This is a short novel written by Maximiliano Cárdenas, edited by Ricardo Cabral and designed and illustrated by Santiago Guerrero using Perec and Perec Scripte (both by Alejandro Lo Celso, PampaType).

From Lizzy Young Bookseller:

French periodical/dictionary of of female surrealists from the ’70s. Contains images of artworks, interviews of artists, old letters and advertisements, and more. All text in French.

Intellectual independent book design: Greguerías by Ramón Gómez de la Serna is part of a collection of literature books exquisitely designed by Philippe Millot for Cent pages, a Parisian boutique publisher. The pages, full of unusual graphic ideas, exude a refreshing air of freedom. Interiors are composed in Borges and Borges Título Blanca by Alejandro Lo Celso. Cover titles are set in Matthew Carter’s Skia. The descriptive texts on the cover use what looks like “spurless” sans serif that is yet to be identified (Corisande looks similar).

Buchclub V is a book club in Vienna, concerned with the topics of digitalization and future. The website brings together Adrien Midzic’s sans serif Lack (Velvetyne) and the monospaced Nimbus Mono (URW’s version of Courier).

From Humboldt Books:

Tel Aviv – Jerusalem Diaries is a book made up of two books. The first is the diary of a journey embarked upon in the spring of 2018 by the artist Keren Cytter and the art critic Antonio Grulli. Destination: Tel Aviv and Jerusalem, the capitals of an exceptional and anomalous country. It’s a diary written in two voices, in which text and imagery together weave a fabric of recollections and reflections that go far beyond the journey. For Keren Cytter, it’s a return to the land where she grew up but where she has not lived for some time; for Antonio Grulli it’s the discovery of places imagined for a long time and which provide the input for a range of considerations on Israel, Europe and art. The second book within the book is the screenplay of the film Des Trous (The Holes), the work that Cytter created during the journey in Israel. The film is closely linked to the artist’s recent life experiences: a mix of autobiography and fiction intertwining detachment and melancholy, contrasting feelings towards that universe of relations that no longer belongs to her in the same way.

The book was designed by Federico Barbon, using Hercules (Storm Type Foundry) throughout. Paperback, 96 pages, 17×23 cm.

Cera Pro is the brand and user interface font of Blinkist. The Berlin based startup squeezes non-fiction books in text and audio that can be read or listened to within about 15 minutes.
It remains to be seen whether the depth of the non-fiction books — either read and heard on a smartphone, tablet or computer — can be compressed this much without losing essential content. However, FF Tisa, which is used in the continuous text, reads well in any case. Everything else is set in the Cera Pro — headlines, short info texts as well as the complete user interface.

From the about page:

4Columns is a website of arts criticism aimed at a general audience. Its title refers, quite literally, to what you’ll find there each week: four new columns, each with a distinctive voice and perspective. Together, they offer a complex and compelling view of contemporary culture, from film to literature to performance to the visual arts.

“To justify its existence,” Charles Baudelaire said of criticism, it “should be partial, impassioned, and political, that is to say, written from an exclusive point of view that opens up the widest horizons.” Following Baudelaire’s lead, 4Columns treats criticism as a literary genre in its own right—one in which singular passions ignite public discourse. The criticism it publishes functions as a conversational gambit, a piece of fan mail from the most exacting of admirers, maybe even a breakup note. [...]

Launched at a moment when the Internet is increasingly the dominant outlet for critics and criticism, 4Columns exploits the resources of online technology but avoids one of the blogosphere’s most prevalent shortcomings: the poor payment of writers. 4Columns nurtures excellence by compensating its contributors fairly. It also counters the web’s information overload and tendency to foster hyperspecialization by focusing on four well-chosen works a week, bringing together writing on varied cultural forms within a single venue. Combining sophisticated analysis with broad accessibility, 4Columns insists on art’s capacity to serve as something shared, even—perhaps especially—when it is the object of criticism.

The website, designed by Everything Studio, shows how great something can be with a strong and well executed concept. Each Wednesday, four very literal columns are posted and color coded based on subject. They are fun and welcoming, yet incredibly dignifed and inviting to read, thanks to a great use of the German classics Sabon and Neuzeit Grotesk.

Hippocampe is a critical newspaper that collects book reviews, interviews, exhibition reviews, investigations … Contemporary poetry, radio, photography is discussed as well as literature, visual arts, philosophy, architecture, comics or the evolution of media.

Front page

This academic exercise was to reimagine the logo and some spreads for the Portuguese newspaper Sol, Issue #268, October 14th, 2011. The textual content was fixed: would be exactly the same as the existing edition. Images also had to comply with the same number existing in the original newspaper, however we determined their size and importance.

In our approach, we created a completely distinct newspaper, seeing this exercise not only as a way to improve the existing Sol, but also to give it a new identity. Thus, we turned its personality from the most sensational to literary. The text gained importance, the images become less invasive and we also introduced a new element: the illustration, which gave a certain lightness to the publication.

Opening section

Politics & Society section opening

Culture & Media section opening

Sports section page

Cocktail section page

The corporate design for the Solothurn Literary Days is based entirely on Univers Next as the corporate typeface. In the logo and on posters all the four national languages of Switzerland (German, French, Italian, Romansh) are treated equally. The spelled-out date — with letters instead of numerals — is a central element of the corporate design.

The 2016 edition uses illustrations by artist Marcel Freymond for the posters and other communication. All graphic design was done by Andrea Stebler, Thomas Berger and Thomas Hirter.

Philip Ward, A Lifetime’s Reading: The World’s 500 Greatest Books (New York: Stein and Day, 1983). Oddly, the title text has rejected Caxton’s usual apostrophe in favor of something resembling a diacritical mark. Subtitle in Palatino Bold, inside a square black panel centered against a carpet of author names in Avant Garde, with interior text set in Times New Roman.