Bergamo Film Meeting is one of the most important events on the Italian festival calendar: for 43 years in March, thousands of enthusiasts of auteur cinema come together to share a major cinematic event.

It represents nine days of screenings, over 160 films including feature films, documentaries, and shorts. The event includes Exhibition Competition, Close Up, Europe, Now! Alice Nellis, Christian Petzold, Animation Cinema: AnReal, Cult Movie / Special events, Previews and Classics - Cult Movie, BFM Opens Bergamo Jazz, Kino Club, Retrospective: Otar Iosseliani, and Tribute to Wojciech Has.

The typefaces used are Charlotte Rohde's New Edge 666 Rounded (always in all caps), and Christian Schwartz’s Neue Haas Grotesk.

Missy Magazine lives at the intersection of pop culture, politics, and feminism. Founded in 2008 by Stefanie Lohaus, Chris Köver, Sonja Eismann, and Margarita Tsomou, it has since become a leading voice in independent feminist journalism, publishing six issues a year.

The topics are as diverse as the readership: from trans families, sex work, and the rise of the far right to coding, fat acceptance, and care work. Missy Magazine covers rap, cats, menstruation in horror films, asylum and everyday life, body hair, and the latest TV highlights. The magazine interviews and profiles artists and activists, explore feminist fashion, queer pornography, and spotlight organizations fighting for safe abortion access worldwide.

The magazine’s website is designed by Daniela Burger and Lisa Klinkenberg. Most text is shown in Missy Marguerite, a custom version of Charlotte Rohde’s Marguerite Grotesk. It’s distinguished from the retail version by f r t with horizontally cut terminals and round dots. The logo is based on Impact Nieuw 2016, the wide style from Jungmyung Lee’s series of reinterpretations of Impact. The typographic palette is completed by Daria Cohen’s Zangezi.

The cover features Fabio XM, Margo+Beuys and RYM.

Same Bold Stories? Type Design by Women and Queers in the 20th and 21st Centuries is a bilingual publication accompanying the exhibition of the same title (see the dedicated post).

From an article written by turbo type for Fontstand (with added links):

A book accompanying the exhibition was released on August 23rd, offering an informative theoretical extension to the exhibited works. Essays and interviews by and with contemporary acteurs of the international type scene, such as ALT.tf, Nadine Chahine, Katharina Koch, Laura Meseguer and Teal Triggs, reveal that historiography is rarely “complete” and that gaps can only be filled, if at all, by consciously engaging with them.ly engaging with them.

Edited by Klingspor Museum and Naomi Rado, the publication includes contributions by Petra Eisele & Isabel Naegele (UN/SEEN – SEEN), Teal Triggs, Giulia Boggio, Amber Weaver, Nadine Chahine, Laura Meseguer, Katharina Koch, Dorothee Ader, Tatjana Prenzel, Valerij Ledenev, and Naomi Rado. The book design was provided by Leonie Martin of turbo type together with Masha Egorova, using a range of typefaces designed by women and queers. One typeface that’s featured in the book but not shown in the included images is CoFo Sans Mono.

Contents spread ft. Fabio XM, Margo+Beuys, Sisters, Kéroïne, Unfamiliar, Bastardo Grotesk, Gupper Display, and V1olet.

Preface with Milkman, Domino Mono, and Bastardo Grotesk

Questions over questions in Fabio XM

Mini glossary ft. Kéroïne in roman and italic

“ABCDEFLINTA*” in Galgo Condensed

Text about Anna Simons set in Kéroïne

Kafa by Nadine Chahine and Sisters by Laura Meseguer, plus ALT Rigatoni for the byline

Interview ft. Fabio XM

Margo+Beuys and Fabio XM

The interview with Teal Triggs is introduced with V1olet.

Interview with Giulia Boggio and Amber Weaver in Margo+Beuys and Bastardo Grotesk

The headlines in Katharina Koch’s contribution are set in her Unfamiliar.

