Missy Magazine lives at the intersection of pop culture, politics, and feminism. Founded in 2008 by Stefanie Lohaus, Chris Köver, Sonja Eismann, and Margarita Tsomou, it has since become a leading voice in independent feminist journalism, publishing six issues a year.

The topics are as diverse as the readership: from trans families, sex work, and the rise of the far right to coding, fat acceptance, and care work. Missy Magazine covers rap, cats, menstruation in horror films, asylum and everyday life, body hair, and the latest TV highlights. The magazine interviews and profiles artists and activists, explore feminist fashion, queer pornography, and spotlight organizations fighting for safe abortion access worldwide.

The magazine’s website is designed by Daniela Burger and Lisa Klinkenberg. Most text is shown in Missy Marguerite, a custom version of Charlotte Rohde’s Marguerite Grotesk. It’s distinguished from the retail version by f r t with horizontally cut terminals and round dots. The logo is based on JL Impact Nieuw 2016, the wide style from Jungmyung Lee’s series of reinterpretations of Impact. The typographic palette is completed by Daria Cohen’s Zangezi.

Emma Dreiucker and Jonathan Körner, both visual communication students in the class of Patrick Thomas at the State Academy of Art & Design Stuttgart, designed the diploma documentation of Luisa Antonia Beyer, titled Post Porn, which aims to question the taboos that surround the topic of human sexuality in today’s society (also featuring photography by Vanessa Ruckh). The 320-page book’s format is listed as 16:9/HD. The texts are set in Format Grotesk by Dominik Bissem and HAL Timezone (with Mono, published by HAL Typefaces.

Words by Luisa:

Based on research work and an interview with the performer and porn producer Paulita Pappel, the diploma culminates in a three-part film set, designed for an ethically produced porn film. As Luisa says — Sexuality is also designed — visibly and invisibly.

Harrison Fun Studio presents nrml bskt: mini-basketball games on an unusual court. The experience is part of the “J'aime travailler au centre-ville” (“I like to work in downtown”) project, an initiative of the Board of Trade of Metropolitan Montreal supported by the Quebec government.

Founded in January 2023, the Australian environmental company Powerhouse Renewables Group works closely with the continent’s indigenous people. Rather than focusing solely on decarbonization and electrification, Powerhouse strives for “true sustainability” based on nurturing and revitalizing natural systems.

“Because Aboriginal people have a keen awareness of these systems, their perspectives, cultural knowledge, and collaboration are critical to designing successful projects” emphasizes Powerhouse’s founder Brigette McDowell in her Capability Statement. This guiding principle forms the basis for all decisions made by the consulting firm in its projects and initiatives.

Creative agency Side By Side Studio from Melbourne is responsible for the visual identity of Powerhouse. The logo is set in Marguerite Grotesk, which was designed in 2017 by the Berlin artist and type designer Charlotte Rohde. The distinctive trunk of the R gives the otherwise neutral logotype a strong personality, even a certain exclusivity, because in the latest version of Marguerite Grotesk this shape of the letter is only available as a stylistic alternative hidden in the character set.

The house font is Pangea, an obvious choice because its designer, Christoph Koeberlin, invests 25 percent of his royalties for this font in reforestation projects. Jack O’Sullivan, the founder and art director of Side By Side, describes his design strategy as follows: “Ethical and thoughtful design decisions are important in all projects, and we felt this particularly when working with Powerhouse because the company is committed to environmental solutions and social problems in Australia. Pangea is a beautiful font with clarity and character, but its added environmental benefits made the choice an easy one for the studio and the client.”

Draft for the Powerhouse Sustainability Report Q3/2023, designed by Side By Side Studio using the Pangea font family.

The typography of Powerhouse Instagram posts designed by Side By Side Studio using Pangea

Sleeping with Ghosts was the final exhibition of the Bachelor of Fine Arts class of 2019 at Umeå Academy of Fine Arts at Västerbottens museum. The catalog was printed digitally in a small run at Original, a fantastic local printer.

I tried to embody the ghastliness of the theme in the choice of type. Workhorse NaN Tragedy (then named TXT25) takes explicit inspiration from the tragic and the occult, while Zangezi comes with a death related offer: it can be used without cost when applied on gravestones. The tightly set Gloubi on the cover echoes a ghostbuster phantom, ready to digest the reader.

The catalog has two distinct sections. The introduction, with process images, is printed on Holmen TRND 80g/m² (a pulpy, paperback-like stock) and set with NaN Tragedy. The second part documents the exhibition. This part is printed on Tom&Otto Silk 170g/m², a super glossy magazine stock, and here, Armand Grotesk is used for text. The spine, not pictured, uses Eckmannpsych.

Words from Leira (translation):

Leira is a physical space with digital extensions located in Lugo, Galicia. A meeting place to explore the intersections between research, artistic creation and contemporary cultural production.

We seek to cultivate imaginaries of the present and the future around the cultural and territorial reality of which we are a part. We claim the periphery as a prolific place for the emergence of new views, practices and voices not captured by centrality frameworks. We want to work with other times that transcend the imperatives of speed and visibility, by offering places for production, reflection and critical/speculative thought through different tools, practices and knowledge.

Leira uses Asfen for the titles of its identity and its logo. For social media graphics, it’s paired with an unidentified sans [edit: it’s Armand Grotesk, see comments] used in all caps. On the website, the supporting sans is Nitti Grotesk. The project was founded by Antonio Giráldez López and Laura Tabarés, who might also be responsible for the design.

