Biber, which means “pepper” or “chilli” in Turkish and Serbo-Croatian, is an Austrian magazine that covers diversity, education, economy, politics, society, and culture, with a particular focus on Austrians with a migration background. Its first issue was published in 2006. The magazine ceased publication in 2023 but was relaunched in April 2025 with a print run of 100,000 appearing twice a year.

The first issue of the redesigned Biber magazine focuses on the people who keep Vienna running, both visible and invisible. Visually, the relaunch embraces a clean, contemporary editorial design grounded in clarity and contrast. Bold sans-serif typography, modular layouts, and an expressive colour palette define its new identity.

From layered interviews and street-level photo features to graphically minimal infographics, the magazine balances youthful energy with editorial discipline. The design aims to reflect Vienna’s cultural mosaic not through ornamentation, but through thoughtful hierarchy and human-centred storytelling.

The designer Valerija Ilcuka combined several typefaces with Farmacia by Nguyen Gobber used for headlines, and Exposure by 205TF, Triptych Roman by The Pyte Foundry, Aether Mono by DDOTT, and the sans-serif Athletics by Family Type for running and supporting text.

Identity for the Oslo-based architecture firm Arkitektskap. Design by Eivind Stoud Platou of Handverk, together with Elise Jakobsen of Jakobsen Frukt & Grønt and Petter Gulli of 12YEARS. The identity combines Triptych by The Pyte Foundry with STK Gerhard from Smuss Type Kiosk.

Starting with issue 33 (A/W 2023), Uncommon redesigned Port magazine. The ambitious redesign includes the photographed cover stars hand-writing their own version of the Port logo on their respective covers to add individuality to each of their split run cover. Uncommon say they “wanted to ensure each cover design felt unique and reflective of the person’s character.”

The typography changes throughout the issue and features two typeface families, Triptych Roman with Italick and Grotesque from The Pyte Foundry which, in the words of Uncommon, “is unsentimental, stubborn, robust and hard-working.” The second one, Affairs in Regular, Italic, and Mono from SM Foundry, is “slightly more aesthetically pleasing. Bringing two reduced typefaces together creates an awkward and interesting tension throughout the redesign.”

The typographic palette for issue 33 additionally includes Serial D from Dum Dum Studio and “an extended wide type to contrast with the serifs – creating a type where a single number sits across a spread – called UNCle.”

Food on Svalbard is a 48-page publication that dives into the unique subject of food on Norway’s Arctic archipelago. With essays from Reidun Braathen and Even W. Hanssen, Nikhil Vettukattil, Samantha P. H. Dwinnell, and Maggie Coblentz, it explores everything from the culinary potential of Svalbard’s wild mushrooms to the foraging habits of reindeer, offering a fascinating range of perspectives on food in the Arctic.

The essays are in both Norwegian and English. The book is typeset in RG Gaueko and Triptych Roman and Italick. The book was printed by Bristol’s Taylor Brothers in two spot colours (1765U and 412U) on PaperWise Natural from Fenner Paper which is created from 100% post-agricultural crop waste, and singer-sewn with pink thread. This is the third book in the series – see Artica Writings 2021 and Return to Nature? – all of which have been printed in two spot colours with binding methods that leave exposed threads.

See more images on the publisher’s website.

Sapmi Strikk is a knitting book by Siv Romsdal. It is a how-to pattern book that focuses on redevelopments of old Sámi knitting patterns and craftsmanship. The book is designed by Handverk.

Translated from the Norwegian:

Siv's starting point is the work done by women before her to preserve and pass on the heritage of their foremothers. On her journey through yarns and colours, she has developed knitwear that incorporates details from old Sami patterns. And she has been inspired by the nature and culture she grew up in to create new knitwear designs. Her journey takes her through darkness and the Northern Lights, cloud marshes and summer heat, to Karesuando, Máze, Varanger, Jukkasjärvi, Billefjord and Kautokeino. The result is a feast of colours and patterns that are equally at home on the plains or in the city. The book contains knitting patterns for jumpers, cardigans, socks and mittens.

Typefaces used are Triptych Roman from the Pyte Foundry and Store Norske Maleri from Skriftkompani.

The Museums for Climate Action publication and website gather together a range of thinking about how museums might address the challenges of a warming world.

Three fonts are used in combination across the project. Venus is used for headlines – in lowercase only, and in the bold condensed cut – Graphik for body copy, and Triptych Roman (with Italick) as an alternate contrasting editorial voice.

Divided into three sections – Rethink, Reimagine, and Mobilise – the website includes research material from the project team, a suite of concepts imagining possible museum futures in the climate change era, and key resources to inspire radical climate action in the sector and beyond.

The project began life as a design and ideas competition, launched on International Museum Day 2020. Responding to the two main pillars of climate action – mitigation and adaptation – the competition asked how museums could help society make the deep, transformative changes needed to achieve a net-zero or zero-carbon world.

The responses, which could address any aspect of museum design and activity, ranged from the fantastical to the highly practical. You can see a selection of these concepts in the Reimagine section of the website here.

