Veus de Conte is an inclusive editorial project designed and illustrated for Cugat in collaboration with the ONCE Foundation and Joan Maragall School. The project creates an educational experience through nine stories read and interpreted by children aged 5 to 10 for visually impaired children of the same generation.

The publication combines braille, tactile illustrations, and NaviLens QR technology within a playful and accessible design system, creating a multisensory reading experience that encourages literacy, imagination, and inclusion for both sighted and visually impaired readers.

Baustelle Transformation, published by Jovis Verlag, presents ten strategies by architects and urbanists for transforming buildings, neighbourhoods, and infrastructures toward a climate-conscious future. The book was edited by Olaf Bahner, Laura Holzberg and the Bund Deutscher Architektinnen und Architekten BDA, with an interview with John von Düffel and contributions by Frank Adloff, Leona Lynen, Susanne Wartzeck, and Andreas Willisch.

The publication was designed by Bureau Est and typeset in HAL Timezone and HAL Four Grotesk, both published by HAL Typefaces.

About the book from the publisher’s website:

The socially and ecologically conscious transformation of the built environment—whether urban or rural—calls for productive discussions with the community. The sharing of collective experiences gives rise to inspiring ideas and concrete visions for the climate-neutral reconstruction of our lifeworld. Starting from these principles, architects and urbanists present ten strategies for transforming residential and office buildings, urban districts, and traffic infrastructures. They shape processes that rely on discussion and trial and error, taking lived reality seriously, experimenting with temporary utilizations, and encouraging shared responsibility rather than simple acceptance. Together, they are developing a vision of a possible future.

Showcase is the graduate platform and end-of-year exhibition for the students of the University of the West of England (Bristol) in the College of Arts, Technology and Environment (CATE). The platform and its identity was created in 2020 and refreshed in 2023 by Rhombus under creative direction of James Ratcliffe. Originally launched as a digital showcase during the COVID-19 pandemic, the platform was expanded as part of a broader rebrand accompanying the return of the physical end-of-year show. The website continues to serve as a portfolio space for graduates to present their work and connect with potential employers and collaborators.

The identity takes cues from the “white cube” gallery model. A restrained monochrome palette and generous white space position the students’ work as the central visual element across the website and printed materials. Typography is set in Swiss Typefaces’ Suisse Works and Suisse Int’l. From the article “Showcasing creativity” by The Brand Identity:

The typographic direction maintains the professional look of the brand, thanks to Rhombus’ decision to use the elegant, modern and cutting-edge Suisse font family which, Ratcliffe explains, “felt right for an identity that needed to bridge art and education.” Suisse Works is used for the wordmark for its classical flair and ability to “stand alone as a logo without fancy customisation.” The supporting typeface, Suisse Int’l, was chosen for its versatility and legibility, ensuring a clear hierarchy, and its utilitarian ability to maintain accessibility across the extensive website.

The artwork on the poster to the right uses Velvetyne’s Pilowlava.

Design thinking has created divisions in the discipline: either designers are too theory driven or simply practitioners. Those feeling lost can easily turn to a language meant to inspire creative production in easy to pitch ways, where rhetoric uses design to keep power at bay, to celebrate hegemonic beliefs which are used to indoctrinate designers in bad education, incapable of imagining different futures. If you take away the post-its, the A3 papers and the markers, can designers think?

Led by Antonio Gramsci’s advice that knowing thyself requires compiling an inventory, design critic, educator and researcher Danah Abdulla pays tribute to the late architect, activist and critic Michael Sorkin, whose original list “Two Hundred and Fifty Things an Architect Should Know” inspired this updated version targeted at designers. The iterative list is not meant to be a definitive how to guide, but to spark conversations, to prompt critical thinking and to help designers reconfigure their discipline.

Published by Onomatopee in 2022 and reprinted by Set Margins’ in 2024 and 2025.

The scores on Emma Crouse’s Scholar’s Certificate, dated January 22, 1885, indicate that she did well in reading, writing, arithmetic, and other subjects.

Emma's teacher, Peter G. Shelley (1862–1938), was only 22 years old when he filled out this certificate. He continued to teach for many years, and the U.S. Census for 1910 and 1920 listed his occupation as teacher.

The title typeface is an ornamented Tuscan carried by various American foundries. The earliest known showing so far is in Boston Type Foundry’s Condensed Specimen Book from 1860, as Two-Line Small Pica Ornamented, No. 2.

Scholars’ Certificate.
It Is Hereby Certified That
Emma Crouse
is a scholar of Richfield, advanced School and has passed an examination in the following branches with the annexed results:

• Composition 99
• Orthography 100
• Reading 99
• Writing 95
• Arithmetic 100
• Geography 100
• Grammar 95
• U S Hist —
• Drawing 95
• Declamation 99
• Logic 96
• Deportment 100
• Attendance 100
• Tardiness 1 time
• Average —

P. G. Shelley, Teacher.
Jan’y 22, 1885. Richfield, Juniata Co., Pennsylvania.
Explanation.--No. 100 signifies very good; 90, good; 80, middling; 70, poor; 60, very poor.
Bellwood Independent Print.
No. ______

A late 1980s guide for how to play the didgeridoo.

