Cover and assets for the single “I don’t recognize you anymore” by dubstep music producer Rohaan, released on Oval Records. The visuals are created by Kristian Startari, using the fonts Large (stretched) by Alexandre Créquer and Pinyon Script by Nicole Fally.

Lumina Travel Co. is a travel company that creates unique, story-inspired trips for women. They offer slow travel experiences, like exploring Europe at a relaxed pace, and literary tours based on favorite books. The goal is to make you feel like the main character of your own adventure, combining fun, culture, and a bit of magic. It’s for people who want meaningful, immersive travel that goes beyond typical vacations.

The typefaces used in the Lumina Travel Co website are Westiga by Pixesia Studio for the logo and main heading, Libre Caslon Display for some headlines, Poppins for subheadings and EB Garamond for reading text. Additionally, Pinyon Script is used for an editorial flourish in sub-headlines, IvyMode is used for the call to action and Italiana and South Wind for some selected text.

Giulia Julss is an aesthetician who decided to open her own beauty salon in 2023. Her dream has always been to create a place where people can feel at home, take care of their bodies, and relax. This is how Giuly Julss – Un momento per te (“A Moment for You”) was born. The project was conceived by combining visual elements in a way that might seem inconsistent at first glance; in fact, the real goal was to create a cohesive style suited to a local, personal business without disrupting the surrounding context.

We used a combination of four fonts— Apfel Grotezk, Park Lane, Pinyon Script, and Molle—to further enhance this balance. Specifically, we chose a refined aesthetic (cooler colors, more formal fonts) for the first customer touchpoints, such as gift vouchers and business cards, while opting for a warmer, more informal, and spontaneous style (warmer colors, friendlier fonts) for touchpoints experienced within the salon itself. The logo is custom drawn.

Park Lane with swash alternates

Cover image: Vitória Cribb – BUGs (2023) video still. Courtesy of the artist.

Contemporânea's issue #10 is a 256-pages-long art magazine, centred around the subject of "more-than-human — perspectives on technology and futurity".

With 26 visual and written essays, the use of diverse typographies was essential to create a different feel for each essay, without compromising its overall structure. The two main typefaces — Neue Haas Grotesk and Freight Text — are used to differentiate the two languages (Portuguese and English) and are the backbone which then sustains the use of a multitude of fonts. In addition to those shown and listed here, these include Liquido, Slack, and Messina Sans Mono.

Issue #10 of Contemporânea features works from the artists Alexandre Estrela; Alice dos Reis; Alison Nguyen; AnaMary Bilbao; Andreia Santana; Basel Abbas & Ruanne Abou-Rahme; Cao Fei; Cécile B. Evans; Diogo Evangelista; Gabriel Abrantes; Igor Jesus; Isaac Chong; Isadora Neves Marques; Lou Cantor; Maene Maisha; Miguel Soares; Odete; Pedro Barateiro; Salomé Lamas; Seba Calfuqueo; Trevor Paglen; Vitória Cribb; and Zach Blas.

It also includes texts by Alberta Romano; Alejandra Rosenberg Navarro; Ana Salazar Herrera; Anne Faucheret; Audrius Pocius; Cristina Sanchez-Kozyreva; David Revés; Eduarda Neves; Gabriela Vaz-Pinheiro; Isabel Nogueira; João Sousa Cardoso; Luísa Santos; Manuel Bogalheiro; Maria Kruglyak; Marta Espiridião; Paula Ferreira; Rômulo Moraes; Sara Castelo Branco; Sara Magno; Sérgio Fazenda Rodrigues; Sílvia Escórcio; Sofia Nunes; and Tobi Maier.

Fonts in use: Neue Haas Grotesk, Freight Text, CirrusCumulus

Fonts in use: Neue Haas Grotesk, Freight Text, Molle

Fonts in use: Neue Haas Grotesk, Freight Text, GT Planar

Fonts in use: Neue Haas Grotesk, Freight Text, Ballare

Theatertreffen der Jugend is the youth theatre festival of Berliner Festspiele. The invited productions and theater-makers come together for a week of exchange, exploration and development of artistic forms of expression, discussion and, of course, theatre performances.

During the course of the festival, Festivalzeitung, a daily-published zine, discusses the productions, collects voices, resonates and reflects. Each day a new issue is written, designed, produced and published.