Spread ft. .notdef glyphs and Oakland a.k.a. Lo-Res 9 Wide Bold Alt

Bibliography ft. Women’s Car Repair Collective and Kéroïne

Are there “feminine” visual forms, fonts and materials? Does the “female” social imprint influence design? The answer to these questions is complex, but it is clear that the choice of typeface has a significant influence.

On their website, the Flint*ype collective makes Flinta* type designers visible, archives them and invites you to engage with questions of marginalization in graphic design. They talked about their project process at the lessoning. Charlotte Rohde also took part in the discussion and talked about her working practice.

The poster for the talk at F+F in Zurich – which in its original form is an installation – ties in with the above-mentioned questions about material and visibility and encourages reflection on patriarchal structures in design.

Via Lugemik:

Exploring Kristina Õllek’s marine and coastal ecological interest, the publication Filter Feeders, Double Binds & Other Blooms invites us to think with her four year long working process, based on research and personal observations around anthropocentric influences on marine ecology. Focusing on the North Sea and its filter feeders: blue mussels, oysters and the expanding jellyfish population; as well as on the Baltic Sea and its cyanobacteria, blue green algal blooms and dead zones.

The publication includes a letter correspondence between Kristina Õllek and curator Angeliki Tzortzakaki, as well a collaborative visual essay by Kristina Õllek, Angeliki Tzortzakaki and Kert Viiart, and an essay by theorist Jeff Diamanti. The publication includes a wide range of exhibition views from her three recent solo exhibitions at Draakon Gallery (Tallinn), A Tale of A Tub (Rotterdam) and ISSP gallery (Riga).


Mapa i brúixola a la vegada – Un model d'aprenentatge propi (“Map and compass at the same time – A learning model of your own”) is the title of my final degree publication made at BAU Barcelona. The cover features glyphs from Floriane Rousselot’s Nikita. The title is set in Charlotte Rohde’s New Edge 666, and “Look Look” is in CirrusCumulus by Clara Sambot.

Through deep reflection on the perception of time and an analysis of the current changing society, based on the ideas of prominent thinkers such as Zygmunt Bauman and Byung-Chul Han, I question and investigate the tools at my disposal as a graphic design student in a specific context, the BAU University. Using a methodology that combines autoethnography and case exploration, I analyze my academic experiences and competencies to identify patterns and similarities that guide me in defining my learning outcomes. I observe how these shape a constantly evolving and transforming network, interconnecting and combining as I acquire new knowledge, generating an expanding complexity. To give a tangible form to these abstract concepts, I create a visual cartography that acts as a map and a compass, providing a defined self-perception and a guide for the next steps upon my university degree, especially in facing the uncertainty of the future in the job market. Furthermore, the project presents additional elements to complement its understanding. The study concludes by emphasizing the importance of reflection and introspection to thrive in an uncertain future.

Founded in January 2023, the Australian environmental company Powerhouse Renewables Group works closely with the continent’s indigenous people. Rather than focusing solely on decarbonization and electrification, Powerhouse strives for “true sustainability” based on nurturing and revitalizing natural systems.

“Because Aboriginal people have a keen awareness of these systems, their perspectives, cultural knowledge, and collaboration are critical to designing successful projects” emphasizes Powerhouse’s founder Brigette McDowell in her Capability Statement. This guiding principle forms the basis for all decisions made by the consulting firm in its projects and initiatives.

Creative agency Side By Side Studio from Melbourne is responsible for the visual identity of Powerhouse. The logo is set in Marguerite Grotesk, which was designed in 2017 by the Berlin artist and type designer Charlotte Rohde. The distinctive trunk of the R gives the otherwise neutral logotype a strong personality, even a certain exclusivity, because in the latest version of Marguerite Grotesk this shape of the letter is only available as a stylistic alternative hidden in the character set.

