Due to the COVID-19 pandemic, the physical (in-person) year-end show for University of Calgary’s School of Architecture, Planning and Landscape had to be moved online. Whereas in previous years the website served as an info-hub to visit the physical location, this year the works of the graduating class were presented online with profiles and mini-portfolios for each graduate.

A singular weight of Acherus Grotesque by Ufuk Aracıoğlu (Horizon Type) is used as the primary font for the website. Its rounded geometric forms lends itself nicely for the subject matter and content of the site. The wordmark is set in Sebastien Sanfilippo’s Reglo Bold (distributed by Love Letters). Its chunky and geometric characteristics at once compliment and contrast with Acherus Grotesque.

TGL and Reglo in use on the poster for Too Cool for School: a fundraiser for young migrants, held at the Trempolino in Nantes, France. TGL 0-16 and 0-17 are digizations of DIN 16 and 17, made by Peter Wiegel, using the GDR names.

The purpose of this evening is to find funds to help unaccompanied migrant children to access schooling. The entrance is free of charge support, the risograph printed poster (by Arnaud Aubry) is for sale, 3 € minimum price, also to raise funds.
A solidarity canteen will be present, all of whose profits will go to L’Autre Cantine. The expression “à votre bon cœur” takes on all its meaning here and at the same time you will undoubtedly spend a wonderful evening on the terrace of Trempolino! A very cool evening, for school! Thank you to the association SAFE which co-organizes this event.

The publication accompanying the exhibition Planet B – 100 ideas for a new world is a collection of different ideas for a new world – a Planet B. The most visionary artists, designers, architects, writers and futurologists in the world present their political, poetic, odd and radical ideas for a new world. — NRW-Forum

The use of changing layouts, typefaces and font sizes creates a never boring reading experience—almost every page turn surprises. Still, the “navigation bars” on the pages’ sides keep everything together, so the reader won’t get lost. All used fonts are listed in the book’s colophon. Several of them are shown here, and are identified in the respective image captions. The book additionally uses Aileron, Arimo, Astloch, and Junicode (not pictured). See more images on the website of designer Matthias Hübner.

Contributions by Rachel Armstrong, Nelly Ben Hayoun, Ernst Bloch, Stewart Brand, Brad Downey, Kevin Kelly, Ray Kurzweil, Chusz Martínez, Niklas Maak, Lucy McRae, Philippe Rahm, raumlaborberlin, Tomás Saraceno, Space Caviar, Jakob Tigges, Friedrich von Borries and many more.

Published in January 2016 by Verlag der Buchhandlung Walther König
Editors: Alain Bieber & Lukas Feireiss
17.5×24 cm, 240 pages, softcover
Texts in English and German

The text on the cover and the spine is set in Sporting Grotesque.

Body text set in Sporting Grotesque, with italics from Chivo. The headlines are set in caps from Reglo. The serif used for page numbers and subheads is Old Standard.

The big type on the left page is Autopia.

Steps Mono is used for page references (“N on p. 18 / DE S. 19”).

From top to bottom: Sporting Grotesque Gras (running head), the Latin part of Ume Mincho (underlined), Autopia (headline), Steps Mono (subheading), Sporting Grotesque Normal (body text).

The serif used for the texts on this spread is Bagnard.

Quick Brush and Reglo in use on a concert poster for La Fine Équipe, Nkisi and Kampire at Le Pôle Étudiant, a student culture house in Nantes.