Focal in use by NODE Berlin Oslo for Co-Creating Futures by Kristin Werner and Antje Nestler and published by CollActive Materials and Matters of Activity.

Description from the design studio:

Co-Creating Futures — How can public engagement foster creative exchange between science and society? Matters of Activity Science Communicator Antje Nestler and former CollActive Materials Coordinator Kristin Werner explore science communication through collaborative speculation. From foundational concepts to practical workshop tools and worksheets, this guide for public engagement practitioners and curious researchers offers tested methods for bringing together academic research, design, and society in co-creating pathways into a sustainable future.

You can download a pdf of the whole guide from HU Berlin.

The monospaced font is IBM Plex Mono.

The faceted serif is Avara.

The Internet era has deeply reshaped how we produce, consume and communicate. But despite living in an increasingly connected society the astounding amount of information we meet online can quickly overwhelm us.

Delving into these issues, my thesis project Turning Clicks into Pages explores the relationship between analog and digital media in the contemporary landscape. The work deconstructs Twitter’s navigation system into tangible matter, proposing a hybrid experience between material and immaterial space-time. What happens when information that was never meant to become physical is saved as something permanent? Detached from its original context, does the reading experience remain the same?

Footnote – Center for Image and Text is an independent, artist-run space based in Belgrade, Serbia, dedicated to exploring the intersections of visual and literary practices. Conceived as a platform by artists, for artists, Footnote has grown into a vibrant cultural hub and a space for experimentation. It has hosted a wide array of programs including exhibitions, workshops, readings, book launches, performances, communal meals, auctions, and radio broadcasts—becoming a place where form and content continually evolve.

Through its interdisciplinary programming—spanning residencies, curated events, and publishing initiatives—Footnote fosters collaboration, critical dialogue, and artistic growth. Rooted in community and driven by curiosity, it plays an active role in shaping the contemporary cultural landscape in Serbia and beyond.

The center’s visual identity was created by Jelena Lugonja, featuring the typeface Faune, a beautifully curved serif designed by French type designer Alice Savoie for the Centre National des Arts Plastiques. Faune combines delicate, unexpected forms with the precision of contemporary digital type design, echoing Footnote’s spirit of subtle experimentation and interdisciplinary inquiry. It is paired with ABC Favorit and​​​ Avara.

A noi della partita non ce ne frega un cazzo (“We don’t give a damn about the game”) is a research-based editorial project developed as a final thesis for the Graphic Design course at IED Milan in 2021.

The book investigates the Italian Ultras movement from the 1960s to the 1980s, analyzing its origins, evolution, and visual language. It is divided into two sections.

The first part presents six key Ultras groups through historical accounts and visual analysis of their emblems, mottos, and iconography. Each chapter contextualizes these symbols within their local, cultural, and sometimes political environments, highlighting how they served as tools of identity and distinction both within and across stadiums.

The second section, titled Grammatica Ultras, explores the scenographic and performative practices of the movement, such as choreographed banners, smoke displays, and massive visual compositions that transformed stadiums into stages of collective expression. This part reveals how Ultras developed a unique aesthetic grammar that evolved alongside shifts in media, technology, and generational codes.

Through extensive archival references, interviews, and critical commentary, the book portrays the Ultras not merely as sports fans, but as a subcultural force with its own symbols, rituals, and resistance to commercialization and mainstream assimilation.

Book design and research by Giorgio Craparo, with editing by Mattia Salvia. The book was
printed by PressPoint, Milan, using CMYK plus white ink, on Fedrigoni Ispira Rosso Passione 290 g/m² and Artic Paper Munken Print White 90 g/m². The publication is in Italian, has 40 pages measuring 21×29.7 cm, and is perfect bound.

XOXO is an experimental festival for independent artists who live and work online. A robust and enthusiastic community has formed around the festival since it was first held in 2012. After a few years off, founders Andy Baio and Andy McMillan decided to hold one last XOXO. For this final year, Each Other created a visual identity to send them off, centered around the impressions it leaves behind, and the beauty of the community that has grown from it.

A strong type system was important for the brand, as many pieces are copy-heavy. Avara by Velvetyne echos the angular fluidity of the pattern for headlines, while VCTR Mono by Vectro Type lends a soft typewriter feel to all the body copy.

Learn more about the project on Each Other’s website.

Radar is a jazz album released at mono-Ton Records, Nuremberg, in May 2022. All compositions by Alex Bayer.