The house font is Pangea, an obvious choice because its designer, Christoph Koeberlin, invests 25 percent of his royalties for this font in reforestation projects. Jack O’Sullivan, the founder and art director of Side By Side, describes his design strategy as follows: “Ethical and thoughtful design decisions are important in all projects, and we felt this particularly when working with Powerhouse because the company is committed to environmental solutions and social problems in Australia. Pangea is a beautiful font with clarity and character, but its added environmental benefits made the choice an easy one for the studio and the client.”

Draft for the Powerhouse Sustainability Report Q3/2023, designed by Side By Side Studio using the Pangea font family.

The typography of Powerhouse Instagram posts designed by Side By Side Studio using Pangea

Women Looking at Women Looking at Women: Reclaiming Histories of Women in the Arts and Proposing Models to Facilitate Future Friendships was published by Page Not Found from The Hague, Netherlands. The designers – Marijn van der Leeuw, Esther Vane, India Scrimgeour, and Hannah Meri – used a diverse selection of typefaces designed by women, amongst which CoFo Chimera counts as a local typeface. It started as Maria Doreuli’s graduation project at the KABK’s Type and Media course in 2013.

From the Jury rapport of De Best Verzorgde Boeken:

This publication, a collaboration between a number of female designers, certainly makes a unique impression. The fragile, translucent paper reinforces the idea of collaboration that is so inherent to the DNA of this project: not a single page works only by itself. An idea that is also reflected in the marvellous self cover. The typography of the book is full of little visual jokes and experiments, such as a text about ‘pillars’ in which the text is partly laid out in the shape of a Greek temple. Almost too much, but not quite. All in all, Women Looking… is well thought-out and well made, from the quality printing to the colour of the thread with which it is bound, which corresponds to the special colour used to print the texts. Another attractive aspect of this book for the jury is that it is published as part of the inaugural Page Not Found Thesis Award, an initiative by this platform to promote ‘publishing as artistic practice’.

Printed by die Keure Printing, and bound by Boekbinderij Patist.

Visual identity and clean iridescent product packaging designed by Samuel Lewek for his mother’s professional activity. In an Instagram post, Samuel Lewek describes the project:

Whenever I visit my old hometown, I get some fresh tea from my mum. She collects it on the meadows and fields in our neighborhood, dries it and fills it by hand. Whenever I drink this tea – no matter where I am – it tastes and smells like home.

As an artist, her work has become more graphic in recent years. The packaging combines her skills (each package is hand painted with ink) and my love for typography. Nice mother and son collaboration I would say.

This cool creation is based on illustrations and two typefaces: Plage from Lift Type and Kéroïne from Studio Charlotte Rohde.

The church in the village

In Germany more and more people are leaving the Christian Church. In 2022, for the first time, the majority of the population no longer belongs to the Church. The institution increasingly loses its social relevance nowadays. But what happens to the numerous church buildings that are left behind when the people leave?

Most of them will no longer be needed nor used as sacred spaces. Either they are subsequently rededicated, sold and repurposed. Moreover they remain in an empty state or getting demolished. Buildings nonetheless that are still visible in the cityscape, hardly changed externally, but in many places already are filled with new life.

The work deals with the phenomenon of church closures: converted, repurposed and also empty churches. What remains of the building and its appearance? What do the converted spaces tell us about current needs and developments of society? They can inspire us to reimagine possibilities with our own surroundings.

This book was made as Master’s thesis in HfK Bremen’s Studio Culture and Identity
96 pages, 21×28 cm, printed in an edition of 10 copies

“Reassemblage” is the title of the second installment of NOIA magazine.

Words and thoughts cannot really exhaust objects or images. Objects and images also have their own limitations. It is this then, throughout the complex network of relationships between these elements – objects, images, words, thoughts – that meanings are formed and unraveled. Reassemblage is a posture, an attitude toward life that triggers the collapse into a work practice of histories, identities, images, sensibilities, dreams, hopes, and futures.

This was the guiding/curatorial principle of NOIA 02: to take a chance as the development of the magazine progressed, encountering the artistic and intellectual labour of the contributors and facilitating these perspectives to coexist within a single multifaceted territory, in an attempt to flourish a complex landscape.

