Club of Engineers & Friends e.V. is a Berlin-based charity focused on global justice, practical innovation and long-term partnerships. The website presents the organisation through a project-led structure that moves between fundraising, storytelling and participation, rather than separating campaigns from ongoing work.

Projects include Floating Mothership in Bihar, Wajukuu Makerspace and Mushroom Manufaktur in Kenya, Day of Caring in Berlin, Permaculture Trainings, and an Exchange Program between Nairobi and Berlin. The result is a site that feels closer to a network of collaborations than to a conventional donor platform.

Typefaces in use are Store Norske Ja Mono from Skriftkompani and ABC Diatype from Dinamo.

If we want to rewrite the history of design, we must take its beginnings into account. The period before the Bauhaus, the importance of “arts and crafts,” and, above all, the achievements of women in graphic design have long been neglected in the presentation of German design history.

UN/SEEN brings together previously unknown material and sheds light on the lives and work of female designers in the fields of book design, poster design, typography, illustration, and packaging. In ten chapters, UN/SEEN documents the latest research findings and uses numerous examples to show how successful and self-confident the first generation of female graphic designers was and which discourses from that time still shape the discipline today.

UN/SEEN questions traditional narratives and contributes to the discussion about design and gender with new role models. The book is accompanied by the project platform unseen-women.design. The publication is available in both an English and a German edition.

Published by Slanted Publishers and edited by Petra Eisele and Isabel Naegele, this volume features a foreword by Ellen Lupton and contributions from Brigitte Baumstark, Friederike Berger, Julia Blume, Gerda Breuer, Petra Eisele, Aliena Guggenberger, Jana Haase, Antje Kalcher, Julia Meer, Julia Mummenhoff, Isabel Naegele, Julia Neller, Antje Neumann, Bettina Richter, Julia Rinck, Kerstin Stöver, Ute Thomas, Christina Thomson, and Sabine Wieber. Designed by Julia Neller, the book comprises 422 pages in a 18.4×26 cm format. Produced using full-colour offset printing, it is printed on Arena Rough 120 g/m² paper by Fedrigoni and bound as a hardcover edition featuring a lenticular foil cover and thread stitching.

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.

Harvey is the AI platform tailored for legal and professional services, used by top law firms and in-house legal teams – including A&O Shearman, Reed Smith, Deutsche Telekom, and PwC UK – to elevate their craft and navigate complexity. The brand foundation was shaped by Portland-based studio Geist, working alongside the Harvey founders and brand consultant Shawn Farsai, producing an identity that stands apart in a category full of generic tech tropes.

In June 2025, Harvey launched its first out-of-home campaign in New York – “Practice Made Perfect” – with Geist and Daybreak, where typography carries the entire expression: the wordmark, headlines, and display copy are all set in TWK Ghost (designed by Nolan Paparelli and published by WELTKERN), its refined high-contrast shapes giving Harvey the editorial gravitas of a legal journal while signaling craftsmanship and precision. ABC Diatype by Dinamo is used as a supporting sans-serif for body copy and UI – a measured counterpoint that lets TWK Ghost hold the emotional and visual weight of the brand.

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.

Graphic design studio Clubbed Form used Ladna Faux to create the visual identity for the 2026 exhibition program at Listasafn Árnesinga, an art museum in Hveragerði, Iceland.

The visuals come from found elements, sticks, stones, leaves, textures, which were used to create ink compositions. These marks behave more like imprints: traces of contact, pressure, and movement. They begin to resemble maps, or fields shaped by forces rather than designed compositions. Each exhibition approaches questions of power, memory, conflict, identity, and spatial relations, so the aim was not to illustrate the works, but to construct a surface where these ideas could exist.

Eugenio Perazza, founder of Magis, has written a book, designed by studio òbelo and published by Rizzoli in Italian and English editions. An intimate and passionate account of design through the episodes that have shaped the author’s personal and professional journey.

With carefully chosen words, Perazza brings us aboard a journey that traces the birth of Magis, the encounters with great designers of the past, the successful projects and those that didn’t work out.

Cineforum Rivista celebrates its first 65 years of editorial activity with Cineframed – The Exhibition, unfolding across two venues: the first at Roma Smistamento, the second at Frab’s Magazines & More.

