Club of Engineers & Friends e.V. is a Berlin-based charity focused on global justice, practical innovation and long-term partnerships. The website presents the organisation through a project-led structure that moves between fundraising, storytelling and participation, rather than separating campaigns from ongoing work.

Projects include Floating Mothership in Bihar, Wajukuu Makerspace and Mushroom Manufaktur in Kenya, Day of Caring in Berlin, Permaculture Trainings, and an Exchange Program between Nairobi and Berlin. The result is a site that feels closer to a network of collaborations than to a conventional donor platform.

Typefaces in use are Store Norske Ja Mono from Skriftkompani and ABC Diatype from Dinamo.

If we want to rewrite the history of design, we must take its beginnings into account. The period before the Bauhaus, the importance of “arts and crafts,” and, above all, the achievements of women in graphic design have long been neglected in the presentation of German design history.

UN/SEEN brings together previously unknown material and sheds light on the lives and work of female designers in the fields of book design, poster design, typography, illustration, and packaging. In ten chapters, UN/SEEN documents the latest research findings and uses numerous examples to show how successful and self-confident the first generation of female graphic designers was and which discourses from that time still shape the discipline today.

UN/SEEN questions traditional narratives and contributes to the discussion about design and gender with new role models. The book is accompanied by the project platform unseen-women.design. The publication is available in both an English and a German edition.

Published by Slanted Publishers and edited by Petra Eisele and Isabel Naegele, this volume features a foreword by Ellen Lupton and contributions from Brigitte Baumstark, Friederike Berger, Julia Blume, Gerda Breuer, Petra Eisele, Aliena Guggenberger, Jana Haase, Antje Kalcher, Julia Meer, Julia Mummenhoff, Isabel Naegele, Julia Neller, Antje Neumann, Bettina Richter, Julia Rinck, Kerstin Stöver, Ute Thomas, Christina Thomson, and Sabine Wieber. Designed by Julia Neller, the book comprises 422 pages in a 18.4×26 cm format. Produced using full-colour offset printing, it is printed on Arena Rough 120 g/m² paper by Fedrigoni and bound as a hardcover edition featuring a lenticular foil cover and thread stitching.

New Design from Düsseldorf, organized by the Faculty of Design of the Peter Behrens School of Arts at Hochschule Düsseldorf–University of Applied Sciences in collaboration with design (from) düsseldorf, presents around 50 nominated projects by graduates of the programs in New Craft Object Design, Communication Design, Retail Design, and Exhibition Design. The exhibition took place at NRW-Forum Düsseldorf, and the accompanying catalog documents and reflected on the presented works, highlighting the innovative design thinking emerging from Düsseldorf.

The projects engage with contemporary social issues—such as identity, gender, feminism, sustainability, education, and science—through experimental and artistic approaches. In doing so, the role of design and the impact of its methods are continuously examined, critically reassessed, and reinterpreted within a rapidly evolving society, with the aim of addressing societal questions and creating new spaces for reflection.

The catalog includes forewords and an essay on the exhibition design process, in which students developed and realized sustainable exhibition furniture specifically conceived for the presentation. In addition, it features project descriptions by the exhibiting graduates, offering insight into their individual concepts, methods, and positions, while celebrating the breadth and quality of design being developed in Düsseldorf today.

The bilingual publication (German and English) was edited by the Faculty of Design of Peter Behrens School of Arts at Hochschule Düsseldorf–University of Applied Sciences; design (from) düsseldorf – Förderverein des Fachbereichs Design der Hochschule Düsseldorf e.V; with co-editors Eric Fritsch and Anne-Cathrine Mosbach. The book has 360 pages measuring 17×24 cm, was offset printed in full color with spot color, and bound as Swiss brochure with flaps, open thread-stitching, and inkless embossing. It was published by Slanted Publishers. ISBN: 978-3-69202-008-2.

Published by ArtAsiaPacific and Korea Arts Management Service (KAMS), Extreme Beauty: 12 Korean Artists Today features the work of twelve contemporary Korean artists and their unique styles and approaches to making art. This volume is the first of a yearly series by the same publishers and to-date always designed by the creative studio Barnbrook: Accelerating Realities (2023), Contingent Worlds (2024), Hidden Realms (2025).

From Barnbrook studio's Instagram post:

Our design approach experiments with an extremist typography style that aims to synthesize the new by crossbreeding legible and experimental fonts. This approach brings intensity to the design, particularly in the repeated words on the names of the featured artists, which benefits from the dynamism of brush stroke gestures. We balance this experimental typography with a clean and legible style for the body text, which includes generous space for featuring the work. We also highlight the work titles in the text using an inbuilt underline function of the font, which merges all descending characters to create unconventional letter shapes. Finally, we use red as a representative color for Korea, but also to evoke danger, courage, and passion in the design context.

