Milk Magazine is a cultural and fashion publication focused on kids, and families in general. It also features in-depth interior design reports of cultural figures’ apartments or houses. The Milk Magazine website was updated by FCINQ, followed by its print version, designed by Claire Aupois under the artistic direction of Karel Balas. It features Karl by Source Type and Self Modern by the Bretagne type foundry. The sans used for the English slogan at the bottom of the cover is Aperçu. The logotype remains unchanged.

Soft Love is a poster zine by Jakub Gessler exploring the tension between social expectation and self-definition.

The format sets the premise. A broadsheet scale, typically associated with masculine-coded publishing, is reworked through the use of soft, glossy paper more commonly found in fashion editorials. This contrast establishes the central dynamic of the project.

Typographically, the zine features Sirca (Edito). The letterforms are softened through colour, shifting their original rigidity into something more fluid. The type becomes both structural and expressive, appearing prominently across the cover and the sweatband.

Graphic design and art direction by ffforum, with photography and creative direction by Jakub Gessler. Printed by Pure Print Group in a limited edition of 50 copies.

In issue #206, football magazine ballesterer prepares you across 100 pages for the 2026 World Cup in Canada, Mexico, and the US, which kicked off in June 2026. It takes a critical look at the political aspects of the tournament and the questionable relationship between Donald Trump and Gianni Infantino. Also in the magazine: profiles of numerous participants, stories about fan culture, and a special supplement dedicated to the Austrian national team (ÖFB).

Through a pluralistic practice exploring connections between architecture and craftsmanship, cities and mountains, Studio Kokumi engages daily in thinking, designing, repairing, learning, and creating encounters. By revealing the natural intersection between architecture and agriculture, the studio cultivates fertile links between urban and mountain ecosystems. Rooted in a careful approach to both existing and future-built environments, Kokumi’s work pays close attention to context, landscapes, and the material relationships they establish with local territories. These principles form the foundation of the studio’s research and projects, presented through this first issue of Kokumi. la revue.

Antoine Bertaudière was in charge of the journal’s graphic design. For the titles and body text, he selected and combined Rillus from Formagari and Delusse from Commercial Type.

Slanted magazine #47, “Digital Tools”, examines the instruments that shape contemporary creative practice. This issue offers a diverse insight into the global creative scene and uses numerous examples to show how digital tools are used to create, question, and rethink design itself. The spectrum ranges from experimental open-source projects and custom scripts to indispensable utilities that shape creative digital and analog workflows, continuously expanding and redefining creative boundaries.

The issue covers disciplines such as graphic and type design, illustration, 3D, web, generative design, and creative coding. Designers, artists, and developers share their insights in interviews and articles, explaining how digital tools shape their aesthetics, imagination, and authorship. By introducing new workflows and technologies, Slanted magazine #47 inspires both experienced designers and beginners to explore the creative potential of digital design.

Alongside the magazine, a dedicated online platform has been launched, featuring an extended directory of digital tools. In addition to all tools included in the print issue, the website gathers further projects, discoveries, and resources identified during extensive research. Structured by category and continuously evolving, the platform invites exploration, experimentation, and a rethinking of the role of digital tools in creative practice.

The magazine was edited by Jacob Tessmann, Lars Harmsen (editor-in-chief), and Julia Kahl (managing editor). It has 224 pages measuring 16×24 cm. The interior was full color offset printed with spot colors by Stober Medien. The cover uses offset printing with spot colors and hot-foil embossing by Gallery Print. Papers used include Efalin 108 high white fine linen 280g/m² (cover), Zeta diamond extra smooth 120g/m², and Ibo Two 80g/m² (inside) manufactured by Reflex. The Swiss brochure with flaps and open thread stitching was made by Buchbinderei Spinner.

ISBN: 978-3-948440-96-1 / ISSN: 1867-6510

Mousse is a magazine dedicated to contemporary culture, created in Milan in 2006. For issue 94 (Winter 2026), the designers picked Costumes, the future release by Omnigroup on Formagari, to function as guest typeface alongside François Rappo’s JJannon (Optimo).