Poste for Tempostagem, a performative workshop around mythology and speculation coordinated by Mourae (a.k.a Lois Bua)

Poster for Nature Go!, a video installation by Judit Adataberna

La morte è un'esperienza comune non solo tra gli uomini, ma a tutte le cose del mondo. Democratica ed inevitabile, è simbolo controverso tanto di ciò che finisce quanto di ciò che inizia.

The focus of the book is the funeral ritual of the Tana Toraja, an Indonesian tribe. The ceremonial has been analysed and divided into its main stages, each accompanied by Domenico Barile’s photographic documentation. Other traditions related to death were then juxtaposed to each of the ritual’s phases, in a process of similarity that is as much ideological as it is practical-performative.

Made as student project in the Progettazione grafica dell’immagine course at ISIA Urbino, supervised by Mauro Bubbico.

Poster design for a Boxing Day event by Good Company Records in Perth, 2019. The brief called for a “riff on Christmas symbology”, with the final design referencing generic pre-Christian/pagan Yule festivals.

Raoul Gottschling’s La Nord is used in a few weights and sizes on the maze-based website for Dutch boutique communications agency Mondegreen. The single-page website was designed by Charlie Jackman.

Eighth Day is a skin care brand launched in 2009. Founded by Dr. Antony Nakhla, Eighth Day finds its roots in the doctor's research in dermatology and how the human skin can heal and regenerate itself – following a study on post-surgery skin cancer patients, burn victims, and patients with chronic wounds. Based on the the healing properties of amniotic and placental tissues, the only two products of the brand aim most of all at having a healthy skin, rather than making all its so called imperfections disappear.

The designers from Underline Studio were commissioned to work on the rebrand of Eighth Day in 2021. Not only did they change the visual identity, they also moved the brand's position from a classical, cosmetics oriented speech, to a more scientific and health-focused discourse. In a time where society advocates for a more inclusive representation of beauty standards, this strategical shift permits to stay on the market and broaden the brand’s target. The design of the packaging and bottles reflects this change of position: the sober black flasks imprinted in gold still have a luxurious aspect (which is justified regarding the price of the products, around 200$ for 15 ml), but the sobriety of the typographic uses remind us more of medicine than beauty products.

The brand’s logotype is set in Dr from Production Type, which is already a way to anchor the brand in the scientific field: the design of Dr was initially made for a lab specialized in prosthetics, and that’s why you’ll find some parts of the letters that appear to be placed on the letter’s body in an artificial way. Dr is paired with La Nord by Raoul Gottschling for all other communications supports: its similarity to Dr when set in caps makes it a natural declination of the logotype, and at the same time, the specificity of its loose lowercase makes it very identifiable in itself. In the end, type and photography are the two main factors of the success of this contemporary rebrand.

La Nord used on the visual campaign for Food and Drink Week 2019. This campaign is inspired by Liverpool’s food scene grown confidently with a subtle combination of innovative ideas and home grown aesthetic. We seized this opportunity to push the concept of mindful eating by using a multi sensory approach. We worked to embody appearance, sound, smell and texture in the campaign in order to curate a truly immersive and personal experience with Liverpool’s food scene.

Creating the campaign for Food & Drink Week 2019 was a careful and detailed process. The sculptures were meticulously made and used as a strong focal point throughout the festival’s visual identity.

Client: Liverpool BID Company. Art director and lead designer: Malena Ramírez. Designed by Escola Studio in collaboration with Kalo.

This is a collection of four books documenting my process through four projects in the Communication Design program in the Sam Fox School of Design & Visual Arts at WashU. I built the grid and typographic system around various weights of Raoul Gottschling’s La Nord.

Holding up the physical body as a trophy of a life lived, a vessel of both beauty and trauma, and an odometer to our growth; Sarah May’s first poetry collection examines the idea of self-exploration as a serious and whimsical pastime. — Dossier Industries

Salvaje Display was used for the book title, chosen for its dynamic, bulbous letterforms. The delicacy of Self Modern and strong character of Marguerite play off each other on the inside pages. Designed, illustrated and published by experimental publishing imprint and graphic design studio Dossier Industries.

Graphic identity for Creixem al Carme, a cultural initiative born with the aim of strengthening the relationships between the cultural-educational environments and their neighbors in El Carme, the original urban nucleus of the city of Valencia. 73% of the city's cultural activity is concentrated in this neighborhood. Its surroundings are made up of vestiges and layers of history that are still preserved in the layout of its streets.

The aim was to create a dynamic and attractive graphic identity that would value the three premises of the project: ‘the basic is extraordinary’, ‘art as a learning tool’ and ‘the environment constructed with layers of history’.

The brand identity is built from a wide range of bright colors that combine to generate different layers to solve all communication needs of the project. La Nord, a sans serif typeface with gestural details in its characters, gives clarity and proximity to the identity.

For the visual system, the basic geometric shapes (square, circle and rectangle) allude to the learnings of art. These shapes are playing, moving and deforming to provide, along with the range of color and typography, endless visual solutions.

Goldrausch, a grant program for female artists, organizes an exhibition with 15 artists at Bethanien in Berlin. The motif of the nugget exaggerates the title of the exhibition “Goldrausch 2017” (gold rush 2017), still leaving room for own interpretation and associations on the role of art and artists in society and economy.