To design the visual identity of the concert series Tutti, Musik in Berner Hallen, the graphic designers 7er Studio (Eva Wolf and Basil Linder) used the typefaces Clifton and Arnhem Fine.

From Linkiesta (translated):

In Milan and Rome, and throughout the summer, a special issue of our newspaper will be distributed. Twenty four pages, broadsheet format, ten euros. (...)

It takes courage to make a paper newspaper in 2020 and in full pandemic, but Linkiesta has this courage and has decided to also become paper, starting this morning and throughout the summer.(...)

With the experience as editor of IL, the award-winning magazine of Sole 24 Ore for innovative design, Christian Rocca invited the art director Giovanni Cavalleri and the illustrators Marta Signori and Alvvino to design the paper version of Linkiesta.

Inspired by text-lead political magazines and newspapers from the 60s and 70s, the publication features illustrations by Marta Signori and a centrefold collage by Alvvino. Printed in Italy by Grafiche Antiga on 70gr Holmen Book paper in black and Pantone Blue 072U.

The typography pairs Arnhem and Arnhem Fine by Fred Smeijers with various widths of Fixture by Alejandro Paul.

Footnotes is a type design periodical published yearly by La Police. The second issue opens with the 2nd part of an article by Brigitte Schuster about The Haas Typefoundry Ltd. initiated in issue A. Following this link with the first issue, issue B includes contributions by Optimo, François Rappo, Christian Mengelt, Adrien Vasquez, Frank Grießhammer, Alice Savoie, Dorine Sauzet & Sébastien Morlighem.

In order for the reader to discover the typeface(s) presented in each contribution, every essay is typeset with the related typeface(s). Some are unreleased, here’s their detailed list in order of appearance:
LP Jung is a still-in-progress typeface by La Police.
Detroit was available at Optimo between 1998 and 2000 in MM format.
Swiss Gothic is an unreleased revival of Gerstner/Mengelt’s Programm by François Rappo.
Antique is a private version of Helvetica by François Rappo.
Theinhardt Mono is an in-progress variation of the Theinhardt family by François Rappo to be released by Optimo.
AA Files Display Initials are a mix of styles drawn by Adrien Vasquez for the layout of the AA Files magazine.

Detail from page 57: “Sans Plomb” by Optimo, set in Detroit.

Detail from page 62: “The 2002 Typographic Agenda” by François Rappo, featuring Antique, Theinhardt, Plain, Apax, Theinhardt Mono, and Swiss Gothic.

Detail from page 68: “Typeface Redesign” by Christian Mengelt, pairing Mengelt Basel Antiqua (body text) with Sinova (captions).

Detail from page 71: “A Note on the AA Files Display Initials” by Adrien Vasquez, set in Arnhem Fine and Arnhem.

Detail from page 77: “Cogitating Vectors: The Hershey Fonts” by Frank Grießhammer, featuring Minotaur Beef, Minotaur Sans, and Minotaur.

Detail from page 85: “Everyday type” by Alice Savoie, Dorine Sauzet & Sébastien Morlighem, set in Minuscule 6.

John Morgan Studio:

First published in 1981, AA Files is the Architectural Association’s journal of record. It contains essays and articles on architectural history and criticism, work by contemporary practitioners and designers, photography and art. It was redesigned by John Morgan studio in 2008, from issue 57 onwards.

“There are two ways of looking at graphic design. You can over value technological change. The technological-revolution-that-is-changing-everything is all that matters. You would then consider only the very latest innovations in design as being meaningful. The ipad magazine app that came out last week that “shows us the future of magazines”. The phone coming out next week with a swizzy new screen that displays text with unparalleled clarity. With this view, any design that is not about exploiting technology is regarded as pretty much passé. Irrelevant. Another way of looking at design is that you can see it as a continuum. That the challenges of making magazines, for example, are essentially the same today as they were twenty or forty or sixty years ago. This argument says that although the media that deliver us the reading experience are changing by the hour – our eyes and brain are not changing, and that the experience of reading and looking are pretty much the same as they always have been.

AA Files is produced using some of the latest technology, but produced as old technology. A magazine, printed with ink on paper. But, in its old-fashioned way, I think AA Files is a fabulous example of both design and content. A perfect marriage of the two. Magazines need to be attractive, clear, powerful, coherent and identifiable, and yet full of incident and change. Magazine the word is derived from the Arabic for a store-house (transliterated as makhzan). AA files is a magical store-house. For what is ostensibly a magazine about architecture – the house magazine for members of the Architectural Association – the content is the freest possible definition of architecture and its concerns.” — Quentin Newark, 2011

The magazine uses Big Caslon for masthead and numbering on the otherwise empty front page. Inside, Arnhem is complemented by its finer self for headlines.

“This ongoing series of yearly catalogues documents the work produced by students in Cornell University’s MFA Art program. Each student’s work is presented first by a commissioned text as placed on the outside of a gatefold; visual documentation is then revealed upon opening the gatefold. While the books' physical structure remains consistent for each year, display typography and color shift annually to reflect the year’s theme.”—Project Projects