From ECAL:

In addition to the Folklore Fusion website, the project includes a trading card game, a publication, and an augmented reality feature. All set in OCR-X by Maxitype and Heisei Maru Gothic by Adobe.

Nodes. Journal of Art and Neuroscience is a peer-reviewed scientific journal founded in 2011 by Numero Cromatico, an artist collective, research center, and publishing house composed of researchers from both the humanities and scientific fields.

Issue 21–22 spans 136 pages and was Risograph printed in black and blue on two types of paper: Favini Remake Sky and Favini Shiro Echo.

Altera Italia is a tactile, sensorial book by visual artist Alessia Rollo, published by Miracoli Visivi. Its exposed-spine binding lies flat, referencing the book’s circular narrative, while a solid blue paper dust jacket and copper ink details contrast with the bare structure. Coarse paper stock reinforces the sense of personal investigation. The book is set in Rapida, a typeface by fellow Italian designer Michelangelo Nigra, which contributes to the uniqueness of the book. In the words of design studio Gruppo:

Rapida was chosen for its ability to balance a classical presence with a more contemporary tension. Its traditional proportions and soft curves are countered by sharper details, creating a voice that is both familiar and unexpected. This duality resonated with Rollo’s practice, where observation and cultural memory coexist with acts of intervention and transformation.

New Design from Düsseldorf, organized by the Faculty of Design of the Peter Behrens School of Arts at Hochschule Düsseldorf–University of Applied Sciences in collaboration with design (from) düsseldorf, presents around 50 nominated projects by graduates of the programs in New Craft Object Design, Communication Design, Retail Design, and Exhibition Design. The exhibition took place at NRW-Forum Düsseldorf, and the accompanying catalog documents and reflected on the presented works, highlighting the innovative design thinking emerging from Düsseldorf.

The projects engage with contemporary social issues—such as identity, gender, feminism, sustainability, education, and science—through experimental and artistic approaches. In doing so, the role of design and the impact of its methods are continuously examined, critically reassessed, and reinterpreted within a rapidly evolving society, with the aim of addressing societal questions and creating new spaces for reflection.

The catalog includes forewords and an essay on the exhibition design process, in which students developed and realized sustainable exhibition furniture specifically conceived for the presentation. In addition, it features project descriptions by the exhibiting graduates, offering insight into their individual concepts, methods, and positions, while celebrating the breadth and quality of design being developed in Düsseldorf today.

The bilingual publication (German and English) was edited by the Faculty of Design of Peter Behrens School of Arts at Hochschule Düsseldorf–University of Applied Sciences; design (from) düsseldorf – Förderverein des Fachbereichs Design der Hochschule Düsseldorf e.V; with co-editors Eric Fritsch and Anne-Cathrine Mosbach. The book has 360 pages measuring 17×24 cm, was offset printed in full color with spot color, and bound as Swiss brochure with flaps, open thread-stitching, and inkless embossing. It was published by Slanted Publishers. ISBN: 978-3-69202-008-2.

The new Aare River Bridge in Aarau, Switzerland, designed by Christ & Gantenbein in collaboration with Henauer Gugler, WMM Engineers, and August + Margrith Künzel, reconnects the historic town center with the northern districts through a contemporary architectural intervention carefully integrated into the surrounding landscape. Replacing the former 1949 concrete structure, the bridge introduces a new urban presence defined by its elegantly curved arches and distinctive ovate openings, while also reshaping the adjacent riverbank areas.

The project was documented in a publication designed by Hubertus Design, accompanying the bridge’s completion and broader urban transformation. The Aare Bridge was also shortlisted as a finalist in the Public and Landscape Architecture category of the ArchDaily Building of the Year 2024 awards.

Slanted magazine #47, “Digital Tools”, examines the instruments that shape contemporary creative practice. This issue offers a diverse insight into the global creative scene and uses numerous examples to show how digital tools are used to create, question, and rethink design itself. The spectrum ranges from experimental open-source projects and custom scripts to indispensable utilities that shape creative digital and analog workflows, continuously expanding and redefining creative boundaries.

The issue covers disciplines such as graphic and type design, illustration, 3D, web, generative design, and creative coding. Designers, artists, and developers share their insights in interviews and articles, explaining how digital tools shape their aesthetics, imagination, and authorship. By introducing new workflows and technologies, Slanted magazine #47 inspires both experienced designers and beginners to explore the creative potential of digital design.

