In March 1996 TassinariVetta took over the art direction of Casabella, the historic architectural review founded in 1928. From that moment on the magazine has become part of the everyday life of the studio, where it is designed month after month.

Aiming to go beyond the traditional concept of ‘typographic architecture’ – which sees graphic arts subject to the universal compositional rules expressed in architecture – and to offer a new perspective on the world of letters, the 2024-25 cover design sets editorial objectives ahead of graphic ones.

Taking advantage of the constraints inherent in monthly publication in sectoralization and serialization, and enhancing repetitive elements—the masthead, headlines, but above all the sequential number—the project brings editorial content to the cover through the choice of the font used to compose the number, its graphic interpretation, and the explanatory note published on the inside pages, which is an integral part of the project itself.

Faithful to the magazine tradition, issue after issue, the choice of lettering or typeface moves through the 20th century between avant-garde and modernism, with forays into adjacent spaces suggested by unlikely discards or ambiguous analogies, while exploring the development of the industrial means underlying mechanical writing.

With philological respect—using fonts available under license, photographic reproductions of original specimens, or vector redrawing, as appropriate—and with the calibrated use of a color palette consistent with the magazine visual history, the graphic interpretation ultimately aims to bring the historical artifact into the present, contextualizing it in a contemporary and accessible language.

no. 976 – Lettering for the Tomba Veritti (Udine, Italy), Carlo Scarpa, 1951

no. 975 – Univers, Adrian Frutiger, Deberny & Peignot, 1957

no. 974 – Prisma, Rudolf Koch, Klingspor, 1930

no. 973 – LL Le Corbusier, Nico Schweizer (da Le Corbusier), Lineto, 1999

no. 971-972 – Memphis, Rudolf Wolf, Stempel AG, 1929

no. 970 – Ingenieur, Wim Crouwel, 1964, The Foundry Types, 2012

no. 969 – bayer-type, Hebert Bayer, Berthold, 1931

no. 968 – Mexico 68, Lance Wyman, 1966–68

no. 967 – Our Bodoni, Massimo Vignelli, Tom Carnase, WTC (World Typeface Center), 1989

no. 965-966 – Futura Black / Paul Renner / Bauer, 1929

no. 963 – Fat Face, Herb Lubalin, Tom Carnase, ITC International Typeface Corporation, 1970

no. 962 – Kabel, Rudolf Koch, Klingspor, 1927

no. 961 – Stop, Aldo Novarese, Nebiolo, 1970

no 959-960 – New Alphabet, Wim Crouwel, 1967

no. 958 – Frankfurter, Bob Newman, Letraset, 1970

no. 957 – Universal, Herbert Bayer, 1925

no. 956 – Oakland, Zuzana Licko, Emigre, 1985

no. 955 – Aldina (Aldino), Nebiolo, redesign Adalberto Libera, 1938

no. 954 – Kombinationsschrift, Josef Albers, 1926–28

no. 953 – Bifur, A.M. Cassandre, Deberny & Peignot, 1929

Initiated by the Danish Agency for Higher Education and Science, the Into Change Award honours outstanding European research groups whose work delivers scientific breakthroughs, has great societal impact, and reflects core research values such as curiosity, collaboration, responsibility, respect, and openness.

The first-ever Into Change Awards were presented on 15 December 2025 at the Royal Opera House in Copenhagen. The project branding was designed by e-Types using Noir No1, available from Playtype, plus Lineto’s LL Prisma Fatline for “CHANGE”.

No Home Movie (2015) is Chantal Akerman’s last film, focusing on conversations between the filmmaker and her mother, months before her mother’s death. Malmsten Hellberg designed the poster at the request of film distributor NonStop Entertainment in their series of films by female directors that finally get a theatrical release in Sweden, with the title set in Filosofia by Zuzana Licko, the groundbreaking Slovak-born type designer. The posters are available from Posteritati NYC.

Je Tu Il Elle is Chantal Akerman’s first feature film, shot when she was 24. Akerman herself plays a young woman who leaves her apartment and goes on a journey that takes her on lonely adventures with a truck driver and a former girlfriend. The film allegedly features the first-ever explicit sex scene between two women.

