Archiv Produktion is “dedicated to research on and preservation of historical scores and performances on authentic period instruments or exact copies thereof.” [Discogs] Founded in 1949, the label still exists as part of the Deutsche Grammophon Gesellschaft (DGG).

This album with compositions by Franz Schubert including his Arpeggione Sonata – performed by Klaus Storck (arpeggione), Hans-Martin Linde (transverse flute) and Alfons Kontarsky (fortepiano) – was first published in 1974.

[More info on Discogs]

Source: jellobiafrasays.tumblr.com License: All Rights Reserved.

Barcelona Step By Step by Bert and Frances Strauss

Barcelona pam a pam is a city guide written by Alexandre Cirici Pellicer (1914–1983) and first published in 1971 by Editorial Teide, with photographs by Oriol Maspons (1928–2013) and drawings by the author. Bert and Frances Strauss translated the book to the English, as Barcelona Step By Step (1974). A version in Castilian Spanish, Barcelona paso a paso, followed by 1975.

Source: en.todocoleccion.net Maria28MM (edited). License: All Rights Reserved.

Barcelona pam a pam (original Catalan version), with Cirici’s name in Akzidenz-Grotesk

Source: srabsenta.blogspot.com Cosas de Absenta (edited). License: All Rights Reserved.

Barcelona paso a paso (Castilian version), with Cirici’s name in Helvetica

All three editions feature the same cover design by Victor Rahola – with the title set on a curve, in A.M. Cassandre’s Bifur – albeit it with different colors for the hat of the man peering in from above. The interior pages are set in Folio and two typefaces by Simoncini: Karlgeorg Hoefer’s Permanent and Francesco Simoncini’s Aster.

Source: archive.org License: All Rights Reserved.

Title page with Folio halbfett and Permanent

Source: archive.org License: All Rights Reserved.

Table of contents in Permanent. The colophon on the left is set in Monotype Grotesque.

Source: archive.org License: All Rights Reserved.

Folio mager for the chapter title “How To Use This Book”, Aster for the text

Source: archive.org License: All Rights Reserved.

Detail with text set in two weights of Aster

Source: archive.org License: All Rights Reserved.

Chapter opening with the number from Folio’s extrafett and the title in the mager.

Source: archive.org License: All Rights Reserved.

Text is interspersed with bits of history that are presented in a smaller size, also from Permanent.

Source: archive.org License: All Rights Reserved.

Spread from chapter 11 on Antoni Gaudí, with one of the photographs by Maspons. The caption is in Aster Italic.

Source: archive.org License: All Rights Reserved.

Detail with text set in two weights of Permanent

Source: archive.org License: All Rights Reserved.

Glossary of special terms

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”

The design of this book pays tribute to the unique world of Pierre Sala (1948–1989). The layout, inspired by his theatrical background, plays with words and spaces to evoke stage and movement. Two distinct typefaces, Janson Text and Hauser – one literary, the other more graphic – reflect the duality of his work between narrative and visual expressiveness. The color palette, inspired by the 1980s, with vivid and contrasting hues, captures the energy and originality of his creations, such as the Piranha chair and the Clairefontaine notebook desk.

The monograph was published by Éditions Hors Champ. See more images on the website of Mathilde Lambert who worked on the book’s design with and for Undo-Redo.

Verzauberte Vorbestimmung by Jonas Lüscher is a German novel published by Carl Hanser Verlag in Munich. The cover design has been created by Barbara Thoben of the Cologne-based studio Lübbeke Naumann Thoben. The novel was nominated for the German Book Prize 2025, and won the 2025 Wilhelm Raabe Literature Prize.

Translated from the book summary on the publisher’s website:

An Algerian soldier is caught in the first German poison gas attack, decides that someone has to stop it, gets up and leaves. In the Cairo of the future, a stand-up comedian observes an android laughing at her jokes. A Bohemian weaver is replaced by an automated loom, steals a hammer and attacks the machine. What do we, the people of capitalism, dream of, and what do our machines, which are increasingly rising up against us, dream of? In the unique mirror space of this novel, no conflict is over and every story is still possible. Clever and mad, funny and sharp, Jonas Lüscher's story is at the height of his art.