Alongside the magazine, a dedicated online platform has been launched, featuring an extended directory of digital tools. In addition to all tools included in the print issue, the website gathers further projects, discoveries, and resources identified during extensive research. Structured by category and continuously evolving, the platform invites exploration, experimentation, and a rethinking of the role of digital tools in creative practice.

The magazine was edited by Jacob Tessmann, Lars Harmsen (editor-in-chief), and Julia Kahl (managing editor). It has 224 pages measuring 16×24 cm. The interior was full color offset printed with spot colors by Stober Medien. The cover uses offset printing with spot colors and hot-foil embossing by Gallery Print. Papers used include Efalin 108 high white fine linen 280g/m² (cover), Zeta diamond extra smooth 120g/m², and Ibo Two 80g/m² (inside) manufactured by Reflex. The Swiss brochure with flaps and open thread stitching was made by Buchbinderei Spinner.

ISBN: 978-3-948440-96-1 / ISSN: 1867-6510

I MAY NOT SEE YOU, BUT JESUS AND THIS CAMERA DOES is a collection of theories, first hand experiences, and found footage discussing the different states of surveillance. From organized mass surveillance to civilian surveillance or, in other words, sousveillance (to observe those in positions of power), this publication showcases the reality of monitoring systems currently in place and their effect on the public.

Texts by Xavier Marquez, @camera_duels, Malte Ziewitz, Kate Palmer Albers, Robin Williams, Gregory R. Brown, Sara Morrison, and Adam Clark Estes.

The typefaces used are Milling and ABC Diatype.

Catalog design by Studio Sara Cristina Moser for the artist Beate Gärtner, with a Swiss brochure and open thread stitching. The layout is bilingual, directly contrasting the two languages in dialog.

язык тишины (Yazyk Tishiny, English: “Language of Silence”) was made as a student project at HSE Art and Design School.

We are used to thinking of silence as a lack of sound or image, a kind of “pause” between important events. In my book, the opposite is true: silence is the main character and the active material. It is the moment when the visual noise subsides, and we finally begin to notice the very structure of things: the grain of the film, the rhythm of the grid, or the physics of the paper. It is not “nothing,” but “everything” that we usually don’t have enough time for.

I wanted to understand how silence in art goes from being just an empty space to becoming a powerful tool. In a world where everything is loud and fast-paced, I wanted to find ways to slow down the viewer. My goal was to create a system that would make people stop, look closer, and experience the pause as a full-fledged event.

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.

До. Прикосновение. После (“Before. A Touch. After”) is a graduation work by HSE School of Design student Daria Levashova. During her research, she watched films directed by Ingmar Bergman and attempted to figure out what the nature of touch has to do with what happens before and after it. Oceanic Text by Interval Type is used in the resulting book’s typography.

Fanfic. Vers de nouveaux usages passionnés et graphiques (“Fanfic, towards new passionate and graphic uses”) is a book made by Laurie Liviero as thesis project at Ésac Cambrai in 2025. It was designed using Baste (from Lift Type) and Times New Roman.

Liviero describes her book as follows (translated from the French):

This thesis might never have existed, as it is the successor to many abandoned and discarded topics. It was born from a sentence thrown out into the wind, almost as a joke: Imagine, a thesis on fanfic. Why take the risk? Too popular, too intimate, too loaded with connotations. As if I were going to have to expose myself, no longer able to hide. But behind these doubts, ideas persisted: reinvented stories, reappropriated graphics, shared passions. These issues were ultimately the key, since they now constitute the object you are reading. A testimony that I hope is passionate, critical, and educational, and that I now leave to its own devices. Right here, in the palm of your hands.

From Marsèll's press release:

Indice is the yearly publication that collects and celebrates Marsèll’s most important projects and collaborations. Like every object produced by the brand, this book is a limited-edition release that puts method into practice: experimenting with form, materials, creative processes, and diversity.

Founded in 2001, Marsèll is an Italian luxury footwear brand born from a new craft culture that reinterprets traditional shoemaking through a deconstructed, countercultural lens. The brand subtly distorts classic forms with innovative leather treatments, unexpected cuts, and sculptural silhouettes, blending experimental design with traditional artisan craftsmanship. Every shoe is handmade in the brand’s in-house atelier near Venice.

