Admiradores and all-caps Ed Gothic for a Christmas-themed album by Michelle Davis & The Gospel Sessions, released by Excelsior Recordings, Amsterdam. The cover that pairs photography and illustration was designed by Emanuel Wiemans together with Meinder Verheggen.

[More info on Discogs]

Ed Gothic is a late work of Ed Benguiat. The informal sans was made in collaboration with Ken Barber at House Industries, and released in 2004 as part of their homage to the grandmaster of lettering and type design. Admiradores is a typeface by Amsterdam-based illustrator and sign painter Jeroen “Shamrock” Klaver, and can be characterized as a “jumpy Latin”, i.e. a face with triangular serifs and a bouncing baseline (and one of only a few typeface designs to feature a seriffed o). In the 1950s, Ed Benguiat had contributed to this genre, too, see Benguiat Jumpy Latin.

In 2020, Dutch publisher De Bezige Bij issued a new edition of Jack Kerouac’s On the Road, using Guido Golüke’s translation from 1988. Amsterdam-based studio Moker Ontwerp provided the cover design. The main title shows custom lettering by Henk van het Nederend, employing two elements that are typical for the 1950s/1960s: alternating glyph colors and interlocking letterforms. By giving the two O’s the same color, the words start to become pictorial, hinting at car tires. The semi-slab caps with subtly flared stems are nicely contrasted with Disturbed Script by Shamfonts. The informal monoline script with the bouncing baseline was used for the names of author and publisher as well as the Dutch title (Onderweg). The Type Directors Club in New York recently awarded the cover design with a Certificate of Typographic Excellence.

From Belgian publisher Stockmans Art Books:

Reg Herygers creates fascinating typographical experiments for every month of 2021. One day is added to each week by means of the Japanese lucky number 8 and a surprising thirteenth month complements the series. 13 numerical shapes play a game of light and dark, while concealing each other. They merge together in a colourful abstraction that makes one forget time.

The calendar is used to playfully denounce the rat race of daily life and to compensate for lack of time. "Eight Days a Week, Thirteen Months a Year" indicates more time for oneself and especially for the people you care about!

Part of the profits of this project will go to Tejo, an organisation dedicated to vulnerable young people between 10–20 years old. In these challenging times it is more necessary than ever to pay attention to our younger generation to create a perspective on a sustainable future.

The calendar, printed on G-Snow by Arctic Paper, uses Europa for months and numbers on the bottom of each page, with Europa’s alternate single story a activated. The information part can be separated from the artwork by tearing it of along a perforated line. The artwork for each month is based on the numerals of some of seven more sans-serif typefaces.

Source: emanuelwiemans.com Emanuel Wiemans. License: All Rights Reserved.

Front cover of New Cool Collective’s Electric Monkey Sessions, 2014. [More info on Discogs]

Amsterdam-based illustrator Emanuel Wiemans designed the cover art for the two Electric Monkey Sessions records by Dutch jazz group New Cool Collective.

For the first volume released in 2014, Wiemans made an illustration of three mandrills in suits, apparently about to the enter the stage, exchanging impish looks. The typography is composed with Ed Interlock. A masterpiece of design and technology, this font was designed by Ken Barber with Ed Benguiat. It is based on Benguiat’s Newlock, originally drawn for Photo-Lettering in the 1960s. Tal Leming accounted for the technical implementation which enables the automatic glyph substitution, with some letters extending over and under their neighbors. Wiemans combined the interlocking feature with a stacked-and-justified setting for a solid block of letter goodness. The track list on the back cover uses another typeface from the Ed Benguiat Font Collection by House Industries, Ed Brush.

Emanuel Wiemans. License: All Rights Reserved.

Back cover with the track list in Ed Brush.

Source: www.emanuelwiemans.com Emanuel Wiemans. License: All Rights Reserved.

Front cover of New Cool Collective’s Electric Monkey Sessions 2, 2017. [More info on Discogs]

For the second volume, the three mandrills find themselves in the nocturnal jungle. This time, the title is set in SpinOut, a “wacky 50s psychedelica” face from Shamfonts. It was designed by lettering artist and sign painter Shamrock, who, like Wiemans, is at home in Amsterdam. The Tiki-style SpinOut has a matching inline sans companion named SpinOff. The font used for the band name and the back cover is Eubie Script by Dai Foldes.

Source: www.juno.co.uk Emanuel Wiemans. License: All Rights Reserved.

Back cover with the track list in Eubie Script.

Source: www.emanuelwiemans.com Emanuel Wiemans. License: All Rights Reserved.

Digipack with CD.

Source: www.doxrecords.amsterdam License: All Rights Reserved.

Release poster ft. Ed Brush for the tour dates.

These new shirts by Pull&Bear use Goth Ball Crap. One has plain black letters, the other shows outlined caps. There is no outlined version of this font, therefore it seems to have been made by the designer of the shirts.

The fact a blackletter font is used on clothes that don’t refer to metal music is really uncommon and astonishing. But the interesting thing is the brutalist style of the shirts, especially the one with the outlined text. Gothic fonts are associated with brutalism. It seems that gothic fonts could be considered as signifiers of the brutalist style (there are many examples of brutalist designs that use Harbour, see the Font Review Journal for further reading). Furthermore, the fact that the brutalist style can be seen on a ready-to-wear shirt signifies that brutalism is now mainstream. As evidence that these clothes can be perceived as brutalist, see the Primavera Sound & Pull&Bear page.

http://whinyrhino.com/the-book/