Notes on Living. Reflections on Ukraine Today was published earlier this year by Spector Books. This anthology presents current positions of contemporary Ukrainian authors. Their narrative texts, essays, diary entries, and poems deal with faultlines in society and the psychological state of the present. The topics include the politics of language, the dreams of soldiers, wartime urban architecture, Western fatigue, shame, and radical gestures of care. The texts set out to make their reflections on current conditions a basis for discussing a future postwar society. The book is complemented by two image sequences with drawings by Davyd Chychkan and Marharyta Polovinko.

It was edited by Max Eulitz and written by author and psychoanalyst Yuliia Leites, curator and journalist Hanna Tsyba, and curator Alya Segal. With contributions by Mariana Berezovska, Oksana Briukhovetska, Oleksandr Burlaka, Davyd Chychkan, Hixto, Yelizaveta Landenberger, Yulila Leites, Oleksii Minko, Marharyta Polovinko, Julia Stakhivska, Nastya Vogan, Arina Yanovych

Design by Lorenz Klingebiel with typefaces KTF Rublena (Kyiv Type Foundry) and ABC Favorit (Dinamo).

Из жизни Петербурга на рубеже XIX–XX веков: Записки очевидцев (English: “From the Life of St. Petersburg at the Turn of the 19th–20th Centuries: Eyewitness Accounts”) is a book by lawyer Dmitry Zasosov and railway engineer Vladimir Pyzin, representatives of the St. Petersburg democratic intelligentsia. It’s the first book in a series for Academia Books. The softcover publication measures 128×174 mm. 3,000 copies were printed by Ulyanovsk Print House in Ulyanovsk, Russia. ISBN 978–5–6053589–0–8

“The Birthday Cake” is a delicious concept and graphic design for posters (day and night parties), social media, and video to celebrate the first anniversary of the Death Club Tattoo, based in Bassano del Grappa, Italy.

Studio Loutsis used Caslon Ionic as one of the display typefaces for the Tenth Anniversary issue of AN Interior, and mainly for “The Future of Vision” feature. They use it large and for the text – together with Suisse Int’l – and mixing the upright with the italic. Other sections of the issue also feature other typefaces including Terza Display and KTF Rublena.

Caslon Ionic and Suisse Int’l for the section opening to “The Future of Vision”

Caslon Ionic used for text

Terza Display with Suisse Int’l

Terza Display for the title of an article on Kwong Von Glinow’s renovation of MD Anderson Hall

Terza Display for a feature on nightclub design by Studio MBM and Yakka Studio

Suisse Int’l is also used as display typeface.

KTF Rublena with stacked letters for “Milano Magico”

Fan fiction magazine Danke is a biannual literary journal edited by Marion Regenscheit and Lucien Haug. In Danke, authors find space for a new, constructive approach to (old) texts. This year’s edition is themed “The Heidi issue”.

Display fonts of different type foundries and type designers supplement every issue. Among them are KTF Roman, KTF Jermilov, KTF Rublena, and KTF Tiemann by Kyiv Type Foundry. The designer – Dual Room’s Emmanuel Crivelli – also uses Cornbread, OCR-X and Selecta from Maxitype, plus BC Monument and BC Unciala by Briefcase Type Foundry.

The magazine’s editorial team consists of Lucien Haug, Marion Regenscheit, Richard Stoiber, Dorothee Elmiger, Chris Möller, and Mazlum Nergiz, together with the authors Johny Pitts, Enis Maci, Simoné Goldschmidt-Lechner, Hendrik Otremba, Marina Skalova, Clemens J. Setz, Anna Gien, Leonie Ott, Lotti Spieler, Leo Lemke, Tania Röttger, Dominic Oppliger.

Firma and Rosàs have expanded the visual identity of Mahou Cinco Estrellas, Spain’s most consumed beer and the flagship of the Mahou brand. The updated system reinforces the brand’s presence and ensures a cohesive experience across all touchpoints.

To strengthen Mahou’s leadership and elevate its positioning around the concept of greatness, the agencies developed graphic resources and design elements that amplify its message and deliver consistency in every interaction.

The typefaces in use are Season Mix and Saans by Displaay, and KTF Rublena by Kyiv Type Foundry

Jaime Pintado Ruiz a.k.a. Jimbo is the driving force-serving as the legs, brain, and heart-behind Looping Gramps, a project that brings together his passions, values, and the people he loves. It’s inspired by his grandmother, Marina.

