What if AI moved at the pace of care, kinship, and curiosity?

Restless Grounds explores this question through the lens of decolonial, feminist, and relational approaches to algorithmic technologies. Born out of the Slow AI research project, it brings together insights from a year of collaborative inquiry — through the likes of sound and somatics, divination, myth-making, and archival temporalities. The publication explores slowness as a speculative, critical, and embodied mode of engaging with algorithmic technologies.

The navigation consists of small squares at the bottom of the page. Their amount refers to page numbers and readers are animated to count the squares – in the table of content as well as on the page itself – to guide themselves through the pages of the newspaper. This gesture intentionally turns the use of navigation into something inefficient and centers slowness as a guiding principle of the publication.

It was edited and conceptualized by Mariana Fernández Mora and printed by DPG Media. The design and art direction was created by Studio SMS, and set in Bianzhidai by Xiaoyuan Gao (notyourtypefoundry), Eliza by Pawel Wolowitsch (Camelot) and FreeMono by Primož Peterlin and Steve White.

The visual identity for the 10th International Architecture Biennale Rotterdam (IABR), designed by the Berlin based design practice Stahl R, makes prominent use of Eliza Mono, with Eliza serving as a companion for longer texts. From the IABR website:

Fifty years after the publication of the Club of Rome’s report, the jubilee Architecture Biennale Rotterdam […] combined historical research (as of 1972) with inspiring practical examples (in 2022) and future scenarios (towards 2072). The works exhibited by architects, urban designers, artists, scientists, and landscape designers depicted the causes and consequences of climate change, but also offered perspectives for action.

The 10th edition of the IABR was more than a wake-up call. Rather than simply outlining a bleak worldview, it presented hopeful possibilities for new, more radical courses towards a livable future, and introduced radical, feasible transitions leading to a just and ecologically healthy world.

The 10th IABR presented three architecture exhibitions with more than 150 projects and offered a program of guided tours, (children’s) workshops, field trips, lectures, and debates.

In January 2022, five institutions located in Lille joined forces to create one of the largest European universities: Université de Lille – a university at the heart of global transitions, a major force in higher education. With more than 80,000 students, Université de Lille aims to develop new ways of reinventing progress, creating new training courses and innovating through research, while developing its links with the metropolitan, regional and international ecosystem.

Université de Lille is a new “EPE” (experimental public institution), now including the students of the former Université de Lille, Lille School of Journalism (ESJ Lille), Lille National School of Architecture and Landscape (ENSAPL), National School of Textile Arts and Industries (ENSAIT) and Sciences Po Lille. Université de Lille is the university of social, economic and environmental transition. It’s a project that brings the completeness of French knowledge to the doors of Northern Europe.

Graphéine accompanied Université de Lille in the definition of its visual identity, its brand architecture and its graphic guidelines in a co-construction process. Several workshops were conducted between June and July 2021. These co-creative workshops led the participants to question the values of the project, the symbolic vision of the university and the image of Lille territory.

Three L’s for Lille form the U of University. Their interlocking shape evokes the leaves of an open book, symbolizing the mission of higher education to transmit knowledge. We can also see the furrows of the mining industry, those of agricultural crops and the lines of the looms of Lille's economic past. The curved emblem speaks to us of the warm hospitality of Northern France. Finally, a mark is emerging, one that marks the future and initiates the signature “Let's inspire tomorrow”.

Two typefaces are used within the layout. Rational by René Bieder and Eliza by Camelot Typefaces. Their association transcribes the perfect agreement between French tradition and European modernity. This duo gives relief to the titles and its italic directly echoes the emblem.

This new unifying identity, gives birth to a new version of the University of Lille and translates its openness, interdisciplinarity and excellence. A joyful and flexible identity to which students, staff, researchers and teachers are already united!

Learn more on our portfolio website.

Before (left) and after the redesign (right)

Set type next to handwritten notes: The work of Philip Stemann – stage director, author and communication trainer – focusses on text. The design of his portfolio website combines diverse aspects of dealing with this medium – supported by the typeface Eliza, published in 2020.