Our articles cover a spectrum of topics and disciplines, from the love story of a rabit.jpeg with a sofa.jpeg to the visual research behind photographing metal scraps, the experiment of creating a form of analogical writing or the significance of queer cruising spaces.

Visible Design Space is an ever-expanding platform that aims to give a stage to female and non-binary graphic designers from the German-speaking world and thus counteract the cis-male dominated discourse in the creative industry.

The aim is to highlight the need to make non-binary people and women in design visible and to create the possibility to bring them together within an archive, to actively fight against stereotypical social roles and to stand up for cross-industry equality.

The project was conceived and designed by Lisa Grüb and Laura Dunse, with programming by Yulia Wagner. The fonts in use are Ambiant Sans Book by Laura Csocsán and Serifbabe Alpha Italic by Charlotte Rohde.

Kéroïne and Authentic Sans are paired in the flyer and the brochure for Like Lava Inside Me. The exhibition by artist Klara Charlotte Zeitz, shown at Museum for Sepulchral Culture in Kassel, Germany, from September 10th to November 13th, 2022:

How do we deal with the representation of violence and loss and what language do we find for it? How do we address feelings of pain, powerlessness and grief? What gives us the courage to change things in the long term? In the uprising against injustice and death, anger is the transformative force. It is generally considered negative and yet it is an essential part of rebelling against personal or societal grievances. It makes us stand up for self-worth and upheaval and is our moral compass against injustice.

Open thread stitching with neon multicolour thread. The title font is Serifbabe by Charlotte Rohde.

Some clothes accompany us for many years. Often no longer worn, they aren’t thrown away. They have a personal story. They are valued by us. They are memorabilia. We don’t want to miss some pieces of clothing. They warm us, they are a home for us, they show us. They are favorite items of clothing.

Lieblingskleidungsstücke is a publication with textile stories from the Department of Fine Arts and Design at the Mozarteum University, Salzburg. Collected and compiled by Frauke von Jaruntowski. Designed by Gerhard Andraschko Sorgo.

Body text with Default Sans by Scott Vander Zee

Photographer Peter Schreiner in a cloud suit

The images were intuitively thrown into the short stories.

Created on the occasion of a group exhibition, the Absolvent:innen 2022/2023 (“Graduates 2022/23”) catalog contains works from graduates of all classes of the Academy of Fine Arts Nuremberg. Every graduate has their own booklet, containing works, awards, exhibitions and personal information. Bound together by straps and wire rope, these booklets together form the catalogue.

For the catalog we used Suisse Int’l and Suisse Intl Mono (by Swiss Typefaces) as well as Kéroïne (by Charlotte Rohde). The catalog was printed on Salzer Touch and Circle Offset Premium White paper.

Concept and design by Hannah Gebauer and Philipp Stöcklein. More pictures on Behance.

Sleeping with Ghosts was the final exhibition of the Bachelor of Fine Arts class of 2019 at Umeå Academy of Fine Arts at Västerbottens museum. The catalog was printed digitally in a small run at Original, a fantastic local printer.

I tried to embody the ghastliness of the theme in the choice of type. Workhorse NaN Tragedy (then named TXT25) takes explicit inspiration from the tragic and the occult, while Zangezi comes with a death related offer: it can be used without cost when applied on gravestones. The tightly set Gloubi on the cover echoes a ghostbuster phantom, ready to digest the reader.

The catalog has two distinct sections. The introduction, with process images, is printed on Holmen TRND 80g/m² (a pulpy, paperback-like stock) and set with NaN Tragedy. The second part documents the exhibition. This part is printed on Tom&Otto Silk 170g/m², a super glossy magazine stock, and here, Armand Grotesk is used for text. The spine, not pictured, uses Eckmannpsych.

