A photo essay by Jana Asenbrennerova documenting her tight-knit Czech village, where family and community—not work—are how people define themselves. The “Workaholism” issue uses boxy, utilitarian typography, evoking a degraded photocopy.

Throughout the essay, the chaotic, homey images are presented as if in a crowded family photo album, changing orientation to fit their context.

Photographer Paola de Grenet’s words and images of M., her intellectually disabled daughter who can “pass” for normal, reflect on M.’s complex transition into womanhood. In the essay, pairs of photographs portray her daughter in a shifting, ambiguous light, encouraging readers to look more closely.

A jarring neon spot color is used heavily throughout the “Workaholism” issue’s intentionally hectic layouts. A running “data layer” in the sidebar provides work-related statistics that link the magazine’s personal stories to broader global trends.

Collier Meyerson interviews Margaret Atwood in the “Anger” issue, which employs bold headlines and razor-sharp supporting text in tension-filled asymmetrical layouts.

Melissa Spitz documents her intense relationship with her mentally ill mother through uncomfortably intimate photographs and diaristic text. The essay’s pink paper reflects her mother’s hyper-feminine self presentation—but the saccharine aesthetic is undercut by stark typography and off-balance layouts.