Marsèll Indice 2023 is the second issue of the brand’s annual publication, gathering all campaigns, editorials, and special projects released throughout the year. The book is divided into two sections, dedicated to SS23 and FW23–24 respectively, separated at the centre by a four-page signature containing the foreword, index, and colophon. The index is meticulously designed to reflect the structure of the book itself. All text is set in a single typeface, Times New Roman Seven, and kept at a consistent size throughout.

Spineless softcover plus book case
245×305 mm, 132 pages
Printed on Munken Print White, Fedrigoni Sirio Blu and Perla, and Sappi Magno Volume

“On the Uses of Absence” is the title of Soapbox, issue 6.0:

Can we speak of a turn to absence? Across the contemporary academic conjuncture, theory is reapproaching the absent in its varying figurative and fleshly forms – revalorising the presence of absence as a critical matter. Whether in queer theory, trans studies, Black studies, Eastern European studies, or literary studies, enduring scholarly investments in re-presenting and re-presencing the absented body have become supplemented by an affirmative interest in staying with absence as such. This scholarship locates absence at the heart of myriad resistances against exploitation, appropriation, undoing, and normativity. For its seventh issue, Soapbox: Journal for Cultural Analysis has invited scholars and artists alike to submit work on the uses of absence in and outside of theory today. As an object of study, a critical figure, and rhetorical tool, absence is given a shape, meaning, form; it is put in writing, where it has a function, a flavour, and a politics. Absence, in other words, fails every time to be purely nothing. How, then, to think the contradiction and the provocation of a contemporary aesthetics of absence?

The graphic design was made by Alice Machado and Paolo Barbieri. They used Adriane Text by Marconi Lima, Harber by Benoît Bodhuin and Superness Modulo – a digitization by Alessio D’Ellena and Alberto Malossi of Nebiolo’s Modulo.

Ordinary People designed the exhibition graphics and book for the 2023 Title Match: Dongi Lee vs. Sangwoo Kang at the Buk-Seoul Museum of Art, part of the Seoul Museum of Art (SeMA). Title Match is a signature annual exhibition at the museum, and for 2023, it brought together artists Dongi Lee and Sangwoo Kang. These artists deconstruct the familiar by either ‘borrowing what has already been borrowed’ from mass media imagery or by revealing the ‘insignificant and fragile figure seen from behind’.


From the works of Dongi Lee and Sangwoo Kang, Ordinary People distilled shared themes of ‘temporality’, which disrupts linearity, and ‘ambiguity’, which purposefully obscures the familiar. Inspired by these concepts, they reinterpreted established norms, incorporating ambiguity as a core graphic element throughout the exhibition. The accompanying book also embraces this theme, reimagining conventional book structures, reading sequences, and orientations.

The design combines contemporary Latin and Korean typefaces to support the exhibition’s layered narrative. Farmacia by Nguyen Gobber is used for English titles across both the exhibition graphics and the book, adding a distinctive visual character to the design. Aktiv Grotesk KR by Dalton Maag serves as a secondary heading typeface for English and Korean in the exhibition graphics, providing clarity and consistency across languages. In the book, Korean headings are set in AG Madang Display by the AG Typography Institute, while GT America by Grilli Type is used for Korean and English body text.

This handmade book reinforces its main theme – memory – with 3D printed typography, making it an object of remembrance. Type was embedded between the book’s cover and fabric layers, allowing typography to function as a tactile element rather than a purely visual one. It prioritizes touch, weight, and texture, to mirror how memories are often felt physically and carried over time.

Vera, the author, explores the intricate relationship between memory and fashion, examining how vintage clothing serves as a vessel for nostalgia and personal history. It touches onto the ways material objects become carriers of remembrance, particularly in the context of immigration, where garments can hold the weight of past identities and lost places.

Fashioning Memory is Vera Abdulina’s Bachelor thesis in KABK’s Photography program.

Skimpies – women who work as bartenders while wearing bikinis or lingerie – have been a big part of pub culture in Western Australia since the 1970s. Catering to a clientele of locals and itinerant mining industry workers, skimpies serve up entertainment, human connection, and drinks in some of the most geographically isolated communities in Australia.