The hardcover book comes with a jacket that pairs Swiss Typefaces’ TheW Clan GZA on the front with Adobe’s Arno for the back cover blurb and testimonials. The pairing reflects the book’s thematic tension between history and dystopian future. TheW Clan GZA, an anti-dogmatic serif hybrid, frames the front illustration: the protagonist of the historical engraving The Leader of the Luddites (1812). The typeface’s unconventional forms introduce a futuristic, slightly destabilizing note, contrasting with the engraving and Arno’s classical serif grounding on the back.

With the jacket removed, the hardcover uses TheW Clan GZA on the spine for the author, title, and publisher name, while the front cover takes a minimalist approach: the jacket illustration disappeared leaving behind only its shadow, extended to cover the page.

The exhibition Have You Checked the Children by Diego Marcon was presented at the Kunsthalle Basel from the 27th of October 2023 to the 21st of January, 2024.

The Kunsthalle Basel was founded in 1872 and is Switzerland’s oldest art museum. It is one of Europe’s leading institutions for contemporary art and is committed to bringing emerging artists to the attention of the public.

The exhibition text presented here is based on the exhibition poster by Sina Gerschwiler, a graphic designer based in Basel. While the exhibition texts were put together by the museum’s own communications team, they were designed using the same fonts as the exhibition poster. The fonts used for both the poster and the exhibition text are AC Modern Gothic and Big Caslon Italic. However, it is important to note that significant modifications were made to the title lettering, altering the typeface’s overall appearance. The text typeface is Practice.

Designed by Matthew Carter, Big Caslon is a high-contrast serif typeface for display applications, published by Carter & Cone. It is a digital reinterpretation of the “eccentric” display typefaces made by the original 18th-century Caslon foundry for large-scale applications, offering new uses for the typeface. These display typefaces have a distinctive design with striking stroke contrast, complementing but contrasting with the original Caslon text typefaces.

AC Modern Gothic is a sans serif belonging to the American Gothic style. It is considered a digital revival of the historical typeface Modern Gothic, a design made by the Chicago foundry Barnhart Brothers & Spindler around 1895. The digital version was created by the foundry AllCaps. The design was modernised, with optical corrections to avoid the classically heavy caps look, while maintaining the wide-set frame inherited from the Gothic style to preserve its character.

Practice is a serif typeface “anchored in the research of typographic paradigms” and “introduces a new perspective with an unprecedented sharpness”. It was designed by François Rappo and released with Optimo in 2016.

Pomme d’Api is a French monthly children’s magazine edited by Bayard Éditions, known for its illustrated stories, games, and iconic characters like Petit Ours Brun.

The typeface Borel Display was used throughout the main story “Agata détective : enquête au manoir” to give the narrative lettering a lively, handwritten feel suited to the magazine’s target age range of 3–7 years old.

Additional typefaces used by the magazine and shown in the images include Uniform Rounded, Futura, and Mr Dodo.

Витоки (Vytoky; Ukrainian for “Origins”) is a guide to key Ukrainian traditions from the Zagoriy Foundation about auditing the traditions of the past in order to return them to modern practices and choose what we take into the future. The guide is developed for all Ukrainians who care about their own roots.

In 2024, Vytoky were rebranded by designers Yana Piiavska and Anastasia Reshetylo, with the Quietism Variable font used in guide books, website, social posters, etc. The guide books (both printed and online) are published in seasonal cycles like Winter, Spring-Summer, or Easter.

Website

This poster is part of the ongoing poster series about the NBA. It is a personal visual investigation about the slang and expressions by the NBA commentators.

“Click-click, welcome to your Kodak-Moment my friend” is the expression used by the former Indiana Pacer NBA player (and now NBA commentator) Reggie Miller. And it is what Reggie said during the incredible performance and iconic dunk of the Miami Heat player Dwyane Wade in 2009.

I like the SoLow typeface because it can show both expressivity and technicality. Its aesthetic resumes a time of the past that we remember as nostalgic and far away. A time of transition between analogic and digital, films and sensors, prints and screens. To give a swing of modern taste, I used Right Grotesk in its Narrow Dark style for the smaller text.

