Office Hours is “a program of informal conversations about Rhizome’s work and digital culture at large”, organized by Rhizome.

This digital poster announces an online presentation by Dillon Bastan on May 11th, 2023. It included a screening of the short film Criticality that Dillon created for their senior thesis. Audio developer and sound artist Bastan graduated from the Masters in Sonic Art / Sound Studies at the Universität der Künste Berlin in 2022.

The poster features various graphics marking the speaker’s technical and technological approach. For instance, the wave graphs in the middle of the design could relate to sound analysis.

The amorphous typeface used for the name is Aurora Lights and the date in Chennai. The rounded sans used for the description is yet unidentified. Bryant Alternate is similar.

Percy Jackson is the protagonist of a book series by the same name, written by author Rick Riordan and published by Hyperion Press / Disney Books. The fantasy novels, aimed at an audience of children/young teens, was first published as a series with five volumes, followed by a growing series of spin-off stories.

The “Percy Jackson” logo is based on Metamorphous, designed by James Grieshaber and art directed by Eben Sorkin for Google Fonts. The designers added a custom interlinear ligature connecting the Y and the O. For additional information, earlier editions of the series (see last image) use Eleganza.

The newest editions, released with new artwork in January 2023, and the new stories have an updated Percy Jackson logo with chrome effects. These 2023 releases use Questal Small Caps for the subtitle and additional information on the book covers. The look of Questal differs between outlets: the version used on these book covers is available from Fontspring (dated 2010); MyFonts offers a version with higher contrast and slightly different details, dated 2007.

An earlier edition of the Percy Jackson book series

Looking for Direction: Rethinking Theatre Directing Practices and Pedagogies in the 21st Century contains articles by 17 authors from all around the world. This book was published by University of the Arts Helsinki in collaboration with a network of North European directing programs – Alexandria Nova. It was designed by Vilmantas Žumbys.

The publication was set mostly using Suisse Works and Suisse Int’l by Ian Party. 18 other typefaces by various creators were used for details (complete list below).

Excerpt from the annotation:

The position of a director is a hot spot in theatre today. We need to confront the new questions of power and hierarchy in our work in a very concrete way, as well as the questions of representation and interpretation. How can we create shared meaning on stage when the metanarratives are losing their universality and the audiences interpret meaning more diversely than ever before?

Authors: Milda Al-Slamah, Mareike Nele Dobewall, Kristina Hagström-Ståhl, Runar Hodne, Pauliina Hulkko, Kevin Kuhlke, Saana Lavaste, Mika Leskinen, Egill Pálsson, Yana Ross, Riko Saatsi, Johannes Maria Schmit, Robert Schuster, Anja Suša, Una Þorleifsdóttir, Loreta Vaskova, Rodolfo García Vázquez

Editors: Ramunė Balevičiūtė, Saana Lavaste, Anja Suša, Una Þorleifsdóttir

The typefaces used in this book include (in alphabetical order): BadDog (by Ethan Dunham), Brevier (by Riccardo Olocco), Custard (by Rian Hughes), Dico (by Pieter van Rosmalen), Euclid Flex (by Emmanuel Rey), Filmotype Western (digital by Charles Gibbons), Flower Power (by Pat Scanlon), Hobeaux (by James Edmondson), LiebeLotte (by Ulrike Rausch), Lo-Res (by Zuzana Licko), Messer (by Inga Plönnigs), Nimbus Sans (by Eduard Hoffmann, Max Miedinger), Omnium (by Robby Woodward), Pauline (by Jeremy Dooley), Recherche (by Laura Worthington), Separat (by Gunmad), Stick (by Fontworks), Suisse Int'l (by Ian Party), Suisse Works (by Ian Party), Triplex Serif (by Zuzana Licko). Those that are shown in the images are listed under “Typefaces”.

