Photographer Nanine Renninger’s book Mementos | Erinnerungsstücke brings together personal narratives and visual fragments in a restrained editorial framework. Renninger approaches her material with a measured, poetic stance.

Designed by Vivian Förster of RoomArt, the book gives typography a central role. Easy Grotesk, designed by Alexander Rütten and Olivia Wood of Ligature Type (distributed by the TypeMates), is combined with Relais by the same designers (distributed by Blaze Type), creating a contrast in character and supporting the bilingual layout.

As Renninger notes on her website, the project “collects traces of memory in both text and image,” and a theoretical section at the end reflects on the nature of memory.

Positioned as a precision-driven, craft-oriented baseball brand, TUCCI defines itself through a balance of performance and authenticity. Rather than competing on mass appeal, the brand speaks to a more discerning segment—players who value control, detail, and material integrity. This positioning translates into a visual identity that is clean yet assertive, technical yet expressive, reflecting both the discipline of the sport and the individuality of its athletes. Every design decision, including typography, is treated as an extension of this philosophy.

Since March 28, 2025, as observed across its Instagram posts, TUCCI has consistently adopted Yapari as its primary typeface in both website copy and social media graphics. Inspired by street typography from Makassar, Yapari offers extended and expanded forms alongside a comprehensive weight range, enabling a flexible yet cohesive visual system. Its bold, stretched character introduces a distinctive voice that sets TUCCI apart from conventional sports branding, while its versatility supports both structured and expressive applications. In this context, Yapari is not merely a stylistic choice—it becomes a strategic tool that reinforces Tucci’s identity as a brand rooted in performance, yet unafraid to express a broader cultural perspective.

Genesis is a photography book by Juan Brenner that explores the people and culture of the Guatemalan Highlands. The culmination of over five years of work, the book focuses on youth culture and captures a new generation of Guatemalans establishing an intelligible dialogue with the rest of the world. It serves as an extensive visual study of highland society, documenting a territory in the midst of great change and the “process of becoming.”

Nightflier by Christopher Fahy (1937–2024) is “a novel about the ultimate out of-body experience.”

Jonathan Petrie can leave his body and fly. Best of all. Nobody knows it—yet. Not his alcoholic, ailing mother, nor his uncaring father. Not the teacher who senses that he's changing, nor the girl who befriends him. And surely not the school kids who torment him mercilessly.

None of them knows the force he commands—that he can see without being seen, hear without being heard, and that even now, as the night winds howl, he's plotting his revenge on them all!

First published by Jove Books (as Nightflyer), this is the British paperback edition by Corgi Books. I don’t know who did the artwork. Inside, body text is set in 9½ pt Caledonia (not shown here). The book cover was set in the Black, Heavy, and Regular weights of ITC Serif Gothic, featuring the alternate round E in the title.

The visual identity for Staatsballett Berlin, designed by Eps51, combines expressive typography with a restrained contemporary layout system. As one of Germany’s leading ballet companies, Staatsballett Berlin plays a central role in the development and preservation of ballet, both locally and internationally.

The identity translates the grace, energy, and emotional intensity of dance into a graphic language that balances movement and structure. The typographic palette pairs Similar with NT Zeu, whose proportions and rhythm complement the geometric character of Similar while introducing a contrasting voice across editorial materials, posters, and digital applications.

Developed in close collaboration with the team at Staatsballett Berlin, the system reflects both the tradition of classical ballet and the company’s contemporary cultural presence in Berlin.

homesickness is “an annual zine that centers the work of filmmakers and artists of color”. It offers a platform for film and art that reaches towards ancestral lineages which re-contextualize our present and build community across divides. The publication aims to create a space where artists of color can find themselves in each other’s art and form relationships.

Volume 02, measuring 10″×8″ and counting 374 pages, “leans into a certain tension inherent to process—the in-between, the “not-yet,” the moments when artists are neither promoting nor premiering, but instead grappling, searching, questioning.”

The publication, co-edited by Alfonso Morgan-Terrero and Kevin Xian Ming Yu, was designed by Andrea Mato using Exposure by 205TF, and Public Sans by the United States Web Design System. ISBN: 817525766-0

Pentagram partners Michael Gericke and Michael Bierut collaborated on a new visual identity for the National Gallery of Art in Washington, DC, one of the most beloved and visited museums in the US. Its goal is to “reflect the vibrancy of the institution and its diverse collections, programming and audiences.”

The new wordmark was tailored from a bespoke version of Empirica by Frere-Jones Type. It has “stature but is friendly and welcoming, conveyed in the deliberate shift to upper and lowercase type,” says Pentagram.

