Llibre Verd València is the commemorative publication of Valencia European Green Capital 2024, a reference for citizens, professionals, and public authorities that sets out the city’s urban strategy for the coming decades in terms of sustainability and climate action.

This book needed to be functional and embody sustainability, while also serving as a limited-edition gift. The aim was to create a singular object that connects with both the theme and the territory through an organic material made from orange peels that embraces the publication. A unique material that reflects the creative potential of biomaterials and the transformation of waste. Resource efficiency defines the design of the content as well as the choice of format, paper, and inks.

Typography is one of the defining elements of the publication. Since this is a trilingual book and the goal was to minimize the total number of pages, a different typeface was chosen for each language: Guyot (serif) for Catalan/Valencian; Acumin (sans) for Spanish; and Ionic Modern (which, although not strictly a slab serif, is close enough) for English. In addition to providing the necessary differentiation without having to specify the language of each text, this approach also helped balance the overall text lengths. To complete this typographic set, Forma DJR Mono (monospaced) was selected for navigation and other common elements.

About Baret Scholars, via ICGS:

Named after Jeanne Baret, the first woman to circumnavigate the globe, Baret Scholars is a global gap year program that brings together a cohort of 180 just-graduated high school students from around the world to journey across seven regions (North America, South America, Europe, Africa, Middle East, India/Southeast Asia, and China/East Asia), over 200 days, in a semi-structured and self-guided gap year experience. These scholars will explore their personal interests in different regions via prominent local speakers, curated traveling Fellowships, and optional volunteer opportunities.

Baret Scholars’ mission is to provide students with a comprehensive and holistic understanding of the world, paving the way for years of fulfillment and achievement. The program serves as a foundation for the scholars’ future, fostering cultural literacy, a global perspective, and a desire to create a better world.

Luke Hayman and his team at Pentagram were commissioned to design a book about scholarships, gap years, and studying abroad. The typography combines Guyot (in Text and Headline sizes) with Founders Grotesk (in regular-wide and Condensed widths). The illustrations are by Adam Simpson (London).

Any Human Heart. The Intimate Journals of Logan Mountstuart by William Boyd was first published in 2002 and nominated for the Booker Prize. Shown here is the TOC edition from 2022. It was printed in dark blue with a matching dark blue sewn binding. The letterpress printing was done by Die Lettertypen on an original 1954 Heidelberg cylinder. Set in Guyot by Ramiro Espinoza, plus FF Real and Haus Stencil by Erik Spiekermann. TOC comments on the typography:

Ramiro Espinoza studied type-design in The Hague and in Antwerp. There he came across the work of a lesser-known French punchcutter, François Guyot, who worked in Antwerp during the sixteenth century. Espinoza’s design combines the elegance of the historic model with contemporary efficiency. A good Italic was needed to distinguish the comments between the sections of the story. We also used swashes and embellishments, which suit the wide range of Boyd/Mountstuart’s imagination. Any Human Heart is written as a diary, conjuring the image of a printed calendar where you tear off a little note every new day. The aptly named Haus Stencil (initially designed for door numbers) gave us this look and provided a spot of color on the page.

With rhetorical violence, the Italian Futurists proclaimed their radical break with the past.

They no longer had an eye for the beautiful works of art and monuments of Europe's glorious past. What they admired were racing cars, athletes, train stations, rebellious crowds and ornate factory chimneys. They sang about the nocturnal vibrating glow of armories and workshops. They glorified war.

Futuristische Manifesten (futurist manifestos), published by Flemish publisher Letterwerk, contains the most important manifestos by Italian author, journalist and futurist champion Filippo Tommaso Marinetti. The book presents the verbal power of Europe's most striking avant-garde in a new Dutch translation by Thomas Crombez.

The cover was designed by Dominique Barberis (EHB Ontwerp), using Noyh (Typesketchbook). The interior, designed by Kurt Cornelis, is set in Retype Foundry’s Guyot.

On Monday, July 6, the leading financial daily Handelsblatt premiered a design that better accommodates its content while embracing its digital offerings.

The new redesign is the fourth García has been involved in for Handelsblatt. On his comprehensive blog, the designer explains the need to create a smoother design for a paper edition—more compatible with the shift toward online reading habits, “while embracing its digital offerings.” What has remained, García specifies, is the familiar logo and standard colour: orange. “However, almost everything else changed.” As for the editorial motives, the blog post quotes the paper’s editor in chief, Sven Afhüppe: “The optics help the readers identify sections better and to get through the newspaper faster.”

As García wrote in early June, Handelsblatt’s major transformation “includes the rethinking of the print design which launched today, as well as the upcoming projects for digital and mobile.” For months, Garcia set up an intensive long-distance collaboration with two designers in Düsseldorf, the newspaper’s hometown—design director Michel Becker and digital designer Henrik Balzer—and a team from Zurich agency Bodara, led by Tobias Peier.

Referring to the strategies developed for digital media, the new design focuses on facilitating the navigation of the printed page. Most editorial designers agree that a publication’s clarity starts with the judicious use of the “white of the page” as an element of its template. The design team for Handelsblatt has “incorporated white space as punctuation … to provide relief for the eye.” Yet the major element in reorganising a publication’s pages to guide the reader is arguably a more distinctive typography, using the range of the typefaces’ styles and weights to create contrast, and thus develop a lucid and less cluttered redesign.

Type palette: The main fonts utilized are Guyot for headlines and text and also Druk as an accessory font. You may see how type is used in these story structures that define how various type of stories are presented. Guyot is a type family inspired by the work done by punchcutter François Guyot during the sixteenth century. Ramiro Espinoza got acquainted with the work of Guyot while attending the Expert Class in Type Design at Antwerp’s Plantin Institute for Typography. Ramiro decided to give Guyot a modern interpretation aimed at the editorial market. Druk features the narrowest, widest, and heaviest typefaces in the Commercial Type library to date. “Druk was intentionally designed without a normal width, nor lighter than medium weights. Berton Hasebe, the designer, wanted to avoid shifting the focus of the typeface away from its most emphatic styles toaccommodate more general-purpose usage.”

Read more on the websites of García Media and ReType.

Liebe Kitty: Ihr Romanentwurf in Briefen uses DTL Nobel on the cover, and Guyot in the interior.

Anne Frank was given a diary for her 13th birthday. Just before and during the period in hiding Anne recorded her diary entries on the time spent in hiding in this diary and when it was full, in notebooks. When in March 1944 Anne heard on Radio Oranje that diaries would be collected after the war, she decided to write a ‘novel’ about life in the Secret Annex based on her diaries. She dreamed that this work would be published.

Liebe Kitty is unfinished; it is an incomplete manuscript of a girl who wanted to become an author. What you see here is authorship in the making. Despite the fact that it is a manuscript, it is well worth publishing. It is a literary work and shows the creative and literary choices Anne has made. This brings the reader closer to the writer Anne Frank. The book has come about through a love for literature, and as an affirmation of Anne’s qualities as a writer.

This German-language release is the first publication of Frank’s work as a book. Due to different copyright regulations, the texts are largely public domain in Germany, but not yet in The Netherlands, where the story was conceived.