The book Nothing About Interior Architecture, edited by Javier Fernández Contreras, Youri Kravtchenko and Julie Enckell Julliard, was published by Set Margins’. It was designed by Bureau Vielcazat and typeset in HAL Timezone by HAL Typefaces.

Words about the project from the publisher:

Often dissident, sometimes adherent, Nothing About is, in essence, indefinable because it is adaptive and fluid. Speculative or hands-on, this discipline – if we can call it that – displays all the ambivalences of our contemporary lifestyles: superficial and profound, profane and divine, present everywhere and nowhere, and often regarded as futile, even though it could nonetheless destroy the most beautiful of insides. This book brings together a variety of intellectual tools and insights – polysemic and ambiguous, bespoke and improvised, ornamental and criminal, spanning media, technology, the arts and other, often undefined fields – that analyze the impact of the discipline on contemporary design. In the end, what makes Nothing About charming is that this inside – insofar as it is still defined as such – has only the humble ambition of accompanying beings, both animate and inanimate, within their environment, like a friend who is never far away.

The fifth edition of FIG. (Festival for Illustration and Graphics) took place in Sofia, Bulgaria. The festival hosted numerous exhibitions, group shows, talks, workshops, concerts and screenings. The identity and graphics were created by Velko Kalchev, who came up with a colorful collage of cut-and-paste-style visuals, blended with type and dotted lines. The festival’s website adds a level of playfulness with animated dotted lines. The design uses the chunky Montagu Slab (Florian Karsten Typefaces) for the logo and Good Direction Sans (Folch) for headlines. The text font is HAL Timezone by HAL Typefaces, nicely making use of its small caps.

The first paragraph from the opening press release:

What happens when artists, designers, thinkers, and curators come together to reimagine the future of cultural practice? The fifth edition of FIG. – Festival for Illustration and Graphics invites the public to find out. From June 6 to 15, 2025, Sofia transforms into a playground for collective creativity, exploring the theme How We Work Together. This year, the festival is dedicated to collaboration in all its forms—intentional, subconscious, and even accidental—bringing together emerging and established voices from the contemporary visual scene to challenge traditional ideas of authorship and creativity.

“The Lives They Lived” is an annual special issue of the New York Times Magazine, published at the end of each year. The edition honors notable artists, innovators, and thinkers who died during the previous twelve months.

The 2024 issue was designed by Annie Jen under the direction of Gail Bichler. The typography combines Farmacia by Nguyen Gobber for headlines with Timezone by HAL Typefaces and NYT Mag Sans and NYT Mag Serif by A2-TYPE for copy text.

Skall Studio is a Copenhagen-based clothing brand, founded in 2014 by the sisters Julie and Marie Skall. The new, current identity was created by Barkas. The logo appears to be custom drawn and is paired with HAL Timezone by HAL Typefaces and F37 Blanka by F37 Foundry, which are also used on social media.

From the Instagram post by Barkas:

Skall creates pieces with great attention to detail — and to the greater whole. The more you look, the more you see the craft and intention they put into every thread. To bring this perspective to life, we created a universe that rewards the curious mind. Playful details are woven throughout, and we’re excited to share a glimpse of what’s taking shape.

“Route To Christmas” is a folded poster (55×80 cm) designed by Lars Schrodberger für effektiv Druck+Veredelung. The print, packaging and paper finishing company in Fürth also produced the product to market their craft and services. The poster acts as a calendar leading up to Christmas eve with 24 entertaining facts about the holidays. On the reverse side it also functions as gift wrapping paper, printed in two spot colors on Soporset Premium Offset 80 g/m² paper and finished with gold hot foil stamping. The outer folder is produced with Gmund Used 8 300 g/m² and stamped with white foil. It is typeset in HAL Timezone by HAL Typefaces and KTF Forma by Kyiv Type Foundry.

Focusing on contributions that explore composites as art and design forms, as research methodologies and practices, and/or as theoretical concepts, issue 60 of the review Azimuts – Design Art Recherche proposes that composites can be understood as a mode of presentation or representation of realities. Different hypotheses have been explored by the researchers and creators gathered here.

Reading their proposals, we can consider that their narratives define composites either as smooth, since the glue that aggregates the various components is invisible, or as rough because the glue, conversely, is visible.

Thus, this issue of Azimuts proposes, through the authors, to understand and define the specific materialities of this glue in that it is a binder, negotiating relationships. It is then a question of considering these sticky materials as a space, a transition, a break, or even a silence. Or, to quote novelist, poet and philosopher Édouard Glissant, “as a relationship, an opposition or a consequence”.

It is published by École supérieure d’art et design de Saint‑Étienne.

The 20-minute documentary In Search of a Landscape follows visual artist Chrystel Lebas who engages in long-term projects involving photography, sound, and video. Her work documents and reveals changes in nature driven by ecological and anthropological interactions.