Chronos & Kairos is an artist’s book by Julius Heinemann, designed by Florian Lamm of Lamm & Kirch. For the typography, Lamm made early use of the Eliza family by Pawel Wolowitsch. Then still work-in-progress, the synthesized serif was released with Camelot Typefaces in 2020:

Eliza is a conceptual exploration of transitional typefaces. The square as a key element is a reference to the digital age – the pixel. It is the smallest unit of our todays communication. Introduced into the humanistic construction of a serif typeface, it creates a dialogue between two extremes: the familiar, humanistic liveliness, and artificial, modern rigidity. Eliza can be seen as an allegory for the conjunction of human and machine.

The title on the cover and spine of the cloth-bound book features Eliza Mono in all caps, with “Chronos” arranged in staircase form. The monospaced variant is used with the alternate non-descending J.

The entire book was printed in duotone silver/black. Heinemann’s works are accompanied by a text by art historian Marta Ramos-Yzquierdo (Spanish and English). Chronos & Kairos was published by Edition Taube in an edition of 400 copies.
ISBN: 978-3-945900-18-5

Chemnitz – Links Mitte Rechts is a confrontation with the city of Chemnitz. The work focuses on the city in Saxony, Germany, which is caught in the flow of various political opinions. It deals with the current situation after the demonstrations in August 2018, 30 years of reunification and today‘s life of the local people. This book is based on real events. However, it only shows my own experience and my very personal view of what happened. The book is divided into three levels that show how I have “felt”, “experienced”, and “seen” the city. Since these states are always somehow connected to each other while they affect one. Often at the same time. Due to this they are also shown simultaneously in the book. In order to force the viewer to take action, certain pages have to be opened to see the complete content.

As Chemnitz appears to be a complex city to me, I didn’t want to limit myself to just one font and rather decided to mix several fonts together. The text of the essays is set in Eliza, with Rando Display for headlines. Additional fonts used for the book design that are not mentioned in the captions include Engravers Old English, Sculpin, and Kunda Book (not pictured).

The book was made as my bachelor’s thesis in the Communication Design program at Hochschule Augsburg and printed in an edition of ten copies.

The sans serif used for “vermischt” is Slavia.

For this spread, I combined Eliza and TheW NYC. These two fonts are quite similar and only differ if you have more detailed knowledge, or take a closer look. Unfortunately, it’s similar with right-wing political ideas. A lot of it has already entered our subconscious, and only by taking a closer look we can see the differences.

This list of Chemnitz-related terms pairs Mazius Display Extra Italic and Suisse Int’l.

The lonely C stands for Chemnitz. The double C’s are more extreme. Extreme political views depend on another to be extreme. They cannot live with or without each other. The triple C symbolizes how all are linked to the city. The letterform is taken from Apoc.

Second flyer and handout for a series of exhibitions at Burg Galerie im Volkspark, the art school’s gallery in Halle, Germany. Designed by Miriam Humm and Marcus Wachter, it features the recently released Tiny and the upcoming Eliza.

On July 13 and 14, the students of Burg Giebichenstein University of Art and Design will present their annual exhibition. Lisa Linz and Maja Redlin developed the visual identity. To announce the event, they designed a series of typographic posters.

Due to the current political climate in Germany we take a stand as an art institution with three distinct political statements:
“We protect the freedom, diversity and independence of art and design”, “We stand at the side of those who are pushed to the edge of society” and “We commit ourselves to a plural togetherness and individual, idiosyncratic ways”. — @burgtypo

Media Sans Bold is used for the statements, arranged in alternatingly left- and right-aligned lines. The information is shown below in caps from Fakt Condensed. The serif used for the smaller text blocks is Eliza. Produced in the school’s print shop, the posters and cards feature gradients in fluorescent Pantone spot colors, offset printed on RecyStar Polar stock.