Jimbo’s goal was to “loop his grandma” more deeply into his life, allowing them to share experiences and joy despite the distance between them. Rather than simply providing her with a tracking number for his ride, he chose to involve her in both the preparation and the purpose of the journey. Marina, who has always been a source of support for those around her, now seeks to extend her help to a broader community. Jimbo had long promised her that together they would strive to make the world a better place. When defining the project, they quickly agreed on a shared mission: to combat loneliness among elderly people and to offer affection to those who feel forgotten.

I’m aiming too “loop my grandma” into my life more and more so we can enjoy ourselves together in the distance and more aspects of life. For this reason, this time, I would not just give her a tracking number but I would involve her in the preparation and purpose of the ride. She has helped everyone she has had around immensely and now has this need to help on a broader scale. I always promised her that together, we would make the planet a better place and, when defining this project, we both quickly knew how: fighting against loneliness in elderly people. Giving affection to those who feel forgotten.

Murcia (Spain), the starting point and my homeland. The rest of the route is unplanned and will be guided by my heart. I will ride nonstop and unsupported until the candle goes off, pushing my body to the limits, compromising sleep, and taking certain risks. While lightened, the candle will take care of me, as it always did.

The project's bold typography is a mix of KTF Rublena, ALT Systema and Right Mono.

From the press release:

(...) MAC VAL (Musée d'Art Contemporain du Val-de-Marne) has undertaken a major investigation into the subject of the “fait-divers”, resulting in a major exhibition bringing together 80 artists from a wide range of backgrounds and formal practices. (...) The inspiration for the theme came from Roland Barthes‘ essay Structure of the Fait-Divers (1964). Described by the semiologist as the “unorganized discard of news,” the fait-divers help us to name and identify the aberrant causalities and coincidental relationships that disrupt everyday life.

The bilingual French-English exhibition catalog for Faits divers was designed by Félicité Landrivon. The typographic design features a range of typefaces, including KTF Rublena, KTF Metro Roman, and KTF Metro Blueline, all by Kyiv Type Foundry. The dot matrix font seen on the cover, the inner flaps and elsewhere is WL Rasteroids by Writ Large. The italic on the cover comes from 205TF’s Exposure, which is also used in upright form for the text inside the book, alongside Fluxisch Else, OSP-foundry’s digitization of the Selectric version of Univers. The monospaced font is GUST’s Latin Modern Typewriter. Credits at the end are set in Transducer by JTD Type. In addition, Landrivon used a few other fonts just once for titles, but these are not displayed here and are therefore not listed.

256 pages, 268 images, 20×27 cm. See more images on the designer’s Instagram account.

The title on the right pairs KTF Rublena with Exposure Italic and handwriting.

Outlined KTF Metro Roman for “Murder is a design hobby”

Text page set in Exposure

The list of contributors on the left combines KTF Rublena with Fluxisch Else.

Latin Modern Typewriter for the description of the MAC VAL, with Transducer for the credits

The alphabetic list of words on the back cover uses all-caps WL Rasteroids.

Cover photo by Rafael Prado / Viva o Balão

Fan fiction magazine Danke is a biannual literary journal edited by Marion Regenscheit and Lucien Haug. In Danke, authors find space for a new, constructive approach to (old) texts.

The magazine’s editorial team, consisting of Lucien Haug, Marion Regenscheit, Richard Stoiber, Dorothee Elmiger, Chris Möller, Svenja Viola Bungarten, and Mazlum Nergiz, together with the authors Svenja Reiner, Dietmar Dath and Scholastique Mukasonga, presents the first issue of Danke.

Display fonts of different type foundries and type designers supplement every issue. Among them are KTF Cirk, KTF Labyrinth, KTF Rublena, KTF Metro Sport and KTF Compact by Kyiv Type Foundry. Danke magazine also uses the fonts Rhymes, Selecta, Signs, Eurocat, OCR-X, Modelo and Cornbread by Maxitype, BC Prkno by Briefcase Type Foundry, and Kiddo by notyourtypefoundry. The origin of Cosmic Cult is unknown.

Alex Vögtle and Lucas Kramer designed the scenography and brochure for the 2023 edition of the annual Burg Typo exhibition at Burg Giebichenstein Kunsthochschule Halle. From Burg Typo’s Instagram post:

We asked our fellow students to describe their projects in terms of verbs and their doings and gathered them in an alphabetical list, which is foil plotted on the entrance windows. The list not only welcomes visitors, but also serves as an index to the typographic activities of the class presented in the room. An accompanying brochure with various covers offers a deeper engagement with the individual design processes.

The featured typefaces are Rosart by Camelot Typefaces, KTF Rublena by Kyiv Type Foundry and Burg Grotesk Mono by Andrea Tinnes.

