The research zine Publishing Anecdotes brings together insights and reflections from thirteen practitioners – both individuals and collectives – across the diverse field of artistic and critical publishing. Each contributor was invited to share a short anecdote from their practice, be it a thought, an image, a memory, or anything they felt relevant.

Contributors include Björn Giesecke, Peter Schmidt (Books People Places), Simon Wahlers (Edition Zweifel), Samuel Bänziger, Rosario Florio, Olivier Hug and Larissa Kasper (Jungle Books), Sabrina Fernández Casas & Patricio Gil Flood (Macaco Press), Paul Soulellis (founder of Queer.Archive.Work), Lauria Joan (Pseudopress), Vida Rucli (Robida), Roland Früh, Eléa Rochat, Léa Gallon, Julien Guazzini, Vincent Chanson, Pablo Arnaud, and Camilla Brenni (Sans Soleil), Freek Lomme (Set Margins’), Jonas von Lenthe (Wirklichkeit Books), and Mio Kojima (Futuress).

The publication was initiated, edited, designed, and published by Roman A. Karrer in August 2024 and marked the end of his research residency at ABA Berlin.

It It has 48 pages measuring 138×190 mm and was Riso-printed by Drucken3000 (Alexander Branczyk & Florian Haberstumpf) in an edition of 100 copies, using Medium Blue and Silver Metallic inks on Clairefontaine Tropheé Rose 80g/m² and Metapaper Rough Warmwhite 90g/m².

Special thanks to: Pro Helvetia, ABA Berlin, Emma Affoua Kouassi

A student project made by Arina Levitskaya at HSE Art and Design School supervised by Evgeny Korneev, Москва утопическая (“Moscow Utopian”) is a book on how social utopias shaped Moscow’s architectural image during the Soviet and post-Soviet periods, what ‘factory kitchens’ were built for, and why the so-called paper architecture is valuable. The book’s typography is set in CSTM Xprmntl 02 Italic by CSTM Fonts and Oceanic Text by Interval Type.

This bilingual monograph on French ceramicist Georges Jouve (1910–1964) comes with texts written by Karine Lacquemant. It was laid out in LL Brown by Lineto.

The book measures 24×31 cm, spanning across 288 pages, and was published by Éditions Norma in 2025.

Focusing on contributions that explore composites as art and design forms, as research methodologies and practices, and/or as theoretical concepts, issue 60 of the review Azimuts – Design Art Recherche proposes that composites can be understood as a mode of presentation or representation of realities. Different hypotheses have been explored by the researchers and creators gathered here.

Reading their proposals, we can consider that their narratives define composites either as smooth, since the glue that aggregates the various components is invisible, or as rough because the glue, conversely, is visible.

Thus, this issue of Azimuts proposes, through the authors, to understand and define the specific materialities of this glue in that it is a binder, negotiating relationships. It is then a question of considering these sticky materials as a space, a transition, a break, or even a silence. Or, to quote novelist, poet and philosopher Édouard Glissant, “as a relationship, an opposition or a consequence”.

It is published by École supérieure d’art et design de Saint‑Étienne.

Comme un parfum d’aventure is the catalog of the eponymous exhibition held in the Lyon Contemporary Art Museum in 2021. The artworks revolve around the theme of displacement, whether it is refrained or compelled, voluntary or induced, individual or collective. Léa Audouze designed the catalog using Self Modern Regular and Italic.

IF is a contemporary arts and literature magazine. This special issue – No. 58 – on the Actoral cultural center in Marseille features contributions by Madison Byroft, Felix Touzalin, Alexandre Gouttard, Perez Sound, Terraja Tatu, Studio Prouvost Social Club, Alberto Cortes Ruiz, Anne James Chaton, Liliane Giraudon, Kubra Khademi, and Martin Mongin.

The magazine was edited by Hubert Colas, designed by Clément Wibaut, and printed at Media Graphic Rennes.

Anna Khabarova’s project, created as part of her book design course at Typomania School, covers two stories. The first one is about how fashion designer Dries van Noten worked on his brand’s Fall/Winter 2019 collection, while the second focuses on how, at the same time, the designer worked on his garden. The book’s text in both stories is set in Signal by Production Type.

Graphic design and production of the book Les métropoles face aux défis de la densité (“Metropolises facing the challenges of density”), published by the Grand Paris metropolis. Written in French, the book was printed in 1,000 copies over 336 pages, in a 170×240 mm format with Otabind binding. It was designed by Clément Le Tulle-Neyret, with assistance from Romain Laurent.

The running text is typeset in Haultin, a typeface designed by Fred Smeijers inspired by the work of the 16th-century French punchcutter Pierre Haultin, who specialized in engraving small typefaces.