Kodak moment, D-Wade,

NBA Series, 2021

Blason is a small yet extensive publication gathering more than 100 photographs of coats of arms collected in France, as well as elsewhere in Europe, during the summer of 2025. This curatorial work marks the beginning of my DSAA diploma project and my dissertation at ENSAAMA, both dedicated to this same theme. The investigation explores how these symbols appear across different media, using a range of techniques: embroidery, stained glass, engraving, stone, wood… Each spread thus connects a context, a technique, a material, and a coat of arms.

This project was conceived as part of the temporary exhibition Grandeur Nature 2025, led by the Atelier de Didactique Visuelle at HEAR in Strasbourg. The in-situ installation measures 200cm × 100cm and is made of wood and Plexiglas.

I highlighted the former Geistel printing house through four archive photos redrawn in dotted lines. The installation, intended for local residents, combines testimonials and images to revive memories of the place. The drawings on Plexiglas are superimposed on the printing house, inviting a sensitive and participatory reinterpretation of history. Each panel explores a theme (family, lithography, workers), supported by typography that evokes a memory in motion.

“Cuisines Cultes”, or “Cult Cuisine“ in English, is the fifth issue of the book-like magazine by French publisher Les Belles Lettres. It is dedicated to the rituals associated with food, from the prehistoric age to the future. It is filled with articles, recipes, photographies, short stories, and so on.

The offset printed and gold stamped publication features Self Modern in Regular, Book and Italic for the titles and texts, along with Almanach for the captions, and Karrik on the backcover.

The Chinese text “民以食為天” appears to be set in Hiragino Kaku Gothic.

The typeface used for Greek text is yet unidentified.

The exhibition catalog for Letizia Battaglia, created for her retrospective at Jeu de Paume, was designed by Line Celo. The layout reflects Battaglia’s direct and uncompromising documentary style, known for its powerful images of Sicilian life and the Mafia.

The design uses both the proportional and monospaced versions of 00 Wagram, a serif typeface by D0UBLE ZER0. The proportional version ensures clarity and legibility for body text, while the monospace version introduces a typewriter-like feel, adding a tactile, journalistic quality that aligns with the raw, reportage nature of Battaglia’s work.

More info from Jeu de Paume’s website (translated from the French):

As part of its season of historical and heritage exhibitions, the Château de Tours presents a major new exhibition dedicated to Letizia Battaglia, the great Italian photographer and photojournalist (1935–2022), famous for her work on the mafia in Italy in the 1970s and 1980s.

Comprising four essays – by Walter Guadagnini (Camera), Monica Poggi (Camera), Melissa Harris (Aperture), and Marta Sollima (Letizia Battaglia’s granddaughter) – the four sections illustrate her fight against the Mafia as much as her work on the female body (which, incidentally, dovetails with her fight against the Mafia, as women represented for her the hope of a better society).

An exhibition co-organized with CAMERA – Centro Italiano per la Fotografia, Turin

The book is available from Dario Cimorelli Editore in two bilingual editions, French/English (shown) and Italian/English.

Holise, Migra, Baker Signet, Nimbus Sans and an unidentified serif with swash caps in use for mini Gaze, a small-format collector’s edition by Gaze magazine.

To mark the release of its 10th issue, Gaze is publishing a special mini edition (and when we say “mini,” we really mean mini: 6cm by 8cm), bringing together 10 portraits of 10 women we’re proud to have celebrated across our 10 issues. Feminist icon Gloria Steinem, researcher Shere Hite, journalist Rokhaya Diallo, athlete Marie Patouillet, queer icon Bambi… all appear as role models to keep close at hand — to inspire us and to draw strength from their words.

This 200-page collector’s mini edition is printed in a limited run.

Історії українських митців. Ніл Хасевич (“Stories of Ukrainian Artists. Nil Khasevych”) is a book about Nil Khasevych (1905–1952) artist, graphic designer, and chief visual creator of the Ukrainian Insurgent Army (UPA).

