Everybody grows up. Eventually.

At OHMY this last year, it’s been about more than just the output. We’ve doubled our team, matured our offering and welcomed clients from different parts of the world.

We felt our previous identity no longer reflected the studio we’ve become, so we overhauled our brand to bring it in line with who we are and where we’re going.

From the University of Texas Press:

Gone With The Wind is one of the most popular movies of all time. To commemorate its seventy-fifth anniversary in 2014, The Making of Gone With The Wind presents more than 600 items from the archives of David O. Selznick, the film’s producer, and his business partner John Hay “Jock” Whitney, which are housed at the Harry Ransom Center at the University of Texas at Austin. These rarely seen materials, which are also being featured in a major 2014 exhibition at the Ransom Center, offer fans and film historians alike a must-have behind-the-camera view of the production of this classic.

On the half-title and title pages, Medusa is used with swash initials and terminal forms, as well as flourishes from its Ornaments style. The italic caps are likewise from Medusa – these are provided as small caps. The author names use Ashbury in italic (Steve Wilson) and roman caps (Robert Osborne). The dust jacket features Finura, with Transat used for “Harry Ransom Center”.

Photos: Turner Classic Movies. See more images on Derek George’s portfolio website.

From Thames & Hudson:

In this wide-ranging book, two complementary voices – one belonging to an artist who looks to Asian and Buddhist traditions as much as to Western sculptural history, the other to a critic and historian – consider how sculpture has been central to the evolution of our potential for thinking and feeling. Sculpture cannot be seen in isolation as an aesthetic pursuit; it is related to humankind’s compelling urge to make its mark on the landscape, to build, make pictures, practise religion and develop philosophical thought.

Jude is used for titles and headline type. The serif used for the running text is Carat; the sans serif on the cover is Caslon’s Egyptian [see comments].

Alarm for a scandal

This is the Spanish edition of a non-fiction book originally titled Selling Hitler by British journalist and novelist Robert Harris. The book is from 1986, but has remained intriguing and popular enough for a new Spanish translation. Harris meticulously documents a dramatic blunder of a German weekly, which paid millions for “the original diaries by Adolf Hitler” and published its discovery as a sensational scoop. The book’s subtitle: The Extraordinary Story of the Con Job of the Century. The scoop was soon discovered to be a nefarious swindle: the sixty vintage-looking booklets were in fact fabrications by a forger called Konrad Kujau.

The Spanish alternative publishing company Es Pop Ediciones published a new edition of the book’s translation in 2020. The book design is by the Pulpo Design studio, with whom Es Pop often works, and the cover is credited to Riki Blanco. As its main cover and headline font the designers chose Alarm, a heavy metal typeface designed by freelancer Heinz König and published in 1928 by foundry J.D. Trennert & Sohn in Hamburg-Altona. The typeface was then forgotten, but rediscovered in 2017 by Berlin type design initiative Fust & Friends, and carefully digitized by Andreas Seidel. Like the better-known Fanfare, a similar heavy metal display face from late 1920s Germany (which was actually used for an English version of the book), it oozes the atmosphere of pre-war German advertising without looking obsolete.

The author’s name on the cover and the spine uses Perpetua in all caps.

Inside the book, headlines in Alarm are paired with text set in Erato by Dieter Hofrichter.

The title page demonstrates that, unlike “true” blackletter typefaces, Alarm works well for all-caps settings, too. The author’s name is set in Perpetua Bold, and the dollar sign in the illustration is taken from Cassanett Outline. Last but not least, “Es Pop Ensayo” features Cheap Pine Sans.

About We are Fox Photography:

We’re artists. We’re storytellers. We’re also married. Over the course of fourteen years and two continents, we’ve built a life and business together. Today, we’re based in Toronto. As co-lead photographers at every wedding, we complement each other to curate a photography experience like no other. Part of that comes from being married.

While Wulkan (TDF) is nicely deployed as the heading typeface, with Bellefair (ShinnType) for subheadings and a light version of Ashbury (Hoftype) for text. Surt (Blaze Type) is used in all caps for the navigation.

Sabre and Carat for Kapadokya – Tas Kapidan Tackapiya (2018) by Gürsel Korat.

Examples of book covers by Geray Gençer for Turkish publisher Doğan Kitap, using Alias Harbour, Alias Sabre and Alias Noah for cover type. See more Sabre in use for Doğan Kitap covers for Kuyruk by Basma Abdel Aziz, Bir by Yonca Karaben Sözer and Altın Yıllar by Ali Eskandarian.

Noah and Futura for Küller ve Kızıl (2019) by Pyun Hye-young, translated by Tayfun Kartav.

Harbour, Calluna, and Futura for Gerçekler Kırıldı (2019) by Barış Müstecaplıoğlu.

Harbour and Futura for Bay Leodinas’ın Tuhaf Hikayesi (2018) by Tuncay Çevik.

Harbour for Hırsız (2017) by Fuminori Nakamura, translated by Mehmet Gürsel.

Harbour and Futura for a series of books (2018–) by Oktay Akbal.

Noah and Futura for Aynalar Şehri (2019) by Justin Cronin, translated by Dost Körpe.

Sabre for Mesnevi’den Cevaplar (blue cloth cover edition, 2017).

From Macmillan:

In two of the most renowned and historic venues in Harlem, Alexander Smalls and JJ Johnson created a unique take on the Afro-Asian-American flavor profile. Their foundation was a collective three decades of traveling the African diaspora, meeting and eating with chefs of color, and researching the wide reach of a truly global cuisine; their inspiration was how African, Asian, and African-American influences criss-crossed cuisines all around the world. They present here for the first time over 100 recipes that go beyond just one place, taking you, as noted by The New Yorker, “somewhere between Harlem and heaven.”

