Network Imaginaries is a project that reimagines distributed practices. It is published by Hackers & Designers, a non-profit workshop initiative that organizes activities at the intersection of technology, design, and art. The publication brings together diverse voices, creating a space where new perspectives unfold:

The contributors span a wide range of practices and reflect about network technologies in experimental and hands-on ways. They push the boundaries of existing technology and programming platforms (webware, hardware, software), online/offline networks, high and low tech (internet, IPFS, darknet, peer2peer, blockchain, bot networks, radio), and user experience — in a practical manner and while addressing the ethical implications of the proposed technologies and processes.

This publication was designed with ChattyPub, a self-made publishing tool leveraging an open source chat interface (Zulip) to apply css styles to the contributions. ChattyPub explores how a process of co-designing a publication unfolds in a chat environment, specifically when several people are designing and interfering at the same time. Through workshops H&D opened up the process of making this tool, and explores together with participants its possibilities and limitations.

Network Imaginaries embraces a diverse range of free typefaces created by women, with a design that playfully engages with digital culture aesthetics—from the raw look of terminal windows to the expressive realm of emojis. The contrasting duo of Compagnon Light and Compagnon Bold establishes a strong visual hierarchy, with their weight and style difference providing distinction to the content. Their monospace nature gives a grid-like structure to the text, typical of coding environments. This foundation is complemented by Anthony and Movement Indirect Thin, adding an eclectic flair to headlines and subtitles, while Authentic Sans and Literata balance the body text with clarity.

Megascope interspersed with Ed’s Market Bold Script

Studio Yukiko has created a playful, energetic, and—dare I say—delicious design for Door Dash’s Secret Menu magazine about local food culture. From Studio Yukiko:

This issue dives deep into Miami’s almighty hustle - A food scene boasting one of the wildest most diverse restaurant cultures in America. It follows stories of taco stands morphing into Michelin starred Italian spots, Black-owned vegan restaurants, reinvented Jewish delis, Cuban and Caribbean stalwarts, and so much more…

“Wild” and “diverse” could also be used to describe the issue’s design and typography. The fonts and layouts are playful, colorful, fun, and varied, with each article spread getting its own special typographic treatment. There is no shortage of sunset-like linear gradients, text effects like outlines and glows, and mixing of typefaces on the same line.

The eclectic design is united by a core palette of typefaces: Megascope is used across the issue for headlines, a callout to Miami’s connection to Art Deco. Random letters are replaced by Ed’s Market (both Script and Slant styles), bringing some movement and dynamism into the static, geometric typeface. Text is set in Surt and ITC Bookman, with Mrs Sheppards appearing in supporting text such as bylines. Jackpot Italic and Middleton Brush are featured on the cover, and Goudy Two Shoes, Compagnon (& Compagnon Bold), Promenades, Pipo, Generation September and Marlfield make special appearances in individual spreads. One of my favorite details is how the page numbers—mostly set in Megascope—become such a dominant part of the layout. A few tiny appearances of other guest typefaces (for photo credits, or a single word here and there) are not mentioned here.

The design team for this project included Sebastien Millot, Michelle Phillips, and Kir Nazarov, with production by Mike Teevee. David Amsden and Erin Ruffin are the editors-in-chief of the magazine. According to Phillips, “for the Miami Issue for Secret Menu, we wanted to bring the instantly recognisable world of Iconic Miami’s Mimo and Art Deco style together with its lax small-town scrappiness by combining a geometric sans (Megascope), with a brush script (Ed’s Market) to really bring out Miami’s almighty food culture scene.”

Cover ft. Jackpot and Middleton Brush for the title

Table of contents with Megascope for page numbers and headlines and Goudy Two Shoes for “Issue 02”. “Buzzworthy” is set in Compagnon Bold.

Text in ITC Bookman and Surt

Megascope with stacked glyphs and integrated into an image. The bold serif used for “Greater Miami” is Marlfield from Eliott Grunewald.

Megascope plus Ed’s Market with added stripes, compare Gadget. (The font used for “El Palacio de los jugos” is Balloon.)

Compagnon Bold with glossy effect

Megascope combined with Pipo Medium (“Flame”)

Megascope with staircase glyphs and Compagnon for captions

Megascope mixed with Ed’s Market Narrow Slant (“MM”) and Slant (“57”)

“The Great” and “Little Havana” are in Promenades.

Megascope with glow effect plus Generation September set on angle

Credits in Mrs Sheppards, text in Surt

13 designers, whose styles could not be more different and some of whom did not even know each other, have come together in this special project to create a calendar together. The result is not only a monthly calendar, but also a network between artists and designers, which will hopefully continue to grow.

The entire profit will be donated to the initiative Seebrücke, a political movement that supports a social migration policy, freedom of movement, and sea rescue.

The Community Service Calendar 2023 was printed in violet with a Risograph, in an edition of 250 copies. It measures approximately a DIN A4 format (open).

January feat. Warbler Italic

February feat. BD Supper

April with numbers in a bold wide style from Lateral

June feat. BBB Ocelot and Tiny

August feat. Gooper, Compagnon Bold, and Anthony

September feat. Tuppence

October feat. ABC Ginto Nord

The credits page as well as the cover make early use of ABC Diatype Rounded.

Unpublished is a publication series dedicated to research and reflect upon the framework and practice of the design industry. Every two weeks Unpublished Press releases a new issue on a different topic. The images show the printed editions of issue #00 “Zusammenarbeit” and #01 “Responsibility”. Unpublished can also be read online.

Unpublished Press was founded by Lisa Reckeweg and Charly Bönner, two graphic designers currently studying in the Master’s programme at the Royal Academy of Fine Arts in Antwerp.