[More info on Discogs]

Poster design for E S Kibele Yarman’s first solo exhibition Venüs Saat Yönünde Döner / Venus Rotates Clockwise at Vision Art Platform (20 February – 23 March 2024). The visual features Basteleur in its Bold and Moonlight styles, Avara Italic, Karrik, and Sligoil, all available from Velvetyne.

Eco Magazine is a collective project that brings together photographers and visual artists who use the image as a means of artistic exploration.

My academic diploma thesis consists of creating the №0 issue, a starting point that defines the magazine’s intentions and reflects on this means of communication. Inside the magazine, there's a curated collection of images, illustrations, articles, and conversations created from the contribution of twenty protagonists of the art field.

This magazine aims to actualize the importance of interaction, contamination, and dialogue contained within the image in the cultural institution and the social imagination. It wants to create a conscious visual imagery that spreads according to unconventional methods. It wants to institutionalize photography and all media among the possible means for authorial, artistic, and experimental research.

Chantiers Sensibles is an attempt to print video. From designer Kiara Jouhanneau a.k.a. Kajou (translated):

It's a web to print project made with Paged.js that maps the territory of the former media library of Valence which is currently under construction.

The project reflects the construction site: debris, chaos, bazaar, in all directions; thanks to a well chosen inspiration – desordre.net by Philippe de Jonckheere
But it is also there to bring a sensitive dimension to the place and to pay tribute to its rich experience of more than 300 years.

Printed on 160g paper via an office printer. Hand-sewn side binding.

For the typography, Jouhanneau paired two typefaces from Velvetyne, Façade and Avara.

The project was realized during her DNA in graphic design at ESAD-Valence, on the theme of territory.

Avara and Söhne are paired in Rights of Way. Avara, as the main typeface, is floating around the publication, symbolizing movement. From publisher Onomatopee:

The movements of our bodies through cities and space carry with them pivotal social, political, and cultural potentials. Despite the typical association of bodily movement with the everyday and the seemingly mundane; when considered at length, our ability (or inability) to move through space offers us the ability to transform from bystanders, into witnesses and activators of our cities.

Rights of Way, The Body as Witness in Public Space takes our bodily movements as a departure point to cross into the terrains of art, culture, architecture, sociology, literature, and politics, to envision varied forms of witnessing, and apply them to our direct environments. When many must still campaign to claim their stake in the public realm; when hate crimes and acts of institutional violence persist in the public sphere; when cities continue to grapple with the effects of mass surveillance, precarious citizenship, widespread gentrification, and divisive body politics, we seek to question, challenge, and re-envision who have the rights of way.

This publication comprises a collection of essays, interviews, texts, and images from a range of artists, researchers, academics, architects, and historians. Together, the contributions question our positions of access and in-access in space, and, in doing so, orchestrate the act of witnessing as a vital component in providing meaning to our cities.

Avian Loop is an ongoing publication produced by a monthly art writing group first established by The Physics Room contemporary art space in Christchurch in 2017.

Each issue uses a non-authored format to present relatively anonymous texts to a relatively anonymous audience. Instead of assigning authors to a single piece of text, the publication provides them a space to write freely, personally, or experimentally. Their names are presented as a list in the colophon and don’t refer to specific texts.

Each issue is produced in a limited run, as cheaply as possible and distributed freely among various institutions around New Zealand.

Epub versions of back issues are available via The Physics Room website.

The title is set in Avara, body text in Swear, and information details in Monotype Grotesque.

The Oracle Cards of Design Manifestos is a project that aims to open up your imagination and help you through some of the most frequently experienced forms of creative block.

Every time you refresh the page, it will offer a card with a phrase from an important 20th or 21st century design manifesto. It may come in the form of a streamline recommendation or vague meditation—consider it and try to interpret it as a clue for your design process.

Le Fooding issued this atypical cookbook as a supplement of their 2018 annual guide of alternative restaurants in France. Long time collaborators of the structure, the AAAAA Atelier realized this layout on steroids, mixing together bold collages illustrating the recipes in their weird way together with a compact use of type.

Together with Avara for the text, this punk cookbook features one of the first drafts of a lighter weight for Jaune, even before the release of the family on Future Fonts. Jaune has evolved a lot since then but the general spirit was already there, especially for the black weight. AAAAA Atelier, trying to push their pulp aesthetic to the maximum, stretched Jaune in every possible way, forcing the contents in the page with a digital crowbar.

Table of contents.

With seven large-format, hand-woven carpets the artist Linde Burkhardt interprets the lifestyle and the culture of the Etruscans. These carpets are presented in the exhibition The Joys of the Etruscans at the Museum August Kestner and supplemented with original objects of Etruscan art and culture.

