La rueda de la vida (“The Wheel of Life”) is a children's book written and illustrated by Chilean artist Andrea Franco. The story, written in verse, is also a song and tells the story of how different animals feed in a life cycle, and interact with life and death, making “the wheel of life” turn.

Published by Una Casa de Cartón, which provides a commentary on the book (translated from Spanish):

Life comes and goes in its natural cycle, in constant renewal and growth. In this lively journey through life and death, we invite readers to play, sing and laugh in a carnival that travels roads without endings or beginnings. This accordion book encourages play and imagination in young and old readers of text and images.

The typesetting is simple and aims to blend in with the illustrations without overpowering them, allowing for harmony between text and image. The book's title is set in Mazúrquica (v1.0) Regular and the main text in Berenjena, also in Regular weight.

Chilean design studio Comunas Unidas (run since 2004 by Myrna Cisneros and Manuel Córdova) was in charge of the art direction, illustration and design of the first vinyl LP by Chilean band La Golden Acapulco.

The design uses only the first version of the Mazúrquica typeface family in its original three weights (later, in 2020, Quintana-Font released a 2.0 version). The interior features a fold-out poster with handmade letterings.

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The cover shows two weights of Mazúrquica family set in all caps, with the OpenType feature Titling alt-Interlocking caps activated.

The book Trafülkantun. Cantos cruzados entre Garrido y Curilem (“Trafülkantun. Cross songs between Garrido and Curilem”) is the result of a research by Laura Jordán, PhD in Musicology, and Andrea Salazar, PhD in Linguistics, on the intellectual relationship, and collaboration between Pablo Garrido (Chilean musicologist) and Juan de Dios Curilem (Mapuche musicologist). The book presents the research, a critical edition of unpublished texts by Garrido, and seven traditional Mapuche songs (ülkantun) – originally compiled by Curilem, which are presented in detail in the third part of the book, which comprises scores, original lyrics in Mapudungún (Mapuche language), Spanish translation, and a QR code that leads to a contemporary interpretations of each song.

The typesetting was done with an assorted palette of type families, which share conceptual and formal relationships, note the “reverse contrast” modulation featured in Mazúrquica, Modérnica, Violeta and Cerchán; it may also be of interest to know that Violeta Parra is the most important and outstanding Chilean musician, poet and artist of the last century, and that one of her songs is called “Mazúrquica Modérnica”.

These type families are combined in a fluid manner for the different text typologies deployed. The main titles are composed with Mazúrquica, the subtitles and margin notes with Modérnica, the main text and some headlines with Violeta, the initial letter with Violeta Jardinera, and a detail of the edition is that we use Chercán to compose the words written in Mapudungún, which are abound in the text. Finally, we used an unpublished Condensed version of Lira Sans to set a table rich in information.

Here you can appreciate the combination of Violeta and Chercán within the main text. The Mapudungun word ülkantun (third line) is set in Chercán.

Lira Sans Condensed Medium set in 7.8/9 pt. Note tabular lining figures in use.

This page shows some details of the typeface families’ glyph sets. Note the initial letter, the M swash, the use of small caps, and the different kinds of figures (small caps, old style, and superscript). Note also the relationship between the main column set in Violeta and the marginal notes set in Modérnica.

The scores are composed with a musical notation drawn especially for this edition as part of Violeta’s glyph set. Note the “reverse contrast” in the treble clef and 3/4.

The colophon is divided by a drawing of a Cultrún, a traditional Mapuche drum.

Día de la música chilena (Chilean Music Day) is a popular event organized by the Sociedad de derechos de autor (Copyright association) and the former Consejo Nacional de la Cultura y las Artes de Chile (now the Ministry of Culture) to promote the work of local musicians in a long concert with a wide line-up.

All the graphics in the 2011 edition were created by Comunas Unidas (run since 2004 by Myrna Cisneros and Manuel Córdova) using only the first version of the Mazúrquica typeface family in its original three weights. Later in 2020, Quintana-Font released version 2.0, consisting of seven styles and several updates. The main piece is the lettering Me gusta (“I like”), in dialogue with the name of the event, set in Mazúrquica. Together, both lines read Me gusta la música chilena (“I like Chilean music”).

Por la Güeya del Matadero, Memorias de la cueca centrina (“For the girl from the slaughterhouse. Memories of the cueca centrina”) uses the first versions of Berenjena and Mazúrquica, both by Javier Quintana. Designed by Flora Argemí, Conrado Muñoz and Javier Quintana.

The designers comment on the book (translated from Spanish):

“[…] a book that would record the memory of a historical moment in a particular neighborhood of Santiago. We worked with a remarkable team, including the historians Araucaria Rojas and Karen Donoso as well as Los Chinganeros […] The book is accompanied by a cuecas record about the slaughterhouse and the life around it.

The book brings together quotes from various people from the Barrio Matadero that constantly complement the main text. Often it is profusely annotated with bibliographical references which run in a marginal column. The last part of the book holds the lyrics of the cuecas.”

In 2012 this book won the Amster-Coré Prize (granted by the current Chilean Ministry of Culture) for its editorial design.