Paragon explores the transitional period between the Bembo and Old-Face style. Rooted in Granjon's Paragon Italic (1554), it seeks to shape a free and digital interpretation. The typeface derives its name from the traditional Paragon size, a classification that corresponds to approximately 17.5 points. While the Italic is based on a single primary source, the Roman synthesizes Granjon’s style by using three references (Great Primer Romain, Double Pica Romain, and Pica Romain) in the context of the earlier transitional period of the 1530-60s. However, rather than serving as a direct revival, it can be seen as a reinterpretation of a typeface that Granjon himself never cut. Instead, Paragon aims to translate Granjon’s understanding of shapes, perception, dynamics and printing into a contemporary digital context.

The artist-run space Spacing in Bremen focuses on the exhibitions that have taken place in the outdoor space since 2020 with the publication “Standort Freigabe”. It showcases the exhibitions „Sichten“ (Björn Behrens, Axel Braun, Anja Engelke, Javier Gastelum, Anne-Lena Michel, Jana Koelmel, Christopher Muller, Stefanie Pluta, Pio Rahner, Hannah Wolf), „Kartierung“ (Heike Kandalowski, Anne Linke, Susanne Hefti, Tobias Zielony, Pio Rahner, Michael Schmid), „Grasslands for Insects“ (Mattis Kuhn), „Please hold the Line“ (Elias Errerd) and „Ohh Please“ (Franziska Nast). In addition, students of the Bauhaus-University Weimar are featured in the publication with photographic works. Containing texts by Arie Hartog, Tobias Heine, Maxwell Stephens and Mira Anneli Naß. Published by Verlag Marian Arnd. Typeface in use: KMR Apparat. TDC Award – World’s Best Typography 2025.

Freedom of the press, freedom of conscience and teaching, personal freedom, fair taxation and education for all — almost 200 years ago, these were the core demands of a movement that campaigned for a democratic basic order. Without success at the time. The history of democracy in Germany is closely linked to a history of failure. The constitution, which protects the population, was not established until 1949 and is still the foundation of democratic coexistence in Germany. But this basic order is currently coming under pressure. Anti-constitutional forces are working hard to question, delegitimize, relativize, undermine and revise it. Disappointed hopes, misunderstandings about how democracy works and a lack of willingness to participate are frustrating. There is much to be done. But society has countless opportunities to get involved: for diversity, for an open society, for human rights, for freedom and peace, for economic and social stability. Sous les pavés, la plage. Artist book by Pio Rahner, published by Textem Verlag. Typeface in use: KMR Melange Grotesk.

Apparat draws inspiration from typefaces of the early 70s that were optimized for TV broadcasting. The counters have a much stronger curve tension than the outer shapes and the junctions are opened up by large ink traps. This creates a very high legibility on Screen and Paper. It caricatures traditional letterforms (based on William Dwiggins ‚M-formula‘) which makes the design language extremely concise. That’s why Apparat is very versatile since it is designed to be used in both display and text sizes. It is available in seven weights and comes with several features like digital time alternates, clock symbols for every hour and many more. The typeface was developed in collaboration with Michael Clasen and is available for purchase at kimera.

Stefan Troendle is a Product Designer based in Munich, working across a broad spectrum of design disciplines including industrial design, lighting design, and scenography. His interdisciplinary approach enables him to develop projects that combine functional, technical, and spatial considerations while responding to the specific requirements of each context. Regardless of scale or application, his work is guided by the conviction that design gains relevance only when it positively influences everyday life and creates meaningful experiences for its users. This publication documents a selection of projects developed between 2016 and 2022, providing an overview of the diversity and evolution of his work during this period. The design concept of the book is intentionally restrained and systematic, drawing inspiration from technical documentation, archival publications, and industrial catalogues. A clear typographic hierarchy, precise grid structure, and consistent visual language create a framework that emphasizes clarity, accessibility, and legibility. The resulting visual language conveys a technical and archival atmosphere while reinforcing the publication’s role as a comprehensive record of Troendle’s body of work and design methodology. Typeface in use: Platte Grotesk
Photography by André Ott

