An assemblage of artistic reflections and perspectives that grew through and together with the collective experiences of inhabiting a garden in Villa Romana, Firenze.

The book design uses Ouvrières by Laure Azizi (in affamées and agricultrices styles), Grancy by Minjong Kim, BianZhiDai (in Base and Ring styles) and Kiddo by notyourtypefoundry, FA_AAAIEMOADDP and FA_PTGWDOBSHK by Full Auto Foundry, and OPS Cubic by OPS Type. Lincoln/MITRE was used as well, but isn’t shown in the images.

Series of posters for Hotline, a succession of three events organized by Arte Faact and Combo Bongos at a local club in Nantes called Macadam. The identity had to be inspired by the retro flyers of sex chat line advertising, using a real phone number to give the practical informations for the event.

I used a mix of script fonts from different eras, as it was a good way to tell the story of a phone number quickly written on the napkin of a bar or a restaurant. The generously curved lines of West Cooper Nouveau Swash also provide a feeling of seduction and give coherence to the identity.

Risograph printed at Collectif Bonus.

Design studio Our Polite Society used OPS And Ever, a newly released sanserif by OPS Type, for this book of archival research into Argentinian architect Amancio Williams (1913–1989) published by the Canadian Centre for Architecture in partnership with Spector Books. Readings by Studio Muoto, Claudia Shmidt, and Pezo von Ellrichshausen present new and expanded understandings of Williams’s work, and situate the social, material, and political dimensions of his practice within contemporary architectural discourse.

OPS And Ever, designed by Jan Egbers, is a proportional update and continuation of OPS Favorite, a monospace released by the foundry in 2019. In the book, it is used alongside the mono, which still features in the indexes. The headings and cover of the book are set in a still-unreleased Ultra cut of the typeface.

Graphic designers Carmen Dusmet Carrasco and Lukas Engelhardt have been developing the colourful identity and website for Home Cinema for the past five years. The identity uses various weights of the variable font Tonka (by Céline Hurka and Huw D. Williams) and OPS Favorite (by OPS Type and Jan Egbers).

The identity has been evolving over the past years through all the different events and happenings and used Tonka prior to its release in 2023 and has been updated with newer versions and weights as soon as they were completed or released by Céline.

Home Cinema designs online streams and physical screenings, challenging storytelling formats. Through invitations and open calls, Home Cinema’s programs formally respond to the question: What can we see together when we cannot see each other?

In past editions, Home Cinema has collaborated with Mubi, wysiwyg, Filmhuis Den Haag, Reneenee, Laak, Waag Society, Rialto UV, Heartqore, Sandberg Instituut, Mike Kokken, Julian Ross, WORKNOT!, Karina Zavidova… Our 2023 programs are generously supported by Stimuleringsfonds Creative Industries.

Home Cinema was founded in 2020 by Carmen Dusmet Carrasco and Andrea González Garrán, designed and developed with Lukas Engelhardt.

Due to funding cuts Home Cinema is on a temporary break. The website is still online and the program will continue once further funding is available. If you are interested in supporting the project, please reach out to the organisers.

City Atlas is a book that immediately recalls the travel-guide format: narrow, oblong, with rounded corners that fit easily in the hand. Much like Architectural Roots (Dell Upton, 1986), which inspired its conception, the book uses the atlas form to reflect on architectures shaped by migration. But City Atlas is not a conventional atlas. Instead, it collects stories, spaces, and signs of migrant work.

The project began between 2015 and 2019 in Saarbrücken, where Prof. Amalia Barboza, teaching at Saarland University (since 2019, she teaches at Kunstuniversität Linz, Austria), observed how the city could be read through its restaurants, shops, and other businesses built and run by migrants. The resulting book combines ethnographic observation with a visual archive and reflections on the ways people design their working environments, from the choice of a name to the decoration of an interior, often shaped by memories of home.

While its subject matter is serious—the visibility of migrant labor in a climate of political tension—the book also carries a sense of curiosity and openness. The photographs and short texts encourage the reader to linger on details: the signage of a shop, the decoration of an interior, the choice of a business name. These fragments, when seen together, form a panorama of urban life shaped by migration. Like a true atlas, it asks its readers to move across borders and cultures.

For the cover and appendix, large-scale lettering uses New Alphabet by Wim Crouwel (The Foundry). It is a constructed alphabet for stories of constructed spaces.

The main part of the book is set in Pantasia by Wei Huang (Counter Forms).

OPS Past Perfect by OPS Type is used for essay headlines and pagination, while the essay body copy itself is set in Times, providing a classical and neutral grounding.