In Foto Arbeiten (Photo Works) by Adrian Sauer, Anna Lena von Helldorff is making generous use of Gerstner-Programm FSL by Forgotten Shapes as well as Kéroïne by Studio Charlotte Rohde.

From publisher Kerber:

Adrian Sauer (*1976) explores the nature of photography, occupying himself with the current state of the medium in pictures, self-written programs, texts, and installations. In his artistic work, he examines the functionality and pitfalls of photography and questions its big promise of being a reliable, objective reproduction of reality. His new book of works brings together “photo works” of the past ten years and simultaneously provides insights into the migration to digital photography and the new possibilities for showing and seeing that arise from it.

The publication was edited by Getrude Wagenfeld-Pleister, Oldenburger Kunstverein, together with Galerie Klemm’s, Berlin. With texts by Orit Gat, Adrian Sauer, Katrina Sluis, and Christin Müller.

What does home mean?

In conversations with designers, architects, self-employed people, complete strangers, students, photographers, illustrators, tenants and many other folks, we got to know different forms, definitions, and views. We give them a space to thrive in the 38th issue of the Boxhorn magazine – we give them a home.

Home (German: Zuhause) is not a standard term for a white cube, built in a new development in the suburbs of Cologne, but offers manifold views ranging from a twelve-square-meter room to a nomadic lifestyle. To understand this, we also took a look at other forms of living – beyond our own preconceived ideas.

However, to live and feel “at home” is social not only on the local level. We always are at home in the society in which we live and with which we (have to) surround ourselves. In this context, both economic and political conditions determine our living conditions.

“Home” embodies many individual representations; proximity, social aspects, financial status and emotional values. When we refer to a place as home, at its best it provides a space to retreat, invite, or show off. But what when these conditions are not present? Hereby we show various forms of being and feeling at home, as well as the aspects and definitions that go along with it. As it turns out, a home is often a potpourri of all the places where one has already lived and felt at home.

The issue was edited by Delayne Kreutz, Gabriel Dukić, Hannah Stollenwerk, Ivana Baumann, Maret Van Stiphout, Sophie Leiwen, and Zeno Scheffel, under the supervision of Prof. Ilka Helmig at the University of Applied Sciences Aachen. In an edition of 150 copies, 600 of the 900 individual booklets were bound by hand and, after printing with HP Indigo, finished with fluorescent red via risography printing.

Throughout the issue we exclusively use New Edge 666 Rounded by Charlotte Rohde and hereby send best regards from home in Aachen!

Words from Leira (translation):

Leira is a physical space with digital extensions located in Lugo, Galicia. A meeting place to explore the intersections between research, artistic creation and contemporary cultural production.

We seek to cultivate imaginaries of the present and the future around the cultural and territorial reality of which we are a part. We claim the periphery as a prolific place for the emergence of new views, practices and voices not captured by centrality frameworks. We want to work with other times that transcend the imperatives of speed and visibility, by offering places for production, reflection and critical/speculative thought through different tools, practices and knowledge.

Leira uses Asfen for the titles of its identity and its logo. For social media graphics, it’s paired with an unidentified sans [edit: it’s Armand Grotesk, see comments] used in all caps. On the website, the supporting sans is Nitti Grotesk. The project was founded by Antonio Giráldez López and Laura Tabarés, who might also be responsible for the design.

Poste for Tempostagem, a performative workshop around mythology and speculation coordinated by Mourae (a.k.a Lois Bua)

Poster for Nature Go!, a video installation by Judit Adataberna

Jie Shao (____jieshao) works in brass, stainless steel, gold, and ceramic for No, it is opposition. This pop-up exhibition, part of the Is A Show series, was presented through January 3, 2022 at Is A Gallery, Shanghai.

Jie Shao (b.1994) is an artist working in sculpture. His work traces a potential “component” that exists in reality, or juxtaposed between multiple mediums, or fading into line spacing in texts.

The poster typography uses Kéroïne for the title and dates. Smaller text is set in Acumin and Times New Roman Italic. Chinese text is in Noto Sans.