Snap* is more than a newspaper—Snap is a poster, a collector’s item, and a platform for experimentation. Snap does not talk about art, but rather from the perspective of those who encounter it: children, young people, visitors, people. We understand mediation as shared storytelling, as a space for resonance, polyphony, and the sharing of perceptions. Snap makes visible what happens in the spaces in between: a quick whisper behind a hand, an embarrassing slip-up, an unexpectedly good thought, a snap of the fingers.

Snap is designed by Thea Kleinhempel and appears at irregular intervals, but several times a year, and can be purchased for €2. A snap of the fingers.

The program is a collaboration between Kolumba Museum Cologne and the Kinder- und Jugendzentrum Meschenich. Snap No. 1, Dec. 2025, “The Gems” is an edition of 500 copies. The concept was developed by Susanne Heincke.

* To snap (English): The sound made when the thumb and finger (usually the middle or index finger) are rubbed together quickly and the finger snaps away jerkily. It is a gesture used to attract attention, signal an idea, or just for fun. In the film Tongs Untied (Marlon Riggs, 1985), it is a powerful, liberating sign of black gay identity—a short, concise sound with multiple meanings.

I’m Antoinette Chow, a designer in New York from Hong Kong. My portfolio website features two styles from in luuse’s Hershey Noailles typeface series — Hershey Futura Simplex Regular and Hershey Times Duplex Italic Light.

The Hershey fonts represent a fusion of technological innovation and design economy. Despite technical constraints, the font displays a range of stylistic expressions. They carry a personality of quiet utility that, upon closer inspection, reveals deep layers of inventiveness and adaptability.

Futura Simplex is used as the primary typeface, and Times Duplex is as secondary.

Back cover

Layout and typography for the Shaking Trees EP by SE62, released on SlapFunk Records. ITC American Typewriter Condensed is paired with two styles from Luuse’s Hershey Noailles, Hershey Cursive and Hershey Futura. “SE62” is custom lettering. Illustrations by Firpo a.k.a. Freshcore.

[More info on Discogs]

Front cover with art by Firpo a.k.a. Freshcore

Founded in 2018 by Anaïs Allias and Margaux Salarino (Temple Office), Temple is a cross-disciplinary platform on art, fashion, design and innovation with an annual publication. It presents contemporary designers and artists. The images are constructed by a principle of appropriation, re-intervention and collages made from the contributions sent.

Issue 11 of Temple magazine is titled “Made in Japon” and was launched on April 5th, 2023. The magazine was designed by Anaïs Allias and Margaux Salarino and curated together with Mathieu Buard. Contributors to this issue are Jon Rafman, HEAD – Genève, Neïl Beloufa, Mall Grab, Hanayo, Jeremy Benkemoun, Adabana Bloom, Salomé Chatriot, Gaspar Willmann, Julien Magalhaes, Sarah Makharine, Émile Kirsch, Mengche Chiang, Florent Cornier, Muse, Clara Ziegler, Charlotte Haulot, D-E-A-L, Matthieu Michaut, and Agga Stage.

“Now.Here No.Here” mixes capitals of Astro with lowercase letters from OCR-PBI Print Italic. The running text is set in (the Latin part of) PingFang.

The blocky letters for “Adabana Bloom” are from Forward.

“Hanayo” uses the italic style of Caramel.

CURADOX is a contemporary jewelry brand by Mexican jewelry artist Marina Hernández P.

The aim of this publication is to showcase, besides the yearly collection, all collaborations produced alongside fellow contemporary visual artists. Some include photographic artwork by Fernanda Rivadeneyra, Isabel Cevallos, and Radamés Vargas.

Titles are set in Hershey Noailles Times, matching the brand's graphic identity designed by Yoanna Zarkin; and body text is set in Darker Grotesque.

The Mess front cover. Notice the inner sleeve within the die-cut circle.

From YAGOW:

The Mess takes you on a drive across a desert wasteland in a big old rust bucket of a car — with sunglasses on and your head bobbing to the music of the bumps in the road. YAGOW set a timeless mood that transports you away from the meddles of everyday life and into higher spirits.

Four years after their self-titled debut album, the psychedelic rock trio YAGOW return with The Mess. The album is released through Berlin-based independent label Crazysane Records. The album cover is printed in a combination of PMS neon orange on top of purple hues built up in CMYK. The cardboard stock is coated — matte on the outside, and glossy on the inside.

Like on the artwork for their previous release, the revived Hershey Fonts, a type family with roots just as obscure as the music, appear all over. Frank Grießhammer dug deep and told their story at TypeCon2015 in Denver. The album’s typography combines different fonts:

Yagow’s “logo” is rendered in (Hershey) Italian Gothic, a set of Lombardic caps that A.V. Hershey modeled after Will Bradley’s Missal Initials (ATF, 1904). The album title is set in Simplex Script. Ornaments and the large word mark on the back are set in a customized version of Italian Gothic. The side indicators A and B are set in Complex Script. The track list uses the triple stroke Triplex Roman with initials set in a mixture of Italian and English Gothic (depending on the look). To fit long words on a single line, the O’s of Triplex Roman are swapped for their Italian Gothic counterparty, which are a touch narrower. The two emblems are composed out of various Gothic glyphs. Liner notes and other small information are set in Simplex (single-stroke) and Simplex Script – and there are probably more combinations which I forgot to mention, sorry!

The “special feature” of The Mess is a die-cut circle that acts as a picture frame for the artwork. The uncoated black front cover forms a haptic contrast to the coated innersleeve and the coated inside of the album jacket (which is also printed in 5 colours). A peacock, the new mascot animal of the band, is shown before a Suminagashi background on the innersleeve in a resting position. Once you draw the innersleeve out, the printed inside of the jacket is visible and shows that same bird, but proudly crowing.