All reconstructed shop logos use Suisse Int’l by Swiss Typefaces. This provides a unifying framework, standardizing disparate designs into a coherent visual register.

The book design guides the reader gradually. A short introduction eases the entry, followed by a recurring graphic motif: the shape of a boarding pass, signaling the themes of travel and migration. Text sections are interwoven with photographic sections, establishing a rhythm between narration and image.

The photographic work, all produced by Prof. Amalia Barboza, explores the same foil collages in three ways. First, they appear as framed images. Then the same foils are projected using an overhead projector, creating ephemeral, layered visuals. Finally, the foils are collaged onto window glass, merging printed architecture with the actual cityscape.

The layout is bilingual: all German text is printed in black, while all English text appears in Pantone 287 dark blue, giving the two languages distinct visual identities.
The essays follow a classical book-typography style, in contrast to the main section of 35 shop portraits, which are set in monospaced Pantasia. Within this grid, quotations are treated specially: they appear 1.5 times larger and shifted on the baseline, breaking the rigidity of the mono system while maintaining the grid. To avoid collisions of ascenders and descenders, additional baseline shifts are applied—these sections are “unicased.”

City Atlas was produced by Quatroprint in Brno, Czech Republic. The book is printed in two-color UV offset and comprises 228 pages on slightly transparent, thin paper (Munken Polar Rough 90 g), giving the volume a delicate, tactile quality. The binding is a Swiss-style sewn structure with blue thread and an open spine, allowing the book to lie flat.
The cover is made from cardboard with a partial UV glossy coating, designed to evoke the texture of passport cloth, reinforcing the themes of travel and migration. The corners are rounded.

The book invites readers to engage with cities as layered spaces of culture, labor, and imagination, offering a rich experience that extends far beyond its pages.

Cover with slanted Croissant for the title

From the Ventoline website (translated from the French):

Ventoline is a fanzine born of both a daily enthusiasm for everything to do with music, and a genuine weariness at the near-absence of women's words on this vast subject. Commenting, criticizing, prescribing, sharing stories, tastes, dislikes – in short, musical culture… […]

Ventoline is an entirely self-produced and self-distributed editorial project that receives no public or private financial support, and has been running for three years thanks to the sale of its issues and a few hectoliters of elbow grease. Everyone contributes on a voluntary basis, according to their desires, means and time. The frequency of each issue is therefore erratic, but this absence of imperatives also proves to be a relief: Ventoline comes out when you can, when you want.

In issue no. 6, the contributors talk “about record collecting. Algerians, unloved instruments, Mexican narco-culture, euphoria and mourning of concerts, a heterotopic club of dykes, Moldavian tradition, and even motherhood – who knows!”

The text typeface in this feature is GR10. The blackletter used for the headline is Neue Theuerdank Fraktur.

Contents (“sommaire”) ft. Spider Panic and Optima with faux small caps and faux italics. The numbers are from GST Aero; the text at the top is set in OCR-X.

Insitu in two columns for text, with Tekton for the headline and emphasis

Body copy is set in Glasgow. The quote uses Modern Blackletter and the bold extended grot is OPS Facitype.

More text in GR10, paired with drop caps from Neue Theuerdank Fraktur and some Ober-Türkheim.

Verona on an angled baseline, with body text in Figure Monospace. The sans used for the lines on a steep angle appears to be ES Allianz.

The poster (50×34 cm) included in Ventoline no. 6 is a transcript of a TV interview with Edith Massey, a.k.a. the Egg Lady, actress and friend of John Waters, and performer of two punk rock hits including “Punks, Get Off the Grass”. The display typeface is Lyric Stencil NF, slanted, paired with more Figure Monospace.

On the left: Produkt and Glasgow Italic with headlines in obliqued Optima. On the right: WS Naive with triple contour and replies in Routed Gothic.

More of the interview in Produkt and Routed Gothic

Frankfurter Medium (left) and ITC Souvenir Italic (right), with big type in IM Fell DW Pica Italic and Lyric Stencil NF

The box on the bottom left of the right page is set in EB Garamond. The colophon in OCR-X additionally mentions Eccles and Hershey Times, but these fonts don’t seem to be shown in the images included here. Jakob, Aston Script and Flash represent a mirrored reproduction of an exhibition poster, and Harrington (“Club Ventoline”) appears to belong to a previous design, too – these aren’t listed under the fonts used for the design of this zine.

