Out of the Ashes. A Photographic Account of Shelbourne FC’s 2024 Title-Winning Season is a self-initiated project published by 53Six in collaboration with Póg Mo Goal. 53Six is a sports marketing agency based in Dublin. We work with clubs, leagues, federations and brands to help them connect with fans. Póg Mo Goal is a football magazine published in Ireland exploring design, culture and the lesser-known aspects of the game.

With Shelbourne FC chasing down their first league championship in 18 years, we wanted to document the historic occasion and tell the story of the run-in. When we witnessed this incredible story unfolding, we knew it was a moment worth capturing.

In an increasingly digital world, creating a photography book felt like the perfect way to preserve the emotion, energy, and history of this title—something tangible that would stand the test of time. This book showcases the beautiful photography of two of our favourite collaborators, Simon Crowe and David Sexton. We approached them both to shoot the fans, the players and the action as Shelbourne sealed their first league triumph since 2006. It also brings the 100 year old stadium on Dublin’s north side, and the characters who flock there, to life on the page in all its gritty beauty.

When we began thinking about this project and how to document a potentially historic league-winning run-in for Shels, with one of Irish football’s most talked about and enigmatic managers, Damien Duff, we knew there were only two people who we wanted to capture it. We’ve worked with David and Simon on many of our favourite projects and knew they were in a unique position as fans to get right into the action.

The finished book went on sale in Shelbourne’s club shop in Tolka Park in February 25 with all proceeds going to the club’s Football For All programme. Led by dedicated coaches and community leaders, the Football For All programme caters to adults with intellectual and physical disabilities, ranging across a wide spectrum of capabilities. From individuals with Down Syndrome to those with Autism and other intellectual disabilities.

Source: www.bestmarketing.ee Liis Treimann. License: All Rights Reserved.

 

Source: mag-scene.blogspot.com License: All Rights Reserved.

One of the first issues to feature the new design by Jacek Utko, from November 2006

Äripäev is an Estonian financial newspaper founded in 1989. Initially published once a week, the frequency was changed to three issues and then to five issues in 1996. In 2023, it ceased publishing its print issue, and now is distributed exclusively online.

In 2006, Polish designer Jacek Utko was commissioned to overhaul the newspaper’s look. In the course of this redesign, a new logo was introduced. It is based on FF District (2002) by Albert Boton. Utko’s design was recognized by the Society for News Design as one of the World’s Best-Designed Newspapers.

As of 2023, Äripäev is still using this wordmark, on the website as well as for various subbrands like the Äripäev Raadio podcast.

Source: news.err.ee Siim Lõvi /ERR. License: All Rights Reserved.

Äripäev reception desk

Source: www.aripaev.ee License: All Rights Reserved.

The newspaper logo in an issue from 2010. The main text and headline typeface is Metroflex.

Source: www.aripaev.ee License: All Rights Reserved.

Äripäev is Estonian for “business day”. The weekend edition consequently is named Puhkepäev, that is “holiday”.

Source: www.aripaev.ee License: All Rights Reserved.

The newspaper logo in an issue from 2022. The main typeface used for text and headlines now is Stag Sans. The slogan “Ausalt ja kartmatult” (“Honest and fearless”) is added in FF District Light.

Source: podcast.ee License: All Rights Reserved.

Posted as part of a series that pays tribute to Albert Boton, one of the preeminent French type designers of the past sixty years. Albert Boton died on July 20, 2023, at the age of 91.

A few interior pages and details from the magazine Dinero (“Money”) published in Mexico by Grupo Expansión. Art directed by Óscar Yáñez, it used Borges in the main text, Borges Poema for special titles, Fedra Sans for intros and other details, and Stag for key numbers. The cover likewise features Stag, together with Auto and Futura.

Editorial design to celebrate the collaboration between architect Olympe Zographos and the brand Lulli Marseille.

Chapters and main titles are mixing Dignitas Italic with Karla Bold. The main text is set in Karla Regular while subtitles are in Dignitas Bold.

F37 Bella by F37 Foundry in use by Mario Eskenazi Studio for Vallformosa, a sparkling wine substitute with zero percent alcohol. The stencil shapes of F37 Bella are used to create an abbreviation of the firm name: VFMS. The sans serif is Giorgio Sans from Commercial Type, using its titling alternates with circular shapes for C, G, O, Q, 0.

Website design and photography for Johnson Partners, executive search specialist who help organisations find CEOs and other board staff for leading organisations. The brief was for corporate but edgy. Christopher Doyle & Co. designed the brand identity first.

The website uses the Austin News Condensed for headlines, quotes and super large headings (on large browsers) adding an editorial feel while Kommissar is used in short bursts for stats, subheads and the massive logo in the footer. Untitled Sans does a great job for body copy and is super legible and holding up at small sizes (filter links on top of the news tiles).