Malmsten Hellberg designed the two-sided poster, an assignment for quality film distributor NonStop Entertainment in their series of films by female directors that finally get a theatrical release in Sweden. The main typeface is Adelphe (a neologism meaning “sibling”, French used to only have the gender-specific equivalents of “sister” and “brother”) by Eugénie Bidaut. It includes experimental glyphs for masculine and feminine endings.

What happens when two writers take turns crafting chapters of the same story, as “equals in imagination”, and with their identities kept secret from one another until the story ends?

Switch-Lit is an online platform and imaginative space for collaborative fiction created by Studio Esmé.

The animated T is actually based on ABC Arizona (Flare)! Additional animations show the colored circles (user avatars) in connection with the “light traps” of ABC Camera.

We used the light traps of ABC Camera as negative spaces for colored circles that represent our user base of individual writers around the world.

We chose to use all cuts of ABC Arizona to express the possibility for different voices within a larger family (or story).

Overall, the Switch-Lit identity and platform build upon your team’s original design intentions behind these typefaces, so we feel proud about that.

Art direction and design by Studio Airport, with Illustrations by Rob & Robin and web development by September Digital.

Homepage with the logo in ABC Camera Heavy, headline and text in ABC Arizona Flare, and the menu in ABC Arizona Sans

“Start a New Story” page with the animated T

Credits are rendered in LL Courier Sans.

Bottom of the homepage with a quote in ABC Arizona Mix

Have you ever come across an old photograph from your childhood and realized you have no recollection of the moment it captures? Or perhaps you’ve experienced a memory from your youth that seems hazy and uncertain, leaving you unsure if it even occurred? If you can relate to either of these situations, rest assured that you are not alone. Many of us encounter difficulties when it comes to recalling memories from our early years and distinguishing between real events and fabricated ones. But why do we remember things that never really truly happen?

The human brain. A vital, complex and powerful organ. Controller of all body activities, it allows us to think, feel and act. Inside it, lies a compelling faculty: the memory. A mysterious neuro-chemical process that is crucial to the human experience. Crucial, but far from being perfect. Memory has its flaws and pitfalls.

In this book made as student project at Elisava we address the matter of uncertainty. Is our memory reliable? Can our memory be altered? Can we protect our memory? These questions are investigated in the form of a scientific experiment, in which we try to find solutions to these problems in the realm of artifacts and materials. Which effects do artifacts have in the human memory? Can materiality be the key to repairing it?

Kids, don’t try this at home: pairing two very similar typefaces can be tricky, all the more so when they belong to a peculiar genre. I wouldn’t bother to try and make two multiline faces work together on the same page, but the one and only Nolan Pelletier can pull it off.

For the cover of Divine Intervention, he used Neo Prisma for the band name, and Prisma for the title. The former is an early-1970s face designed by Nicola Russo and issued by Mecanorma. The latter is Rudolf Koch’s display companion to his Kabel, first cast by Klingspor in 1930. Drawn with multiple parallel lines, Prisma was a pretty novel concept at the time. While the original Prisma has strokes with four lines in the smaller sizes (20, 24, 28 pt) and fives lines in larger ones (36, 48, 60 pt), this version has three. Is this a homemade “Prisma Text”? Or did Nolan use Prismaset Three from Lineto’s massive revival and expansion, and beef up its strokes? Anyway, together with his signature style illustration featuring concentric circles and stars, everything falls into place.

Client Liaison is an Australian indie pop/electronica duo. Divine Intervention is their second studio album, released in October 2021.

[More info on Discogs]

For 30 years, Lenwich has made the kind of iconic sandwiches New Yorkers dream about. One of the tasks for Mucca was to ensure the rebrand spoke to a younger audience while celebrating the heroism of Lenwich's old-school fans, from teachers to firefighters to bike messengers.

A richly layered visual system stacks the typography like a pastrami on rye, and copywriting speaks to the concept of everyday New York heroes. The strong color palette provides a visual link to Lenwich’s former brand, and the overall effect is as vibrant and energetic as the city itself.

