Two alternates for a poster with a spring equinox theme, leaning into British pastoral occultism, made for an event at The Bird in Perth’s Northbridge suburb.

Searching for a Modern Metamorphosis is a book by artist Kelly Kroener and designed by Kyle Mace together with Kroener. For the typography, they used Ambiant Sans and Zorn, both designed by Laura Csocsán, and Gallique by Emma Marichal.

A.Avaati is a creative studio specialized in surface design, 3D, concept development, and digital processes.

Their identity is designed by Don Elektro, using the typeface Zorn for the logo and tags on clothes, as well as Ambiant Sans for their website and additional illustrations on certain clothing items.

This is Salima magazine, Issue 01: “Emergence”. The creators employed the theme of emergence for their first issue, inspired by the writings of Adrienne Maree Brown and Octavia Butler.

All fonts used for the typography are designed by women typedesigners. The magazine masthead is set in GlyphWorld Wasteland. In the interior, Gallique is used alongside Zorn. The sans serif used for the magazine cover is JL Jungka; the same typeface is used for the recipe, alongside Savon. Type marketplace Type Department supported the magazine by putting designer Mj Balvanera and project lead Salima Allen in touch with their women type designers.

In the name of ♥︎ is a reference to “In the name of love” by Sarah Ahmed, published in Borderlands e-journal (2003). This work explores the use of the heart symbol in the context of social media, e-commerce and the rise of nationalist mindsets in Europe. Beyond its usual conventions (a symbol for love), how does the ♥︎ facilitate a design of trust to conceal privacy breach and to fuel stricter border closure politics?

This poem is part of an installation and a video. Five women and non-binary are reading a spoken-word piece on the female body and the idealisation of the nation-state.

The poem mixes VTC Carrie from Tré Seals (Vocal Type), Ortica Linear by Benedetta Bovani and Zorn from Laura Csocsán.

See also the post about the book In the Name of ♥︎, published as Onomatopee 192.

The hhintersection website is an art mediation project, focusing on topics of diversity and encouraging experimentation in the educational institution and beyond. It is a platform where artists and creative producers can share ideas and be visible online.

The project began within the University of Fine Arts (HfBK), Hamburg with a desire to draw the outside world into the institution and allow the work and actions within the university to make moves towards the exterior.

Navigating through the website you’ll find reading material, documentation of previous events as well as information about upcoming things, and projects we’re interested in and want to share and support. hhintersection’s focus is on promoting content representing femme and queer artists and producers aiming to make this material and information available to all.

The website features numerous contemporary typefaces created by independent designers. Colors change with every load, or with the click of the button on the right. Web design and coding by Yulia Wagner. Typefaces in use throughout the website include:

Zorn by Laura Csocsán
Till Normal by Pauline Le Pape
David by Émilie Rigaud
Neustadt by Samara Keller
Nostra Stream by Lucas Descroix
CNVS by Daniel Martins
Grobe Serif and Soft Floral by Emma Othmer

Logo on the website is using Zorn typeface.

Older version of the website using various typefaces on the homepage.

Older version of the website using Neustadt by Samara Keller in the title.

Podcast title using Nostra Stream by Lucas Descroix.

Title using Till by Pauline Le Pape.

Zephyr Italic is an all-caps typeface by Leonhard Laupichler.

Angewandte Festival is the annual festival of the University of Applied Arts Vienna (“Die Angewandte”). This year’s visuals pair the school’s house typeface Delphia with a number of more expressive typefaces, including Zephyr, GlyphWorld Desert, and Zorn. The concept and the design of the “AInimals” were developed by Pauline Louise Noemi Jocher, Marlene Kager, Maris Nisu, and Maximilian Prag. From the festival website:

The University of Applied Arts Vienna is committed to counteracting the production conditions in the arts and cultural sectors, which are massively restricted by the current situation. The Angewandte Festival 2020 will therefore take place and focus on alternative exhibition venues in digital and public space. Even if students, teachers and members of the university cannot, as usual, exhibit their works in the university buildings and invite participants to join discussions, debates and celebrations, we want to use the end of this challenging semester as an opportunity to produce new works and projects to be exhibited and discussed publicly. By moving this year’s Angewandte Festival into virtual spaces, we do not intend to proclaim a brave new digital world, but to react critically, awake and curious to the current situation.

The Angewandte Festival will take place 23–26 June, 2020, in digital as well as public spaces and will present the manifold activities of the University of Applied Arts Vienna.

Desert is one of the nine styles of Leah Maldonado’s GlyphWorld series.

Zorn is an all-lowercase typeface by Laura Csocsán.

Booklet cover (back and front). The text on the back is set in caps from Charlotte Rohde’s Serifbabe.

Booklet spread with text in Light and Wide Ultra Light styles from David Einwaller’s Delphia. The ampersand and the rotated heading are in James Edmondson’s Eckmannpsych. URLs (bottom left) in GlyphWorld Desert, signature in Nicole Fally’s Pinyon Script, column heading (right) in Zephyr.

