De Situatieis a literary platform and publication founded byPIP Den Haag, aimed at promoting the art of storytelling among young audiences by providing space for emerging writers and type designers alike. For thissecond publicationthey selected ten texts selected from De Situatie’s annual writing competition. For each text,All Sizesselected a unique typeface in close collaboration with type designerCéline Hurka. None of these typefaces had been published before, allowing writing talent and design talent to meet on equal footing. The texts are interspersed with half pages that are tilted in the reading direction, inspired by thedwarsliggerconcept—originally designed to make books readable with one hand. Within the context of De Situatie, this device also functions symbolically, reflecting the platform’s slightly off-axis position within the literary landscape. All editorial texts are placed on these half pages, reinforcing the relationship between form and content. Spencer Platt,Spencer EllenandSpencer Persisby Kaat Vandenbroeck
This typography communicates experimental literary authenticity—the kind of restless creative energy found in underground zines and avant-garde publishing. It's deliberately anti-commercial, embracing typographic chaos as a form of creative democracy where each story gets its own visual voice, reflecting the platform's mission to give equal footing to emerging writers and type designers.
The radical decision to use 13 different unpublished typefaces creates a typographic anthology that mirrors the literary one—each font becomes a collaborator rather than just a vessel. This approach works because it transforms potential cacophony into intentional eclecticism, with the tilted half-pages (dwarsligger concept) providing structural unity that allows the typographic diversity to feel curated rather than chaotic. The mix of monospaced, script, and stencil forms creates textural variety that keeps readers visually engaged across different narrative voices.
Rather than traditional pairing, this system creates a typographic conversation where each font exists in dialogue with the others through contrast and context. The unifying element isn't visual harmony but conceptual consistency—each typeface represents a collaboration between writer and designer. The tilted editorial pages serve as visual bridges between the diverse typographic voices, creating rhythm and breathing space that prevents the eclecticism from becoming overwhelming.