The National Gallery of Art (NGA) is a world-renowned art museum on the National Mall, founded by Andrew Mellon in 1937, offering a vast collection from the Middle Ages to today, including European and American masterpieces, sculpture, and modern art, with free admission and two distinct buildings (West for classics, East for modern) plus a Sculpture Garden, welcoming millions annually to explore art freely.

For the 61st Chicago International Film Festival, the visual identity was meticulously anchored in the enduring precision of the Swiss International Style. Embracing the powerful simplicity of Neue Helvetica, a stark black and white palette, and structural efficiency, the core design provided a refined, minimalist stage.

Our ambition, however, was to celebrate the vast, vibrant world of film genres. This was achieved through a compelling typographic dialogue: carefully selected display typefaces, each echoing distinct film tropes and design tendencies, were introduced as dynamic accents.

These genre-specific types acted as exuberant bursts, dramatically contrasting the austere Neue Helvetica. They symbolize the immersive narratives of cinema ‘breaking through’ the festival’s foundational elegance, creating a design that is both disciplined and thrillingly expressive—a true homage and love letter to the design language of film.

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Kit’s gone glamping! The modern rounded sans by Darden Studio helps Park Lane Holiday Parks to advertise their family-friendly getaways. Kit Rounded features in a range of its eight weights for sale announcements and other social media posts.

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Source: www.instagram.com Arabako Lautada. License: All Rights Reserved.

Design for the two-day festival marking the end of the concert tour by the musical duo Dupla. All promotional material exclusively uses the Basati typeface by Blancoletters, in its various weights. The typeface is applied consistently across the compositions supporting the poster’s focus on local culture and public celebration.

Source: www.instagram.com Arabako Lautada. License: All Rights Reserved.

Source: www.instagram.com Arabako Lautada. License: All Rights Reserved.

Source: www.instagram.com Arabako Lautada. License: All Rights Reserved.

Source: www.instagram.com Arabako Lautada. License: All Rights Reserved.

Base Neue is the brand typeface of Westbrook Racing. The second font used in the logo is Yapari, also by Power Type.

From the website of their sponsor TheArsenale:

Westbrook Racing, led by visionary Will Smith, is at the forefront of the E1 series, the world’s first electric powerboat championship. This dynamic team comprises elite racers, engineers, and strategists who consistently push the boundaries of what is possible on water. Their innovative approach to design and performance has earned them a reputation as trailblazers in the marine racing industry. Westbrook Racing’s mission aligns perfectly with TheArsenale’s vision of promoting sustainable and futuristic transportation solutions, making this partnership a natural fit for both brands.

On the website, Base Neue is supported by Rajdhani.

Two contrasting styles of Base Neue, combined

Paperback edition, February 1989

A rare sighting of Obliq, a Letraset release from 1984, used in both of its weights for a science fiction novel by Hal Clement (1922–2003):

The Riddle of Enigma Years of exacting study were coming to an end. All five student scientists, each the best its species had to offer, were one step away from their final degrees. One examination remained: the students were to determine why the tiny planet of Enigma, a planet with so little mass that it should never have had an atmosphere, in fact it did. Everything seemed to be running smoothly until the only Human member of the team, Molly was accidentally blown into one of the deep fissures that pocked the planet’s surface. She found herself trapped in a series of tunnels and caves that only led her deeper into the riddle that was at the heart of Enigma. But as her concerned companions followed her, they found Enigma’s most puzzling anomaly. For in the dark passages they discovered life – life which couldn’t possibly exist.

For the title, the caps were enlarged and shifted down, so that they align with the ascenders and the underline underneath the lowercase letters. Small text is in Univers.

[More info on ISFDB]

Hardback edition, June 1987

Swatch Rebels for Good is “Swatch’s new global community program championing positive change. The initiative brings together individuals committed to creating meaningful impact through creative action and social engagement.” Within the program, Swatch Minutes function as points that members can earn and exchange.

Art direction and brand identity by Dennis Moya Razafimandimby with motion design by Fabian Luginbühl and graphic design support from Guillaume Pavia. The visual identity is set in Baikal, a variable typeface from Swiss type foundry Newglyph.

More motion assets are available on Dennis Moya’s Instagram and the Swatch Rebels for Good page.

Poster design by Paula Scher of Pentagram, featuring Garage Gothic typeface by Frere-Jones Type.

Shakespeare’s Taming of the Shrew was presented by the New York Shakespeare Festival/Public Theater at the Delacorte Theater in Central Park from August 10th through September 5th, 1999, together with Molière’s Tartuffe.

From Playbill:

Tartuffe concerns a venal and libidinous religious hypocrite who holds a household under his thrall until being exposed for what he is. When first presented in 1664 France, the sharp satire created such a furor that the pious of Paris suppressed the play. It was not performed for another three years, and then in an altered version.