Booklet spread ft. headings in Moritz Esch’s Wagemut and Janik Sandbothe’s Euphoria.

Booklet spread with more GlyphWorld Desert and Zorn.

Booklet spread with Eckmannpsych and Wagemut Ephemer, a distorted variant of Wagemut.

Timetable poster (front).

Timetable poster (back). Dates and intro text in Serifbabe, headings in GlyphWorld Desert, descriptions in Delphia. Pinyon Script is used for the URL.

Hoodie designed by Carmen Studio and distributed by Handshake. The black hoodie features a stitched label with a heavily typographic design. It includes a few system fonts and Zorn by Laura Csocsán.

The Power of One is an annual conference organised by the Publicis Groupe which is one of the largest communications groups in Russia [...]. This year’s conference is dedicated to the foundation of Digitas, a new agency in the group, which creates new customer and brand experience. The conference visual style is based on the combination of the agencies’ symbols — a lion as a symbol of Publicis Groupe and a unicorn as a symbol of Digitas. This pair is often found in history: they appear on flags, emblems, coat of arms etc.

Superdesigners Studio working with other designers created a contemporary vision of this duo, where lion’s textures show the wide variety of agencies belonging to the group and the unicorn represents the new digital agency Digitas. The designs use a neutral, bold and slightly extended sans serif – it looks like it could be Helvetica Now Display, mechanically stretched – in contrast to the more fragile display font Zorn. On several visuals, these two fonts morph into each other quite unexpectedly.

The Behance presentation of this project contains various animations.

Digital album art for the single of Ray Kandinski titled “Celestial Dreaming”, available as a stream on SoundCloud. The cover uses Zorn designed by Laura Csocsán along with Beatrice Display designed by Sharp Type.

Ray Kandinski is a prime example of a new generation of tech-savvy house producers. He uploads new tracks—often accompanied by a flashy gif—to SoundCloud and is tied-in with an international network of peers such as Yaeji and DJ Boring. — Matt Mc Dermott, Resident Advisor

Body in Water is a collaboration between producer Oscar Morgan and choreographer / movement artist Magnus Westwell. Their show looks at the relationship between strains of contemporary performance art and deconstructed electronic music.

Zorn is used for the graphics, made by Oscar Morgan / portrait_xyz for the performance of the piece during ADE festival 2019.

Function Level Marker is the name of a collaboration between Florian von Ameln and Sabrina Zeltner. Their debut vinyl releases are titled “01” (with the red/purple cover) and “02” (lime/pink cover).

Music is written and produced by Florian von Ameln, albums and posters are designed by Sabrina Zeltner. Cover photo by Meike Männel, mastering by Manes at Salz Mastering. Released on 12″ vinyl and digital by Verydeeprecords in 2019.

The artwork pairs Ambiant Sans (Laura Csocsán) with a number of more experimental typefaces: Zorn (also by Laura Csocsán), Sword by Kazuhiro Aihara, 12:51 by Colin Doerffler, and Nostra Stream by Lucas Descroix.

Music video for “Interzone 22”. Video stills at the end of this post.

Text by Meera Theunert, inspired by applicants for a mars mission.

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.

From Justine De Roaldes:

My theme was concrete. I was interested in the Bauhaus and more importantly in the importance of the Bauhaus in Israel, in Tel Aviv. I retraced the history of this movement and its migration with the rise of Nazism in Europe.

Artwork for German hip-hop musician young.vishnu's album, new.life.

Book designed by Ana Helena Arévalo as graduation project at the MA Graphic Communication Design at Central Saint Martins. It’s the first use of Zorn, designed by Laura Csocsán and released in 2019. The display typeface is paired with SangBleu Kingdom, Suisse Int’l, and Till (not pictured).

From the project description:

With the fire at the Museu Nacional of Brazil on 2nd September 2018 as its core premise, Deserts, Voids, and Disrepair: A Critical Reader strives to question what happens after a repository is destroyed.

Civilisation is understood primarily in regards to the material culture and knowledge that has been produced throughout the centuries, but above all, through all the remains that have superseded cycles of destruction. These fragments are often collected, arranged, classified, and categorised in spaces dedicated to their protection, conservation, and preservation. Nevertheless, we now live in a time where museums and cathedrals are burning to the ground; where monuments and relics are being pulverised into oblivion, and so it is imperative that we acknowledge this fragility and the multiple ways it affects our understanding of culture and civilisation overall.

The reader, then, comes as an attempt to do so. It exists as a book, wall, vitrine, and shelf, simultaneously; as a moment of tension between logic and fantasy, and a space of both containment and dispersal. It stands as a memento mori because in a time when civilization itself is paving the way towards its own destruction, conserving the contemporary comes as a means of critical resistance.