¡Que viva el pulque! / Long Live Pulque! is a bilingual book written by Juan Escalona, published by NOVO Editorial and designed by e+e (Emilio Ferrer & Erandi Vera). It emerges from a collective effort aimed at exploring the identity and nature of pulque as a living beverage. The project seeks to document and reinterpret pulque from a contemporary perspective, addressing its history, biological processes, and cultural relevance within Mexican gastronomy.

The book features texts by Juan Escalona Meléndez, César Iván Ojeda Linares and Michael Snyder; illustrations by Aldo Domínguez and Lucía Sarabia; and photography by Ana Lorenzana. It’s typeset in HAL Timezone and Timezone Mono, published by HAL Typefaces.

Koridor Yayınları published Turkish editions of books by Thích Nhất Hạnh (1926–2022). Known as the “father of mindfulness”, the Vietnamese Thiền Buddhist monk and peace activist was a major influence on Western practices of Buddhism. The book series includes Zen ve Gezegeni Kurtarma Sanatı (Zen and the Art of Saving the Planet, translated by Sıla Tanilli), İletişim Sanatı (The Art of Communicating, by Eda Çaça), and Yaşama Sanatı (The Art of Living, by Sona Ertekin).

The typographic cover designs by Feyza Filiz use FH Enso alongside Proxima Nova.

Written by Josephine Berry, Art and (Bare) Life: A Biopolitical Inquiry explores the intersection of political philosophy with contemporary art theory, analysing the connections between current biopolitics and art’s drive to blur with life. The design of the publication makes subtle and oblique references to the contrasts and conflicts Berry explores within the text. Lining by A Practice for Everyday Life is used for titling on the cover and throughout.

Body text within the book is set in Spectral, which was designed as a screen-first font but is equally well suited to long-form reading.

Art and (Bare) Life: A Biopolitical Inquiry was first published in 2018 by Sternberg Press.

Collapse is a book designed by Sören Sandbothe for artist Mara Olschowka. The publication brings together 31 contributions from artists, designers, and cultural practitioners addressing the motifs of falling, stumbling, colliding, failing, and collapsing. Conceived as a collection of independent perspectives, the book explores states of disruption, transition, and their aftermath.

with contributions by: Fred Agyiri, Sarah Albrecht, Benjamin Djamel Belhocine, Julius Bläser, Oliver-Selim Boualam, Fabian Goppelsröder, Matthias Gmeiner, Matthias Holznagel, Nadège Jankowicz, Sarah Jeong, Anastasia Kalensky, Nils Kläser, Lukas Klein, Yongkuk Ko, Gesa Kolb, Vincent Krüger, Donghyuk Lee, Dietmar Lutz, Mona Mayer, Paul F. Millet, Ama Adoley Newman, Lea Nohr, Lin Olschowka, Mara Olschowka, Corinne Riepert, Sören Sandbothe, Sophia Seidler, Emma Tietze, Edgar Unger, Julie Warwel, Jan Zöller

The book was edited by Mara Olschowka, set in OO Lyga by Samira Schneuwly (released on Outline Online), printed at Druckerei Grammlich and published by Tausend Editionen, Leipzig.

Description of the book by its author Kevin Roose:

The AGI Chronicles delivers deep, fly on the wall reporting offering a real perspective on the tech titans behind the wildly conflicted race to reach tech’s next frontier. AGI, a system that can outdo humans at almost any task, a world-changing technology that could either save humanity or destroy it.

The fonts used on the cover are Terrain Condensed Bold and Condensed Light.

In Royal Chambers, Wang & Söderström present a collection of five works exploring the evolving notion of home amid today’s digital and environmental transformations. Together, these pieces trace the interplay of shifting power structures and perspectives in an increasingly ‘phygital’ world—where the physical and digital realms intertwine. Beyond showcasing the artworks, the book delves into their creative processes and features essays by five contributors, each unpacking home as a dynamic, multifaceted ecosystem. A meditation on belonging, space, and identity, Royal Chambers invites us to reconsider what it means to inhabit a world in flux.