Signals from the Periphery was an international graphic design event that took place in 2017 at the Tallinn Art Hall in Estonia. The project brought together urgent developments in graphic design with a focus on practices that extend the field. These practices often expand into other cultural fields, while creating new hybrid forms, as well as seeking out new economic models to sustain themselves.

Signals from the Periphery encompassed an exhibition at the Tallinn Art Hall, a satellite exhibition at the EKA Gallery, an extensive public programme and a book that was published by EKA Press. The book is accompanied by the eighth issue of Dark and Stormy, a fanzine about writer’s block, black holes and surprising comebacks by Rustan Söderling and Bart de Baets, specially produced on the occasion of the exhibition Signals from the Periphery.

Publication
Editing: Elisabeth Klement & Laura Pappa
Translation: Martin Rünk
Copy editing (Estonian): Martin Rünk
Copy editing (English): Annie Goodner
Graphic design: Asterisk
Printing: Tallinn Book Printers
Publisher: EKA Press
Authors: Åbäke, Phil Baber, Evening Class, Paul Gangloff, François Girard-Meunier, Rudy Guedj, Bardhi Haliti, Marguerite Humeau, Tim Hunkin, Elisabeth Klement, Mathew Kneebone, Knock! Knock! Books, Laura Pappa, Partia e Fortë, Mirjam Reili.
Typefaces include: My Maps Sans​​​​​​, Arial, ITC Serif Gothic, LL Bradford and Neue Helvetica

Exhibition
Curators: Elisabeth Klement & Laura Pappa
Exhibition team: Ott Metusala, Karolin Nummert, Siim Preiman, Mirjam Reili
Design: fanfare (Lotte van de Hoef & Freja Kir), Ott Kagovere & Maria Muuk, Ott Metusala, Kaisa Sööt & Koit Randmäe, Elisabeth Klement & Laura Pappa
Graphic Design: Asterisk (Elisabeth Klement & Laura Pappa), Indrek Sirkel & Jan Tomson
Production: CNC Stuudio, Ott Metusala, OÜ Polli, Mihkel Lember, Kaisa Sööt & Koit Randmäe, Print24, Tekstiiliprint
Installation: Valge Kuup
Typefaces include: Computed Type, an early version of ABC Maxi Round, Brazil, Capitalis Brutalis and Clip

Satellite exhibition EKA Gallery
Supervisors: Else Lagerspetz & Loore Sundja

Website
Development: Ranno Ait
Typefaces: Lincoln/MITRE (David Bennewith with Bram van den Berg), Helvetica Neue and Arial

Bastard Countryside collects together fifteen years worth of exploration within the British landscape, dwelling on what Victor Hugo called the ‘bastard countryside’: “somewhat ugly but bizarre, made up of two different natures”. Robin Friend’s large-format colour images scrutinise these in-between, unkempt, and often surreal marginal areas of the country, highlighting frictions between the pastoral sublime and the discarded, often polluted reality of the present.

Starting from a classical landscape tradition, Friend’s meticulous 5×4 photographs are given heightened effect through exaggerations of colour and composition, embodying friction between British pastoral ideals and present reality. In particular, Friend follows moments in which the expected narrative of the landscape is rudely interrupted: often through leakage, pollution, or the wreckage and containment of nature.

In his accompanying essay, writer Robert Macfarlane describes Bastard Countryside as “a vision par excellence of our synthetic ‘modern nature’– produced by assemblage and entanglement rather than purity and distinction”. Contained within Friend’s photographs are “hard questions […] about what kinds of landscape one might wish either to pass through or to live in; about what versions of ‘modern nature’ might be worth fighting for, and why.”

Poster made by Rémy Poncet, member of the French collective Brest Brest Brest, for the French musician Forever Pavot. The main title with the band name is designed with the font OPS Restructional Text by Our Polite Society and smallest informations are set in Agipo by Radim Peško / RP Digital Foundry and Challenge by Letraset. Two versions of the poster exist, one for the gig at La Cigale (Paris) and the other for the tour.

AJAP (Albums des Jeunes Architectes et Paysagistes) is a biennial competition organized by the French Ministry of Culture. They distinguish young European architects and landscape designers under 35 who have realised a project or participated in a competition in France. The exhibition presents the work of the twenty winners constituting the 2018 promotion, fifteen teams of architects, five landscaping teams.

République Studio designed the exhibition identity including a series of booklets, signage, and other collateral for AJAP 2018. It will be exhibited in all the French Institutes around the world for the next couple of years.

Set design by Gaspard Pinta / Photos by Julien Lelièvre