Cineframed features a gallery of 16 framed works: a selection of the most iconic covers from the Serie Collezione (1961–2020), curated to trace the magazine’s graphic evolution, its changing formats, and the shifting tastes and aesthetic sensibilities of different eras. At the same time, the exhibition offers an invitation to revisit the history of cinema through a sequence of images destined to remain forever part of our collective viewing imagination.

ABC Oracle is one of the typefaces selected for all of the magazine’s texts, as well as for the poster-manifesto and the gallery handout for both exhibitions.

Loyalty programme and identity for the Paul Smith's Collectors Club, designed by agency Limesharp.

A stamp-collecting loyalty programme for British fashion brand Paul Smith, where members build a digital album of over 100 bespoke illustrated stamps earned in-store and online across 20 countries.

The Collectors Club logo is set in Kalice from Claude Type, designed by Margot Lévêque, in both Regular and Italic. It is paired with Paul Smith’s brand typeface Mint Grotesk by Lift Type. Diatype from Dinamo is used for text on the stamps.

Büro Bungalow redesigned the visual identity and website of Germany’s first unisex online magazine BEIGE in 2022. From organic shapes and warm colors with contrasting accents to characteristic typography using Frukt, Swear, and ABC Marfa, the mix of retro looks and contemporary elements creates a corporate design with high recognition value.

Book design for Vom Spazieren, Gehen, Reisen und Unterwegssein, published in 2025 by Transhelvetica.

The author, Walter Hoffmann, is in his 80s and lives with his wife Nagako in the Swiss Alps. Their mindset at this age is simply inspiring. It was such a nice and meaningful project to work on. 180 pages full of humor, life wisdom, and little stories about walking that make you smile (and think).

Printed by Finidr, Ltd.

Tom Ross is an Australian architectural and editorial photographer whose work has appeared in publications including Monocle, Dwell, Wallpaper, and Dezeen. His new visual system was designed to convey credibility, cinematic warmth, and quiet confidence while maintaining an authentic, human quality. This balance is thanks to the use of ABC Diatype by Dinamo, chosen for its precision, it is easy to use beautifully, and enjoyable when intentionally misused. Its balanced geometry introduces subtle tension when layout rules are intentionally bent, creating space for nuance and personality.

Tom’s identity is set exclusively in Diatype’s Medium weight, delivering clarity across print, digital, and motion applications, anchoring the identity, letting the images take centre stage without needing the type to take a backseat.

TITLES is a creative platform that combines AI and blockchain to let artists train and monetize custom models. It prioritizes on-chain attribution, revenue sharing, and artist control. ffforum was tasked to reimagine the TITLES identity, emphasizing refinement and forward-thinking through a sharp typographic system and a simplified mark that conveys luxury and clarity. The idea of the white cube is flipped on its head: the black box becomes an open system for exchange and authorship, where movement and transparency replace rigid ways of making.

ffforum developed three motion systems – Circularity, Multiplicity, and Openness – to anchor TITLES visual identity to its core values. Each system is adjustable to support the seamless promotion of artists, models, and user creations on the platform. These systems extend into simplified static layouts for quicker bursts of promo. By guiding and incentivising the cultivation of relationships with reputable artists, ffforum aimed to elevate the standard of the platform, making it easier to generate high-quality work. This initiative is extended by a spotlight series for visiting prompt artists, that push the artist models to its limits.

We developed the brand identity for TARB, a new hair care brand. Guided by the philosophy of “True And Raw Beauty,” this project explored how to translate nature’s pure, primal beauty into a refined and deliberate language.

With both the Korean and Japanese markets in mind, we sought an aesthetic closer to attitude than visual excess. The direction began with the texture of Eastern minimalism and the quiet discipline of Zen.

We stripped away unnecessary ornamentation and built the packaging with restrained colors and generous negative space. The logo, too, takes its cues from natural forms rather than artificial expression.

To ensure beauty in its raw state is conveyed without exaggeration, we carried the brand’s core values consistently across its visual language and overall spatial experience.

The logo is custom drawn. Nordvest is the brand’s primary typeface, used for headings. On the packaging designs, it’s paired with Arno Italic. The website additionally uses ABC Diatype (English), Sandoll GothicNeo (Korean), and PingFang (Japanese).

