WT Garamono in use for by Wolfe Hall for Carrés by Mexican artist Rodrigo Hernández. According to the design studio, the publication —

accompanies two exhibitions of Rodrigo Hernández’s modular structural artwork, on which colourful, silver mounted plates can be moved by visitors along a wooden frame. Exploring the relationship between sculpture and image, space and object, stillness and movement. Positioned in different configurations at Künstler:innenhaus Bremen and P/////AKT, Amsterdam, the imagery is shuffled to not distinguish between each iteration.

Produced in a small format, the book is printed with metallic-silver ink throughout. Each side of the cover has two flaps, with an introduction in English and German at the front, and a list of works and colophon at the back. Each opening up to reveal close up details of the frame beneath.

Text is set in WT Garamono, a monospace take on the classical Garamond style that allows the poetic phrases to dance and shift across the page in a structured way, weaving between shuffled imagery from both exhibitions, and layering on top of each other through the lightly transparent paper.

Edited by Nadja Quante and published by Bierke, Carrés comes with a softback cover with section sewn binding and double cover flaps, finished with metallic ink. It has 48 pages measuring 140×210 mm.

Screen printed posters, flyers and stickers designed by Benoit Brun for the ECAL Xmas market in Lausanne, Switzerland. The identity makes good use of the variable width and slant axes of the newly updated WT Skrappa variable font, by WiseType. For the smaller text, Stefan Fitze’s unreleased Rhea was used. Screen printed by Duo d’art, Lausanne, Switzerland. Photographed by Marvin Merkel.

A new book published by Phaidon and designed by Philipp Doringer at Studio Joost Grootens. This unprecedented survey of more than 250 architects working in the Brutalist style features a bold typographic hardcover using the condensed geometric typeface WT Skrappa (designed by WiseType). The inside layouts are clean, simple and methodical – owing to Joost Grootens precise attention to detail and experience with architectural publications. The typography marries Skrappa for headlines with the robust ABC Monument Grotesk medium (by Dinamo) for text.

The Brutalists was written by Owen Hopkins and published by Phaidon. The hardback edition has 368 pages measuring 290×205 mm (11⅜×8⅛ in) and contains 350 illustrations.
ISBN: 9781838665630

As introduced by Phaidon on their website:

An unprecedented survey of more than 250 architects who continue to define one of the most polarizing yet celebrated of styles

Brutalist architecture inspires a passionate response, be it adulation or contempt. There is no disputing, however, that the style produces some of the world’s most breathtaking buildings. This landmark volume documents the movement as never before, by profiling the architects behind the style.

Featuring more than 250 historic and contemporary architects (organised alphabetically) along with specially selected examples of their work, this book includes international icons alongside those who are less well known or who have for too long been neglected, providing a unique record of this influential global architecture movement. The book includes 350 stunning images of more than 200 iconic Brutalist buildings, alongside fresh and surprising masterworks from 1936 to the present day, creating the ultimate companion to the Brutalist masters.

Featured architects include: John Andrews; João Batista Vilanova Artigas; Lina Bo Bardi; Bogdan Bogdanović; Marcel Breuer; Douglas Cardinal; André-Jacques Dunoyer de Segonzac; Bertrand Goldberg; Ernő Goldfinger; Jadwiga Grabowska-Hawrylak; Agustín Hernández Navarro; John M. Johansen; Louis I. Kahn; Denys Lasdun; Le Corbusier; João da Gama Filgueiras Lima; Alberto Linner Díaz; Owen Luder; Paulo Mendes da Rocha; Oscar Niemeyer; William L. Pereira; Affonso Eduardo Reidy; Paul Rudolph; Moshe Safdie; Alison Smithson; Clorindo Testa; Decio Tozzi; and John Carl Warnecke

The cover and spine displaying a modified Zaft² in combination with Cardone

A24's recent publication designed by Studio Elana Schlenker and Jordi Ng. A 574-page hyper-local travel guide book to the most far-out state in America. The book features a puffy cover with blocky, eccentric display typography reminiscent of classic Florida postcards (a modified version of WT Zaft² published by WiseType and designed by Jacob Wise and Céline Hurka). The rest of the book features a range of typefaces including Fátima Lázaro’s Cardone (205TF), Swiss 721 (Bitstream), and Hammer (Out of the Dark).

The colour palette revolves around a “Florida Pink” swatch, a shade of pink that was pulled from the wildlife and architecture of the state. Each chapter of the book corresponds to a different geographical part of the state and begins with a fold-out illustrated map of the locations and landmarks in that chapter. Folios on the side of each page provide strong wayfinding and a sense of location throughout the book.

Edited by Gabrielle Calise and illustrated by Gabriel Alcala, with an introduction by Tyler Gillespie.

Published by A24 Books, 2022
547 pp.
6.5 × 8.5 in.
Puff cover with embossed detailing
Gatefold chapter maps

A close up of the embossed puff-cover showing Gabriele Alcala's illustrations integrated with the Zaft² font.

The Four Pillars (2022) showcases the work of photographer Eli Durst. Designed by Lewis Chaplin, the flexi-bound faux-leather hardcover utilises the swashes from WT Kormelink Italic. The interior uses a mix of both Roman and Italic. From Loose Joints Publishing:

The Four Pillars grew out of a relationship with a faith-based self-help group in Newtown, Connecticut, that Durst photographed over several years. Despite their ostensibly comfortable lives, these affluent suburbanites felt unfulfilled and directionless. They met weekly in church basements to discuss spiritual and secular strategies to find meaning and purpose, and to deconstruct the markers of success, progress and identity within middle-class American society.

144pp, 235×270 mm, 70 tritone plates, with a prose piece by Rick Moody

The recent re-brand of the prestigious Crane paper and stationery company by Collins (2020) features a custom logotype designed in collaboration with Jacob Wise, based on WT Monarch Nova. Monarch Nova was released in 2020 by WiseType as a full update to the previous WT Monarch. ABC Whyte (Dinamo) is used throughout for all typography.

Crane has been making paper for over 250 years. Stephen Crane established the Crane paper business in 1770 and purchased the Liberty Paper Mill in Dalton, Massachusetts. Paul Revere was one of Crane’s first customers when he used the paper to print the first paper money for the American colonies, thus establishing the inaugural thread of Crane’s presence in American life. By 1801, Crane was the primary producer of banknote paper for local and regional banks and, eventually, for the U.S. government.

Between 2019 and 2020, Collins agency worked closely with Crane’s teams to revitalise their brand, reboot their digital presence, developing a more relevant brand voice as well as enabling new products, artist collaborations, and customisation capabilities. Crane is exploring new ways of expressing the depth and design of timeless, premium-quality 100% cotton products. The legendary 200-year-old company moves into the 21st century, new and intact.

Artwork for Pablo Diskko’s EP Our Dreams Circling Near. Design by Jacob Wise with photography by Oliver Schwamkrug. Published on Dissolute, 2021. Typeset in WT Saltburn.