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Telder has been used throughout the brand identity of Coronet Conservation, including the website, and all associated typography. The typeface appears throughout the website, from the homepage and services pages to the gallery, about, and contact sections.

Designed by HT Fonts, Telder is a contemporary sans serif that combines geometric clarity with subtle humanistic details. Its open counters, balanced proportions, and extensive range of weights make it suitable for both display and text applications.

For a conservation studio whose work requires precision, care, and restraint, these qualities feel particularly appropriate. The website uses Telder Extra Light for headlines, giving them an elegant and understated presence, while lighter text weights provide clear and comfortable reading throughout. Together with the logo refinement carried out by HT Fonts, Telder helps establish a consistent typographic voice across the entire identity.

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A quote by Coronet Conservation

The second edition of the mowe art festival took place in Berlin from the 8th to the 10th of May 2026. Poligonal (Christian Haid and Lukas Staudinger) is responsible for the festival’s concept and artistic direction, commissioned by Kultur Mitte (Fachbereich Kunst, Kultur und Geschichte des Bezirksamts Mitte von Berlin). The festival’s graphic design and art direction is executed by Studio Itch (Jasmina Begović and Barbora Demovič), typeset in HAL Gap and Aktiv Grotesk.

More on the festival’s concept from its website:

The mowe Festival for Art and Urban Culture invites you on a journey of discovery through the art and cultural landscape of Moabit and Wedding.

At numerous venues across the festival area, urban practice and queer perspectives come together in group and solo exhibitions, workshops, artist talks, experimental city walks and bike tours, concerts under the trees, rooftop performances, as well as community actions and interventions in urban space. The contributions reflect the cultural diversity of the city, its districts and their residents.

The focus is on the participants themselves: their diverse artistic positions, cultural backgrounds and experiences, which anchor the festival both internationally and locally.

The mowe Festival creates spaces for encounter, exchange and artistic intervention. It sees itself as a platform for contemporary art and urban culture and brings to light the diverse perspectives that shape urban coexistence.

IMPULSE is an online contemporary arts magazine based in New York City. In October of 2025, IMPULSE hosted a disco party at Ciao Ciao Disco organized by Events Director Meinzer in celebration of the publication’s ongoing arts coverage, readership, and all the artists and spaces that the magazine supports. I – Creative Director Victoria Reshetnikov – designed the event’s promotional material, including the poster, print materials, and a motion graphic for the disco club’s entryway. The design centers hand-drawn lettering paired with Elza Text and Scotch Deck.

Happy Families, Miserable World is a self-published card game by Doomates Games that reappropriates the classic Happy Families as a vehicle for climate activism. Players compete to become the “Biggest Polluter on Earth” by collecting complete family suits (Big Oil, Big Tech, Big Bank, Big Fashion, and Big Agriculture), naming and shaming the corporations and individuals most responsible for the climate crisis. Each card highlights a key player, the propaganda tactics they employ (from greenwashing to gaslighting), and a concise fact about their climate harm.

The game is rooted in a deliberate shift of blame: away from consumer guilt, toward systemic accountability. Humor is the weapon of choice. The tone is satirical, sharp, and culturally literate, designed to break through climate fatigue by making polluters’ tactics visible and laughable.

The logo and card titles are in VTC Carrie, chosen for its political DNA. Family member names (The King, The Knight, The Witch, The Heir, The Fool) are set in the industrial-looking script Millie.

Doomates is an hybrid project born from a collaboration between Julie Mallat, founder of The Climate Propagandist, an independent platform that debunks oil propaganda and greenwashing, and Yasmin Knoller-Yrondi, art director and graphic designer.

Zollbureau für Zucker und Tabak (Portuguese: Mesa de Inspecção do Açúcar e Tabaco) is a Portuguese–German poetry book by Laura Erber. It was printed in blue typography and was published by Alba in collaboration with Siesta Verlag.

About the author, from Barrio (Bairro) Berlin (translated from the German):

Laura Erber (Rio de Janeiro, 1979) is a writer, editor, and researcher. In Brazil, she founded the publishing house Zazie Edições. Her literary work includes poetry, essays, chronicles, and fiction. In 2006, she published Körper und Tage in German with Merz-Solitude, the result of her residency at the Akademie Schloss Solitude, translated by Timo Berger. Mesa de inspeção do tabaco e açúcar was published in Portugal by não (edições) in the Mutatis Mutandis series. She currently lives and works in the Netherlands.

Galeria Magiel is an independent, street art–oriented space that organizes exhibitions, community gatherings, workshops and parties. It is one of those rare places where you can genuinely feel an alternative way of thinking and organising cultural activity.

The book Galeria Magiel 21–25 serves as a summary of five years of consistently stimulating local culture and subculture. From this substantial catalog:

After five years of activity on Wapienna Street, the time has come for a brief summary. What was meant to be a simple zine has ultimately become a full-fledged book. This publication brings together everything that has happened here over the past years – from the days of the old Magiel, through the renovation, to the move to a new location.

