based on the letter S from Didot Modern

Entrance wall of the exhibition

Directional sign

Designer Maria Kosheleva studied various forms of resistance in the social life, culture and lifestyle of the Soviet people in the 1950 to 1980s and brought her research together in a book. Культура сопротивления / Сопротивление культуры. История инакомыслия в СССР Москва, 1950–1980 (“Culture of resistance / Resistance culture. History of dissent in the USSR Moscow, 1950–1980”) became her graduation project at HSE Art and Design School.

Proto Grotesk by Production Type is applied to the book’s headlines, ITC New Baskerville is in charge of its body text, while CSTM Xprmntl 01 by CSTM Fonts was utilised to set the quotes.

Métissage culturel, appropriation et stéréotypes (“Cultural mixing, appropriation and stereotypes”) is my master thesis for Art Direction at LISAA Rennes, centered around the notions of cultural mixing, appropriation and stereotypes in graphic creation. Basic graphic principle: distortions of geographical maps that reflect notions of territories, cultures, borders, colonialism, globalization, stereotypes, etc.