Haus in der Nähe eines großen Waldes (“House near a deep forest”) by Markus Draper was released by Spector Books:

A house is the starting point of a modern fairy tale. Located in Dresden, the house has an intriguing history. It was home to an outpost of the Soviet KGB for a time - opposite the Dresden Stasi headquarters. Also the young secret service officer Vladimir Putin went in and out here from 1985 to 1990.

The house is part of the installation as a realistic model, surrounded by trees and animals. The narrator is a fly sitting in front of an open window. Her voice sounds cheekily childlike. She talks about the house, about Dresden, about the comprehensive surveillance of the KGB and the Stasi, about Putin's rise in the hierarchy of the Soviet Union, about the fall of the GDR and the end of socialism, about political affairs and intrigues.

The narrative is embedded in a stream of media images from news reports, documentaries and films. A “true” story in which historical facts, memories and visions are blended together. Not a history lesson, but a fairytale-like, artistic reconstruction full of conjecture, ambiguities and gaps, which takes in many perspectives - as if observed through the compound eyes of a fly. At the same time, it is a story about storytelling and the construction of history.

The book was designed by Christian Lange, who paired KTF Rublena and Kommuna throughout.

Architecture After War: A Reader was edited by Bohdan Kryzhanovsky and published in June 2024 by MACK:

This publication, co-published with Ukrainian platform CANactions, brings together wide-ranging essays on the subject of post-war reconstruction. Produced in the light of the current invasion of Ukraine, it covers a spectrum of historical examples and geographic contexts to navigate the challenges and opportunities that define post-war reconstruction and war-related issues within the field of architecture. Considering urban planning, education, building materials, and innovative spatial relations, it centres around the human experience of the built environment in the aftermath of war. With a preface by editor Bohdan Kryzhanovsky, this reader presents theoretical and practical explorations of an urgently timely topic, offering a basis for wider conversation as well as a handbook of ideas for architects and planners and a pragmatic guide for shaping the future of Ukrainian cities.

Essays by Gruia Badescu, Jan Knikker and Fokke Moerel, Silke Langenberg, Peter Larkham, John Pendlebury, Wendy Pullan, Andrea Urushima, Lynnette Widder, and Patrick Zamarian

The paperback with flaps has 256 pages measuring 15×21.5 cm. ISBN 978-1-915743-41-1

Härman Coffee is the side hustle of Alp Eren Tekin, founder and creative director of Härman Studios in İstanbul.

At Härman, our name symbolizes a perfect synergy of caffeine, goods, and creative services. We're not your typical coffee brand; We're a harmonious blend of flavors, cultures, and experiences, crafting something truly exceptional. Our mission is to elevate the coffee culture and beyond, offering extraordinary choices while meticulously redefining standards. Härman is operating as both a coffee brand and a creative studio.

The typeface used for Härman’s logo is KTF Rublena. Other typefaces used for the items shown here include Founders Grotesk with Mono and Editorial New for “StudioBlend”.

During ‘Las Fallas' festivity in València (Spain), the ‘llibret’ is the booklet created by each neighborhood association as a central and consultative element for the festivities of that year. In 2024, we had the pleasure of collaborating with the Falla Blanquerías association. The theme of their year was around the conservation of L’Albufera, a protected natural park in València.

For the typographic choice, we selected a black grotesk and a classic serif. KTF Rublena is used for the title and the all caps headlines. The Wide style of Clarendon is chosen for subheadings and page numbering, and its regular version for paragraphs.

For the graphic identity, we worked under the concept of ‘El Lluent’ (The Shiny), choosing a vibrant, bright color combination. The cover represents the horizon and the sun reflecting on the lake of L’Albufera. From there, we created a graphic system based on simple geometric shapes that helped us represent elements related to the park and the Fallas festival.

See the full project on Behance.

The Historical and Local History Museum in Ivankiv, Kyiv oblast, burned down during the Russian invasion on 27 February 2022. Amongst other works, the collection of this small museum featured 25 works by Maria Prymachenko (1909–97) – an Ukrainian folk painter, representative of naïve art, who was involved in drawing, embroidery, and painting on ceramics. Some of the works were saved, however, thanks to the heroic conduct of the city’s inhabitants.

This exhibition took place in Warsaw in March 2022. The presented images replicate all 25 works from the collection of the local History Museum in Ivankiv. The organizers of the exhibition are the National Center for Culture and the Ministry of Culture and National Heritage in cooperation with the Presto portal.