Inside the Swiss-bound softcover, you’ll find over 450 photos and graphics across 288 pages in a 19.9×27.3 cm format. The book includes an extensive photo report from 70 exhibitions, sketch sessions, and workshops.

Magiel is also described in texts by artists who exhibited in this basement space, as well as by Iwona Kałuża, Maciej Przestalski, Marian Misiak, Łukasz “Cekas” Berger, Radek Łukaszewicz, and Malwina Nowak.

Concept by Maciej Janus. Editing and proofreading by Barbara Kręgiel. Design by Paweł Mildner.

The publication is part of a project co-funded by the European Union under the NextGenerationEU fund as part of the National Recovery Plan.

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.

From Archive Books:

In Pedagogies of Travesti Liberation, Maria Clara Araújo dos Passos examines the interplay of education, identity, and liberation in Brazil’s travesti community. She critiques traditional pedagogical frameworks that marginalize gender nonconforming narratives and highlights the effects of systemic discrimination on travestis’ psychosocial well-being. Pedagogies of Travesti Liberation advocates for inclusive educational practices and emphasizes the need for affirmative curricula. Newly translated from Portuguese, this work contributes towards connecting political struggles globally and navigating the complexities of translation— particularly of the term ‘travesti’—across various geographical and political contexts, featuring a conversation between Araújo dos Passos and translator Natália Affonso.

The book was edited by Daniel Neugebauer and published by Haus der Kulturen der Welt. Gallery Print provided printing and binding. Anna Diagne and Chiara Figone did the design and layout for Archive Books, using Sature for headlines and cover, Aktiv Grotesk for subheadings, and Sabon for the body text.

Sudanese–Canadian poet and musician Mustafa the Poet has released his first literary work, Nour (نور). The title, Arabic for “light,” captures the essence of the book: a collection that moves between poetry, photography, Arabic calligraphy, and collaborative writing, exploring faith and memory in the face of grief. It was published in collaboration with WePresent and designed by Turbo Studio.

When Rafiq Hardi Kermanj, founder of the Communist Party of Kurdistan, is forced to flee Tehran for London with his family, they suffer the shame of penury and migration layered on Kurdish statelessness. Agri Ismail's electrifying debut novel follows the lives of Rafiq’s three children and their increasingly desperate relationship to money.

The Swedish edition of Agri Ismaïl’s novel was published by Albert Bonniers Förlag in 2024.

Description of the event by the Technical University Dortmund:

The fifth f² Fotofestival took place in Dortmund from June 12 to 15, 2025 on the theme of #CHAOS.

In numerous exhibitions and the supporting program, photographers and artists, students and photography-enthusiastic citizens dedicated themselves to different perspectives on chaos, its forms, causes and expressions.

This gacetilla or zine is published by Siesta Verlag three times a year. It measures 12×21 cm when closed and can be turned into an A3 poster. The cover is printed from a linocut, while the contents are Riso-printed.

The little summer edition contains texts three languages (Spanish, Portuguese and German). Contributions (text and illustrations) by Karen Byk, Tomás Cohen, Olalla Castro-Klich, Cristian Forte, Nina Rizzi and Cornelia Hülmbauer, Marit Heuß and Sofia Mariutti, Martha Gantier and Jaqueline Schauer.

The exhibition Werte Wandel Wirken (which roughly translates to “Values Changes Actions”) commemorates 275 years of the Elisabethinen order in Linz. Located directly within the hospital, the exhibition unfolds at the very heart of its own history. In the Palm Hall – a space bridging convent and medical facility – the display spans seven tactile tables. These installations trace the order’s values, milestones, and key figures, inviting visitors into a dialogue that intertwines past and present, spirituality and care. Typography is not merely a design element here. It becomes a structuring principle of the exhibition’s visual identity, echoing themes of continuity, transformation, and human connection.

Aktiv Grotesk by Dalton Maag is used as the primary typeface for body text. With its clean lines and neutral appearance, this sans-serif grotesque ensures clarity and accessibility. Its versatility across sizes and media supports the exhibition’s educational focus and positions historical content in a contemporary, approachable framework.

Steinbeck is employed as a headline typeface and is also used in extended passages of text.
It complements Aktiv Grotesk by reinforcing the structured tone of the exhibition’s layout, while also establishing a clear visual hierarchy that guides the reader through varying layers of content.

Panama – like Steinbeck by The Temporary State – is applied selectively for typographic contrast. Used in quotes and emphasized passages, it offers a distinct formal counterpoint to the other two typefaces. This typographic variation introduces tension and depth, enriching the reading experience and supporting orientation across content types.

Together, the three typefaces create a deliberate balance between clarity, structure, and emphasis – mirroring the Elisabethinen’s lasting dedication to community, compassion, and thoughtful communication.

Zentron was created to challenge the visual conventions of pharmaceutical packaging, offering a bold, minimalist identity that enhances clarity and engagement.