As an alternative to a classic museum catalog, we collaborated with curator Dr. Anne-Viola Siebert and developed the concept for Toska magazine. Mixed with the reprographics of the exhibits there is a wide variety of articles dealing with the Etruscan culture of life: cultural history texts as well as Etruscan recipes or current travel reports from Tuscany. This creates a connection between the past “dead” history of the Etruscans and current science, art, and culture. This idea is also supported by the design.

Based on the flashed look of fashion and lifestyle magazines, we set up a photo shoot for the cover design of Toska with the exhibits in a new contextualization outside of showcases and pedestals and in relation to casual everyday situations. The seven carpets by Linde Burkhardt are presented as a practical format in an inserted brochure.

The “TOSKA” wordmark on the cover uses Avara Bold. All text is set in ABC Prophet, in roman and italic styles.

Exhibition catalogue for the Athens Photo Festival 2019. I have used Avara to underline the technical character of the photography practice. Optima is used for body text.

This photozine was an academic project for a class of photography applied to design, at ESAD Matosinhos. We had to create a narrative using photography, and then lay it out in a coherent format. The story I chose to tell was the excerpt of Simon Reynolds’ Retromania that you can read on the green page.

The narrative parts from the identification of massive entertainment with chewing gum; something you consume repetitively and which loses its flavor soon. From there came out the story of a girl chewing bubblegum that goes through different emotional stages.

I chose Aneirin for the resemblance of its serifs to bubble gum, and then Avara to antagonise the round shapes of the bubbles. Every typographic element is stretched or justified in order to convey the idea of padding content.

From Alien Magazine:

Alien Magazine explores, twists and pushes the boundaries of the understanding of what an alien is. In a series of visual/written essays, interviews or investigative reports, it invites citizens, no matter their shape, size, color, profession, political party, creed, belief, nation, planet to rethink social norms and labels.

The word alien has acquired multiple meanings, from generally describing, in legal terminology, people who are in a place outside of their native nations, synonym to the concepts of foreigner or immigrant, to the sometimes cute, sometimes monstrous creatures portrayed in science fiction.

These contrasts and double meanings are explored with the use of two extremely different typefaces. Avara is a somewhat classic serif with hard edges, representing the rough edges of alienated people which don't seem to fit in; Graphik, a modern classic sans-serif, complements Avara with some softness.

Cover with lettering by Alice Gavin (Groupe CCC) and text set in Syne Extra and Mono.

From the Temple&Fils website:

Founded in December 2017 by Anaïs Allias and Margaux Salarino, Temple is an independent magazine for art, fashion and graphic experimentation. It features contemporary designers and artists. The images are constructed by a principle of appropriation, reintervention and collage based on the contributions sent. The magazine consists of interviews, conversations and essays by creators gathered around a different theme in each issue.

The 7th issue of Temple magazine revolves around the theme “No Limit”. It features several photography series and interviews, in a daring layout making good use of Bonjour Monde’s Syne as well as several display typefaces by Groupe CCC and hand-drawn letterings by Anaïs Allias.

Several bookmarks are included in the issue, created by guest designers (Axel Pelletanche, Mathieu Selvatici, Matthieu Michaut, Revue Diorama, Golgotha).

Title in all-caps Cobra, text in Syne Regular.

Title in YG-droge, text in Syne Mono and Bold.

A wavy column with text in Syne Regular and Italic.

Lettering by Anaïs Allias, text in Syne Regular, Italic and Bold.

Pull quote in an unidentified typeface, text in Syne Regular, Italic and Mono.

Handwritten text by Anaïs Allias.

Titles and text in Cobra.

Bookmarks with texts by Baptiste Rossi, designed by (from left to right) Axel Pelletanche (ft. Futura Condensed and Jannon), Mathieu Selvatici (FF DIN), Matthieu Michaut (Avara and Fivo Sans Modern), Revue Diorama (Mesh), and Golgotha.

Christmas Special banners for Node Center for the Curatorial Studies in Berlin (English and Spanish branches). The typography uses two typefaces available from Velvetyne Type: Avara, designed by Raphaël Bastide, and Matthieu Cannavo’s Mixo, making good use of its myriad alternate letter shapes. .

Corridor8 has partnered with Yorkshire Sculpture International to produce In Your Hands, a new digital publication focusing on the festival’s engagement programme. With contributions from Yorkshire Sculpture International’s Engagement Curator Meghan Goodeve, Corridor8’s Managing Editor Lara Eggleton and writer and artist Jennifer Boyd.