The bold, unconnected casual face used for “Didjeridu” is Hand-Drawn No. 5, an early Letraset original for which the designer is unknown. Roger Excoffon’s Mistral (also offered by the dry transfer company) is used for the secondary stuff. Interestingly, several of the letterforms are either alternates or completely new ones, the latter of which were probably constructed from other letters.

[More info on Discogs]

What if AI moved at the pace of care, kinship, and curiosity?

Restless Grounds explores this question through the lens of decolonial, feminist, and relational approaches to algorithmic technologies. Born out of the Slow AI research project, it brings together insights from a year of collaborative inquiry — through the likes of sound and somatics, divination, myth-making, and archival temporalities. The publication explores slowness as a speculative, critical, and embodied mode of engaging with algorithmic technologies.

The navigation consists of small squares at the bottom of the page. Their amount refers to page numbers and readers are animated to count the squares – in the table of content as well as on the page itself – to guide themselves through the pages of the newspaper. This gesture intentionally turns the use of navigation into something inefficient and centers slowness as a guiding principle of the publication.

It was edited and conceptualized by Mariana Fernández Mora and printed by DPG Media. The design and art direction was created by Studio SMS, and set in Bianzhidai by Xiaoyuan Gao (notyourtypefoundry), Eliza by Pawel Wolowitsch (Camelot) and FreeMono by Primož Peterlin and Steve White.

Speculative Enquiries: Aesthetic, Ethical, and Epistemic Technologies is a 2023 conference theme and research focus from the European Culture and Technology Lab+ (ECT Lab+), that explores how speculative design, AI, and the arts can reshape future technologies.

The posters are animated and visualize speculative versions of the title across different times and places.

Cursor Design Studio is honored to have designed the 2026 annual publication for the Georg Solti Accademia, identifying, training, and supporting the next generation of outstanding opera singers and répétiteurs.

This 16-page edition serves as a dedicated communication for the Academy’s sponsors and benefactors. The project was brought to life in Venice by Grafiche Veneziane, printed on premium ivory paper and featuring the Academy’s logo (in Trajan) in gold foil on the cover.

From Daniel Frumhoff:

Мне нужно тебе что-то сказать (“I Need to Tell You Something”) is an exhibition held at Moscow’s Cryptography Museum. The exhibition was designed to introduce children to different means and channels of communication, as well as to the process of choosing the most appropriate medium for a message. The texts in the exhibition’s designs are set in Elma Trio by Philipp Neumeyer. The stencil sans used for the title is either custom drawn or from a yet unidentified typeface.

The exhibition was curated by Irina Khodyreva and Katya Porutchik. The graphic design is by Tonya Baydina, with illustrations by Nina Kuzmina.

Anderssen & Voll-stipendet is an annual grant for young Norwegian designers in furniture and interior objects. The website is designed by Martin Asbjørnsen. The grant awards NOK 300,000 and is intended to support international activity in the Norwegian design field during the establishment phase of a practice.  

The website presents the initiative through sections on the grant, the committee, the background for the programme, eligible costs, the application and reporting. Rather than framing the support as a general prize, it positions it as practical backing for exhibitions, travel, production, communication and documentation tied to international work.  

The website uses Store Norske Jazz from Skriftkompani.

Every two years, the World Design Organization awards the title of World Design Capital to a city or region. In 2026, the Frankfurt Rhine-Main region will become an international stage for design. Together, we will bring to life groundbreaking projects and numerous events that showcase what design can achieve for society and democracy, for our shared lives, and for our daily routines.

In this booklet, published by the City of Offenbach in collaboration with the University of Art and Design Offenbach, all WDC events, sites, workshops and exhibitions are listed with short descriptions and dates. In addition, a detailed map shows all the locations. The booklet is designed by Masha Egorova and only uses typefaces that originated in the HfG type design class. The front and back cover are perforated stencils that can be torn off and used to scribble inside the booklet.

Po co nam sztuka? (“Why do we need art?”) is a children’s book written by Katarzyna Witt designed by Olek Modzelewski and illustrated by Ola Niepsuj. It introduces contemporary art through playful, character-driven narratives. Developed with the Muzeum Sztuki Nowoczesnej w Warszawie, it combines a visual atlas, short texts, and interactive ideas to encourage curiosity, interpretation and imaginative thinking. Through open-ended questions and artworks, the book presents art not as something to decode, but as a tool for exploration, emotion and inquiry.