Starting from a 1723 map, she explores the territory surrounding the Hofgestüt complex in Bleesern, reflecting on its history, the challenges of preserving the former court stud farm as a monument, and the ambitious renovation project led by the local community. The initiative aims to transform the site into a public hub for nature, agriculture, and culture.

The film was by created by Grupppo in collaboration with the Passage artist-in-residence program and produced by Förderverein Hofgestüt Bleesern e.V. It premiered in Bleesern—where it was filmed—on the occasion of Tag des offenen Denkmals. The film’s title and poster was typeset in HAL Timezone, its subtitles in HAL Timezone Mono, both published by HAL Typefaces. The film can be viewed on Grupppo’s website.

The biannual, Spanish-language lifestyle magazine Neo2 was redesigned in 2024 by Democràcia. It’s typeset in Universal Sans (Family Type) and HAL Timezone (HAL Typefaces).

Democràcia shares the following notes on the design:

The layout of NEO2 magazine and the image for its 30th anniversary were resolved in a simple way. The graphic solution to ensure the new header does not compete with the identity of its 30th anniversary is the creation of a typographic non-logo. Creating a visual system without generating competition. Combining efforts in the same direction. An ad-hoc universal sans typeface. The header design has been conceived from geometric elements such as the circle and the square. A typeset that combines serif (HAL Timezone) and sans serif (Universal Sans) to achieve solidity and minimalism. Rescuing and reinventing its history since 1994. Very grateful to have been part of this project.

Propulsion is an American IT and cybersecurity company in the technology sector, based in New York. Its branding and corporate identity was created by Company Policy and set in HAL Timezone, published by HAL Typefaces, and accompanied by Dalton Maag’s Effra.

Company Policy published some notes on their design:

In today’s digital world of business, strong cybersecurity is essential. is redefining how businesses leverage security technology—not just to solve problems, but to drive growth. We partnered with the Propulsion team to launch their brand. Delivering strategy and design solutions that position them as leaders in IT infrastructure, AI automations, and cybersecurity.

Cybersecurity has a perception of being counted on when things go wrong. Propulsion aims to change that perception by believing that technology should be an enabler of growth, not a barrier to entry. The founding team recognized a gap in the market for an IT partner that could provide businesses with the same level of expertise, support, and access to advanced technologies enjoyed by their larger counterparts.

Our visual identity for Propulsion was inspired by their name and mission. To stand out from a crowded market as being both premium and trustworthy, we crafted an identity focused on the upward momentum that Propulsion brings to any business. We positioned Propulsion as not just problem solvers but as proactive partners crafting an identifiable and motion forward mark and brand system.

As Propulsion entered the crowded IT and cybersecurity market, the brand needed to appear as a leader with the industry. We built a robust set of brand applications to position the team as different, innovative, and experts in the future of business growth and technology, with an edge.

From May 15th to June 15th 2025, Poesiefestival Berlin, in its 25th year, presented a city-wide pre-festival program and a main festival program at two venues for the first time: Akademie der Künste at Hanseatenweg and silent green in Wedding. With this extensive program, the Haus für Poesie presented poetry in all its forms for an entire month—ranging from readings, discussions, and performances to dance, music, visual arts, photography, and film, featuring more than 150 artistic voices.

After the 2024 campaign, AG Grafik (Philip Jursch and Lennart Lofink) was re-commissioned to create this year’s visual identity, also typeset in HAL Timezone by HAL Typefaces.

The publication Streitsache Straßennamen (“Street names in dispute”) documents the process of renaming streets in Darmstadt between 2013 and 2022. Over the course of 219 pages, it details the debates, decision-making processes, and the work of experts who critically examined the biographies of controversial street namesakes from the National Socialist era. The book also includes content from the exhibition of the same name, shown in 2021 at the Justus-Liebig-Haus, as well as transcripts of lectures presented during a symposium held online on June 1, 2021. Designed by Florian Schimanski, the publication is an important contribution to the ongoing reflection on the city’s history and how it is commemorated today.

The book is set in HAL Timezone, Tor grotesk, and Monotype Grotesque. Produced in collaboration with Büro für Erinnerungskultur and edited by Stadtarchiv Darmstadt, it is printed on Circle Offset and Circle Silk paper. It measures 170×210 mm, and is published in an edition of 1,000 copies.

Autobiografía de un bazar is a visual essay that reconstructs the author’s early childhood (1992–1997) through a combination of oral family history and second-hand graphic materials sourced from local bazaars in Krakow. Sparked by telephone conversations with her grandmother during the ongoing Russian invasion of Ukraine, the work explores the intersection between personal and collective memory, migration, and identity. Fragmented recollections are complemented with anonymous images – postcards, textbooks, art magazines, maps – recontextualized to narrate a personal story shaped by war, displacement, and cultural intersections.