Turnpike is a brand base in the Netherlands focused on selling barbecue tangent products: sauces, spice mixes, charcoal, etc. Agency Nattevingerwerk rebranded Turnpike mid 2025 and created a cohesive identity for their product line.

The logo is set in the textured brush script font Edo, echoing craft / grunge notes that are also present in the set of pig illustrations that serve as the backbone of the brand visual language. Then the whole languages uses the duo NaN Rage Poly and NaN Rage Slab in different weights and widths for all texts.

I have included a generative AI image created by the agency for their portfolio for the sake of documenting and archiving this use in the graphic design field today. Which leads to another question: are the pig illustrations maybe also generative AI?

Generative AI image created for the agency portfolio. Note the hallucinated brush script on the left character bra.

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.

Reminder that there’s no fascism without warmongering, and that war inevitably comes with injury to life and limb.

This Verbandpäckchen Nr. 1313 Größe III (“Bandage pack No. 1313 Size III”) of the German Wehrmacht has text set in two weights from Element. The simplified Gotisch was issued by the Bauer foundry in 1933–1934 as one of the first typefaces in the modernized blackletter subgenre that coincided with the early years of the Nazi regime. The notice about the package being “keimfrei, luft-, staub-, wasserdicht” (“sterile, airtight, dust- and waterproof) is set in a less commonly seen lighter weight. Number and size info are in a bold Bodoni.

The bandages were produced by the Verbandstoff- und pharmazeutische Fabrik Ulm-Frankfurt a. M., G. m. b. H. in Ulm-Donau. The shown item was part of remaining stocks of the U.S. Army, from the estate of Cpl. Erich Wick, Army Medical Corps, German Labor Service, 1950.

Palisades Parks Conservancy tasked Order with creating a series of icons for Fort Lee Historic Park to illustrate the parks’ features to its many annual visitors.

Developed alongside a comprehensive signage system, the design takes inspiration from the park’s primary typeface, Interstate by Frere-Jones Type. Icons were constructed with legibility in mind, designed to communicate across a range of languages, scales, and applications.

Fort Lee Historic Park is a cliff-top park in Fort Lee, New Jersey, that features scenic overlooks of the George Washington Bridge and the Hudson River, along with a reconstructed 18th-century Revolutionary War encampment. It includes a Visitor Center with exhibits, reconstructed barracks, and batteries, and is situated on 33 acres of land that served as a key defensive position for General Washington’s army in 1776.

Print ad for new releases and reissues in the educational book series Kamprath-Skelett – kurz und bündig (“briefly and concisely”) by Ernst Kamprath Verlag, Leipzig. The listed titles include “quick lessons with visual aids in three-color printing” for Latin and French grammar, world and cultural history, and physics.

The design may look like a piece of multiscript typography at first, with its mix of disparate typefaces. And indeed scholars like young (dogmatic and chauvinistic) Jan Tschichold considered blackletter typefaces to be something fundamentally different than roman (incl. sans-serif and “Latin” script) type, denouncing them in die neue typographie from 1928 as “nationalism”, alongside actual non-Latin scripts like Greek, Cyrillic, Arabic, Chinese etc. But of course all text in this advert is in the Latin script – including the blackletter.

The typefaces are Walter Tiemann’s Tiemann-Fraktur (Klingspor, 1914/1918) and Walter Wege’s Signal (Berthold, 1931/1932). Both appear in two weights each: the large “kurz und bündig” at the top is in the light Script-Signal.

Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

To commemorate the centenary of the birth of Scottish author Muriel Spark (1918-2006), Polygon, a Scottish imprint, is issuing a uniform edition of all 22 of her novels.

Designer Teresa Monachino chose to design the covers typographically, using two typefaces by Eric Gill, Gill Kayo and Perpetua. As she states,

The one thing that I kept in the front of my mind was that Muriel Spark was ‘the writer’s writer’. I read the 22 blurbs that accompanied each story and I knew then that the work should speak for itself. If we mustn’t judge a book by its cover then we must judge it by its words. What happens then when the words are the cover? I proposed that the book blurb should be on the jacket cover so that the design lets the stories speak for themselves; they need no further embellishment, it’s all in the writing.

To encourage readers to collect the entire set of works by ‘the writer's writer’, the designer included a kind of typewriter keyboard grid on the covers, with each book’s number in the sequence of titles highlighted, set in Gill Sans.

The sequence numbers are repeated at the bottom of each jacket spine, as well as a single, similarly highlighted single letter at the top. When all the books are assembled in order on a shelf, the highlighted letters spell out ‘THE NOVELS OF MURIEL SPARK’ — a clever ‘Easter egg’!

The texts are set in Monotype Ehrhardt.

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Source: booksfromscotland.com Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

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Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.