The Echidna Zine is an ode to the echidna, an egg-laying mammal. The zine was published by Seoul-based creative studio and artist Hyper Pension in March 2026.

One of the most notable aspects of the zine is that it was produced using a range of techniques, including rubber stamping, manuscript, and cyanotype. The zine was produced in a limited edition of 30 copies and was first presented at the art book/zine fair OFFCUT SEOUL 2026.

“Happy Echidna Sanctuary” on the title page is set in P22 Operina, enriched by its lavish ornamental alternate glyphs. The alternate glyphs in Operina are sometimes seven to eight times wider or taller than the lowercase letters, giving the setting an exceptionally decorative character. They bring a sense of abundance, elegance, and playfulness to the page.

The title page was printed on Sheepskin paper (140 g/m²) by Doosung Paper, a contemporary reinterpretation of parchment. The rubber-stamped yellow tag is also typeset in Operina.

The widest page is a manuscript, created with brush and ink. The title “Echidna” at the top of the page is based on Geographica Script. On the two body-text pages printed on Munken Print Cream, SM3태고딕 and SM3견출고딕 from Jikji Soft are paired with Tuplet, which is set in all caps.

Manuscript / Ink and brush / 210×297 mm
Cyanotype (blueprint) / 127×178 mm
Print on Sheepskin paper / 90×90 mm
Print on Munken Print Cream / 100×270 mm
Rubber-stamped / 100×20 mm

Creation and production of communications for the Printemps de la librairie indépendante event, a week of free cultural events in Strasbourg’s independent bookstores (workshops, meetings, book signings, and many other festive and literary activities).

Die Scham in der Petrischale – ein Sammelband zur Annäherung (“Shame in the petri dish – an anthology for approaching the topic”) is a book was developed, designed and published by Clara Birkmann in the summer semester of 2024 as part of the Bachelor’s degree in Graphic Design at the Faculty of Design at TH Nürnberg, Germany. From the designer’s Instagram post, translated:

Shame observed, examined, described, packaged in 4 essays from 10 perspectives on 8 themes across 120 pages. The focus was on shame as a social instrument of power, together with its companions such as origin, sexuality, affiliation, and convention.

As part of this examination Clara collected four essays from four different authors and asked people to contribute their own lyrical confrontation on the theme of shame. Additionally she added eight lyrical fragments of her own and developed a photo series with motives of places and associations to shame.

The result is a collection of approaches to a topic that still faces a lot of stigma and silencing in order to understand the mechanisms of shame and find a way to work with it.

The book is typeset in Softcore by Tekio and Diatype Mono by ABC Dinamo. Additional display fonts used throughout the book are Nirvana by Altiplano and Trattatello (an alias of P22 Operina) by James Grieshaber.

The included essays are:
• An abridged version of Scham by Lea Schneider, published in the Edition Poeticon of Verlagshaus Berlin
• “Die Scham des Seins” by Marina Garcès, from Durch die Augen der Lernenden published by Turia + Kant
• “Hüterin und Zerstörerin menschlichen Selbstgefühls” by Peter Conzen, from Scham – 100 Gründe rot zu werden published by Wallstein Verlag
• “Keimen” by Laura Späth, from about shame published by &töchter

Lyrical contributions by Minh Voll, Geneva Späth, Nadine Zenker, Anna Hofmann, Carlotta Kiefhaber, Ivana Marija Hope, Curry Eirich, Maja Grass, Elias Hüppauff, and Clara Birkmann.

Young Cage is part of the John Cage Organ Project in Halberstadt. They are committed to the 639-years-long performance of ORGAN²/ASLSP at the Burchardikirche in Halberstadt (Germany). Every summer, they come together to creatively analyze John Cage's music, his texts and images. They play an active role at events and inform about the project.

See also a previous contribution related to Young Cage.

A presentation of Sampo – a body of work by Swedish sculptor Erik Thörnqvist, which has been exhibited in different versions in the group shows Ekotop and Hyper-Terrestrial, both in 2019. In the image above it’s shown as a mockup of a booklet spread which is used on the artist’s website.

The big type is Zorn, paired with P22 Operina Romano.

Detail

Birra Stout is one of the many typefaces used for the typographic illustrations that accompany Amanda Kae Fronk’s article about linguist Mark E. Davies in an issue of BYU Magazine, a quarterly published by Brigham Young University. The whimsical display typeface by Darden Studio was chosen for the words “famous” and “crisis” in the large opening spread. Birra also appears in another graphic with “words about women”. Here it’s used to render the terms “pregnant” and “adult”.

What could you do with a few hundred billion words? A BYU professor is transforming linguistics research, language learning, legal studies, and other fields all over the world.

Among the other repeatedly or prominently used fonts in this smorgasbord are Klavika/Klavika Display (“Big Lang BYU”, “inalienable”, “huge”), Bourton Hand Script (“Flow”, “friendly”), Facebuster (“obesity”), Tungsten (“recession”), Quitador (“Ideal”), Burford Dots (“refugee”), Estilo Script (“creative”), and Archer (“civility”). See the typeface credits for more identified fonts in use.

Full spread

“Using Davies’s Corpus of Historical American English to compare some of the most common adjectives that appear near the word women in two different time periods – 1810–99 and 1970–2009 – reveals major shifts in attitudes about women and their role in society.” Klavika and Bourton Hand Script are used for the title, Pompadour Numerals, Cooper Black, and an unidentified grotesque for the years [edit: Champion Gothic, see comments].

The Apocalypedia. A utopian guide to what is and what isn’t is a subversive comic-philosophic dictionary of apocalyptic optimism and strange beauty.

Title page set in 22 point Centaur with 42 point Augustea Filettata (digitized as Augustea Open) from the Nebiolo Foundry.

A book of sonnets of the homesteading era in southeastern Oregon in 1912. There are eight plates, drawn and hand-colored in oil-based pencil by Norman L. McKnight. Printed by McKnight and Arlington C. Jackson of Philoxenia Press in Berkeley, California.

Colophon set in 22 point Arrighi Italic.

Exhibition catalog for Cambrai 1700: a city in the time of the Sun King, featuring AW Conqueror Didot and P22 Operina Fiore.

Ready Or Not, Here Comes GX, an article about the TrueType GX font technology by Maryrose Wood.