Die Filiale der Hölle auf Erden: UKRAINOMANIA – Revue eines Lebens nach Texten und Motiven von Joseph Roth (in English: “A Branch of Hell on Earth: UKRAINOMANIA – A Retrospective of a Life Based on the Writings and Themes of Joseph Roth”) was published by Spector Books as a companion volume to an international theatre production by Volkstheater Wien. Inspired by the writings of Joseph Roth, the publication retraces the author's journey through Lviv and the Galician countryside and documents the development of a contemporary stage production presented in Lviv and Vienna. Through literary texts, essays, photography, and illustration, the book reflects on memory, displacement, cultural identity, and the continuing relevance of Roth’s observations on Ukraine and Eastern Europe.

The publication was edited by Claus Philipp and Tobias Schuster. It includes texts by Jan-Christoph Gockel, Oksana Lemishka, Oleksandra Matwijtschuk, Jurko Prochasko, Joseph Roth, and Karl Schlögel, alongside illustrations by Sofia Melnyk and photography by Jacob Suske and Marcella Ruiz.

It was designed by Lyosha Kritsouk with the typefaces KTF Cirk (Kyiv Type Foundry), William Text (Typotheque) and Suisse Int’l (Swiss Typefaces).

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.

This leporello was designed for the presentation of the documentary Casina·Pio·IV, L’Architettura del pensiero (“The Architecture of Thought”), produced by Morgana Studio (Eleonora Faccio, Flippo Genovese). The film was directed by Dario Edoardo Viganò and distributed by Rai Cultura, with Fujifilm Italia as its technical partner.

The leporello was printed on Fedrigoni Arena Natural Smooth paper. On the first page, the project is introduced as follows:

In the tumultuous 16th century, architect Pirro Ligorio, drawing on his extraordinary encyclopedic knowledge, created the architecture of the Casina Pio IV, a treasure trove of beauty in the heart of the Vatican that became a mirror of the radical socio-religious changes of the era, from the violent Sack of Rome to the momentous Tridentine Reform.

Written by art historian Jan Ivanega, Život Na Sídlišti (“Life in the Housing Project”) traces the origins and history of housing estates in Pardubice, from the postwar enthusiasm for construction and the challenges of building a “better world” to the transformation of older neighborhoods. The book explores both realized and unrealized urban plans, the development of infrastructure and schools, and, above all, the everyday lives of residents. Drawing on eyewitness accounts and historical photographs, many of them published for the first time, it offers a detailed portrait of life in Pardubice’s housing estates across decades.

The book was published by Východočeské muzeum v Pardubicích in a design by Milan Nedvěd Studio using KTF Compact from Kyiv Type Foundry, Grilli Type’s GT America and ABC ROM Mono from Dinamo.

About the book, by Pereine Press:

The country is flooding. Every day the sea claims another kilometre of land. The prime minister holds a daily press conference. Scientists try to find an explanation, without success. The museums are emptied of their valuable works. Some people stay. Most leave. Once the evacuation is complete, and the rest of the world is already moving on, a climate activist, a young poet and an oceanographer voyage across the new sea. They are drawn back into the heart of a changed nation, seeking what they have lost in the deluge.

About the author, via Penguin Random House:

Eva Meijer is a Dutch author, artist, singer, songwriter and philosopher. Bird Cottage is her first novel to be translated into English, has been nominated for the BNG and Libris prizes in the Netherlands and is being translated into several languages. Eva Meijer was awarded the Halewijn Prize in 2017 for all of the books she has written so far.

This Hungarian edition of Zee Nu (English: Sea Now) was translated from the Dutch by Orsolya Réthelyi and published in 2025 by Magvető Kiadó as Tenger Most. The montage, which brings Haeckel’s iconic illustrations to life, symbolizes the sea, featuring a yellow ring in the middle that suggests a lifebuoy.

When Bob Silverman designed the jacket for Maurice Yacowar’s book on the comic art of Mel Brooks, he chose Ruby Shadow for the title. He apparently deemed its M to be too tame for the topic. In any case, it got replaced by the sweeping glyph found in another bold 1970s script: the initials are taken from Charade.

Al Elliott’s Charade – a Canadian creation just like the book – did come with a Shadow style. The shadow was customized to match the one in Ruby Shadow, though. Printed in two colors, the alliterating title is combined with what looks like skewed caps from Venus. The all-caps roman at the top is Hess Old Style.