The project uses found imagery as both documentary and metaphorical device, merging typographic and editorial design into an intimate yet universal narrative. The resulting publication not only documents a personal past but also highlights the social and historical value of reuse, reinterpretation, and the hidden connections between individual lives and collective histories.

The following exhibition took place from April 5 to August 17, 2025 at the Museum zu Allerheiligen in Schaffhausen, Switzerland: Otto Dix – Adolf Dietrich, Two Painters on Lake Constance. This exhibition presented the first juxtaposition of two important proponents of the New Objectivity: Otto Dix (1891–1969) and Adolf Dietrich (1877–1957).

Studio Marlon Ilg was responsible for the exhibition design as well as the accompanying media: exhibition catalog (published by Deutscher Kunstverlag), flyer, poster and tote bag. The overall design was created using HAL Timezone by HAL Typefaces and Dinamo’s ABC Rom.

About the exhibition from the museum’s website:

The two painters lived only a little over three kilometers apart on Lake Constance: Adolf Dietrich since his birth in Berlingen in the canton of Thurgau, and Otto Dix, defamed by the Nazis, from the mid-1930s in Hemmenhofen on the German side of the lake. Both artists found their subjects in the scenes and landscapes around Lake Constance. It is not known whether Dix and Dietrich ever visited each other, but they were aware of each other.

How do these two artistic personalities differ in their approach? How were they influenced by their origins, and how did they reflect the upheavals and changes of their time? The exhibition seeks to answer such questions.

Around 90 paintings, drawings, and prints from the museum’s own collection as well as important loans from 17 renowned museum and private collections in Switzerland and Germany open up a new perspective on the work of these two painters.

Vivir de (Esto) is a podcast created and presented by Dei Arroyo and Luismi Gómez. Each episode features a new guest, with whom the hosts speak about turning their passion into a professional livelihood. The series’ graphics and identity were created by errorerror.studio (Paloma Vicente & Luismi Gómez), a creative duo based in Valencia, Spain. Their design for the podcast is typeset in HAL Four Grotesk and HAL Timezone, both published by HAL Typefaces.

Since 2023, restaurant EI-12437-B has been serving “a modern take on German classics” in a historical, refurbished building called the “Eierhäuschen” (Egg House). It was built in the early 1890s and was a popular destination for leisure and gastronomy, especially during the GDR era, before its ultimate closure in 1990. In addition to the restaurant, the renovated country-style structure features an event and exhibition space, as well as a beer garden. The restaurant’s identity and website were designed by Hei Agenda, typeset in Scto Grotesk A by Schick Toikka and HAL Timezone by HAL Typefaces.

I have been afraid of chains underwater my whole life. I realised this when I was a child, while watching a cartoon polar bear climb a buoy. This zine and the essay within it attempt to identify the reasons for and thresholds of this very specific fear.

This project was started in the sixth semester at DHBW Ravensburg | Mediendesign [MdRV] and continued as a free project after completing the Bachelor’s degree.

The hand-bound booklet has 16 pages and measures 90×170 mm. It was Riso-printed with two colors at Risofort Hamburg, on Fedrigoni Arena White Rough 120g/m². Limited edition of 75 prints.

Supervision by Florian Tscharf. Proofreading and conceptional support by Marie-Luise Weier. For the typography, I used HAL Timezone.

Arxiu ecologista. Memòria i cultura visual de l’ecologisme a València des dels anys 70 (“Ecological Archive. Memory and visual culture of environmentalism in Valencia since the 1970s”) was an exhibition curated by Alberto Berzosa and Jaime Vindel, which focused on the graphic manifestos of several ecologist activist groups around País Valencià. The exhibition took place at the Centre Cultural La Nau of the University of Valencia. The exhibition design as well as the campaign and printed media were created by Democràcia, typeset in HAL Timezone and HAL Timezone Mono (HAL Typefaces).

Description of the project by the designers of Democràcia:

Arxiu ecologista is an element of political agency. The historic activist Josep-Vicent Marqués was already clear about this in the late 1970s when he wrote his influential book Ecología y lucha de clases (1978). This exhibition builds on the insights of Marqués and the efforts of other ecological activists of the time, such as Alejandro de la Cueva and Ferran García, who initiated the Fons de Documentació del Medi Ambient de La Casa Verda in 1982, the most extensive environmental archive in the country, whose collections were deposited at the Universitat de València in 2010. Using this documentary repertoire as a starting point, the exhibition presents a journey through the audiovisual and material memory of the ecological movement in the Valencian region, with a threefold objective:
• To address the limited impact of ecologism.
• To re-read the recent history of social mobilizations in our country.
• To reflect on the proposals made in recent decades by institutions for reviewing archival technologies and the material and epistemological status of documents.