Czerny's Symposium. License: All Rights Reserved.

Czerny’s Symposium, issue 001: “Kodoku” is a 204-page publication that revolves around the Japanese idea of 孤独 (kodoku)—exploring how isolation and loneliness creep into the lives of visual artists, writers, and creatives alike. Select contributors offer an intimate insight into their creative process, share how they find resilience in the face of solitude, and reflect upon the emotional journey they navigate in the act of creating.

Pantasia (Wei Huang / Counter Forms) serves as the primary typeface for the visual identity of Czerny’s Symposium—as seen in the logotype and used throughout the publication across section headings, running footer labels, and speaker identifiers in interviews. Herbik (Daniel Veneklaas / Counter Forms) is the secondary typeface used for all body text. Neue Haas Unica (Toshi Omagari / Linotype) provides visual contrast to the previous two serif typefaces as a functional and unassuming sans serif; it is applied to page numbers, artwork captions, and footnotes at smaller sizes, while blown up in scale across pull quote pages.

The inaugural issue was published in 2025 in an edition of 100. The publication includes a foreword and introduction by Junpei Satyapan, along with contributions from Charlie Broadhead, Dakota Butler, Daylen Seu, Ethan Ming, Lola Dement Myers, Shi Hong, and Weihong Zheng.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Htag is a professional magazine published by Références (Groupe Rossel) for the French-speaking Belgian HR community. The design brief called for an editorial identity that would break with the conservative conventions of B2B publishing – using B2C visual codes to produce something genuinely engaging while remaining credible in a professional context.

The typographic system is built around three families that each occupy a distinct register. Right Grotesk drives the display layer: Compact Dark handles the largest headline sizes, while Compact Bold appears in pull quotes, all-caps section headers, and colour-block infographics. Compact Light is used for quotation marks and pagination. The Narrow cuts – Light for bylines and section labels, Bold for feature section titles – introduce optical contrast within the same family and sustain rhythm across the grid.

Newsreader Text sets all running text – chosen for its optical-size calibration at small sizes and its ability to sustain long-form reading while giving the pages a considered, editorial weight.

Silka anchors the identity – logotype, standfirsts, and interview questions – its humanist tone counterbalancing Right Grotesk's geometric rigour. In colour-block encadrés, Silka replaces Newsreader as body copy, visually differentiating these sections from the main editorial flow.

The grid alternates between strict alignment and deliberate offsets, typographic elements breaking the column structure to introduce visual tension. Colour is used boldly – frank, saturated accents punctuating the rhythm of the pages – an unusual stance for a readership accustomed to the conservative visual codes of HR publishing.

The creative industries magazine Rekorder is published quarterly and covers current topics from the Stuttgart creative region, showcasing companies and creative professionals. The magazine is published by the Wirtschaftsförderung Region Stuttgart (Stuttgart Region Economic Development Corporation).

Every issue is unique—each is designed by a different agency from the Stuttgart region. For the 02/2026 issue, the corporate communications agency campra was commissioned. The main theme, “Democracy & Creativity,” was incorporated into the design in a colorful and diverse way, just as democracy should be. Fincker Font Cuisine kindly provided its typeface library for this issue. As a result, several typefaces were used, such as Marblis for the body text, as well as Finador, Royalis and Garino for headlines. The illustrations and paintings by Juliane Herrmann completed the layout, resulting in a colorful and inspiring magazine.

August issue 02, “New York”, was designed by Brendan McAuliffe and Douglas Riccardi of Memo NY using Conductor by Frere-Jones Type, alongside Klim’s Domaine Text and Sweet Sans by MVB Fonts.

A travel magazine, each issue focuses on a singular location, immersing the reader in its art, architecture, and design scene, and sharing encounters with locals, their habits, and their unique culture.

Published twice a year in print and accompanied by the multimedia platform chapter.digital, Chapter brings together diverse fields of design into a considered whole – spanning product and mobility design, architecture, haute horlogerie, art, travel, and adjacent cultural contexts.

