Hope from Jerusalem is an online position paper and article collection that delineate a vision for creating a shared place that embodies peace, reconciliation and hope for the conflict-ridden region of Israel–Palestine.

The website uses a color palette that delicately references the various identities and cultures that make up the city of Jerusalem, against a simple typographic scheme comprised of two multilingual font families. The website is primarily bilingual (English/Hebrew), but makes use of Adapter’s Arabic character set throughout the headings in both language versions of the website.

Ir Amim is a non-partisan Israeli NGO that addresses the complexities of life in Jerusalem in the context of the Israeli-Palestinian conflict and the city’s political future. Ir Amim works toward the vision of Jerusalem as a fair and equitable city, while advancing conditions for a negotiated political future in Jerusalem.

Each year for Passover, friends, families, and strangers have historically gathered to eat, drink, retell the story of Exodus, and discuss what liberation means today. We do so by following the Seder and reading through the Haggadah.

2024 was an especially unprecedented time—and so this Haggadah text was designed to help us speak up, raise questions, think out loud, and process the year before and ahead of us.

It was designed by me, Deborah Khodanovich. Special thanks to Jacob Kates Rose and Zoe Bernard for co-hosting and writing with me.

The book measures 5.5″×8″ inches, and each copy is hand-stitched and editioned. It is featured in It’s Nice That and the pdf is free and available upon request by email.

Achla America (אחלה אמריקה, “Great America”) is a poetry zine by Roman Eisenberg (Roman.) with contributions by illustrator and animator Ori Sindel. It was published by Minus Books in September 2024.

The design drew inspiration from the themes of the poems and the editorial work. The poems were written during a trip to the United States and explore experiences from there, as well as addressing aspects of Israeli reality and lifestyle.

The editorial narrative moves from “there” to “here” and accordingly, the design sought to uncover the connection between America and Israel – with the conclusion being the notion of the wild (or untamed) West (or East).

To express this idea visually, the design called for the use of Fontef’s Xylograf for headlines, paired with FrankG (Hagilda’s version of Frank-Rühl) for body text – a classic poetry typeface that, in its character, evokes the spirit of the late 19th to early 20th century. Additionally, Narkiss Tam (Fontef) was integrated into the typographic scheme to further emphasize the unique aesthetic.

Another key design consideration was the intensity and volume of the poems. Roman’s poetry is marked by bluntness, directness, subversion of conventional layouts, and even deliberate misspellings; as a designer, I felt as though they delivered a punch in the face.

Thus, the decision was made to maintain high intensity throughout the entire zine. Both the text and the illustrations were designed to fill the entire layout—extending right to the narrow margins (5 mm)—in an effort to evoke a sense that the page is constantly filled with visual noise.

Moreover, the fluctuating font sizes, which deviate from traditional typographic conventions, ensure that the longest line of any poem stretches from one edge of the page to the other. This approach is mirrored in Ori’s illustrations, which are rich in intricate details that span the entire format and are set in full bleed.

טראש, or Trash, was created as a central component of Or Shoshani’s final project in the Department of Industrial Design at Bezalel.

The magazine brings together various street actions involving people carrying trash, documentation from an Instagram page, on-site and remote interviews, photographs, reflections, poems, and sketches. In fact, the magazine is the project itself: on one hand, it documents the project and its evolution, and on the other, it disseminates the idea that “there is no such thing as trash,” operating under two distinct roles.

All the content was gathered, edited, and designed into an A4 magazine and printed in 20 copies.

Achinoam Tamar Virt provided artistic guidance and Nitsan Mayost graphic support. Nitsan Mayost, Liron Midani, Yonatan Shoshani, and Yael (a resident of Nachlaot) conducted interviews. The cover image is by Ruth Yarmolinsky. The project was supervised by Maya Ben David and printed at Codaf, Tel Aviv.

עזרת גברים / 1000 שקיות, or Ezrat Gvarim/1000 Shkiot (“Men’s Sector/1000 Bags”). On the Spectacle of Bags in the Haredi Male Sector of Jerusalem as a Combination of Compulsion and Deliberate Differentiation is the title of Alma Hanegbi’s final project at the Department of Visual and Material Culture, Bezalel Academy of Arts and Design.