KTF Rublena and EB Garamond used for the Daily Decisions webspace. From the About page:

Disarming Design was a temporary masters programme at the Sandberg Instituut that ran from 2020 to 2022. It was committed to design practices in situations of oppression acting on the overlap of design and politics, and positioned design as a cultural tool to foster disarming ways of knowing. […]

It features collaborative works by Lama Aloul, Saja Amro, Julina Vanille Bezold, Rasha Dakkak, Farah Fayyad, Mohamed Gaber, Anna Celda, Ayman Hassan, Siwar Kraitem, Ott Metusala, Naira Nigrelli, Karmel Sabri, Qusai Al Saify, Sarah Saleh, Mohammed Tatour, Jara van Teeffelen and Samira Vogel.

In questioning the term “Disarming Design” the group grappled with the act of naming, and made an extensive list of possible DD-translations, to interpret DD according to media and outlets. These terms are the base for this digital archive of collaborative works; where each DD-interpretation presents specific projects as a conversation starter for further collaborations.

The accompanying publication Durable Discussions presents life-making practices across objects, events, places, and habits. In research through writing, seventeen essays sense and transform the poetics and politics of the everyday, offering perspectives in thinking about art and design as emancipatory politics. (Onomatopee, 2022)

This webspace has been designed and developed by PING (Miquel Hérvas Gómez, Agustina Woodgate and Sascha Krischock), Nick Reilly, Sarah Saleh and Jara van Teeffelen.

Source: www.instagram.com License: All Rights Reserved.

OutSystems is a global leader in high-performance software development. NextStep is a conference by OutSystems that “brings visionary thinkers, top developer talent, and tech-progressive brands to address the most exciting topics defining the future through software.”

The animation-based visual identity of the 2022 edition was developed by Studio Dumbar together with the OutSystems branding team, using KTF Rublena and a yet unidentified sans serif.

Source: www.instagram.com License: All Rights Reserved.

Source: www.instagram.com License: All Rights Reserved.

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Source: www.instagram.com License: All Rights Reserved.

Source: www.instagram.com License: All Rights Reserved.

Source: www.instagram.com License: All Rights Reserved.

Source: www.instagram.com License: All Rights Reserved.

The Game of Knives is a book with “writings and illustrations on protest, geopolitics and biopower, gathered by Katerina Sidorova and Yannik Güldner”. It was designed by Lukas Engelhardt and Justus Gelberg for Katerina's solo show Bottleneck at West Den Haag. The book title is a reference to a children’s yard game called “Knives” or “Lands”, which is popular in some countries in Eastern Europe, especially in Russia. The players throw a knife into the soil, dividing and conquering land from each other. This act of drawing geometrical shapes / lines as a political gesture is the core of the book.

The designers used two interpretations/revivals by Kyiv Type Foundry, KTF Rublena for display and KTF Forma for running text. The shiny holographic stickers on the covers are based on shapes found in Katerina’s illustrations.

After the Escape is an exhibition project combining pictures by Ostkreuz photography agency, the Records of War Archive by Troyanda Studio with live events curated by Vitsche (among others).

Each day, gruesome news and pictures reach us from Ukraine. There is a war in Europe. Millions of people are fleeing from the Russian army.

Two members of the Ostkreuz photography agency, Johanna-Maria Fritz and Mila Teshaieva, are in Ukraine since the large-scale war started. Their contributions to the exhibition show us what people are fleeing from. Since the beginning of March, Ostkreuz photographers are portraying those who are on the run. In short texts, refugees tell their personal stories.

After the Escape wants to set a stage for Ukrainian people. We want to invite artists and performers from Ukraine to a series of events at Zionskirche Berlin. The project was founded as a reaction and is continually shapeshifting as it’s going along. We want to listen, to learn, to be committed.

The exhibition visuals, designed by KlimaitėKlimaitė, pair a vibrant blue backdrop with typography set in KTF Rublena and a yet unidentified monospaced typeface [edit: it’s JetBrains Mono, see comments].

The New Exhibition is an online showcase shining a light on work of Ukrainian designers, illustrators, animators and other creatives that have been caught in the crossfire of war. (...) The New Exhibition is an expanding project. We will constantly be adding new work that showcases a growing list of Ukrainian talents.

The typography for this growing online archive / portfolio collection starts off with a massive headline set in KTF Rublena from Kyiv Type Foundry; the monospaced sans used for information and the menu is JetBrains Mono, designed for a tech company by Philipp Nurullin and Konstantin Bulenkov. The grotesk used for maker’s names and the about texts has no direct (geographic) relation with Ukraine or Russia, it is Diatype from Dinamo.

Overview of graphic designers

Overview of creatives working in the field of typography and type design