The sans serifs used here are NEXT Book and NEXT Poster by Optimo. The serif used for the text is Softcore by Tekio.

Sterne im Garten des Himmels (“Stars in the Garden of Heaven”) marks the eight installment of the “Schauen” project: an ongoing series of poetry and photography books created by young immigrants in Switzerland. Published at the end of the school year by the Berufswahlschule (BWS) of Horgen near Zurich, the book is the result of a workshop led by poet Svenja Herrmann and photographer Thomas Keller. Each year, students open a window into their personal experiences through words and images, offering readers an emotional and deeply human insight into their lives, dreams, and reflections.

The 2025 softcover volume shows a collaboration between visual and literary expression with the student-created poetry and photography creating a moving collective portrait. The project is not only a celebration of artistic growth but also a gesture of recognition and empowerment.

For the second consecutive year, the book design was developed by Thomas Keller. The cover features a bold color gradient with Swiss Typefaces’ Euclid Mono set prominently for the title and the author credits on the back. Inside, the same typeface appears again for the contributors’ names, placed at the bottom left of each spread and paired with the author’s full-page portrait on the facing page. From the same family, Euclid Flex Medium is used for the foreword title, while Adobe’s Minion provides the serifed body text.

A notable detail is the all-caps subtitle on the cover set in Swiss Typefaces’ Only Extended. The font makes here its first documented appearance after its release in June 2025.

A 1974 promotional booklet for the Army Reserve Officers’ Training Corps (ROTC) unit at Syracuse University.

I got great satisfaction from this project. It was the Vietnam era, and I was solidly against that unnecessary and unwinnable war waged by a lying administration which was killing off so many American youth. This piece walks a line between promotion and parody. The ROTC folks loved it for their purposes, while others thought it somewhat ridiculed soldiering.

Some of the interior spreads are below (the booklet turns sideways inside).

Grrrr . . . A warrior wreaking havoc on the battlefield.

The exhibition Campo e Cidade na América Latina is shown at the Centro MariAntonia in São Paulo from November 25th 2025 to May 31st 2026. It presents a selection of architectural and urban planning experiences developed between Brazil and other Latin American countries throughout the 20th century. By articulating technical knowledge and community practices, these agents sought to bring rural and urban ways of life closer together, illuminating housing not only as a construction, but as the basis of social life. By revisiting these reflections and practices, the exhibition proposes to denaturalize the dichotomy between countryside and city and reopen the debate on the persistent inequalities, dependencies, and geopolitical disputes in Latin America, reaffirming the urgency of rethinking the relationships between culture, territory, and housing on the continent.

The design team for the exhibition had the challenge of translating the theoretical density of the material into an accessible spatial narrative. A large number of plaques were designed to compose the large timelines, presenting dates, texts, photographs and drawings. One of the main guiding principles of the project was to bring the materiality of the theme into the exhibition space; cardboard panels with exposed sides and truck tarpaulins were used as supports for the text. The selected typeface was Baste, by Lift Type. Its blocky, rectangular shape with round corners alludes to the aesthetics of construction blocks and the interlocking of machinery. The round corners were also replicated in the outlines of the exhibition panels. It was coupled with TWK Lausanne by Weltkern for the texts.

PumpKin is a science-backed research initiative developing tools to preserve and evaluate breastmilk, supporting parents navigating pumping and storage.

Their typography-forward identity, set in Sprig, supports a mission focused on preserving the nutritional quality of stored breastmilk and improving access to data, education, and feeding outcomes.

The brand uses Planc​​​​​​​ as a secondary typeface for small body copy and navigation.

Petite Histoire de la Bretagne, de la préhistoire à nos jours (“A Brief History of Brittany, from Prehistory to the Present Day”) is a book by Michèle Guilloux and Gwenola Pichard. It was designed by Benjamin Bruneau and published by Éditions Locus Solus in April 2026.

Hostilia is an independent magazine developed during a week-long workshop at Politecnico di Milano held by Jeremy Francis Leslie, founder of magCulture.

The project investigates friction as a defining condition of contemporary reality. In a landscape shaped by frictionless digital interactions, Hostilia reintroduces resistance as both editorial stance and physical experience. Built around the concept of hostile contact – the encounter between forces that generates pressure, wear, and transformation – the magazine adopts a critical position, addressing political, economic, and social imbalances.

The first issue, “Pressure“, unfolds through four stages (Accumulation, Compression, Deformation, and Breaking Point), mirroring how tensions build and eventually rupture.
Materiality becomes part of the narrative: metallic surfaces, rigid inserts and exposed binding turn the magazine into a resistant object, where contact is not neutral, but always leaves a trace.

The magazine’s objective was to convey a sense of pressure through typography and layout deformation. For instance, OT Neue Montreal Squeezed and Migra are occasionally distorted to reflect the magazine’s conceptual approach.