Theatertreffen der Jugend is the youth theatre festival of Berliner Festspiele. The invited productions and theater-makers come together for a week of exchange, exploration and development of artistic forms of expression, discussion and, of course, theatre performances.

During the course of the festival, Festivalzeitung, a daily-published zine, discusses the productions, collects voices, resonates and reflects. Each day a new issue is written, designed, produced and published.

Triptych Roman with Italick by Ellmer Stefan, in use for body text, establishes a baseline for the design; in combination with Knif mono by Axel Pelletanche, Guillaume Grall, Benoît Santiard and Émilie Rigaud; and Buzz by Quentin Coulombier. Uses of various additional typefaces such as Pinyon Script by Nicole Fally, Reporter by Carlos Winkow, Map Roman by David Jonathan Ross, Barf Bold (originates from the 1982 sketch of the same name by cartoonist Bernard Kliban), Weiss Gotnitials by Manfred Klein, and Octopuss by Colin Brignall allow for playful and versatile graphics.

Design by Hannes Brischke and Lara Liske.

Texts and editing by Shaja Aenehsazy, Ansgar Riedißer, Miriam Pontius, Laura Anton, Rosa Engelhardt, Jannika Jenk, Emma Joerges, Pardis Mahdavi, Diana Röthlinger, Farukh Sauerwein

Pinyon Script for the names of the zodiac signs

Triptych Roman for text, with Knif mono for headings and Buzz for the title

Knif mono for ASCII art and text featuring staircase glyphs and stacked glyphs

Series of covers with the logo in Buzz

Table of contents on the inner side of the (shorter) cover, printed on colored paper

Title page featuring Reporter

A 15th-century engraving paired with Weiß-Gotisch Initialen

Octopuss Shaded in the clouds

Triptych Roman and Triptych Grotesque are used for the covers of “Feuilleton théorique” – a new series of books about economy, divided into six themes, written by Alain Denault and published by Lux Éditeur. The third member of the Triptych family, Triptych Italick is added to the typographic palette in the book interiors.

The plurivocal term “Feuilleton théorique” has a multitude of meanings that the “economic science” has sought to erase or recover. This series of works aims to redefine the economy from a synthesis of the definitions and various uses that the term has had in its history.

See more images on my portfolio website.

In April 2021, The Atavist Magazine launched a redesign of its brand and website as it moved from its proprietary CMS to Wordpress. Each issue of the publication is just one deeply reported longform story that is custom built and art directed. The goal of the redesign was to significantly simplify the typographic expression of the publication, which previously used a variety of display and text faces for each individual story, while emphasizing the literary nature of the writing it is known to publish. Triptych from The Pyte Foundry ended up as the choice that fit these goals.

More information on the redesign is available in the letter to the readers by Seyward Darby, Editor in Chief.

Das Heu is an editorial experiment meandering the fields of self-publishing and graphic design. The magazine envelops a collection of articles selected by the Wikipedia Random Article Generator and explores the relations of graphic diversity and cohesion within a super-wide, deliberately random spectrum of topics.

This is the first issue of Das Heu, made by Uli Holtschlag, Lara Liske, Jana Hielscher and Robert Franke. The cover uses Ishar Hawkin’s Aachen Old Style. For the interior, we combined Helvetica with Ellmer Stefan’s Triptych Roman and Italick, with support from Iamgod’s MGD Rotter.

Composed from field recordings and an impromptu concert hall performance, anura is a frequency domain navigation of sound and music – spectral anfractuosity – assembled exclusively in Kyma 7 using the NeverEngine Labs Spectral Suite designed by Cristian Vogel.

Will Klingenmeier — field recording & synthesis
Gor Jihanian — photography & design

Mastered at 12k by Taylor Deupree

A project by Tânia Raposo & Ellmer Stefan.
Opuscolo is a gathering of texts on all matters, with a new typographic voice and ready to print for a reading session away from the screen. All text in this issue is set in typefaces by Ellmer Stefan. The ready-to-print pdfs are in A4 format, to be folded into A5.

The first issue is a wonderful text by Italian philosopher Federico Campagna on the subject of Baroque music. The text was first found on Campagna’s blog.

The use of different type styles allows different readings of the text. I decided to set the main text in Triptych Roman and Triptych Italick; all titles of musical pieces are set in Triptych Grotesque so I could later easily consult them without having to navigate through the text. Almost as highlighting a playlist.

You can find a ready-to-print pdf and a screen-reading pdf, together with all the references of the publication on our are.na page.

As Francesco Fusaro says in the episode of his NTS show Tafelmusik, where Federico Campagna was a guest in: This one is for the Baroque Crew!

Source: www.thebookmakersfilm.com License: All Rights Reserved.

The Book Makers is a one-hour documentary about handmade books and the people who make them. The titles are set almost entirely in the appropriately bookish Triptych Roman, an homage to the rough-and-ready text faces of the 19th century, such as Old Style Antique No. 7. Unfortunately, it’s set a bit too tight for comfort here; this is a wide, loose, open typeface meant for small sizes. Still, it’s a great choice for the subject — quiet, sturdy, and reminiscent of a time when type (like the books in the film) was very much made by hand.

Source: www.thebookmakersfilm.com License: All Rights Reserved.

