I’m Taylor Jane Roy, a multi-disciplinary designer from California. My portfolio website uses two typefaces. The old-style serif typeface Fraunces by Undercase Type infuses playful personality into an otherwise minimal design. This soft and wonky font is contrasted by the consistent rhythm of Maison Neue, originally by Milieu Grotesque.

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

The cover design is by Atelier Baudelaire and Clément Frassi, based on a project developed with Jérémie Harper (GeneralPublic) in 2017 for the Salon de Montrouge.

Practical Grotesk is used throughout Three Dimensional Type. From publisher Counter-Print Books:

This compilation showcases the limitless possibilities of letter forms transformed into 3D objects of art. Explore the fusion of the familiar and the extraordinary as designers push the boundaries of perception and creativity. Discover the freedom from rules and guidelines, the integration of AI and advanced software tools and the exploration of texture, transparency, volume, form and colour.

With remarkable works by talented designers and insightful project descriptions, this book is both a handy source of inspiration and a snap shot of uncharted territory.

The softbound book has 200 pages measuring 190×265mm.

The spread design is by Counter-Print.

Swizzy by Rellence and Neue Montreal Mono by Pangram Pangram are used together for Flim.ai, an AI-driven creative project designed by ToyFight.

The pairing combines Swizzy’s clear, precise sans-serif forms, which bring structure and balance, with Neue Montreal Mono’s functional clarity. Together, they support a system built around exploration, contrast, and rapid visual discovery across digital interfaces.

Description of the project by ToyFight:

Flim is an AI-powered visual inspiration platform for creatives, functioning as both a vast library of stills and video clips from movies, TV, and ads, and a suite of AI tools.

Inspired by the cinematic technique of splicing film, we take seemingly disparate elements frames, genres, references, styles, ideas and connect them to form something unexpected, dynamic, and uniquely relevant.

Colla Paper is a Valencia-based Spanish stationery brand dedicated to analog planning and writing tools. Founded as a collaboration between the local printing workshop Impresum and the graphic design studio Estándar Estudio, the project celebrates the tactile and reflective qualities of paper in an increasingly digital world.

Its product range includes calendars, planners, notebooks, and paper goods characterized by restrained typography, functional layouts, and carefully selected materials. Produced locally in Spain, Colla Paper combines contemporary graphic design with traditional printing expertise, emphasizing clarity, durability, and the ritual of handwriting.

Across selected applications set in Massimo Grafia, the typeface’s expressive letterforms and alternate characters introduce subtle variation and personality, enriching the project’s reduced graphic language.

Installation view of Looking Back: Lucas Samaras's Mirrored Room

Looking Back: Lucas Samaras’s Mirrored Room was presented at the Buffalo AKG Art Museum during its 2023 reopening (June 12, 2023 – January 29, 2024). Installed in the M&T Gallery, a free-admission space, the exhibition highlights Mirrored Room (1966), a sculptural work the museum has held in its collection since its acquisition that same year.

The exhibition graphics were developed within the Buffalo AKG institutional identity, originally designed by Wkshps (Chris Wu, Eric Price, Sarah Demeuse, Ivy Yixue Li, Ella Viscardi). The identity typefaces, AKG Sans and Algebra, both by Commercial Type, were used throughout.

The exhibition design was conceived architecturally: large-scale titles in reflective vinyl, curatorial texts, and archival images were organized within a grid derived from the sculpture’s exterior mirrored panel structure. This grid also referenced a 1966 Members’ Opening invitation from the museum’s archives—the year the work was first exhibited—translating its typographic tone into the contemporary AKG identity.

The exhibition was curated by Associate Curator Andrea Alvarez and designed by Katharine Wimett. Photography by Brenda Bieger.

Eric Price, formerly of Wkshps, on AKG Sans:

Reopening in 2023 with a new OMA-designed addition, Albright-Knox Art Gallery needed a new identity to go along with their new name—Buffalo AKG Art Museum.

While the length and intermingled acronym both posed a challenge, we decided to embrace them in a typographically-driven approach that uses unconventional, alternate-universe forms for the A, K, and G in a custom typeface based on Neuzeit and similar classic grotesques. With enthusiasm for the direction, we collaborated with Christian Schwartz of Commercial Type to create AKG Sans.

Installation view of Looking Back: Lucas Samaras's Mirrored Room

Installation view of Looking Back: Lucas Samaras's Mirrored Room

Installation view of Looking Back: Lucas Samaras's Mirrored Room

Installation view of Looking Back: Lucas Samaras's Mirrored Room

Takeaway exhibition guide for Looking Back: Lucas Samaras’s Mirrored Room printed on mirrored paper

Takeaway exhibition guide for Looking Back: Lucas Samaras’s Mirrored Room printed on mirrored paper

Branding and website for Angela Wimmer, a psychological counselling and coaching service. Angela Wimmer works exclusively with women aged 30 and over, guiding them through complex personal themes such as relationships, identity, and family, helping them regain balance and move forward with confidence and optimism.

All text is set in Gatch. David Einwaller’s typeface appears in modified form in the wordmark by Studio mi.