Triptych Roman with Italick by Ellmer Stefan, in use for body text, establishes a baseline for the design; in combination with Knif mono by Axel Pelletanche, Guillaume Grall, Benoît Santiard and Émilie Rigaud; and Buzz by Quentin Coulombier. Uses of various additional typefaces such as Pinyon Script by Nicole Fally, Reporter by Carlos Winkow, Map Roman by David Jonathan Ross, Barf Bold (originates from the 1982 sketch of the same name by cartoonist Bernard Kliban), Weiss Gotnitials by Manfred Klein, and Octopuss by Colin Brignall allow for playful and versatile graphics.

Design by Hannes Brischke and Lara Liske.

Texts and editing by Shaja Aenehsazy, Ansgar Riedißer, Miriam Pontius, Laura Anton, Rosa Engelhardt, Jannika Jenk, Emma Joerges, Pardis Mahdavi, Diana Röthlinger, Farukh Sauerwein

Pinyon Script for the names of the zodiac signs

Triptych Roman for text, with Knif mono for headings and Buzz for the title

Knif mono for ASCII art and text featuring staircase glyphs and stacked glyphs

Series of covers with the logo in Buzz

Table of contents on the inner side of the (shorter) cover, printed on colored paper

Title page featuring Reporter

A 15th-century engraving paired with Weiß-Gotisch Initialen

Octopuss Shaded in the clouds

Zephyr Italic is an all-caps typeface by Leonhard Laupichler.

Angewandte Festival is the annual festival of the University of Applied Arts Vienna (“Die Angewandte”). This year’s visuals pair the school’s house typeface Delphia with a number of more expressive typefaces, including Zephyr, GlyphWorld Desert, and Zorn. The concept and the design of the “AInimals” were developed by Pauline Louise Noemi Jocher, Marlene Kager, Maris Nisu, and Maximilian Prag. From the festival website:

The University of Applied Arts Vienna is committed to counteracting the production conditions in the arts and cultural sectors, which are massively restricted by the current situation. The Angewandte Festival 2020 will therefore take place and focus on alternative exhibition venues in digital and public space. Even if students, teachers and members of the university cannot, as usual, exhibit their works in the university buildings and invite participants to join discussions, debates and celebrations, we want to use the end of this challenging semester as an opportunity to produce new works and projects to be exhibited and discussed publicly. By moving this year’s Angewandte Festival into virtual spaces, we do not intend to proclaim a brave new digital world, but to react critically, awake and curious to the current situation.

The Angewandte Festival will take place 23–26 June, 2020, in digital as well as public spaces and will present the manifold activities of the University of Applied Arts Vienna.

Desert is one of the nine styles of Leah Maldonado’s GlyphWorld series.

Zorn is an all-lowercase typeface by Laura Csocsán.

Booklet cover (back and front). The text on the back is set in caps from Charlotte Rohde’s Serifbabe.

Booklet spread with text in Light and Wide Ultra Light styles from David Einwaller’s Delphia. The ampersand and the rotated heading are in James Edmondson’s Eckmannpsych. URLs (bottom left) in GlyphWorld Desert, signature in Nicole Fally’s Pinyon Script, column heading (right) in Zephyr.

Booklet spread ft. headings in Moritz Esch’s Wagemut and Janik Sandbothe’s Euphoria.

Booklet spread with more GlyphWorld Desert and Zorn.

Booklet spread with Eckmannpsych and Wagemut Ephemer, a distorted variant of Wagemut.

Timetable poster (front).

Timetable poster (back). Dates and intro text in Serifbabe, headings in GlyphWorld Desert, descriptions in Delphia. Pinyon Script is used for the URL.

Proposal for the first issue of Arquitectura Encubierta (“Hidden Architecture”), an independent publication that contains a brief selection of texts and articles building a bridge between architecture and vegetation, to be concerned with increased integration in nature nowadays. The project has not been realized.

Inspired by the work of Fernando Higueras, all photos were taken by Diego Moratalla, showing how nature invades the visual space of human structures. This contrast is reflected in the typographic choices: While the geometric TT Firs Neue represents solid architecture, Pinyon Script is the organic path that overlaps it, as it usually happens in those spaces where plants and concrete coexist. The text on the angled sticker/barcode on the cover uses a mix of Founders Grotesk and Kennerley.