The table of content pages use various typefaces for the author’s names. In page order: Messer (Una Þorleifsdóttir); Omnium (Milda Al-Slamah); Recherche (Riko Saatsi); Stick (Mika Leskinen); Nimbus Sans (Anja Suša); LiebeLotte (Rodolfo Garcia Vázquez); Dico Monospaced (Johannes Maria Schmit) and Bad Dog (Yana Ross).

Spread with a diagram; the author’s name uses Pauline (by Jeremy Dooley).

The name of author Rodolfo García Vázquez is set in LiebeLotte (by Ulrike Rausch).

The name of author Johannes Maria Schmit is set in Dico (by Pieter van Rosmalen).

The name of author Saana Lavaste is set in Flower Power (by Pat Scanlon).

After moving across the country to settle in the beautiful Pacific Northwest, Kelly Sell saw an opportunity to build a new client base for his practice of acupuncture, eastern medicine, and mindful self-compassion with the mission to help people to feel better.

Independent designer Danielle Alling of Ritual Made developed a visual identity that roots Kelly and his practice into this new place, by making a subtle connection to the outdoors where he spends much of his free time. By disregarding trends and focusing on timeless elements, the brand makes an important connection to these age-old, time-tested practices.

Louize is used as the primary typeface for nearly all aspects of the brand, including headers, paragraphs, and buttons. It is paired with Adobe Jenson Pro which adds a classic, timeless feel to the navigation, subheaders, and eyebrow copy. The logotype is set in Civane with a modified K and Y, and the tagline in Aviano Sans. View the complete brand and website at www.kellysell.com.

Designer Lorenzo Bezzecchi shared these notes by email:

La Baracchina, a historic restaurant in Modena, recently redesigned its interiors and restyled its own identity. We decided to design a menu that lived up to and reflected the expectations of the restaurant and its customers, using papers and finishing that match the colors of the interior design materials as closely as possible.

“Da Mangiare” and “da Bere” are printed in two different colors, sizes and fonts, to make the difference between them clear. Using Study I found it contemporary but still with a humanistic touch, and its slightly stiff lines worked well in contrast to the much softer Grad.

The restaurant menu uses Aviano Sans.

Halyard Display is the brand typeface of the Crystal Bridges Museum of American Art. The grotesque family by Darden Studio is used in a range of its 18 styles, including the italics. It serves for signage and wall lettering inside the museum, as well as for posters, web banners, maps, forms, and more. On the website, Halyard Display is paired with Locator by Process Type Foundry. The museum’s logo is in Aviano Sans by Insigne.

Quotes set in Halyard Display on the walls of The Studio, the museum’s artmaking space.

Halyard Display comes with a number of alternate glyphs. There are four different forms for R and even five for G. “Crystal Bridges” shows the straight-legged R and the beardless G with small aperture.

Detail from a map of the museum grounds.

Poster for the New Year’s Eve party, featuring outlined and overlapping lining numerals from Halyard Display Black for “2020”.

Poster for the College Day at Crystal Bridges. Halyard Display appears in several styles and sizes.

Web banner for Summer Fling, combining two recurring themes in the Crystal Bridges design, all-caps italics and gradients.

Animated banner for Yayoi Kusama’s Infinity Mirror Room, featuring Halyard Display Semibold Italic and a cameo appearance of Halyard Text Bold for the artist’s name.

Caps from Halyard Display Black for Halloween in the Hallow.

Hand-rendered Halyard Display for the Chalk Festival at Crystal Bridges.

Membership application form (detail).

Halyard Display in all-caps italics on the Art Totes, which can be checked out just like a library book, and taken anywhere on the museum grounds.

Locator is used for all live text on the website.

The museum’s logo is based on Aviano Sans.

Birra Stout and Youngblood are used for the promotional graphics for Laban. First aired as a 4-episode miniseries on Danish TV channel DR2, the “Christmas tragedy” by Nikolaj Steen was made into a movie in 2019.

Darden Studio’s bold wide slab with the uncoventional details is used to render the stage name of the tragicomical protagonist. Birra Stout is paired with Insigne Design’s Youngblood, a swashy cursive that adds some festive flair.