About the book, from the inner flaps:

The critics hate Mel Brooks. But does that stop him? When a Playboy interviewer once remarked, “You've been accused of vulgarity,” Brooks replied, “Bullshit!” No critic could ever stop Mel Brooks from being one of the best-loved comedians in film history—in fact, his movies consistently out-gross (in every sense of the word) those of much-praised Woody Allen. Mel Brooks is funny, and the people love him.

How does he do it? Is he really as crazy as he seems? Maurice Yacowar, whose previous book (on Woody Allen) received unanimous critical acclaim, takes us on a Brooks-lover’s tour through his work on television with Sid Caesar’s Your Show of Shows, his records as the “Two-Thousand-Year-Old Man,” and all of the films from The Producers to Blazing Saddles, from Young Frankenstein to High Anxiety. The resulting tribute will have film buffs nodding their heads nostalgically, and fans laughing out loud on every page.

Mel Brooks turned 100 years old today. Happy birthday!

Device from the front flap. Note the two forms for s in “Madness”.

Tite page. The book’s interior was designed by Dennis J. Grastorf using Caledonia.

Culottes (“Panties”) is a self-initiated publication by Anouk Bornand. It traces the history of this type of underwear through different textual and visual materials and questions its symbolism in an artistic context and explores women’s relationship to this everyday item. Culottes comes with iconic images from advertisements and goodies. This edition was created for ABRACADABRABOOKS, an independent book fair organized by ENSBA Lyon students.

Anouk created her own script typeface for this project. It’s called Subliga and is not released yet. She also used Sagace by Alexandre Créquer. The book was offset printed at ENSBA Lyon.

Published by ArtAsiaPacific and Korea Arts Management Service (KAMS), Extreme Beauty: 12 Korean Artists Today features the work of twelve contemporary Korean artists and their unique styles and approaches to making art. This volume is the first of a yearly series by the same publishers and to-date always designed by the creative studio Barnbrook: Accelerating Realities (2023), Contingent Worlds (2024), Hidden Realms (2025).

From Barnbrook studio's Instagram post:

Our design approach experiments with an extremist typography style that aims to synthesize the new by crossbreeding legible and experimental fonts. This approach brings intensity to the design, particularly in the repeated words on the names of the featured artists, which benefits from the dynamism of brush stroke gestures. We balance this experimental typography with a clean and legible style for the body text, which includes generous space for featuring the work. We also highlight the work titles in the text using an inbuilt underline function of the font, which merges all descending characters to create unconventional letter shapes. Finally, we use red as a representative color for Korea, but also to evoke danger, courage, and passion in the design context.

The book title is prominently featured at the center of the cover and set in Swiss Typefaces’ Black Mamba. The title showcases all the peculiar features of the typeface, from the arabesques, to the bold uppercase and light caps alternates in the lowercase slots. Black Mamba also appears throughout the interior, notably in the index and for the artists’ names, where it is applied with horizontal repetition to create a brushstroke-like effect. Accompanying Black Mamba in the titles is NaumType’s Base&Bloom, while Dinamo’s ABC Favorit is used for the body text. A special detail is the use of Swiss Typefaces’ Vogy Smog for the X on the page after the flyleaf, before the colophon and title page. The same glyph reappears in the index to vertically spell out the book title.

Other typefaces used in this volume for the multilingual parts are Source Han Sans and Cairo. The latter is not shown in the included images.

The ArtAsiaPacific logotype (not part of the book design) is set in Tiempos.

春莺舞 is set in Source Han Sans.

The title translates to something like Vitamine V – A reference book on vegetarian and vegan cuisine. It’s a comprehensive text book on vegetarian and vegan cooking that is used as course material in culinary schools. The first edition was self-published in 2019 by the author, Matthias Biehler. The book, set entirely in Profile, counts just under 800 pages and has a format of roughly 21.5×28.5 cm.

In an email exchange, the author said this about the design by Buch&Media GmbH: “[…] the typeface is brilliant; the V in particular is so lovely! I think the book is beautifully designed, and the typeface plays a big part in that.”