The idea of density in cities goes back from the end of the 19th century. It was interesting to use AL Milano designed by Alex Lescieux to typeset titles, a typeface based on Adstyle from the early 20th century, when density was at the heart of cities.

The publication Streitsache Straßennamen (“Street names in dispute”) documents the process of renaming streets in Darmstadt between 2013 and 2022. Over the course of 219 pages, it details the debates, decision-making processes, and the work of experts who critically examined the biographies of controversial street namesakes from the National Socialist era. The book also includes content from the exhibition of the same name, shown in 2021 at the Justus-Liebig-Haus, as well as transcripts of lectures presented during a symposium held online on June 1, 2021. Designed by Florian Schimanski, the publication is an important contribution to the ongoing reflection on the city’s history and how it is commemorated today.

The book is set in HAL Timezone, Tor grotesk, and Monotype Grotesque. Produced in collaboration with Büro für Erinnerungskultur and edited by Stadtarchiv Darmstadt, it is printed on Circle Offset and Circle Silk paper. It measures 170×210 mm, and is published in an edition of 1,000 copies.

Graphic design and production of the book Paris, mode, sports (“Paris, Fashion, Sports”) for La Mode en mouvement #2 (“Fashion in movement #2”), an exhibition from the series presented at the Palais Galliera, musée de la Mode de Paris from 16 June 2023 to 12 October 2025.

It was curated by Miren Arzalluz (general curator) and Marie-Laure Gutton (scientific curator) with the entire conservation team, assisted by Samy Jelil.

For this bilingual book typeset in LL Supreme, each language is printed in its own colour, with the two colours superimposed to create a third colour for words common to both languages.

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Nose is a publication cultivating olfactive curiosity. The project is described as follows:

Our first edition invites readers to tune in – smell more intentionally, more thoughtfully. It’s a gentle immersion into the vast world of scent: how it lingers in science and language, in memory, culture and everyday life. Through essays, interviews and visual work we explore the overlooked sense of smell, hoping to spark curiosity and deepen your awareness. Let this be your top note.

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Like the nature of olfaction, Nose cannot be defined by any singular thing – rather, it embraces the liminal. The magazine – printed on creamy uncoated stock – features no solid black; instead, everything exists in shades of grey. This space between black and white is symbolic of our sense of smell – deeply personal, intangible, and impossible to pin down.

The publication also adopts a framework of layered typography, introducing depth and rhythm throughout. Typography shifts between soft and sharp, light and dark – a visual echo of the elusive, multi-sensory world Nose explores.

Editors-in-Chief: Saskia Dodds-Painter and Olivia Rattray-Wood
Design and art direction: Marissa Hor and Jenny Fang
Cover: Harry Burmeister
Styling: Steph Reid
Talent: Eli Flavell
Printer: Printgraphics Printgreen

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Protokoll used throughout in VMAN magazine, designed by Tobias Holzmann.

VMAN is an American bi-annual avant-garde fashion magazine featuring men’s clothing. It features the entire Protokoll family as well as the yet to be released ExtraBold and Black styles. They are set to be released by Out of the Dark.

Time to Play, published by Archipress Editions, was conceived and edited by SCAU Architecture. The book was art directed and designed by Neo Neo, with the assistance of Mateo Broillet, and features illustrations by Stephen Vuillemin. It was typeset in HAL Timezone (HAL Typefaces) as well as a custom headline font, ES Playtime, produced by Extraset. The book was printed in Italy by Musumeci Printing Atelier.

From the publisher’s website:

In the run-up to the Paris 2024 Olympic Games, Time to Play explores the many facets of play in order to understand how it shapes our cities and our societies. The pages of this exquisite corpse include texts on the experience of grieving in video games, play therapy in psychiatric asylums, bigorexia or the practice of sport to excess, the unbalanced rules of the international trade game, the porous boundaries between sporting fervor and sacred rites, the great history of color and its symbolism in sports, the architecture of addiction with casinos, the dangers of online betting, gender equality in French sports, parkour and skateboarding or the art of reclaiming the city, etc.

Time to Play is a project born of the desire to talk about play through playing, in a free interpretation of the exquisite corpse game: here, the authors do not continue the work of the other guests, but each composes his or her own score, all brought together in this polyphonic ensemble. Interviews, photo reports, illustrations, analyses, essays, articles, excerpts… the game is analyzed here in a variety of forms, according to each guest’s approach. All with the aim of offering readers the freedom to divide up their reading as they see fit.

In the publication Liebe zum Ort – Zukunftsgerechte Städte, futurologist Joël Luc Cachelin collects the most important challenges for the future that cities will be confronted with in the years to come. The book, commissioned by Senn, was published in German by the Swiss publisher Niggli (204 pages, 19×26.5 cm, softcover with thread stitching, ISBN 978-3-7212-1046-0), printed by Druckerei Lutz AG and designed by Büro Sequenz, St. Gallen. It was typeset in Plain (Optimo) and HAL Timezone (HAL Typefaces).