Website design and art direction: Harley Johnston Design
Brand identity: Christopher Doyle & Co.
Photography: Prue Ruscoe
Web development: ED.

The Parisian institution Le Théâtre des Bouffes du Nord commissioned graphic design studio Violaine & Jérémy for the identity of their 2016–17 season. We worked on posters and programs, and type: Dida had been designed for the theater’s 2016 season, to make the identity of the season stronger, and more personal. The black Dida and its slender counterpart Scalie (unreleased) were paired with Giorgio Sans (Commercial Type) and the serif Caslon 540.

The concepts of Surprise and Absurd formed the general theme for this year. Founded in 1876, the theater had an erratic existence and it seemed it would never get off the ground. In 1974 Peter Brook took over and decided to rehabilitate the old building. It is now a fascinating place famous for the accessibility of its stage to the public.

Flama and Stag are the fonts used by Diario de Navarra, a local newspaper based in Pamplona, region of Navarre, Spain. It is also a graphic project designed by errea comunicación years ago.

In 2020, this newspaper trusted us and gave us two columns of its space for a new proposal: a visual diary of our quarantaine. Spain is one of the countries most affected by the Covid-19 pandemic. Our goal is to talk visually how this affect to our lives. Working from home has become as exciting as being in a big data newsroom. It helps us to be creative and strong as a design team. See this project on www.cuarentenavisual.com.

How has the coronavirus infected the other news in the cover newspaper that we read every morning? How many steps do we take and count every day? How may times do we say “I love you” or “leave me alone” to our partner living 24/7 together? How many seeds did we find in a 1 kilo rice bag?

Te Reo Māori educational resource that focuses on the events of the 1981 Springbok tour of New Zealand. The resource was designed to engage year 11–13 students and provoke them to explore the concept of social consciousness, while improving their research and literacy skills.

The typeface selection was unbound by any identity guidelines. A custom font wasn't an option within the budget (and skill levels!), so Brush Up was selected to represent the protesters’ hand-painted signs that were a symbol of the tour. Jockey was chosen for its bold geometric quirkiness, and was used to avoid hand-painted overkill from Brush Up for secondary headers and infographics. Stag’s texture felt right for the running text in the students’ resource, and Graphik was used for the complimentary captions and instructional text within the teacher’s guide.

The full kit includes a class set of student resource books (Te Reo Māori), teacher resource (bilingual) with picture card pack, DVDs of Patu! and Try Revolution, and the containing box. Published by Huia, the book won the Edify Award for Best Educational Book 2017 in the PANZ Book Design Awards.

A book by Bonnie Siegler “offering an invaluable step-by-step guide to how to talk so creatives will listen, and how to listen when creatives talk.” [Google Books]

Front cover makes use of Font Bureau’s Titling Gothic. Credits are set in Neutraface No. 2. Table of contents make use of two different widths of Rhode. Chapter body text uses Stag.

“It’s Complicated Being a Wizard”, Double IPA @ 8% ABV

Two labels with line illustrations designed by Steve G. McDonald for the Burlington Beer Company in Williston, Vermont. The typography pairs Stag and Klinic Slab.

“Uncanny Valley”, IPA @ 7.0 ABV

The identity of Rencontres Cinématographiques de Dijon 2017 was conceived by La Direction at a workshop with Audrey Petitjean, Di Suo, Emilie Ferreira, students of the École Nationale Supérieure d'Art de Dijon (ENSA Dijon).

For an identity that takes it to the streets to attract visitors' attention, one might expect some bold type in the design. La Direction took another route and picked two typefaces that cut and punch their way through its black background, not unlike a projector piercing the darkness of a cinema hall.

The festival logo consists of the abbreviation RCD, set in Commercial Type’s Giorgio Sans, a low contrast and compact typeface with alternates for C, D, G, O, Q, X. On the poster, Giorgio Sans is supported by Damien Gautier's Beretta Sans (205TF). In the program booklet, Beretta is used throughout – from headlines and pull quotes to page navigation and body copy (where the dots almost merge into lines), a million little dots guide readers along three days of cinema.

Poster, with Beretta showing its old style numerals.

Bangers & Tash:

The Picture House is an exciting gallery and creative space that required an equally creative visual identity to launch its brand.

Occupying an old Sydney County Council building that was built in 1939, the space was originally used as a showroom to teach housewives the benefits of switching to electricity. It included a theatre upstairs for cooking demonstrations and the capability of showing ‘talking pictures’.

Since September 2011 Fast Company, an American business magazine with a focus on technology and design, is doing well with TypeMates’ space-efficient Meret Pro for text.
Not using the Book weight​ but the lighter Regular gives the layout of Fast Company magazine a fair and fresh feeling.

Alongside Meret, three typeface families from Commercial Type are doing the main work of editorial design: Custom tailored condensed sans serif Kaiser (available as Kommissar) and Antique Olive flavoured Zizou Sans and Slab (renamed for the retail release to Duplicate Sans and Slab).