MèDISIN’s product range —including sachets, vials, and sprays—is designed for self-medication and healthcare, requiring immediate recognition and ease of use. A vibrant cyan background, covering an average of 95% of the surface, ensures instant impact, while the bold, sans-serif logo in deep navy blue strengthens brand recognition through high contrast and strategic placement. Stylized illustrations subtly blend into the background while remaining visible enough to indicate the product’s therapeutic area, improving accessibility and guiding consumers effortlessly. The final design was achieved through a balance between aesthetics, functionality, and strict pharmaceutical regulations. Constraints such as mandatory positioning, sizing, spacing, and legal elements were carefully integrated without compromising visual appeal.

Predictive neuromarketing analysis was used to optimize visual impact and engagement, ensuring an intuitive connection with the target audience. Zentron’s universal language transcends cultural and market boundaries, making it instantly recognizable and emotionally engaging. Its clean, structured, and efficient design reflects the growing demand for transparency and simplicity in healthcare, delivering an impactful and effective visual experience.

Himayant Herbal OPC Pvt Ltd is a company based in Purba Bardhaman, West Bengal, India, offering herbal supplements. The fonts used in creating product labels and promotional material include URW’s Z003 (a libre version of ITC Zapf Chancery), DejaVu Serif, ITC Avant Garde Gothic Book BT, Caladea, Carlito, Ubuntu, MathJax Calligraphic, Helvetica, Liberation Sans, Arial, and Century Gothic.

The catalog was designed by Anna Wank for the exhibitions Holy Place – No Kiss, No Touch and MANA at VerpackereiGö.

It consists of two books with open thread binding, encased in a hardcover jacket and secured with an elastic band. The reversible hardcover jacket features both titles in transparent relief varnish. While the books differ in layout and typeface, they are unified by their cover design.

The interplay between text and images has an important role in the design. In Holy Place, the continuous typography grid using Joly by Blaze Type is partially obscured by images.

In MANA, the focus is on the combination of Aktiv Grotesk by Dalton Maag and Wired Serif by Nadine Wetzel, seen as a link between the physical and digital exhibition spaces.

See also a previously published contribution about the Holy Place exhibition and website.

Larrie’s is a fish & chip takeaway positioned across the road from Merewether Beach in Newcastle, Australia. It aimed to embody the perfect mix of milk bar nostalgia and coastal colloquial to create a venue that will become a true community hub.

Although the identity draws on nostalgic and local elements, it does not rely on them. From the checkered floors, or the mismatched type of your local milk bar to the colour palette from heritage-listed Merewether Baths, we reinterpreted these key characteristics to create an identity that is fresh and appealing.

Barrio (Bairro) Berlin was a Latin American literature festival held in October 2024. Barrio is the certainty that Berlin is just another neighborhood of Latin America; it’s the reorganization of Berlin into Latin American neighborhoods. The catalog brings texts from literature, poetry, illustrations, and type from Latin American to this city that welcomes them. It opens the door to thinking about other structures (the jacket, the cover, the index, editorial text, title page, manifesto, frontispiece, body text, impressum, save page, back cover), other languages where there are no languages (in plural), but rather an immense desire to communicate. The boundary between languages dissolves because other codes and agreements emerge from this coexistence.

23×30cm, 100 pages, 3 languages.

//

Barrio (Bairro) Berlin fue un festival de literatura latinoamericana celebrado en octubre 2024. Barrio es la certeza de que Berlin es un barrio más de latinoamérica, es la reorganización de Berlín en barrios latinoamericanos. El catálogo trae textos de autores, ilustraciones y tipografías latinas a esta ciudad que lo recibe. Se abre la puerta para pensar otros órdenes ( la sobrecubierta, la cubierta, el índice, texti edutirial, portadilla, manifiesto, title page, tripa, impressum, hinteres Vorsatzblatt, contratapa), otras formas, otros idiomas donde no hay idiomas (en plural), sino un deseo inmenso de comunicarnos, la frontera entre las lenguas se pierden porque otros códigos y acuerdos surgen de esta convivencia.

23×30cm, 100 pag, 3 idiomas.

From Asian Law Caucus:

Since 1972, we’ve been fighting with Asian American and Pacific Islander communities for civil rights and systemic change that builds a more just and caring world. We are committed to the pursuit of justice across society, with a specific focus on serving low-income, immigrant, and underserved Asian Americans and Pacific Islanders.

The website was designed and developed by Raygun, combining Akkordeon Eight with Aktiv Grotesk and Le Monde Journal.

“Nothing is written in stone” is a project by Munich-based studio Kreatives:

Since we, the Kreatives, are known for our creativity, and mastering numerous creative crafts, we receive endless questions throughout the year:

“How do you do it?”,
“Where do good ideas come from?”
and the most important:
“Can I learn to be (more) creative?"”

we're gifting you some answers.

Over the last months, our entire team went on a quest for you to understand the secret sauce, the magic tricks, and the sacred rituals that give us the most creative ideas. We're lifting the curtains to our process for the first time in our history. And we didn't stop there – we have collected our 100 best-of activities to practice your creative skills and flex your imagination muscles.

The website utilizes PS Times by Parker Studio, together with Aktiv Grotesk by Dalton Maag and Simon Mono by Dinamo.