Western Birds. An Audubon Handbook by John Farrand Jr. helps readers identify “the over 460 species of birds regularly found east of the Rockies.” It is a lengthy yet compact softcover of 416 pages, 1,314 photographs, and 100,000 words. Published in 1988 by McGraw-Hill, Western Birds is one of several books Massimo Vignelli designed for the National Audubon Society.

The book’s page layouts are built upon a simple two column grid subdivided into ten modules. All text is flush left. Paragraphs are not indented nor are they separated by an empty line. This creates a sharp, mostly uniform line on the left edge of text columns. Their right edge, in contrast, is particularly ragged due to hyphenation being dispensed with all together. Although the lack of paragraph indents and spacing and of hyphenation is somewhat unusual for such a text-heavy book, it is a hallmark of books designed by Vignelli and many of his modernist peers.

The book was typeset by Dix Type in Century Expanded, one of Vignelli’s preferred typefaces. As Vignelli was wont to do, the italic is used liberally throughout. The title on the title page is kerned in Vignelli’s signature tight-not-touching style. Two subsequent section headings are kerned in the same way but the kerning (or, rather, lack thereof) of the rest of text leaves much to be desired. The spacing between the characters of the body text is much more open than the tight headings – just as one would hope and expect. The problem, however, is that for the rest of the book, in both the body and in headings, many letters have awkward gaps yawning between them.

The tightly kerned title with the author’s unkerned name below.

A rare case in Vignelli’s work where text appears to be evenly spaced between rules. Usually when using rules, Vignelli would set the text closer to the rule above than to the one below, creating the impression that text is hung from the rule above. In his Canon, he mentions this as a “small but important detail.” 

One of 168 black-and-white drawings

On pages where rules are separated by images or multiple lines of text, the text does look as if it is hung from the rule above.

No elements of the layouts for recto and verso pages are mirrored. Instead, each page is uniformly designed as if it was a verso page with the page number always placed on a page’s bottom left.

A quite obvious example of the book’s kerning issues

One of three headings where text is kerned in a manner one would expect from a Vignelli-designed book.

The first page of the Index is numbered but all subsequent pages are not.

Back cover with description in italic. The ISBN is added in OCR-A.

Volksans is the primary typeface used for the identity of Mind Energy, previously known as Energi Danmark Group. From their About page:

A new brand and identity is one of many carefully considered steps in the transformation of Energi Danmark. We need to clearly communicate our market position, a compelling employer brand, and a strong cultural foundation that is aligned with who we are today, our leadership and our strategy. Our brand is all these things intertwined.

Volksans is supported by TT Rationalist.

Visual identity for the 2019 edition of Tribu, a music festival taking place in Burgos, Spain.

Tribu is a multidisciplinary festival held in various venues throughout the city of Burgos over severl adys at the end of summer. A festival for all ages, with a multitude of free activities that fill the city with color and music. Once again this year, we’re in charge of the graphics for all the festival materials.

The art direction and graphic design is by Clara Briones Vedia and Antton Ugarte Ibarrondo, using Agrandir by Alex Slobzheninov (Pangram Pangram) for the typography. The logo is based on HWDP by Mateusz Machalski (Borutta Group).

La Guía GO is a cultural guide with a logo based on Champion Gothic Heavyweight. It’s not part of this design.

Since 2010, the AUTO MATIC OPEN has been an annual open air festival for electronic music in Augsburg, Germany. For the 2022 edition, MMW Studios created a black-and-white identity based on patterns and referencing gritty ’90s rave parties visuals. The b&w aesthetics is reminiscent of cheap photocopied flyers.

The typographic choice reinforces the ’90s techno scene references with Eurostile and Forward used in tandem, always in all cap. Both fonts share very square curves, even if Eurostile does it in a way subtler way than Forward with its straight sides. Forward is often used in a dazzling pattern-in/pattern-out way. MMW created a monogram used almost like a logo composed from the three initials, with the A and the M embracing the upper curve of the rotated O.

If you zoom in on the attendants’ wrists, you can see the custom wristbands featuring the fonts.

The built environment ranges in scale from a wooden step stool to a vast urban landscape. scale journal is a publication bridging various disciplines at Brown University and Rhode Island School of Design (RISD) interested in the built environment. Promoting writing and projects that explore belonging and space, scale journal amplifies underrepresented voices in both academic and lived experience.

From the editors’ note for Issue 01:

This first issue’s theme is Lapis. We have traced this stone’s material history for you from a 21st century examination of a 10th century nun’s dental plaque to the craft traditions of 16th century artisans in the Mughal Empire to the first ever recorded mining practices of the ore from 7000 BCE in present-day Afghanistan. Lapis’s fragmented identity has helped us inform our own multi-dimensional nature. Depending on your perspective, it tells the story of material as ornamentation, material as structure, material as movement, or material as a medium of writing itself. It also explains how we view the built environment: from its original environmental contexts to a historic layering of stories to the re-excavation of such stories in order to discover how we can walk into the future.