Description of the book by the publishing house:

In this publication, the renowned futurologist Joël Luc Cachelin focuses on the city as a driver of cultural, technical, economic and socio-political change. Along the three megatrends “new inner cities”, “climate change” and “digital continuations”, he focuses in particular on the challenges they will face in the coming decades. These range from the seduction of metaverses to the climatic dangers of heat and heavy rainfall to the desolation of city centers as a result of internet shopping and cheap offers.

Special issue no. 37 of L’Architecture d’Aujourd’hui (“The Architecture of Today”), a French magazine, dedicated to the Carré Sénart.

The Westfield Carré Sénart shopping center is a shopping and leisure center in southeastern Paris, located in the Carré Sénart business park, in the municipalities of Lieusaint (Seine-et-Marne) and Saint-Pierre-du-Perray (Essonne). It was the first shopping center in France to be awarded the “Four Star” label in March 2012.

The DAAD Artists-in-Berlin Annual Brochure 2023 (Berliner Künstler*Programm 2023) was designed by Studio Pandan (Ann Richter and Pia Christmann) and printed at Gallery Print (Berlin). It was set in ABC Diatype, published by Dinamo Typefaces, as well as HAL Timezone and HAL Timezone Mono, both published by HAL Typefaces.

The bilingual publication features the 2023 fellows: Pisitakun Kuantalaeng, Lana Bastašić, Amanda Lee Koe, Jiyoung Yoon, Sam Vernon, Susana de Sousa Dias, Sonja Mutić, Gustavo Vinagre, Malik Sajad, Muqata’a, Helena Uambembe, Rajesh Parameswaran, Radu Jude, Nhã Thuyên, Esvin Alarcón Lam, Cristina Rivera Garza, Kinga Tóth, and Andrius Arutiunian.

A digital copy of the book is available as a download (pdf).

Description of the project from les presses du réel (translated by DeepL):

What would de-sign be? To undo, to unravel, to dismantle, to untangle, to unpack, to clear away, to unlock, to uninstall, to deserter, to deproject, to defuturize, to demythologize, to desorcelate...

The best way to understand how an object is constructed is to take it apart piece by piece. This process allows us to identify its components and understand how they fit together. In other situations, the process must be reversed. We need to understand before we can disassemble / undo. For example, to untie a knot, we first need to understand which loops and intersections hold it in place. We need to study it and try to determine in which direction each loop should be pulled, so as to loosen it and be able to untie it.

We could define the designer's profession as a capelage knot, a knot of tension produced by external elements that keep it tight. In this sense, untying the knot would mean identifying and acting on those elements (performance, profitability, competitiveness, etc.) that put tension on the profession and alienate designers.

Based in Paris, Klima is a bilingual magazine, existing both in print and online, which “proposes a collective reflection based on a theme specific to each issue”. From their website:

Klima gives a voice to individuals who are conscious, creative and singular, reflecting an epoch and its issues, while also revealing the multi-disciplinary nature of the artistic, activist and academic worlds. Klima aims to bring together different disciplines in a single space, emphasising their transversal aspects.

The magazine logo uses Marlfield. In the interior, headlines are set in Gaya, and Times New Roman and Nimbus Roman Mono are used for copy. The sans serif used for navigation is LL Medium.

The Saisons Culturelles poster

Following the creation of the town of Chaumont’s visual identity, the Baldinger•Vu-Huu studio team started work on the sub-identity for Chaumont’s Cultural Seasons. The city of Chaumont boasts a rich cultural programme. As well as being the city of graphic design, it also wants to showcase the city’s cultural offering. To this end, eight years ago, they launched the “Saisons Culturelles”, supported by a newspaper, a website and posters, which are renewed every year.

It was necessary to create a sub-identity, with a visual link to the main identity in order to clearly identify the sender, but at the same time distinct from it in order to be recognized as something special. To achieve this, the Baldinger•Vu-Huu studio used Dina Chaumont, the typeface family they created for the city of Chaumont, and designed new pictograms, abstract shapes that are freer and more organic. On top of that, they played with a bright and bold color palette.

The Saisons Culturelles newspaper

The Saisons Culturelles newspaper

The Saisons Culturelles newspaper

The Saisons Culturelles newspaper

The Saisons Culturelles newspaper

The Saisons Culturelles website

Organized by Paris bookshop Le Monte-en-l’air, the eight-day Rapailler festival offers a glimpse of the richness, dynamism and diversity of Quebec literature. The event took place from June 8 to 16, 2022, and featured lectures, poetic performances, and meetings with authors.

For the design of this event, the studio Brest Brest Brest used the typeface Garage, designed by Thomas Huot-Marchand (205TF).