The book title is prominently featured at the center of the cover and set in Swiss Typefaces’ Black Mamba. The title showcases all the peculiar features of the typeface, from the arabesques, to the bold uppercase and light caps alternates in the lowercase slots. Black Mamba also appears throughout the interior, notably in the index and for the artists’ names, where it is applied with horizontal repetition to create a brushstroke-like effect. Accompanying Black Mamba in the titles is NaumType’s Base&Bloom, while Dinamo’s ABC Favorit is used for the body text. A special detail is the use of Swiss Typefaces’ Vogy Smog for the X on the page after the flyleaf, before the colophon and title page. The same glyph reappears in the index to vertically spell out the book title.

Other typefaces used in this volume for the multilingual parts are Source Han Sans and Cairo. The latter is not shown in the included images.

The ArtAsiaPacific logotype (not part of the book design) is set in Tiempos.

春莺舞 is set in Source Han Sans.

Basel-based designer Enea Bortone created a series of posters for Neubad Luzern between 2018 and 2023, a cultural venue housed in a former indoor swimming pool in Lucerne. Among them, Neubad über Wasser halten (2021) uses Grenat for its headline, produced as part of a membership campaign to support the association during the Covid lockdown, and sold as part of a limited poster series via Support Your Local Artist.

The type is set in alternating directions to form a dense, uniform block of text, an approach that likely echoes the raw brutalist concrete of the building itself. The small line at the bottom appears to use LL Brown.

Catalog for the exhibition Francis Bacon: The Beauty of Meat at the Museu de Arte de São Paulo Assis Chateaubriand, dedicated to the work of Francis Bacon. The publication references art books from the 1950s, featuring a color photograph inset into a bas-relief cradle on a Colorplus-coated cover, with the artist’s name and the top edge in silver hot stamping. Fold-out pages reveal Bacon’s sequential works, reinforcing the sense of repetition and variation present in the painter’s practice.

While the book draws on traditional art publishing formats, the typography is rooted in contemporary queer typographic research. DINdong by Clara Sambot and Adelphe by Eugénie Bidaut and Bye Bye Binary introduce forms that shift normative structures, creating a dialogue with the contrast between control and distortion present in Bacon’s work.

Captions pair DINdong with ABC Favorit.

Image and Power. Zooming into Zeppelin Photography / Bild und Macht. Zeppelin-Fotografie im Fokus is an exhibition at the Zeppelin Museum Friedrichshafen that explores how images can both hold and communicate power. It asks how images shape our understanding of history, how they can be manipulated, and when they become propaganda. The exhibition was created for the 125th anniversary of the first Zeppelin airship ascent. It examines the Zeppelin as a visual and symbolic motif in photography and connects this history to broader questions about images and power today.

Berlin-based neo.studio developed the design, creating a key visual that captures the exhibition’s core ideas in a bold and direct way. Large typographic forms interact with a zoomed-in Zeppelin photograph. Halftone textures, chromatic shifts, and vivid gradients further intensify the visual language. Generation Mono by Nguyen Gobber was used as the main typeface for titles, which were set with stacked letters to dominate the given format. The headline typeface was paired with ITC Avant Garde Gothic, originally drawn by Herb Lubalin and Tom Carnase.

The program leaflet additionally uses ABC Favorit by Dinamo.

Art Handling in Oblivion assembles five art collections that have been stolen during key historical events, either by regimes or organised individuals. Seizure of art is one of most hidden and underestimated objectives of war. Behind conquering campaigns lurk hidden stories of deprived cultural heritage and devastation of the enemy's cultural identity. Some of the discussed collections have been found and restituted, others are still in hostile possession or missing.

The book is published as Volume 1 (#501) of the paperback series fink twice by edition fink, originally presented by Rob van Leijsen as his Master thesis for the Spaces & Communication course at HEAD – Genève in 2012.

Art Handling in Oblivion was awarded as one of the Most Beautiful Swiss Books of the year 2014 and received a honorary appreciation at the Best Book Design from all over the World competition in Leipzig in February 2015.

Notes on Living. Reflections on Ukraine Today was published earlier this year by Spector Books. This anthology presents current positions of contemporary Ukrainian authors. Their narrative texts, essays, diary entries, and poems deal with faultlines in society and the psychological state of the present. The topics include the politics of language, the dreams of soldiers, wartime urban architecture, Western fatigue, shame, and radical gestures of care. The texts set out to make their reflections on current conditions a basis for discussing a future postwar society. The book is complemented by two image sequences with drawings by Davyd Chychkan and Marharyta Polovinko.

