There are three reasons why FUD Grotesk ended up on the catalogue’s cover. First, Ilya is my friend, and I literally like all his typefaces. They are sophisticated, quite bold and distinctive at the same time. Secondly, FUD Grotesk inherited the narrow proportions of Modernist poster typefaces, and therefore works great at large sizes. Third, there is not a single boring glyph. You can endlessly stare at how gently the 2, or the lowercase a, are curved. And, of course, I am a big fan of micro-serifs! I almost feel bad that we used FUD Grotesk in a rigid way, without ligatures and alternatives.