Eyes Without a Face is not your classic type specimen. Inspired by traditional horror manga, Sylvania is used for onomatopoeic sound effects, amplifying the gory atmosphere through typography. The manga relies on sound words to guide the readers through a visceral short horror story written by Studio SMS and illustrated with original artworks by Amanda del Valle.

Sylvania is a typeface designed by Samara Keller. The art direction and design of the booklet were done by Studio SMS. It was Riso-printed by Drucken3000 in Berlin in an edition of 200.

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.

Plain Text is a printed publication for exploratory type design, edited and designed by Lucas Descroix and Benjamin Dumond, and published by type foundry Plain Form.

From fiction to theory, from mystical analyses to visual works, Plain Text aims at exploring typographic imaginaries, moving beyond a strictly historical and technical framework, with a taste for the unknown and the dormant potential of writing.

The third issue launched in March 2026 and includes contributions by Alex Balgiu, Eugénie Bidaut, Mathis Borel, Gabriele Čepulytė, Lucas Descroix, Johanna Drucker, Benjamin Dumond, Mankun Guo, Hélène Marian, Luther R Marsh, Ariel Martín Pérez, Laurent Mbaah, and Mălin Neamțu.

The texts of this black-and-white, bilingual publication are all set in the unreleased duo Basically Serif for the English and Basically Sans for the French. Additional information is set in Baskemo, also Serif and Sans, an automatically monospaced-and-skelefont’ed companion to Basically.

A number of display typefaces designed by Lucas Descroix and/or Benjamin Dumond are used throughout, for the title of each contribution as well as various emphasis moments. These include: Michaux, Nostra, Paraiso Sans, Jester (in several styles), Ready Active, and an early version of the upcoming Ferro. Some unreleased display typefaces, either old or future, are also used but not shown here in the pictures.

Several typefaces are also showcased as part of contributions by their respective designers (shown here are Bye Bye Binary’s BBB ReadMe and Mălin Neamțu’s Segmentor).

• English and French
• 80 pages, 210×297mm
• offset print on Munken Print White
• 750 copies, March 2026
• ISBN 978-2-9597254-3-2

This third issue of Plain Text was kindly supported by Abyme, Blaze Type, Dinamo, DJR, Klim Type Foundry, Rosetta, The Designers Foundry, and XYZ Type.

Each issue starts with a few spreads showing a condensed, somewhat chaotic trip through the whole content of the publication (each contribution is represented by its title and an image, in order of appearance). It’s like wetting your neck before diving.

The title set in squeezed Michaux Bold.

The left page shows BBB ReadMe (Eugénie Bidaut, Ludi Loiseau & Clara Sambot) with its inclusive ligatures. The right page shows Eugénie Bidaut working on preparatory drawings.

This spread showcases the typeface Segmentor (Mălin Neamțu), together with hand-drawn sketches by the designer.

The title set in Paraiso Sans and Michaux Regular. Illustration by Anne Zeum.

The title set in heavily squeezed Ferro Mono. The image is taken from Émile Javal’s research.

Both titles are set in Jester, stretched and blurred on the left page, squeezed and outlined on the right page.

The title set in Ferro Black, with additional ‘organic’ letters based on Michaux.

The title on the right page is set both in Paraiso Sans (black) and Ready Active (white).

The left page shows the work of Mankun Guo. The title on the right page is set in Nostra Stream (with a bunch of blur and grain effects), with a little Grandmaster cameo for “and”. Subheads use Michaux Light.

The title set in various versions of Ferro Mono. The book cover is the one for Missing sign, another printed publication from Plain Form.

De Roma is a historic cultural venue and community hub known for its carefully curated program of live music, film screenings, and social events. Run by a large network of dedicated volunteers supported by a small professional team, the organization has built a reputation for combining cultural quality with strong local engagement. Originally revived in 2003 through the initiative of a small group of cultural organizers and hundreds of volunteers, the venue continues to operate through this strong collective spirit.

