Cover of #46 with blue paper saddle

Kluger Hans is a unique literature magazine with a rebellious edge that gives beginning talented writers a change to get published. Each issue has a specific theme that drives the selected content and its graphic translation. Issue #46 focuses on “HET DIER” or “The animal”.

“Kluger Hans is named after a horse that was said to be able to do math, so we should do something with a horse, right?” Of course. “What about saddling the magazine?” Of course. Using die cutting and one printing colour, we designed a paper saddle to fold around the magazine, just like a dust jacket. At first glance, you see some kind of rounded dust jacket, but once you open the magazine, the stirrups become visible and you start to understand the shape. Readers can choose to leave the ‘saddle’ around their copy of Kluger Hans, or unsaddle it so it can graze freely in their bookcases.

For the interior, it’s the animals from an art installation by Felipe Muhr that made the magazine come together. They appear here and there between the horizontal lines of the Granblue font, providing some necessary pops of colour and surprise. The complete arrangement of the installation is on the verso of the cover, showing the true scale of the cardboard figures. Muhr's work is combined with tapestries by artist Elen Braga, which are also appearing throughout the magazine.

Title page with logo illustration by Cara Haverbeke. Kluger Hans was the name of a famous horse around 1900 that was known for its counting skills. Here you can see the stirrup that is folded around the paperback.

The back cover. The names of all the authors in the magazine are stitched together in Granblue.

Title in Nonplus on the spine. The names of the authors run over the spine from back to front or front to back.

The paper saddle that covers the magazine. The two stirrups are folded around the paperback cover. On the front and back of the saddle the magazines logo (banana shaped form) was cut out. Granblue was chosen for this magazine because it resembles the stitching around a leather saddle when used in a long string.

The table of contents provided a perfect opportunity to weave all of the artists names together with the Granblue.

Inside the text is set in the GT Alpina. Titles are set in Granblue with a variety of cardboard animals by Felipe Muhr popping out of the font’s horizontal lines.

Art pieces of Elen Braga compliments Felipe Muhr’s work. Here you can see an interview with the artist.

Launched as a clean, vegan, and cruelty-free makeup brand, Sugarplum is made for the bold and expressive Gen Z. It’s more than just makeup; it’s a statement of self-expression. Sugarplum empowers you to feel confidently beautiful and uniquely yourself.

Founded by Chang Makeup, a pioneering Vietnamese beauty influencer, Sugarplum thrives on creativity and care. It’s not only designed for you but also for making an impression—whether it’s to make your ex regret, catch your crush’s eye, or earn admiration from your followers.

The brand’s distinctive strategy includes a bold logotype that stretches across the lipstick body, making it stand out on a makeup table or in your purse. The logo, inspired by various lipstick shapes, features a cute, organic heart symbol that resonates with Gen Z.

In collaboration with Dinamo, we developed a custom typeface—Sugar Ginto Nord Black—infused with details that mirror the lipstick’s iconic shape.

Sugarplum’s brand voice is fresh, trendy, and always in tune with the latest social media culture. Every piece of content is crafted with playful, relatable wordplay, ensuring it connects authentically with its audience. Our art direction centers on realness, featuring genuine images from customers, reinforcing trust and loyalty to the brand.

Launched in summer 2020, Nique – la radio (“Fuck – the radio”) is both a webradio station and a podcast label. From nique.radio (translated):

Nique – la radio has one conviction: microcultures and subcultures are porous, and influence society as a whole. Nique does not consider any subject as secondary, as niche, or as illegitimate, and will stick its nose wherever there’s culture.

Simon Sek designed the identity and website for “the badass audio media, the podcast brat”. For the logo, he used the original style of Nonplus by James Edmondson of OH no Type Co. LTypI fans might bemoan the missed opportunity to use another recent OH no release named Swear. I’d argue that Nonplus is a formidable choice for swearwords, too. With its extreme weight, the bold semi-connecting script lends itself to visualizing graphic language. And its filled-in counters that hamper legibility a wee bit are the typographic equivalent of muttering something under one’s breath. A first version of Nonplus was made available in June 2019 via Future Fonts. It’s currently at v0.2 which added a light monoline style. The accompanying monospaced typeface family is likewise a Future Fonts release: VCTR Mono by Lizy Gershenzon serves for all text, in several of its six weights.

The Nique – la radio page on Soundcloud.

The Nique – la radio page on Instagram.

Nique – la radio launched a collaboration with Gaîté Lyrique. Sonique – le studio is “the production company backed by Nique – the radio: a sound agency, specializing in narration and innovative audio production, editorial and strategic support, as well as the immersive sound experience.” The logo of this spinoff uses the same typography.

This poster for the Erasmus+ programme at HBKsaar not only tells the students where to go abroad, but also where to apply. The font used in the speech bubble – Nonplus Light, an enthusiastic script – makes it seem as if Mrs. Rauber, the person in charge at the university, would call us personally.

Other fonts used are Apfel Grotezk Regular and the ink-saving Apfel Grotezk Brukt, as well as Terminal Grotesque Open for links. They both make a nice contrast in their strictness to the more freely designed Nonplus.