The publication Flowing Streams consists of eight brochures wrapped in a dustcover, which also functions as a map of water flows in Romania. It was designed by Karolina Pietrzyk and Tobias Wenig, set in HAL Timezone and HAL Timezone Mono, published by HAL Typefaces. The publication was coordinated and curated by Nicoleta Moise and Adelina Luft and printed by Fabrik in Romania in an edition of 500 copies. The brochures are the result of a series of two-week residencies in different locations all over Romania.

More information on the residency program from EUNIC Romania, the organizing body:

FLOWING STREAMS is a multi-residency project in rural areas of Romania exploring local approaches to the cultural ecology of water, designed and developed by EUNIC Romania. It involves seven cultural institutions operating in Romania – the British Council, the Czech Centre, the Embassy of the Netherlands, the Goethe-Institut, the Italian Institute for Culture, the Polish Institute and Fundația9, each engaged in supporting one residency. The project was framed by this consortium of European partners, in collaboration with curator Adelina Luft.

In the context of the climate emergency and shrinking mobility opportunities for pan-european exchange, FLOWING STREAMS aims to harbour meaningful collaborations between artists, architects, anthropologists, hydrologists or community organisers and the local partnering organisations from Romania. The programme intends to create space for co-learning, mutual listening and exchange of knowledge and practices, centred around the theme of water – the cultural embeddedness of local or traditional approaches to water management and water conservation, the social and environmental sustainability of these practices, and their adaptability to changing environmental, political and economic circumstances.

Romania’s rural landscape represents 90% of the country’s territory, with diverse climates and natural resources. Lack of investment in rural areas has generated scarcity and limited opportunities for inhabitants, but it has also left nature to survive on its own, with many areas still holding old forests, wetlands and rich biodiversity. Sadly, corruption and poor policies to protect the natural environment, connected with lack of ecological education, are threatening the sustainable development of these areas.

The seven European practitioners selected will have the opportunity to immerse themselves in the daily life of the Romanian village and explore the context of water specific to each location, hosted and mediated by a partnering organisation. Located in different rural areas of Romania, the host organisations have been running dedicated programmes around notions and practices that recontextualize the rural space and the natural environment through a reorientation of sensibilities and from a new paradigm of ecological knowledge. Through the residencies, participants are encouraged to explore local cosmovisions and practices around water, its relationship with customs, traditions, or occupations, by listening, sharing and exchanging with the spaces as sites of interpellation. These encounters are intended to open up new possibilities of reclaiming knowledge linked to a territory, historical memory and ecology, and to map a network of existing or potential socio-ecological practices that restore our relationship with water.

Hidden in Plain Sight. Sonata for Many Voices by Elisa Lemma was published in early 2025. The publication explores a community-based, inclusive approach to classical music listening and was designed by Wibke Bramesfeld to function as an open archive. The metal file fastener holds the pages together, allowing for the addition of more content as the dialogue grows, thus acting as a living document that evolves with further iterations. It was launched on January 14th, 2025, at Libreria Anarres in Milan. The publication is typeset in HAL Timezone, published by HAL Typefaces, with support from Victorianna by Velvetyne.

Description of the project from publisher HumDrumPress:

What do we hear when we listen to classical music? Coloured chords? Giant drops
and secret doors? Rolling cats and frantic moths? Hidden in plain sight. Sonata for many voices is the ongoing research attempt towards a commons-based and inclusive attention practice for classical music listening. Listeners with all kinds of backgrounds and musical experience (and especially none) met over the course of eight months to shape a collective practice where music perception was shared and interpreted with the same, undivided attention that it takes to learn a new language.This publication invites its readers to engage in the conversations and findings of the participants who took part in this research project, as well as giving space to contribute to a growing collection of perceptions, ideas and sensitivities.

Sonne der Relation and more Postcards from a Postcolonial Museum oder Das Expressionismus Dossier, published by Mittel und Zweck in 2024, is the title of the follow-up publication to Karten zur Kreolisierung der Welt and The Marvelous Arithmetics of Proximity and Distance oder Decolonial Reading Notes (Out of Berlin), printed in similar yet slightly darker spot colors. The author of the publication is Moses März and it was designed by Marcus Wachter, typeset in HAL Timezone (HAL Typefaces) and Gibbon (Camelot Typefaces), an unreleased typeface by Wolfgang Schwärzler.

From Marcus Wachter’s Instagram post:

[…] the maps propose a shift from linear and vertical towards transversal and horizontal ways of writing. They also propose a multidirectional kind of reading, one in which the reader may freely choose where to begin, at which degree of proximity or distance to engage with the map, and which lines to pursue further.