The book examines the phenomenon of bags as an alternative to briefcases among the Haredi male population in Jerusalem. What began as a casual wander and the photographing of examples evolved into in-depth research that encompasses quotations on Haredi fashion, the wandering and walking habits of the community, the history of briefcases and bags, internet screenshots, literary excerpts, diary entries, and a plethora of photographs by the editor.

The book was designed to render its complex material accessible – even as it incorporates footnotes, quotations, interviews, and images. It emphasizes the plasticity and the ‘cheap’ and ‘undignified’ character of the bags, contrasting them with the dignified and serious nature of Haredi dress and culture.

To create this effect, Maor Freedman’s design employs Narkiss Tam Narrow in red (skewed with a mechanical tilt!) for the headlines, evoking an atmosphere reminiscent of supermarket signage and the typography found on store bags. The informative text is also set in Narkiss Tam, underscoring the supposed ‘coolness’ and objectivity of such texts while establishing a distance between the conveyed knowledge and the lived experience on the Haredi street.

The project was supervised by Prof. Ory Bartal, Galit Gaon, and Dr. Tal Frenkel Alroy.

Diary excerpts, interviews, and literary quotations are rendered in Hadassah—a classic font with heritage and a dignified, warmer quality than Narkiss Tam, serving as a secular alternative to the fonts typically seen in Haredi-religious literature (such as Frank-Rühl, Dragolin, Vilna, and their kin).

The informative footnotes are set in Narkiss Block Mono, a font with a technical character and a structured, monospaced rhythm that evokes archival materials produced by a typewriter.

Apart from the colors found in the images, the color scheme is limited to black and red—an allusion to the printing style of ancient sacred books, which were often printed in black with red headlines (thanks to Banya Mar for the stunning reference to this world). The grid itself recalls that of Talmudic texts, featuring a central body of text with surrounding notes that “break” into it, contrary to conventional layouts. However, due to the complexity of the material, a more intricate grid was required. In contrast to the symmetric grids typical of sacred books, the layout on the double-page spread consistently employs a right-aligned block on both the right and left pages. This deliberate asymmetry offers a secular interpretation—a meeting between worlds: the spiritual and the everyday, the sacred and the past, intertwined with the expressions of contemporary life.

Poster for the exhibition נתיב הרעל (Netiv HaRa’al) / The Poison Path at the Shechter Gallery.
Designed by Maayan Moskona, who comments:

The concept behind the design was to create an elegant invitation for a dive into a magical legend. In the initial mood board for the exhibition concept, numerous influences from posters and invitations of the late 19th century emerged, and I felt that the Narkiss Text font is a timeless choice, thanks to its classic style and grandeur.

English text is added in Kepler Italic.

For this project, I created a bilingual brand identity and logo for a painting school in Tel-Aviv. The school’s target audience consisted mostly of young millennials who may not necessarily speak Hebrew. My objective was to tap into the nostalgic memory that people often have from their first art lesson in school – the magic of mixing primary colors to create a full spectrum of colors. I aimed to connect the target audience with their childhood memories and to encourage them to overcome their inhibitions about drawing in a playful and creative way.

To achieve this, I used the Hebrew font Narkis Hen together with the Latin font ITC Souvenir, which is associated with the Art Nouveau and Arts & Crafts movements, both of which have a strong connection to drawing and painting. I also incorporated elements from the Bauhaus movement, which is closely tied to the city of Tel-Aviv.

Small text is set in Miriam Libre.

After a major upgrade, teder.fm now offers an enhanced and more organized user experience, simplifying access to the station's broadcast schedules, events, and music archive. The new website brings order to the schedule and includes new tools that help listeners search for and discover music easily and intuitively. One of the most impressive additions is the ability to access Teder’s vast archive, which includes hours of music, live performance recordings, curated programs, and much more – all with the click of a button.