The site Historia/Arte (HA!) tries to make art and its history accessible to more people. Initiated by Miguel Calvo, the project aims to provide easy to read articles that approach art from a different perspective. The contents are available in Spanish.

The design of the site includes several layouts for different situations. The composition and the colors adapt to the piece of art the article talks about. A dynamic design system that adapts to the contents without being obtrusive.

HA! previously combined two typefaces, a geometric sans serif (Geomanist) and a serif (PT Serif). The latter served for long texts and main entries, while the sans was used for everything else: titles, subtitles, navigation elements, etc. In his redesign, Óscar Otero wanted to keep this duality of serif and sans, but with new typeface families. For the serif, he was looking for something a little less classic, with a large x-height for good screen performance, and somewhat geometric proportions, so that it pairs well with the sans. It also needed a contrasting bold style, so that it was no longer necessary to use the sans for emphasis within the serif body text. Otero eventually settled on Solitas Serif. Being able to use the regular version for free allowed him to try it for a few days before licensing the other required styles. For the sans, the initial idea was to continue using Geomanist, but while reviewing the Atipo catalog, the designer discovered Archia, which was still geometric, but in a more architectural way, with much more personality.

Otero has documented the design process in a series of articles, available in Galician and Spanish. Read more about the modular typographic scale based on the golden ratio, as well as other aspects such as layout and color.

Julie Romero is a professor and art embroiderer specialized in Haute Couture embroidery and fashion accessories based in Paris. She works as a freelance embroiderer for big names of the French Haute Couture like Chanel, Dior, and others.

To emphasize the connection to the fashion industry, she has chosen the stylish serif IvyMode as the main font on her personal website. It’s combined with Haboro Contrast for text and Proxima Nova for menu items.

The Winslow is a premium, boutique residential project by Devron Developments. Located in Toronto's coveted Lawrence Park neighbourhood, The Winslow residences comprise 68 meticulously designed suites.

From the earliest stages of the project, the ideas of community and connectivity played a major role in the brand strategy. Lawrence Park is a well-established and affluent community that values the qualities of time and a life well lived — all of which are conveyed through the brand identity.

Combining print, packaging, signage, social media, and digital advertising, Vanderbrand developed a carefully considered marketing plan designed to inspire and engage a small but targeted group of consumers, ready to downsize into their first pre-construction home. Using luxury retail spaces and comparative high-end brand experiences as inspiration, the creative direction of the brand naturally reflected the sophistication of the project itself.

The primary logotype for The Winslow uses Grenale, a classic and polished decorative font with high-contrasting forms. The same typeface is used for headlines in the brochure, paired with Circe for body copy and a few accents using Rift. Pairing this identity with a rich forest green and understated brass for the palette imbued the brand with a vivid, rich, and classic feeling of luxury.

JK Opole Theatre’s mission is to propagate art and culture in Poland and abroad.
The theater presented the drama Kolaboranci by Maria Marcinkiewicz-Górna under the artistic direction of Kaja Amande. The communication was designed by Krzysztof Iwanski, with the typeface Le François, created by Damien Gautier and available on 205TF. The small type is in Steagal.

Web banner

Web banner (square)

Booklet cover

New labels for five beer varieties in historic brewing bottles for the Kummert brewery in Amberg, Bavaria. In addition to the three labels (belly, back, temple), we designed six-packs, beer glasses, and beermats. The fonts in use are Eveleth, Guillemet, and Sancoale. The brewerey’s logo is in Fette Fraktur with a romanized ‘K’.

Design: Büro Wilhelm
Creative Director and Designer: Manfred Wilhelm
Photos: Marcus Rebmann

A Sanborn inspired poster for a bar, laser etched.

My friend is a physiotherapist contemplating opening up her own studio; yoga, pilates and so on. I couldn't wait to start thinking about this: naming, Logo, typoghraphy, stationary. Maybe one day something like this?