In 2024, designer Rob Marcelis developed a complete redesign of De Roma’s logo and visual identity, updating the system to better reflect the venue’s contemporary programming and its increasingly digital communication channels. The venue’s logo itself is based on a modified version of Beatrice Deck, the high-contrast flagship style of the Beatrice superfamily designed by Lucas Sharp with Connor Davenport and released through Sharp Type.

The wider visual identity relies on Trois Mille. First introduced in 2016 as Marc Rouault’s TypeMedia thesis project and later distributed through Sharp Type, Trois Mille quickly attracted attention in a field where innovation often moves slowly. Initially inspired by the work of French typographic master Roger Excoffon, the typeface combines dynamic forms with an expansive construction that helped redefine contemporary display typography. In De Roma’s communications – from posters to event announcements – Trois Mille provides a distinctive, energetic voice that balances expressiveness with clarity, demonstrating how a singular display typeface can anchor an entire cultural identity.

Mint is an annual architecture magazine made for Fresh Architectures. Each issue discusses an architectural project from several angles: societal, technical, economical or ecological. Mint invites professionals to talk about topics related to the project.

Opus (edition) 3 tackles the transformation of a nautical base taking climate change and water preservation into account. More broadly, this issue tackles the future of French coasts.

The typography changes with every issue. In this edition, the design by Travaux-Pratiques pairs Roman Grotesque with a yet unidentified serif typeface [edit: it’s Lyon, see comments].

A newspaper of 24 pages designed for DenkBeeld. An advocacy group for the visual and audiovisual arts domain in part-time arts education, DenkBeeld represents and supports the academies by collecting, developing, and sharing expertise and knowledge. D’Academie is their annual magazine, and a timeless document of the art education in Flanders, Belgium. Issue no. 11 uses Sequel 100 Wide.

Founded in Montréal, Ligne is an independent magazine dedicated to art, architecture, design, and lifestyle. In 2025, Ligne brought in Principal to overhaul their branding, logo, magazine layout, and digital experience. The redesign employs FT Habit from Formula Type as the primary typeface and Commercial Type’s Successor for display. The new look debuted in the November 2025 issue of the print magazine.

From a case study of the rebrand on Principal’s website:

The new positioning stems from a simple conviction: design practices can reach a broad public. This is achieved not by simplifying or diluting the subject matter, but by making Ligne’s world more welcoming, vibrant, and open. The logo serves as a minimalist anchor. Understated yet assertive, its simplicity allows it to coexist with rich editorial compositions and an ever-evolving graphic universe. The visual system is built on a bold typographic approach and a flexible grid that modulates the rhythm of the reading experience. Colour plays a central role, utilizing a dynamic visual language that modulates between magazine issues and digital presence, while maintaining total brand consistency.

Cineforum Rivista celebrates its first 65 years of editorial activity with Cineframed – The Exhibition, unfolding across two venues: the first at Roma Smistamento, the second at Frab’s Magazines & More.

Cineframed features a gallery of 16 framed works: a selection of the most iconic covers from the Serie Collezione (1961–2020), curated to trace the magazine’s graphic evolution, its changing formats, and the shifting tastes and aesthetic sensibilities of different eras. At the same time, the exhibition offers an invitation to revisit the history of cinema through a sequence of images destined to remain forever part of our collective viewing imagination.

ABC Oracle is one of the typefaces selected for all of the magazine’s texts, as well as for the poster-manifesto and the gallery handout for both exhibitions.

JT Picolo (Edward Dżułaj) and Kompas (Hanna Boslau) are the fonts used for Platform Pudding. From the magazine’s website:

Platform Pudding is a reflective platform on design – from graphic design to fashion and architecture, from Senseo coffee machines to Marcel Breuer’s S-32 dining chair. Design is about the tools that play a role in our daily lives. Pudding aims to foster a cross-pollination between theory and practice within design. Pudding explores the impact design has on society through diverse perspectives and various writing formats.

The magazine title appears to mix parts of Times New Roman and Helvetica.