Web design by AaLibrary and Hadar Barak, with programming by Gil Goldshlager, motion design by Tal Uliel (Kid Aroke) and music by Afek Levi.

The graphic design of the site utilizes Narkiss Block and its new mono version – Narkiss Block Mono. The modern version of the font, made by Fontef, features historical alternatives that are enabled by default in this case, giving it a unique appearance. The font is not only a typographic tool but also a means of creating a unified and distinctive brand experience, seamlessly blending the past and present.

“Beit Romano” map: the site features a captivating interactive map of the area, designed by Drawing Tel Aviv (Paul) in charming pixel art. This map highlights the various businesses within the space, offering a visual guide with short descriptions and details about their opening hours.

Exhibition and catalog design by Studio Roniverony (IG):

We used the Narkiss Asaf font for the design of the Linda Adams: Fire and Snow exhibition and catalogue. The exhibition was held at the Artists House in Tel Aviv and curated by Ron Bartos.

Catalog photography: Youval Hai. Exhibition photography: Lena Gomon.

This poster, designed by Stas Tuchinsky, promotes the final performances of Nissan Nativ Acting Studio’s theater program in Jerusalem, showcasing a special version of The Wizard of Oz performed by talented students with disabilities.

The Bichacho Dental Clinic from Israel has a highly qualified team of professionals dedicated to the individualised care of each patient. With extensive experience and a passion for the art and science of dentistry, Prof. Bichacho and his team bring a wealth of knowledge and a commitment to excellence that defines their practice.

The visual identity for Bichacho was designed by Ark Visual using Apparat in Light, Book, and Medium. Hebrew text uses Fontef’s version of Narkiss Block.

Terminal X is a e-commerce fashion retail company offering a variety of global brands as well as their own label. The identity was designed by Dan Alexander & Co.:

…we offered a typography that visually expresses the copy and the data, which is fast-paced and ever-changing. The selected black and white color palette conveys the message of something elementary, contrasting, and direct.

We also defined the brand concept and are responsible for the complete brand image, including packaging, textual language, photographic language, printed items, and more.

The predominant ingredient in this very typographic scheme is ITC Roswell. Released in 1998, Roswell is an interesting choice given the hundreds of other compressed Grotesques available these days. Jim Parkinson’s typeface tempers a stark, nearly uniform verticality with a bit of irregular, woody warmth in some of the terminal details (C, G, R, S). Like its name, TERMINAL X uses only uppercase letters. The company is based in Tel Aviv and its website is set primarily in Hebrew using Roboto for text with Narkiss Block as a fallback and an unidentified typeface for some heads.

Eliyahu (Metuka) Schwartz's cover for Ze'ev Segal's psychology book on divorce (published by Kal-Da), using the then new geometric typeface Ruthy, designed by Zvi Narkiss. It is possible Narkiss did the lettering for the cover, since it is highly reminiscent of his Israeli Memorial Day design from the same year which also featured Ruthy in very tight letterspacing as well as linespacing.

Zvi Narkiss's poster for Israel's 1978 Memorial Day events featured his new geometric sans-serif, Ruthy (רותי).

The title song of the 7″ single record “פראג” (“Prague”) by Arik Einstein deals with the act of Jan Palach who set himself on fire in Wenceslas Square to protest against the crackdown of the Prague Spring (Pražské jaro) by the Warsaw Pact armies in 1968.

The font used for the artist’s name and the title on the front cover is Arta Grotesque 9 – a reworking of a lighter, condensed font originally published by Arta (in Israel) and Letraset (internationally) in 1964. On the back cover the bold weight of Narkiss Block is used.

Grotesque 9 and Grotesque 7 (Letraset catalogue, 1980s)

Cover of the pamphlet issued by Letraset on the occasion of the launch of Narkiss Tam (נרקיס תם) in 1979/80. This Hebrew typeface was designed by Zvi Narkiss (1921–2010) to match Adrian Frutiger’s Univers. See more images of this brochure on the website of Yaronimus.

The shaded logo of Elite Ha'Arak provided the inspiration for the Limon Araq typeface family by Danny Meirav (HaGilda, 2006).