Semantik is a typeface family which resulted from the research into typefaces for Telephone Directories and revisits the ’heavy-top’ emphasizing to increase legibility. Semantik is loosely based on Ladislas Mandel’s Nordica and Colorado, as well as Roger Excoffon’s Antique Olive. The project reexplores the technical aspects and stylistic elements of typefaces for Telephone Directories in a screen-based environment, improving legibility in the contexts of both continuous reading on screen and reading while scrolling. The typeface adjusts to the diverse screen environment as a variable font with a responsive axis, that adapts between Desktop and Mobil. The variable-axis is regulated via javascript by the different screen or column width, ranging from a desktop, a tablet or a smartphone device. Semantik contains in total 30 separate styles, which include five weights with matching italics suited for Desktop, Mobil and List each.

A receipt is a unique singular object. It shows a certain number, given to you at a certain place, in a certain year, on a certain day, at a certain time. A unique object which is not replicable. Taiwan’s invoice system is unique in the world in the sense that every receipt must follow the same printed format specified by the government. In addition, an accompanying lottery-like mechanism is implemented to give different prizes to some invoice holders periodically as an incentive for citizens to request receipts upon transaction. This projects documents Taiwan’s printed receipts which slowly fall into oblivion, due to its replacement through digital versions. The book can be seen as an abstract mapping of interactions of trade over a certain time. It connects each receipt to the time and place of its origin. In the Editorial Design I tried to take an every day object and place it in a different context, so that it is seen with new eyes and tells its own unique story. Typeface in use: Ando

A phenomenon of light. Visual perception that enables one to differentiate something otherwise identical looking. Defining quality of an object or substance by light reflected by the object. The portfolio of the French product designer Mathilde Lafaille was created with the intention to mirror her lively and colorful work and personality. Mathilde has an artistic and experimental approach to objects. Her practice through design is playful, intuitive, and poetic. She is interested in the relationship between objects and visual art. It seems to her that objects are small creatures living and interacting with us and can change our perception of our daily life. Her work distinguishes itself by the sensitivity of colors and processes in design. The spectrum of colors used in this book serve as an index of the portfolio and bestow each project an individual signature. The colors guide the viewer through the book, so to speak, and resonate the aura of each project it contains.

Platte Grotesk is a typeface family with a unique feature. Monospace uppercase and proportional lowercase. The idea to create a text typeface with such a feature came from researching license plates of the occupation zones in post-war Germany. The name as well as the high contrast of the typeface are a reference to early Grotesk typefaces of the late 19th century. Platte Grotesk has several case-specific features and alternates due to the monospace design of the capitals. The typeface produces an interesting texture in which the uppercase letters are only noticeable as different at second glance. The character of the typeface changes completely as soon as it is placed in all-caps and with that to a full monospace typeface. The play with elements of traffic and transport is reflected in some many type features. This project started under the supervision of Kai Bernau at ECAL and is currently still evolving as different versions are being developed.

Project documentation for Lotte – aiding independence in old age is the diploma project in the master in product design at ECAL by Sarah Hossli. We should all be able to get up and sit down on our own regardless of age or ability. However, due to age-related impairments this becomes challenging for many elderly people, limiting their freedom in everyday life. With its extended armrests that go all around and serve as a handrail, this armchair enables the user to get up intuitively in a position with minimal resistance. The design has been developed based on research carried out in care homes, prototype testing with residents, evaluations from medical and care experts, and the technical expertise of the Swiss furniture manufacturer Girsberger / Customized Furniture. The editorial design documents the process, the research and the result of this project. It reflects the with the typographic alignments on the subject matter in which it places certain elements in the centre of attention and highlights what is normally not. Typeface in use: Platte Grotesk