It should be noted that the vinyl labels are a part of the Crazysane Records corporate design, developed by Fabian Bremer. The labels are basically the same for all CSR releases and the color is adapted to suit the cover artwork.

Designing The Mess was, once again, a joint project of my dear friend Daniel Fuchs and myself (Manuel). Thank you, Daniel, for being there! And big ups to the band whom we call friends for a decade now. Thank you for letting us do whatever we want, especially letting me fool around with these lovely-yet-slightly-silly fonts.

The Mess front cover and the limited edition “peacock” vinyl color option

The Mess front cover the partially drawn out innersleeve — the crowing bird appears

The Mess back cover with Hershey Fonts typeface combinations, and the black vinyl color option. The vinyl labels use the Crazysane Records template with all text set in a Scangraphic’s Ad Grotesk: a copy of Akzidenz Grotesk.

The Mess, the complete story: cover, innersleeve and “peacock” edition record

The Mess back cover, details

Detail photo of the front cover, showing the contrast between matte and glossy cardboards and 1C (outside) and 5C (inside) printing methods.

Karolina Pietrzyk, Tobias Wenig and Gilbert Schneider work for 2020 Zielona Góra Biennale, “Returning to the Future”. The three were given a carte blanche brief that allowed them flexibility in their approach.

BallPill, designed by Benoît Bodhuin, is used in a few weights for most typography. On the festival poster, Tiny by Jack Halten Fahnestock is used for the date an two words in the bottom line.

Lot Ikara / The flight of Icarus is an accompanying booklet, produced by the publishing houses of Zielona Góra Biennale. The catalog was designed by the DWA Graphic Design Department. Published by the BWA gallery in Zielona Góra, co-publisher of the University of Zielona Góra / Institute of Visual Arts.

The type made of dashes on the poster and the rounded sans used in the body text of the complementary booklet are two styles of the Hershey Fonts, Hershey Noailles Futuram Affiche and Hershey Noailles sans bold dotted, as converted to digital font files by Luuse.

The publication accompanying the exhibition Planet B – 100 ideas for a new world is a collection of different ideas for a new world – a Planet B. The most visionary artists, designers, architects, writers and futurologists in the world present their political, poetic, odd and radical ideas for a new world. — NRW-Forum

The use of changing layouts, typefaces and font sizes creates a never boring reading experience—almost every page turn surprises. Still, the “navigation bars” on the pages’ sides keep everything together, so the reader won’t get lost. All used fonts are listed in the book’s colophon. Several of them are shown here, and are identified in the respective image captions. The book additionally uses Aileron, Arimo, Astloch, and Junicode (not pictured). See more images on the website of designer Matthias Hübner.

Contributions by Rachel Armstrong, Nelly Ben Hayoun, Ernst Bloch, Stewart Brand, Brad Downey, Kevin Kelly, Ray Kurzweil, Chusz Martínez, Niklas Maak, Lucy McRae, Philippe Rahm, raumlaborberlin, Tomás Saraceno, Space Caviar, Jakob Tigges, Friedrich von Borries and many more.

Published in January 2016 by Verlag der Buchhandlung Walther König
Editors: Alain Bieber & Lukas Feireiss
17.5×24 cm, 240 pages, softcover
Texts in English and German

The text on the cover and the spine is set in Sporting Grotesque.

Body text set in Sporting Grotesque, with italics from Chivo. The headlines are set in caps from Reglo. The serif used for page numbers and subheads is Old Standard.

The big type on the left page is Autopia.

Steps Mono is used for page references (“N on p. 18 / DE S. 19”).

From top to bottom: Sporting Grotesque Gras (running head), the Latin part of Ume Mincho (underlined), Autopia (headline), Steps Mono (subheading), Sporting Grotesque Normal (body text).

The serif used for the texts on this spread is Bagnard.

I did this poster for an experimental music concert in Nantes that took place in Blockhaus DY10, a former bunker from World War II.

As the music of Black Zone Myth Chant is dark and ambient, I wanted to tell an occult tale with the image produced for this concert. I started to search through Art Nouveau fonts, to finally discover Eckmannpsych, an odd remix of Eckmann that would fit perfectly to my story. I also used Autopia, an experimental typeface that received its quirky calligraphic shapes by combining autotrace with python code. The black sun on the top is directly inspired from Eckmannpsych shapes, not the other way around.

“It is an exploration of vibe and mood, space-gazing through its 42-minute stretch propelled by unknown fuels” — The Obelisk

YAGOW, the psychedelic rock trio out of the German province, have released their self-titled debut record (in a limited edition of 300) on June 16th, 2017 via Crazysane Records.

The LP is printed in two spot colors (PMS Violet and 802 Neon Yellow) and comes in a screenprinted PVC overbag. As soon as you pull the record out of the overbag, the album artwork starts to move and sucks you right into a mesmerizing vortex.

The animation technique was patented back in 1896 by W. Symons and premiered in “The Motograph Moving Picture Book”. Today, it is mostly known by the name “kinegram”.

The YAGOW LP is an early use of the revived Hershey Fonts, a type family with roots just as obscure as the music on the record. Frank Grießhammer dug deep and told their story at TypeCon2015 in Denver. The LP type system is a combination of different Hershey Fonts: Yagow’s “logo” is rendered in Hershey Italian Gothic, a set of Lombardic caps that A. V. Hershey modeled after Will Bradley’s Missal Initials (ATF, 1904). The whirlwind-like arranged track listing uses the “simplex” (single-stroke sans serif) roman, which is an adaptation of an alphabet found on Leroy lettering sets. Track numbers are in Simplex Script, with side labels in bold letters from Hershey’s “complex” alphabets.

Minotaur Sans and Shatter join the Hersheys and add a bold touch to the LP release and concert advertising banners.