Zhuk Vodoljub i Tarhany (“The Diving Beetle and the Cockroaches”) is a Ukrainian children’s book published by ACCA, with stories by Ukranian poet, writer and linguist Maik Yohansen (Майк Йогансен, 1895–1937). The book features a lively and varied typographic approach that combines several contemporary Ukrainian typefaces, supporting the playful narrative while maintaining clarity for young readers.

The publication relies on a multi-font system rather than a single dominant typeface. Script and display fonts are used for titles, short phrases, and expressive accents, helping to convey mood, humor, and character. These more decorative styles appear alongside a neutral sans serif, which is used for longer passages to ensure readability throughout the book.

Among the typefaces used is Bairak Script Regular by Oleksandr Donchenko, which adds a handwritten, informal tone to selected elements. DR Agu Sans Medium by Dmytro Rastvortsev serves as the primary readable sans serif, while DR Galushki Hole Regular, also by Rastvortsev, introduces a playful display character well suited to children’s publishing.

Additional display fonts include Kolyada Regular by Kyrylo Tkachov of Inner Space, which brings a folkloric feel, and Pomidorko 2 Regular by Antonina Chikhiro, used for bold and expressive typographic moments. Decorative accents are further enriched by Spaghetti Script by Iryna Dviliuk, contributing to the informal and friendly atmosphere of the layouts. The Espuma Pro font by Andrii Konstantynov from Mint Type is also used.

Typography and illustration are closely integrated throughout the book. The rounded, soft letterforms echo the shapes and rhythms of the illustrations, creating a cohesive visual language across spreads without overwhelming the page.

The illustrations were created by Veronika Bondur, Tetiana Zuiko, Anastasiia Makovetska, Elvira Mishchenko, Daria Shevchenko, and Anastasiia Krapivina. The cover was designed by Larysa Chaika.

Album cover for the soundtrack by Ernest Gold, composer of Exodus [More info on Discogs]

Judgment at Nuremberg depicts a fictionalized version of the Judges’ Trial of 1947, one of the twelve Nuremberg Military Tribunals conducted under the auspices of the U.S. military in the aftermath of World War II. Stanley Kramer’s 1961 film about the trial of 16 Nazi jurists and lawyers is based on a courtroom drama written by Abby Mann. It featured some of the best actors working in Hollywood at the time, including Spencer Tracy, Burt Lancaster, Richard Widmark, Werner Klemperer, Marlene Dietrich, Judy Garland, William Shatner, Montgomery Clift, and an Oscar winning performance by Maximilian Schell. The film won three Academy Awards in total and was nominated in nine more categories.

Both the theatrical release posters and the cover of Ernest Gold’s soundtrack feature the compressed Inserat-Grotesk as the primary typeface.

One Sheet (27″×41″) poster

Six Sheet (79″×80″) poster

A comprehensive archive of over 200 logos designed by Thinking*Room spanning the last 20 years, with essays from Eric Widjaja, Bram Patria Yoshugi, Ira Carella, and Ritter Willy Putra. Beyond a preservation of Thinking*Room’s storied portfolio, TRADEMARKS is a journey through the two-decade-long evolution of the logo design practice.

The book was edited by Kireina Masri and Handanu Ardhata, and designed by Thinking*Room. It features a debossed linen cover with edge printing, and contains 428 pages measuring 10×10 cm.

Sudanese–Canadian poet and musician Mustafa the Poet has released his first literary work, Nour (نور). The title, Arabic for “light,” captures the essence of the book: a collection that moves between poetry, photography, Arabic calligraphy, and collaborative writing, exploring faith and memory in the face of grief. It was published in collaboration with WePresent and designed by Turbo Studio.

Ron Bar Café is a relaxed venue in Prague's Vinohrady district. It is known for its impressive rum selection and rotating beer specials. In addition to occasional exhibitions, lectures and concerts, this unconventional café/bar offers more than 130 rums worldwide. Moreover, you can enjoy delicious hot dogs, cocktails and perfectly conditioned beers in a relaxed atmosphere.

Echo is Jesse Mockrin’s first museum publication, accompanying her solo exhibition at the Art Gallery of Ontario. Text is set in Sabon Next for its classic readability, with ABC Diatype providing a contemporary counterpoint in marginalia and notes. Warburg-style spreads photographed by Paul Weeks expand on her research, gathering images from Baroque painting to contemporary culture.

This brochure, designed by Una Grants, featuring Margot Lévêque’s Kalice for the main title. The text pages are set in Gestura by Sociotype Foundry. The layout and fold of the publication were inspired by crystal facets, and a majestic paper – Majestic Chameleon Light – for the cover to give it a shimmering, luminous feel to blend it with the Kalice typeface.