The brand typeface is Lineto’s LL Prismaset, which is used in several styles, always in all caps. It’s paired with Lucas Sharp’s Virgo Italic for secondary text.

The HBO TV series Euphoria, created by Sam Levinson, uses a custom 5-lined logo, based on LL Prismaset Five by Lineto which, in turn, looks at Rudolf Koch's Prisma. In its curves, Lineto chose to adhere to rigid geometry, resulting in interrupted curves in e.g. the countershape of the U. A colour gradient reflecting the often neonish palette that runs throughout the series is superimposed on the logo, echoing the subject of psychoactive substance abuse that is part of Euphoria’s narrative.

Other on-screen or promotional elements privilege the lowercase use of the ultra-thin versions of Neue Haas Grotesk (Christian Schwartz). The soundtrack for Euphoria is created by Labrinth, who uses a customised Motter Ombra by StudioThinktank.

Brand New is the place on the web for writing and critique on branding and identity design, published and maintained by UnderConsideration LCC. In February 2017, they launched a new version of their website, meta-reviewed here. Highlights from the post include:

We are rocking Hoefler & Co.’s Mercury Text ScreenSmart and Operator ScreenSmart, served from their Cloud.typography service. Mercury has always been one of my favorite serifs and I have been wanting to use Operator since it came out; it works amazingly well at small sizes and I was surprised at how readable it is, despite having an off-beat structure. [...]

Because I end up on Lineto.com often, usually getting the link to Circular or Brown, I decided to poke through all their fonts, especially the display fonts. Prismaset caught my attention (because I have a thing for concentric letterforms) and the style with five lines was starting to look pretty cool. [...]

When I typeset “Brand New” in Prismaset Five I immediately liked it but I hated how fuzzy it got once I used it as a web graphic, even as an SVG because those strokes start to show up as 1.5pt thick and they get fuzzy. So, based on Prismaset Five — I paid for a license, yes — I redrew the characters so that the vertical and horizontal lines would render, always, as 1-pixel-thick lines and look perfectly sharp. So each line is 1 pixel thick with 3 pixels in between. This forced me to change some of the original shapes of Prismaset, primarily the “B” but pretty much all letters are different as the proportions changed. As an SVG file the logo looks even crisper and it’s only the diagonals and circles that have a little bit of unavoidable fuzz. As the site shrinks responsively, the logo stays at the same size, keeping its 1-pixel lines intact. (Except for the mobile version; that had to budge.

Animated Prismaset in use for a series of videos accompanying the exhibition Jim Nutt: Coming Into Character at the Museum of Contemporary Art Chicago, Jan 29–May 29, 2011. Designed by James Goggin of Practise, co-designer of Prismaset.

The captions use Prismaset’s initial Solid style, including some of its the lowercase. “Making a ‘black’ weight from a design intended to be multi-lined led to a pleasantly odd set of characters, some geometric and some with their own off-kilter shapes, looking simultaneously Art Deco, Gothic and Bauhaus.” — Lineto

The 2011 edition of Wallpaper* magazine’s annual “Design Directory” makes good use of an early version of Lineto’s Prismaset, combining several of its 10 styles, namely Solid, Five, Three and Two. The sans serif is Graphik a.k.a. Plakat, (then) Wallpaper*’s standard typeface.

Cover photography by Leandro Farina, picturing the Tokyo outdoor chaise by Charlotte Perriand for Cassina, Piana folding chairs by David Chipperfield for Alessi, and the Druida barbecue by Juan Miguel Juarez, Laura Blasco and Alex Estevez for Mermelada Estudio.

To coincide with the 2011 Architects Directory in Wallpaper*, an exhibition titled 20 Houses: A New Residential Landscape was on show at The Architecture Foundation in London. For the directory and show, 20 practices from around the world were given an open brief to design their ideal holiday home. Source: Tim George

See also Prismaset in use for Wallpaper* magazine’s “Design Directory” issue a month later.

Alphabet Type, a new font production services company, launches with a placeholder page in Prismaset and LL Unica77, a designer-authorized digitization of Haas Unica released in Feb, 2015. The logo was designed by Stephan Müller and the site by Phillip Acsany.

See also their GitHub.