Familial Lexicon explores words that exist only within a family – private expressions that outsiders don’t understand. These intimate terms form a micro-language, showing how language grows through shared experience, closeness, and everyday life.

The cover is made from aluminium with an embossing effect.

Designed by Enzygal at Kunstuniversität Linz, making early use of DGM Saffron. Arabic and Armenian text are added in ABC Diatype.

Baby Please Come Home (BPCH) is a homeware brand rooted in craft, materiality and thoughtful living. It transforms everyday household objects into pieces that feel intentional, functional and quietly beautiful. Working closely with local artisans, BPCH celebrates traditional techniques while presenting them through a contemporary lens.

This project uses ABC Maxi Sharp and Futura as the primary typefaces for Baby Please Come Home. ABC Maxi Sharp is used for key brand expressions, bringing a contemporary sharpness and subtle eccentricity that gives the identity character without overwhelming it. Its distinct forms add personality while maintaining structure.

Futura supports the system as a grounding counterpart. Its geometric clarity provides balance across packaging and print applications, ensuring legibility and consistency. The pairing allows the brand to feel expressive yet restrained, with a clear hierarchy between display and functional text.

This second issue of Mushroom People magazine, published by Broccoli, features “astromycologists, academics, architects, pharmacists, foragers, fashion designers, home cooks, shopkeepers, composers, and poets all inspired by the many radical ways of being fungi embody.”

Exploring the topics of “creation, destruction, attraction, and revulsion”, each chapter is printed on a different paper and uses a different set of typefaces.

The nameplate is set in all-caps Bradley DJR, and most body copy is set in ABC Marist and Calibre.

“Habitats for humanity” is set in Charlottenburg.

“Destuct” is set in Respira Black, “Two” uses Michaux and the small type is Calibre.

“Spores” uses ABC Asfalt.

“What” and “Lurks” are both set in typefaces from Dinamo: ABC Laica and ABC Maxi Round.

The text on this page is set in three columns of pink Certeau, with the headline added in Cancellaresca Script, partly arranged on a curve. The drop cap appears to be custom.

Turist (WIP) used for Leida Reader: Fifteen Selected Articles, a compilation book duo (in Estonian and English) of articles from the online journal Leida, established by the Faculty of Design at the Estonian Academy of Arts and published between 2022 and 2024. Graphic design by Oliver Long and Alexandra Margetic.

From the Estonian Academy of Arts (EKA):

Leida brings together different approaches by designers, artists and design researchers, ranging from craft, material and technology studies, and co-designing with local communities, to various practices of mending and care. The articles explore the devastating consequences caused by design, as well as the new perspectives opened up by design that have an immediate impact on people and their interior and exterior environments.

Edited by Taavi Hallimäe and Neeme Lopp
Editorial Board: Triin Jerlei, Ott Kagovere, Ruth-Helene Melioranski, Sandra Nuut

Translators: Maris Karjatse, Keiu Krikmann, Peeter Talvistu, Mari Volens
Language Editor: Michael Haagensen […]

316 pages, in Estonian and English
EKA Faculty of Design, 2025

Vitamiin in use for Hüvasti, noorus! / Bye-bye, Youth! – an exhibition and a publication by the Estonian Health Museum, curated by Ülle Kask and Anna Rinaldo. Graphic design by Viktor Gurov with Martin Merirand, exhibition architecture by Valge Kuup Studio.

From the museum’s website:

No one remains indifferent to aging. Each person has a deeply personal and unique relationship with it. For some, it signals a gradual retreat from active life, while for others, it brings newfound freedom and the joy of new challenges.

Candid reflections by Laura Kalle, Marju Karin, Haide Männamäe, Toomas Tross, Valner Valme, Tõnu Õnnepalu, Helgi Põllo, and Margus Mikomägi offer a chance to connect with different aspects of aging and to seek balance and meaning at every stage of life.

In 2024, the Ministry of Culture of Slovenia issued the Resolution on the National Programme for Culture in Slovenia (Slovenian: Resolucija o nacionalnem programu za kulturo) for the period between 2024 and 2031. It is the main document outlining the program and development goals that the Ministry aims to achieve during this and possible future mandates.