Taken between 2021 and 2023 by M Ellen Burns in Kalgoorlie-Boulder, these photos portray these women both on and off duty, with candid images of skimpies at work paired with personal portraits and interviews. Burns collected the images of these women with their full consent and created space for them to speak about their own experiences, this project provides a glimpse of a world rarely visible to outsiders.

SPAN® worked closely with photographer, author and now publisher M Ellen Burns, gaining incredible insights into this fascinating culture across the border in Western Australia. These insights formed the creative framework for a multi-faceted design process.

SKIMPIES has been consciously edited into two parts based on the idea of “day and night”. It begins with white-wall portraits captured while the women are off duty, emphasising the importance of their personal stories. We then take the readers onto the low-light-environment at the bars and venues where skimpies are at work with outpouring energy and interacting with those who walk through the doors. To heighten both the quiet confidence and the intense dynamism captured by Burns, matte and gloss varnishes were applied throughout the publication to create visual contrast. At the midpoint – between “day and night” – a curated selection of archival newspapers was inserted to provide historical context to the subject matter.

Connecting the personal stories to the intimate off duty portraiture, a bespoke display typeface – SKIMPIES – was drawn (by Wing Lau) with two main objectives. Firstly, to create a high contrast typographic interpretation with characteristics of the hi-vis-coloured lingerie, the tension and elasticity on the women’s bodies. Secondly, a display typeface that mirrors the studio portraits, typeset vertically, introducing the the women’s by their skimpy names.

To materialise the combined visual dynamics, we integrated a specific selection of coloured threads into an exposed spine with a hard-case Swiss-bound book construct. This subtle, tactile detail brings together colours distinctive to both the mining industry as well as this unique occupation called Skimpy.

Whispers of the Unheard is Ishita Chakraborty’s first monograph. The work of the artist, who is based in Switzerland, is rooted in postcolonial discourse and deals intensively with topics such as ecology, migration, and sociocultural inequality. The 112-page publication comprehensively documents and illuminates her artistic practice, providing insights into her work over the past few years.

The publication was designed by Megi Zumstein, who selected the Juneau​​​​ font family by Phillip Neumeyer for the typography. This typeface combines geometric construction with grotesque characteristics, uses circular forms, and references old metal grotesques. Since the typography remains subordinate to the photographically documented works, it is primarily used in smaller text sizes. Juneau’s economical proportions and open stroke endings support readability at these smaller scales. For headings, increased letter-spacing makes them distinguishable without requiring significantly larger font sizes. The typographic approach aligns with the publication's overall production and maintains a balance with the artistic content.

It was published by Anouchka Panchard and Aargauer Kunsthaus through Edition Clandestin.

Ubani, an independent Tbilisi cityscape research centre, published a guidebook in English and Georgian addressing the architecture and history of Tbilisi’s Kala district (კალა). The guidebook is produced by an interdisciplinary team, it brings together the work of David Brodsky, Ana Chorgolashvili, and Nata Tatunashvili, with concept development by Brodsky and editorial direction by Chorgolashvili. Contributions include text by Nino Bughadze, graphics by Aleksandre Gaphrindashvili, Oleg Glebov, and Georgiy Gnilorybov. The publication was designed by Daria Yarzhambek and Yury Ostromentsky, with the lettering created as part of Tsartserebi, a project rethinking the historical Georgian typography.

Body text in both English and Georgian versions is set in Loos by CSTM Fonts, while the lettering on the guide’s cover is inspired by a partially faded inscription on a 1877 tombstone located in the Anchiskhati Basilica of St. Mary.

Focusing on contributions that explore composites as art and design forms, as research methodologies and practices, and/or as theoretical concepts, issue 60 of the review Azimuts – Design Art Recherche proposes that composites can be understood as a mode of presentation or representation of realities. Different hypotheses have been explored by the researchers and creators gathered here.

Reading their proposals, we can consider that their narratives define composites either as smooth, since the glue that aggregates the various components is invisible, or as rough because the glue, conversely, is visible.

Thus, this issue of Azimuts proposes, through the authors, to understand and define the specific materialities of this glue in that it is a binder, negotiating relationships. It is then a question of considering these sticky materials as a space, a transition, a break, or even a silence. Or, to quote novelist, poet and philosopher Édouard Glissant, “as a relationship, an opposition or a consequence”.

It is published by École supérieure d’art et design de Saint‑Étienne.