Agate Tūna is a photographer and artist. In May 2025 she had a personal exhibition, titled Voltentitāte, or Voltentity in English, held at a small gallery called ASNI in Riga, Latvia. The brochure includes texts by philosopher Ainārs Kamoliņš on energy fields. The title Voltentity is a blend of “volt” (as in voltage) and “entity” (essence). To me, the exhibition evokes a sense of spiritual feminism.

The AZIT art museum, located in one of Seoul’s most attractive neighborhoods, Insa-dong, is colloquially known as an open-air museum. As part of the Croatian Culture Week in Seoul from 23rd to 29th of August 2025, it hosted the exhibition K – Ember (Croatian: K – Žeravica), conceived by Croatian artist Danko Friščić.

This fifth exhibition edition, subtitled “UHO – Under Hallucinative Objects”, presents contemporary Croatian artists of the middle generation to friends from the Far East for the first time. Excerpt from the catalog by Feđa Gavrilović:

Ember is a curatorial project initiated by Danko Friščić in 2000, with four editions held to date. The fifth now marks its first appearance beyond Europe – though not its last. Each Ember showcases works across various media, brought together in mutual dialogue and a dynamic spatial interaction. At its core, the project features a circle of artists from Friščić’s own generation, many of whom have participated in nearly every edition. However, Ember remains an open and flexible platform, regularly welcoming contributions from artists of different backgrounds and generations.

The design approach combines classic and analog with digital and three-dimensional elements into a coherent striking visual entirety, expanding the aesthetics of communication into the sphere of universal recognition. Pictograms in the exhibition catalog were drawn by ALU Professor Danko Friščić.

The variable DS ddungsang (Yoon Design) and Flegrei (Adobe) were used for the main title in its “oh” and “Yeah” iterations. Body text is set in Hack (Source Foundry), while surnames of the artists are set in Brrrrr (Swiss Typefaces). Gamtan Road Tantan (KCISA) is used only for address in Korean.

The 9th edition of Bolsa Pampulha was titled “Camará”. The name is an homage to a small flowering plant used by Burle Marx (Brazil’s most famous modernist landscape architect) on a lot of his works – including those of Lake Pampulha.

The plant was used as a starting point for the curators of the program to establish links with the art world and with the city of Belo Horizonte and its surroundings.

The design of the catalogue, designed by Andrea Gomes and Fernanda Monte-Mór, embraces the 9th edition visual identity – pairing CoType’s Aeonik and Mostardesign's Archeron – while still maintaining some of the program's traditions – such as the square format and the use of the custom MAP font.

Maribor Fine Artists Association (DLUM) is one of the oldest art associations in Slovenia, tracing its roots back to the Grohar Art Club, the first professional art organization established in the liberated Styrian region after World War I within the Kingdom of Serbs, Croats, and Slovenes. Since 1920, DLUM’s annual group exhibition has remained a key event, showcasing members’ newest works. An expert jury selects honorary awardees, who go on to exhibit domestically and internationally, contributing to the recognition of Slovene cultural identity within Europe.

The exhibition Vabljeni mladi 2025 (“Invited Young Artists 2025”) features selected newcomers. It was shown at the Media Nox Gallery, Maribor, Slovenia, from July 9 to August 29, 2025.

The visuals for the exhibition were designed by Karin Rošker, using Spektra Tekts for by Dotless Type display and Commissioner by Kostas Bartsokas for body text.

From the introduction by Sara Nuša Golob Grabner:

Despite its jury-based and award-giving nature, the purpose of the call is not to establish a hierarchy, but rather to provide opportunities and visibility to as many new creators as possible within the capacities of the participating institutions. That is precisely why this year’s competition had no overarching theme, allowing the submitted works—across various media—to speak for themselves about collective interests, research areas, and emotional shifts reflected through the artworks, forming a portrait of the younger generation’s direction.

The cover typography features both weights of Grand Central, Bold and Light.

LTypI is a moniker for the act of picking a typeface because its name matches the content. Some cases have little to do with an actual lack of typographic imagination, and rather are just wonderfully topical. This book is such an example. Authored by Anthony W. Robbins and the New York Transit Museum, it was published in 2013 to celebrate the centennial of New York’s Grand Central Terminal.

For the cover, contents, and chapter titles, Topos Graphics opted for Grand Central. What else would have been more appropriate? Tobias Frere-Jones designed this all-caps typeface in the mid-1990s when the station underwent a full renovation. Two Twelve hired him “to design a typeface in Grand Central’s distinct Beaux-Arts style”, to “keep new locator maps and signage in harmony with the old lettering.” [Frere-Jones Type] When the station was built in the 1910s, signpainters used “an American take” on the so-called “French Oldstyle”, a genre that goes back to French printer Louis Perrin and his mid-19th century reinterpretation of ancient Roman lettering, the Caractères Augustaux. The characteristic R with its curved and pointed leg can also be found in the tile lettering for the subway sign.

In 2018, Frere-Jones together with Nina Stössinger revisited the theme, then with lowercase characters and as a six-weight family with italics. The resulting typeface, Empirica, happens to be used on the Grand Central Terminal’s website.