It was edited by Max Eulitz and written by author and psychoanalyst Yuliia Leites, curator and journalist Hanna Tsyba, and curator Alya Segal. With contributions by Mariana Berezovska, Oksana Briukhovetska, Oleksandr Burlaka, Davyd Chychkan, Hixto, Yelizaveta Landenberger, Yulila Leites, Oleksii Minko, Marharyta Polovinko, Julia Stakhivska, Nastya Vogan, Arina Yanovych

Design by Lorenz Klingebiel with typefaces KTF Rublena (Kyiv Type Foundry) and ABC Favorit (Dinamo).

Harvey is the AI platform tailored for legal and professional services, used by top law firms and in-house legal teams – including A&O Shearman, Reed Smith, Deutsche Telekom, and PwC UK – to elevate their craft and navigate complexity. The brand foundation was shaped by Portland-based studio Geist, working alongside the Harvey founders and brand consultant Shawn Farsai, producing an identity that stands apart in a category full of generic tech tropes.

In June 2025, Harvey launched its first out-of-home campaign in New York – “Practice Made Perfect” – with Geist and Daybreak, where typography carries the entire expression: the wordmark, headlines, and display copy are all set in TWK Ghost (designed by Nolan Paparelli and published by WELTKERN), its refined high-contrast shapes giving Harvey the editorial gravitas of a legal journal while signaling craftsmanship and precision. ABC Diatype by Dinamo is used as a supporting sans-serif for body copy and UI – a measured counterpoint that lets TWK Ghost hold the emotional and visual weight of the brand.

I MAY NOT SEE YOU, BUT JESUS AND THIS CAMERA DOES is a collection of theories, first hand experiences, and found footage discussing the different states of surveillance. From organized mass surveillance to civilian surveillance or, in other words, sousveillance (to observe those in positions of power), this publication showcases the reality of monitoring systems currently in place and their effect on the public.

Texts by Xavier Marquez, @camera_duels, Malte Ziewitz, Kate Palmer Albers, Robin Williams, Gregory R. Brown, Sara Morrison, and Adam Clark Estes.

The typefaces used are Milling and ABC Diatype.

Noah’s Ocean – stylized as Noah*s Ocean – is a Swiss premium swimwear brand that views style and sustainability as inseparable. The designs are created in Zurich and produced in a small manufactory near Porto, meaning that the company has a deliberately short supply chain. The outer fabric is made from 100% recycled post-consumer PET making the material quick-drying, velvety soft, durable, and resource-efficient. The collection currently occupies a previously unoccupied niche, the father-and-son collection and is currently being developed for the whole family.

Behind Noah’s Ocean is Robert Fritze, founder of the Zurich-based design studio Kreativfritze. With over 16 years of leadership experience in agencies and consulting firms, he describes himself as someone who combines a business mindset, design thinking, and a hands-on spirit. At Noah’s Ocean, he has consistently put this approach into practice. He’s responsible for design, development, marketing, and the online store—in other words, almost everything. The brand is managed by his wife, Vanessa Fritze. Vanessa and Robert have dedicated the brand to their son, Noah. A project for the next generation.

For every product sold, Noah’s Ocean makes a donation to selected marine conservation programs that are dedicated to protecting sea turtles and marine ecosystems. The brand identity is encapsulated in the Love Turtle, which captures the essence of their love for the ocean. The brand shares its commitment with one of its closest typographic partners: the Pangea typeface by Fontwerk. Pangea’s designer, Christoph Koeberlin, always donates 25 percent of his royalties to support the conservation and reforestation of the rainforest. Both projects demonstrate that sustainability, in the context of design, need not merely be a marketing promise, but can in fact be structurally embedded.

To complement Pangea, Robert Fritze drew upon Jan Fromm’s Nice Collection, a contemporary serif family with four optical sizes that combines clarity, personality, and readability. Fritze: “The combination of Pangea and Nice—or as I call it, ‘Nice Pangea’—conveys both Noah’s Ocean’s premium positioning and its commitment to sustainability.”

‘Nice Pangea’ appears wherever Noah’s Ocean meets its customers. At the point of sale at Jelmoli in Zurich, in the Swiss retail chain Duett Boutiques, but also at partner beach resorts, in Zurich, Küsnacht, and Germany. Billboards, shopping bags, packaging, flyers, and wet bags for swimwear carry the brand’s visual identity into everyday life. A unifying element is the slogan “Reternal Love,” a play on “eternal love” where the prefix “Re” stands for Recycle, Reuse, Refurbish, and Repair.

Loyalty programme and identity for the Paul Smith's Collectors Club, designed by agency Limesharp.