Besides performing their fixed tasks in the typographical hierarchy, every now and then all typefaces are used for different sizes as well: e.g. for slide-in quotes in layouts or subtitles on the cover, depending on issue and topic.

The main logo on the window shop is hand painted, adding smooth corners to Proto Grotesk. This is especially visible in the ‘A’.

Grain Traders is a restaurant that wants to feed people right. Everything about the brand and space had to tell this story in the quick moments people are there for their workday lunch.

We drew inspiration from a variety of places and sources : Anthony Bourdain’s food trips into the Bronx and Queens, alongside flour sacks from the Mid-West and old Puerto Rican posters were key in providing a base for the Grain Traders visual and spatial universe.

Because this concept essentially puts users through a queue, choose and pay process our brief for the space was to make these activities disappear by immersing guests in a authentic atmosphere. This led to special touch points higher than eye level so wherever you are in the space you would not feel left out of the experience. [Parable Studio]

Parable Studio built the logotype and main identity of this Singapore restaurant with Proto Grotesk. Even if the menu on the actual location is hand-painted to add a bit of cachet to the atmosphere, Proto Grotesk is used for everything else, from shop window to stationery and coffee cups. On printed menus, it is paired with a bunch of typefaces from Hoefler & Co. to add an American flavor. Klim Type’s Pitch makes an appearance, too.

As always, Parable are playing with glyphs included in the font that most designers underestimate or forget, and their layouts are full of such typographic details: circled digits, arrows, alternate number set, ornaments …

Detail from the hand-painted menu. Some of the styles might be modeled after fonts, see e.g. House Industries’ Signpainter Collection, and especially House Script for “Black” / “By Hand”.

Proto Grotesk is used alongside Knockout, Pitch and Leviathan on this menu. Note the circled digits.

The menu features a plethora of additional fonts, including Page No. 508 (“Bowls”, with upside-down ‘M’ for ‘W’), Kestrel Script and Local Gothic (“The Beebop”), Vitesse and Neuland (“Mr. Pirom”), Bureau Grot (“Add Ons”), and more.

In 2013, toward the end of my time designing Seattle Met magazine, I introduced Giorgio. Looking back on my work, it seems like I was trying to freshen things up without going through a full redesign. It started from a pure place: I wanted a condensed sans because Colfax, used throughout the magazine, didn't have one. But I knew I was tempting fate, because I've always felt like condensed faces are an easy way out for editorial design, almost like cheating — they're all too happy to squeeze in and save you. For instance, the "Bad Blood" opener. It's not really doing anything but it's nice and big and doesn't spoil the stunning photograph. That said, Giorgio and Giorgio Sans were designed for a specific magazine and purpose — “bringing runway proportions to the page in contrasting ways” — and I think it’s impressive that they made italics for both typefaces (which was a big selling point for me). So my opinons about using condensed fonts is a critique on designers who reach for them in times of need, as I did. But hey, when the clock is running down on the monthly production cycle, they sure do save a lot of time.

nine nine:

Golden age hip-hop is a name commonly given to mainstream hip-hop music made in the late 1980s and early 1990s, typically by artists originating from the New York metropolitan area. The golden age is noted for its innovation—a time "when it seemed that every new single reinvented the genre" according to Rolling Stone. This publication contains underground hip-hop classics from late 1990s: 4 singles and one track from compilation album recorded or released in 1999. […]

Set in Grad by Phil Martin. Giorgio Sans and Graphik has been used for captions. Pilar has been used for headings.

Etnohaus is where art takes place. People meet, make music, exchange opinions.
A creative center for projects and spaces in Rio. They invited us to enter the house, so that we could arrange the things that were going on there.

Our role was convey the whole essence of Etnohaus in design. We made a logo that says a lot about how they see each other: through a circle, in a place with no hierarchy. Where everything and everyone unites through music, respecting the personality of each other. Where everyone is welcome.

From there on, we selected colors that could express these fine personalities, a typographic selection that communicated everything they were talking about, and putting it all together in a system that would be easy to replicate on the communication platforms they use.

Brooklyn based design duo Anton & Irene detail the process of working on artist Shantell Martin's new website in a great blog post. Make sure to check it out for a detailed study on the customized typography and identity work.

Shantell is an artist who is best known for her black and white compositions that result in an autobiographical and dreamlike meditation of lines; a language of characters, creatures and messages. Her work bridges the fine art and commercial world, and is instantly recognizable. And democratic.

When we had the overall direction, we spent some time looking for the right typeface, and chose Kommissar [Ultra] by Commercial Type. Not only does it contrast with her hand-drawn work, but it’s also bold and strong, just like Shantell.

The logo uses Kommissar with some custom tweaks.

Geared campaign by Popular Mechanics and American Hiking Society.