Colophon and contents

Detail from the table of contents

Grand Central is also used for chapter titles.

The typeface used for body copy, captions and running titles is Sentinel.

The project Wo is Heimat? (full title in English “Where is Home? Stories of Ukrainian Children and Teenagers”) explores the personal experiences of young refugees who fled Ukraine following the Russian invasion in 2022 – their memories of the first days of the war and their forced escape in search of a new shelter, a new home. The stories of these children are brought to life through powerful illustrations by Ukrainian artist Maria Vyshedska, herself a refugee.

The project was realized both as an exhibition (in Germany and Poland) and as a book. It was produced in three languages: Ukrainian, English, and German.

The choice of typeface for this project was clear from the very beginning. Originally designed as part of the brand identity for the city of Mariupol shortly before the full-scale Russian invasion, the Mariupol typeface has since become a symbol of Ukrainian cultural resistance – a political artifact. It is an example of how design can transcend the boundaries of form and become content.

Idea and project management by Christine Frick. Ulyana Shevchenko served as project coordinator and translator.

Michel Waxmann’s 1969 multiline Michel in use for a book about Expressionism, edited by Maly and Dietfried Gerhardus and published by Phaidon in 1979:

Starting with the forerunners of Expressionism: Gauguin, Van Gogh, the French ‘Fauves’ and individualists such as the Norwegian Munch and the Belgian Ensor, the book surveys the work of the painters belonging to the German groups ‘Die Brücke’ and ‘Der Blaue Reiter’, independent painters such as the Austrians Kubin and Kokoschka, and finally the development of Expressionism into the ‘New Objectivity’, as represented by painters such as Max Beckmann, Otto Dix and Georg Grosz.

The sans used on the back cover is Univers.

Hublot’s Big Bang Book is a 126-page chrome monolith, conceived as a spatial object, retracing 20 years of innovation, know-how and vision for this high-end watch collection.

The famous Swiss manufacturer of high-end watches Hublot (LVMH Group) chose Agence LaPetiteGrosse to produce the book celebrating the twentieth anniversary of its iconic Big Bang model, to be revealed at Watches and Wonders Geneva 2025.

It offers an exciting immersion into the brand, beyond the watches, through a history of visions, passion and know-how. Our challenge was to transcribe all this journey into an exceptional publication. Our basis was a common thread running through the history of the Big Bang, the Lab Tech visual universe.

We opted for strong, assertive typefaces: Euclid Mono by Swiss Typefaces and Gotham by Hoefler & Co., accompanied by MVB Sacre Bleu. The layflat binding allowed the creation of a full chrome block by Nava Press. Four stacked copies equal a perfect cube.

Art direction by Pauline Pierre & Jefferson Paganel.

Cover of the official program for the 85th Academy Awards: semi-matte black finish with bronze foil stamping featuring the stylized Oscar statuette

As part of the 85th Academy Awards ceremony held in 2013 by the Academy of Motion Picture Arts and Sciences, a dedicated graphic system was developed to accompany this major event in the film industry. Created by KCD Worldwide, the official brochure was given particular attention, both in terms of editorial concept and artistic direction.

The program, designed in a square 24×24 cm format, stands out for its high-quality printing, most notably its semi-matte black cover enhanced with a brilliant gold metallic foil, featuring a stylized version of the iconic golden statuette. This design lends the object a sense of refined sobriety, in keeping with the prestige of the ceremony.

The 46-page brochure follows a carefully structured typographic system: Sofia Pro, designed by Olivier Gourvat, is used for titles and subtitles, offering a contemporary geometric rhythm and a modern tone, while Adrian Frutiger’s Univers in Light and Regular weights is used for body text, ensuring clarity and readability.

The visual identity for the brochure was also extended to the television broadcast, with the on-screen graphics for the ceremony – aired on the ABC network – adhering to the same typographic principles. The result is a coherent visual language across both print and digital platforms.

Title page of the official program: gold metallic finish featuring the official 85th Academy Awards logo

Double-page spread presenting all nominees of the 85th Academy Awards: a clean and structured layout, with the right-hand page displaying the complete list of nominees

Presentation of the nominees spread across three pages with two folds

Double-page spread with a layout featuring a title, subtitle, and body text aligned to the left

Double-page spread dedicated to the Governors Awards

Double-page spread with a black background

These cookbooks by TV chefs Max Inzinger and Gerda Aurich were created with children for children. Two volumes, one about baking and one about salads, were published by Ceres Verlag, Bielefeld, in 1979.

Braun-Design used Pluto Outline, tightly spaced and as large as possible, filled with two shades of brown and green, respectively. Pluto Outline originated at Face Photosetting in London in 1969 and found wider distribution when it was adopted by Letraset. The author names as well as the interior are set in italics from another 1970s staple, ITC Souvenir by Ed Benguiat.