This publication is the second volume in the series “Stories of Ukrainian Artists” series, which Projector Publishing is creating together with the Projector Foundation and the ZMIN Foundation. It tells the story of a national hero through his artwork, social ties, creative circles, and the historical context of Ukraine and the world in the mid-20th century.

Structured as an adventurous cinematic narrative, the book by Marchela Mozhyna recreates the artist’s life episode by episode. Though still little-known to the broader public, Nil Khasevych’s story deserves global attention.

He lived through times that closely resemble our own, creating graphics in the underground – both metaphorically (under aliases like Bay-Zot, Levko, Rybalka) and literally (in concealed hideouts known as kryivkas).

The book features previously unpublished works and photographs, alongside essays that dive into the political, artistic, and diasporic currents of the era.

The visual identity of the book combines historical resonance and modern clarity. The typefaces used throughout include Cy Grotesk, Zerno, ITC Edwardian Script and Volja. The latter was created by Mozhyna herself, based on Khasevych’s lettering. It’s now part of the new identity of the Armed Forces of Ukraine.

A copy of the Nil Khasevych book, damaged in the recent shelling of Kharkiv.

Charlotte mensuel is a French-language comics magazine that brings together contemporary and classic works from a wide range of artists, including Chris Ware, Pierre Van Hove, Seth, Seo Kim, Bastien Vivès, and Morgan Navarro.

The design was handled by Atelier Marge, with art direction by Laurianne Mariette, who selected two typefaces from French foundry D0UBLE ZER0: 00 Hypertext and 00 Wagram.

Designed in parallel, these two typefaces share a common DNA. In this design, they are brought together for the first time!

Together with scenographer Patrick Keller, Atelier bora-bord conceived the design of 1939–1945. Paroles de Sélestadiens, an exhibition commissioned by the French city of Sélestat and shown in February 2025 at Arsenal Sainte-Barbe. From the studio’s website (translated):

An exhibition based on the rich and dense archives preserved in the collection of the Humanist Library of Sélestat. The graphic supports use metal file fasteners and binder clips to hang directly onto the grids, without masking artifices, highlighting the world of archivists. A colored background unifies each of the five different sections of the exhibition. The Trabis typeface is used to compose all the texts in a single weight, giving a consistent tone to this extensive body of work. Large hanging banners – kakemonos – share testimonials from elders, rekindling the emotional memories of events that happened 80 years ago.

Pastels, du pigment à l’œuvre (“Pastels, from pigment to artwork”) is an exhibition highlighting a selection of the hundred or so pastels held at Brest’s Musée des Beaux-Arts. Through major themes such as landscape, symbolism and portraiture, this selection highlights artists' renewed interest in this technique from 1830 onwards.

Atelier Bartleby uses Anto Rounded as the titling font for this exhibition. Texts appear to be set in Moderat, featuring its alternate glyphs for a g y.

Lisa Krusche’s essay explores the experience of womanhood in our society, searching for a space freed from inherent doubts and supposed inadequacies. Interwoven throughout the text is Jenny Schäfer’s photographic collection of (rock) surfaces, textures, colors, and landscapes—spanning the spectrum from colossal hardness to absolute tenderness. Designed by Karin Kolb at StudioNearMe and published by Institut für moderne Kunst via starfruit publications.

The book is set in Kalice (designed by Margot Lévêque) alongside the sans serif Elza (designed by Blackletra).

Riso-printed A3 poster, fluorescent orange + cornflower ink on Munken Print Cream

A3 poster and A5 flyer for Fragments d’une famille ordinaire, a play co-directed by Chrystel Rochas and Yann Quelennec.

Their shared passion for Japanese cinema brought them together for this project, inspired by the film The Taste of Tea by Katshuito Ishii. They developed a work in which poetry emanates from the small gestures of everyday life. A gentle, poetic story that will be presented on stage for the very first time on 31 January 2025.

Riso-printed in two colors (fluorescent orange + cornflower) by Quintal Atelier.

The typefaces are Aronde for the headline and Caracol for the body text.

Detail of the Riso print

Cutting paper for the poster

Riso-printed flyer, fluorescent orange + cornflower ink on Munken Print Cream

Detail of Riso-printed text in Aronde

Detail of Riso-printed text in Caracol