Source: www.thebookmakersfilm.com License: All Rights Reserved.

Source: www.thebookmakersfilm.com License: All Rights Reserved.

Source: www.thebookmakersfilm.com License: All Rights Reserved.

Source: www.thebookmakersfilm.com License: All Rights Reserved.

Source: www.thebookmakersfilm.com License: All Rights Reserved.

Source: www.thebookmakersfilm.com License: All Rights Reserved.

Source: www.thebookmakersfilm.com License: All Rights Reserved.

Source: www.thebookmakersfilm.com License: All Rights Reserved.

The film is beautifully made and will be a delight to anyone who loves artist’s books or thoughtful craft of any kind. It’s filled with many friends and people whose work I admire, including Mark Sarigianis who runs one of the last remaining Monotype casting operations in the country. (Sadly for Bay Area neighbors like me, Mark’s taken his Prototype Press back East and is no longer working in that punkrock press shop at Oakland’s American Steel building shown here.)

Source: www.thebookmakersfilm.com License: All Rights Reserved.

Source: www.thebookmakersfilm.com License: All Rights Reserved.

Source: www.thebookmakersfilm.com License: All Rights Reserved.

Source: www.thebookmakersfilm.com License: All Rights Reserved.

Source: www.thebookmakersfilm.com License: All Rights Reserved.

Source: www.thebookmakersfilm.com License: All Rights Reserved.

Source: www.thebookmakersfilm.com License: All Rights Reserved.

Source: www.thebookmakersfilm.com License: All Rights Reserved.

Source: www.thebookmakersfilm.com License: All Rights Reserved.

Ivar Orvedal is a multifaceted artist and traditional-style mountain farmer living in the remote area of Ytre Sogn in Western Norway.

His work is located in the fields of written and spoken poetry as well as musical composition. For the album Postreptilia Orvedal’s sonorous voice is confronted with the spontaneous carillon playing by Laura Marie Rueslåtten (the carillonist at the Oslo City Hall) and the soundscape created by producer and multi-instrumentalist Geir Sundstøl.

With this release Orvedal’s sonic work is elegantly paired with an artist book to form an integrated experience of music, spoken word and their typographic representation.

The album cover and the accompanying artist book were designed by Modest [Rune Døli] and Ellmer Stefan in close collaboration with Ivar Orvedal. Using The Pyte Foundry’s Triptych Regular and Italick as well as Omnigraf (currently not available for licensing) in its various degrees of automated abstraction visually binds the vinyl sleeve and the artist book together.

Weaving the Norwegian original with the English translation makes for an intense parallel reading of these often wondrously archaic poems. In strong contrast to the poem’s topics the colour palette is reduced to black and signal orange, also shining from the fore-edge of the saddle-stitched artist book.

The label additionally uses some Overdose.

Accompanying the exhibition of paintings by Austrian artist Otmar Burtscher at the Museum Großes Walsertal, Laurenz Feinig (Grafische Praxis) designed this neat, pocket-sized publication (Verlag Bibliothek der Provinz) using The Pyte Foundry's Triptych Roman and Italick for headings, body text, captions and annotations.

Poster/brochure titled Építészet és kultúra (“Architecture and culture”) / Természet és építészet (“Nature and architecture”) for a book launch by Ferenc Cságoly as wel as for an exhibition of architectural models by students of the Department of Public Building Design at Budapest University of Technology, using all three styles of Triptych throughout.

Licorice, published in 2020 by Book Works (London), is the first title in the Interstices series guest edited (and in this case written) by Brighton-based author Bridget Penney.

The book (and the subsequent series) is designed by James Langdon — with the cover lettering by Sun Young Oh — making use of Doppel-Mittel Egyptienne by Pierre Pané-Farré of Forgotten Shapes and The Pyte Foundry’s Triptych Roman and Italick as its main text type.

This cover is for a collection of musical pieces written for the Oslo String Quartet (OSQ) and recorded over a long period – hence the title, Archive. It’s published through the independent music imprint, Fabra. This cover is for the digital release awaiting a physical release on CD later.

All three styles from Triptych (Roman, Italick, and Grotesque) are used in a somewhat reversed typographic hierarchy on the front of this cover. Triptych is the brilliant work of the notorious Stefan Ellmer of The Pyte Foundry. Make sure to read up about the concept of this peculiar typeface family on The Pyte Foundry website.

Detail.

Manila Folders is “a weekly music newsletter” by writer, designer Matthew Smith, launched in 2017. Matthews describes the blog as “a catalog of untitled folders”, allowing him to write, collect and share any music from any genre (expect mostly soul, rap, indie music and Tiny Desk Concerts).

Built in a day, as Matthews describes on his website, the blog’s design – evoking the characteristics of a Manila folder with its cardboard-beige color and tab menu – went through a few changes since its launch. In mid-2019 (?) the blog found its current form using all three styles of Triptych: two serif styles, Roman and Italick, and a bold sans serif, Grotesque. Designed by Ellmer Stefan and released through his Pyte Foundry, Triptych is a loose interpretation of Old Style Antique No. 7, a sturdy predecessor of Bookman, issued by Miller & Richard in ca. 1858.