Cover, spine, and back cover of the publication

Seriously, Not So Serious is a bi-scriptual publication with Simplified Chinese and English taking equal presence. As a graphic design thesis compendium produced in Rhode Island School of Design (RISD), it includes original essays regarding the designer’s research questions, key terms, and critical positions.

Contents page

Chapter 1, page 11

Illustration spread, chapter 1, page 16–17

Chapter 4, Page 24–25

Chapter 5, Page 82–83

Chapter 5, Page 84–85

Chapter 5, Page 86–87

Chapter 5, Page 88–89

Chapter 6, Page 92–93

Artists Who Make Books was co-published by Phaidon and PPP Editions:

Edited by Andrew Roth, Philip E Aarons and Claire Lehman, with contributions from Benjamin HD Buchloh and Tauba Auerbach, the book explores the various ways in which 32 artists – including Sophie Calle, Hans-Peter Feldman and Richard Prince – have made their own books.

This survey of artists who have integrated book production into their larger practice is strikingly complemented by the contemporary typeface GT Haptik by Grilli Type. The two supporting typefaces Gothic 720 from Bitstream and Concorde from Berthold additionally distinguish the descriptive texts from contributor essays and interviews, which are further differentiated by pages flood printed in colors matching the cover material. The cover features a custom illustration by the designer which was silk-screened in fluorescent inks.

Change Maker: Turn Your Passion for Health and Fitness into a Powerful Purpose and a Wildly Successful Career by John Berardi was designed by Rodrigo Corral using Garage Gothic from Frere-Jones Type.

From publisher BenBella Books:

In this definitive career guide, John Berardi—co-founder of Precision Nutrition, founder of Change Maker Academy, and one of the most successful people in the history of the health and fitness industry—shares his blueprint for becoming the ultimate change maker, one with a powerful purpose, an enthusiastic client base, and the ability to fund your own ideal lifestyle.

This chapter opening spread pairs Garage Gothic with Dom Diagonal and what appears to be handwriting / lettering.

Between entries in her Ralph S. Mouse and Ramona Quimby series, Beverly Cleary published this standalone children's novel. Its plot details the trials the title character, a cat, must withstand when its owners, a young couple, introduce a baby into the household. The book is notable for being the namesake of the cat owned by Chelsea Clinton during her father’s presidency.

For titles and chapter numbering, earlier editions of Socks use Fuchs Erwin, the font that is the basis for Daisyland and its numerous decorated variations. Besides that, Goudy Oldstyle is used for other key text, while Caledonia is used for the body text.

Source: pictures.abebooks.com License: All Rights Reserved.

This copy of the first book in the series – first edition, first printing, signed by both the author and the illustrator – is currently offered for no less than $1,250,000 (shipping not included).

Cochin is the typeface used for the Harry Potter series of children’s fantasy novels as published by Bloomsbury in the United Kingdom.

The covers of the seven books were illustrated by Thomas Taylor (vol. 1), Cliff Wright (vols. 2 and 3), Giles Greenfield (vol. 4), and Jason Cockcroft (vols. 5–7). The cover design at least for some books is credited to Michelle Radford.

Source: www.abebooks.com John Atkinson Book. License: All Rights Reserved.

Spines of a full set of first printings of the paperbacks

Source: www.abebooks.com Michal Sawka Rare Books. License: All Rights Reserved.

Harry Potter and the Philosopher’s Stone, Bloomsbury, 2000 printing

Source: www.abebooks.com Michal Sawka Rare Books. License: All Rights Reserved.

Harry Potter and the Chamber of Secrets, Bloomsbury, 2000 printing

Source: www.abebooks.com Michal Sawka Rare Books. License: All Rights Reserved.

Harry Potter and the Prisoner of Azkaban, Bloomsbury, 2000 printing

Source: www.abebooks.com Michal Sawka Rare Books. License: All Rights Reserved.

Harry Potter and the Goblet of Fire, Bloomsbury, 2000 printing

License: All Rights Reserved.

Harry Potter and the Order of the Phoenix, Bloomsbury, 2003

Source: en.wikipedia.org License: All Rights Reserved.

Harry Potter and the Half-Blood Prince, Bloomsbury, 2005

Source: www.amazon.de License: All Rights Reserved.

Harry Potter and the Deathly Hallows, Bloomsbury, 2007