The journal was designed by Andrea Mato and Isabel Lee and typeset in Indivisible Variable, Noto Sans, and Truth.

Editor-in-Chief: Henry Ding
Managing Editors: Ram Charan, Roy Kim, and Hannah Oh
Editors: Simone Klein, Oliver McGovern, Zorka Zsembery
Writers: Siya Girdhar, and Jin Xu

Philadelphia’s City Budget is more than just numbers – it’s a reflection of the city’s values, priorities, and future. Yet, the budget process can feel boring, complex, and inaccessible. The People’s Budget Office wants to change that.

Founded in 2021, the People’s Budget Office transforms the municipal budgeting process into an inclusive, creative, and community-driven experience. They use public art, education, and advocacy to empower residents to engage directly in shaping how public funds are allocated.

By making the budget process transparent, accessible, and playful, they ensure that all Philadelphians—regardless of background, age, or experience—can have a say in how their city is built and resourced.

Punto is a rounded, softly constructed typeface originally developed in 2006. Built primarily on a 3×3 grid, it has a modular simplicity that gives it both warmth and precision. The geometric structure lends a sense of order, while the generous curves soften its tone, creating a friendly yet disciplined aesthetic. Here, it’s used across printed materials for One Point Six Studio, where its balanced character complements the studio’s clean, methodical visual approach.

This fictional civic platform was conceived as a student project at ArtCenter College of Design.

ARC/LA offers a structure that mirrors the reality of Los Angeles: decentralized, diverse, and dynamic. As a participatory and connected civic platform, it reflects on the city’s architectural memory through stories, print-based tools, and neighborhood activations, turning collective memory into a living archive.

Driven by a fascination with the alphabet as a vessel for unlimited visual concepts, systems and languages, Alphabetical Playground explores a wide range of themes concerning expression in text. It presents a series of graphic experiments that investigate and manipulate the building blocks of language. Beginning as a series of ongoing variable type experiments, unused project concepts and playful takes on existing letterform typologies, the book is an attempt to consolidate these varying ideas into a playful collection of Alphabets, a showcase of how far we can push the medium of type design and structure.

Ultimately—although it may not always be immediately apparent—everything on these pages is language. This work demonstrates how text allows us to embed our thoughts, beliefs and systems within it: a code within a code, a game within a game, a system within a system. It serves as a reminder of the alphabet’s enormous potential to transcend its fundamental purpose as a tool for communication and instead become a limitless space for creative expression.

Nigel Cottier’s new book of experimental type ideas is an investigation into how we can use the Alphabet as a container for countless graphic systems, conceptual ideas, and endless play.

With a foreword from Hamish Muir, Alphabetical Playground is his second book on experimental type after Letterform Variations, released in 2021.

The volume contains 696 pages and is printed in black and white offset on uncoated paper. It features thread stitching and a softcover with soft touch lamination, produced by Printmedia Solutions. The format measures 15.5×20 cm, and the content is presented in English. The book’s ISBN is 978-3-948440-87-9, and it is priced at €35 in Germany. To learn more or to purchase a copy, visit the Slanted website.

For the State Library of Western Australia, Block developed a refreshed identity that positions the institution as both a cultural anchor and a contemporary public space. The typographic concept is built around the deliberate pairing of Delphia (sans) and Gestura (serif), often set closely together within the same headline.

Rather than assigning each typeface a distinct functional role, the two coexist in direct dialogue. Gestura brings contrast and historical depth, while Delphia’s clean forms provide structure and modernity. Their interplay—sometimes alternating word by word or line by line—creates a dynamic rhythm that mirrors the Library’s mission: connecting the past with the present.

The system is supported by a flexible layout grid and ample white space, allowing type, image, and color to interact without hierarchy feeling rigid. The result is a visual identity that is literate, lively, and open to interpretation.

How does the visual world of global economic research look like?

The global economy is a highly complex, abstract system for which a grid system creates a distinctive visual metaphor. It conveys both excellence and evidence-based work while illustrating the interconnectedness of subject areas and global dialogue.

The result is a variable identity that makes the Kiel Institute’s outstanding position clear and distinctive within the national and international research landscape.

The wordmark is reflecting clarity, globality and excellence – a nod to the precision that Swiss typography and economic research have in common.

Branding design by Reuring for AMA, an architectural firm based in Netherlands using Tomato Grotesk for titles and headlines with support from Ekstra.

From their portfolio website (translated):

AMA boast years of experience in realizing a broad spectrum of architectural tasks. From design to construction supervision, from interior to utility construction, from repurpose to urban planning. From the first sketch to the key on the door.

The exhibition Text to Image was held at the Korea National University of Arts in Seoul in summer 2025.

The moving posters were created by conceiving the location’s media wall itself as a frame, and interpreting the content displayed on the screen as a kind of portrait, based on the text by curator Dongjong Lee. To convey the sense of an analog frame, I used commonSans from notyourtypefoundry – designed to evoke the effect of ink bleeding on paper – and hand-lettered the Korean text harmonize with it.

The exhibition title was designed by combining commonSans with Arial, a typeface that has recently come to function as an image in its own right.