A stamp-collecting loyalty programme for British fashion brand Paul Smith, where members build a digital album of over 100 bespoke illustrated stamps earned in-store and online across 20 countries.

The Collectors Club logo is set in Kalice from Claude Type, designed by Margot Lévêque, in both Regular and Italic. It is paired with Paul Smith’s brand typeface Mint Grotesk by Lift Type. Diatype from Dinamo is used for text on the stamps.

YAS is a nationally recognised organisation for art in all its forms. We give artists space to think about, make and produce their work, and we open our doors to share, show and sell it. Founded in 1977, Yorkshire Artspace provides high-quality, affordable studios for around 170 artists and makers across two Sheffield city-centre sites — Persistence Works and Exchange Place. Alongside this daily creative life, we run a public programme of exhibitions and events that bring contemporary art and craft into view. We also support artists’ development through residencies, crits and access to subsidised facilities.

Design by local design agency Peter & Paul. From print to website, all typography is set in Daria Cohen’s Onlysans (available from Contemporary Type) and Aurèle Sack’s LL Brown, available from Lineto.

The corporate design for Die Mehlwerkstatt is a modern interpretation of baking craft. The focus is on sustainability and quality: no artificial flavors, no additives, no baking mixtures – baking art in its purest form. The taste of the past meets today’s zeitgeist. This look and feel is carried forward in the social media concept and is also reflected in the product photos.

The design was made in collaboration with Dominic Brandt.

Packaging for a haircare line by Michael Ahlmeyer, featuring Cosi Azure (Nikolas Type) in large display settings, accompanied by ABC Favorit (Dinamo) and an unidentified serif typeface.

Across the cartons, stacked type compositions form the phrase “The Aesthetics of Chemistry,” establishing the primary graphic element of the series. Vivid product colors vary throughout, while the typography remains the constant.

Book design for Vom Spazieren, Gehen, Reisen und Unterwegssein, published in 2025 by Transhelvetica.

The author, Walter Hoffmann, is in his 80s and lives with his wife Nagako in the Swiss Alps. Their mindset at this age is simply inspiring. It was such a nice and meaningful project to work on. 180 pages full of humor, life wisdom, and little stories about walking that make you smile (and think).

Printed by Finidr, Ltd.

Tom Ross is an Australian architectural and editorial photographer whose work has appeared in publications including Monocle, Dwell, Wallpaper, and Dezeen. His new visual system was designed to convey credibility, cinematic warmth, and quiet confidence while maintaining an authentic, human quality. This balance is thanks to the use of ABC Diatype by Dinamo, chosen for its precision, it is easy to use beautifully, and enjoyable when intentionally misused. Its balanced geometry introduces subtle tension when layout rules are intentionally bent, creating space for nuance and personality.

Tom’s identity is set exclusively in Diatype’s Medium weight, delivering clarity across print, digital, and motion applications, anchoring the identity, letting the images take centre stage without needing the type to take a backseat.

TITLES is a creative platform that combines AI and blockchain to let artists train and monetize custom models. It prioritizes on-chain attribution, revenue sharing, and artist control. ffforum was tasked to reimagine the TITLES identity, emphasizing refinement and forward-thinking through a sharp typographic system and a simplified mark that conveys luxury and clarity. The idea of the white cube is flipped on its head: the black box becomes an open system for exchange and authorship, where movement and transparency replace rigid ways of making.

ffforum developed three motion systems – Circularity, Multiplicity, and Openness – to anchor TITLES visual identity to its core values. Each system is adjustable to support the seamless promotion of artists, models, and user creations on the platform. These systems extend into simplified static layouts for quicker bursts of promo. By guiding and incentivising the cultivation of relationships with reputable artists, ffforum aimed to elevate the standard of the platform, making it easier to generate high-quality work. This initiative is extended by a spotlight series for visiting prompt artists, that push the artist models to its limits.

We developed the brand identity for TARB, a new hair care brand. Guided by the philosophy of “True And Raw Beauty,” this project explored how to translate nature’s pure, primal beauty into a refined and deliberate language.

With both the Korean and Japanese markets in mind, we sought an aesthetic closer to attitude than visual excess. The direction began with the texture of Eastern minimalism and the quiet discipline of Zen.

We stripped away unnecessary ornamentation and built the packaging with restrained colors and generous negative space. The logo, too, takes its cues from natural forms rather than artificial expression.

To ensure beauty in its raw state is conveyed without exaggeration, we carried the brand’s core values consistently across its visual language and overall spatial experience.

The logo is custom drawn. Nordvest is the brand’s primary typeface, used for headings. On the packaging designs, it’s paired with Arno Italic. The website additionally uses ABC Diatype (English), Sandoll GothicNeo (Korean), and PingFang (Japanese).