The book was designed by Roberto deVicq, with photography by Beatriz da Costa and food styling by Roscoe Betsill. The cover pairs two elegant monolinear typeface revivals from Commercial Type. Tanja (2016) is a dotted variant of Marian 1554, a rendering of the underlying skeleton of Robert Granjon’s Paragon Italic (Granjon). Its dots subtly vary in weight, corresponding with the stroke stress in the Renaissance original. DeVicq applied a range of bright colors to the dots, adding spark and connecting type and background.

All other type on the cover is set in Marian 1800’s Regular and Italic style – another member of the Marian collection (2012), based on “Bodoni’s latter modern style (...). Whilst some revivals of Bodoni tend towards the static and simplifed; Marian 1800 retains the warmth of Bodoni’s first modern. This can be particularly seen in the elegant italic, which retains an element of script.” [Marian collection specimen].

In the interior, Tanja is complemented by another typeface family with roots in New York City: Jubilat (2008) by Darden Studio is used for headings and other medium-sized elements. The text typeface is Cassia by Hoftype.

Winner of the James Beard Award for Best American Cookbook.

Endpapers with stacked and interlocked Tanja, featuring (terminal) swash forms, interlinear ligatures, and custom extensions.

Title page. The dotted letterforms of Tanja Italic dissolve into a starry night (or a pinch of salt?). Names are set in Jubilat.

Table of contents. “Contents” was integrated into the image showing a crate of ladies’ fingers.

Opening spread for “The Kingdom of Rice”. Extralarge Tanja Roman is combined with Jubilat featuring its feathered arrow (➸).

“A Feast Rich in History” showcases Tanja Italic’s swash A and its discretionary ligature for st.

“Flavors upon flavors upon flavors”, with a drop cap from Tanja and a pull quote in light italic Jubilat.

“Cocktails” in multicolored Tanja Italic with swash alternates and a custom nested Co pair.

A stacked and staggered arrangement combining Tanja Roman and Jubilat in all caps.

“Fish” in Tanja Italic with swash cap F, discretionary is ligature, and hyper-extended dotted lines.

Recipe for Harlem Market Salad, with headings in various styles from Jubilat.

Back cover with testimonials set in reversed Jubilat.

For the first time in its 176-year history, The Economist is dedicating its weekly edition to one subject: climate change. In addition to the cover, lead article and briefing, every section of the September 21, 2019 edition of the newspaper will include an article on climate change. […]

The red and blue stripes appearing on “the climate issue” cover are a data visualisation representing the world’s average temperature for every year from 1850 to 2018 compared with the average in 1971-2000. Blue years are cooler; red ones are warmer. — The Economist, via PR Newswire

The graphic was devised by Ed Hawkins, climate scientist at the University of Reading. Hawkins also made a website named #ShowYourStripes where one can view and download similar graphics for virtually every country. They are free to use. On the occasion of the United Nations Climate Action Summit, several other newspapers featured the “Warming Stripes”, too, including the Guardian, Público, and Folha de S.Paolo.

The fonts in use on the Economist cover are FF Milo Serif (Mike Abbink) and Econ Sans, a customized version of Halifax (Dieter Hofrichter). Selected by Edenspiekermann, they were introduced as part of the newspaper’s redesign in October 2018, and replaced the previously used New Eco (Text and Headline) and ITC Officina Display.

For 20 years, Polish magazine Viva! has been all about lifestyle and trends. Its freshly rebranded online magazine Viva.pl utilises TypeMates’ Pensum Pro, Pensum Display, and Hoftype’s Urania.

Pensum takes care of the website’s text context and is supplemented by Dieter Hofrichter’s grotesk Urania for some basic elements of the UI.

When dealing with beauty and fashion Pensum’s high contrast companion Pensum Display is an obvious choice for headlines. Used at large sizes, the stylish serif indeed brings a certain level of fashion to the photography-centric layout. Moreover, as a feast for the eyes and a branding element, the curvy yet sharp italics are nested in every single headline for some emphasis.

Hardback cover

Alexandra Harris' collection of British nature-writing was published in an interesting mixture of fonts that refers to the past without quite reusing it.

The hardback edition (September 2015) uses P22 Cézanne Pro for the title, and the rest of the cover in caps and small capitals of English Grotesque, an industrial-style sans based on the many pieces of sans-serif lettering around the UK similar to (or preceding?) Johnston and Gill but not a direct copy (here’s a good example – sign painters in this style seem to have had a lot of fun with ampersands). The body text and a quote on the cover is in Carat, an Ungerish sharpened old-style from Dieter Hofrichter.

The same fonts are used throughout the book – rather neatly the numbers referring to endnotes are also English Grotesque, making them noticeably more solid than the text and easy to spot. It’s a well laid-out book, although perhaps Carat gets a little fragile when used for the blockquotes in a smaller size. Cézanne also recurs in the text – it's the font used for ornaments. The paperback (July 2016) uses a title in Perpetua (quite appropriately, as both Harris and Gill are from Sussex) and small text in Brandon Grotesque. The cover of the Australian edition uses English Grotesque and Carat.

I think the logo of publisher Thames & Hudson is based on Bliss but with the capitals and ascenders cropped a little.

Paperback cover

Detail from the interior, in Carat

Cover of the Australian edition

The California Sunday Magazine’s Creative Director is Leo Jung. The logotype features custom lettering by Jessica Hische. 

The German Volleyball Bundesliga — an organisation consisting of 73 teams in 6 leagues — changed its name and introduced a completely new logo and corporate design, using Radikal both for the logo as well as the corporate typeface. The secondary typeface is Foro Rounded.

The new Yoga International uses Gotham and Ashbury. Rollerscript is used sparingly throughout as well. Yoga International was a print magazine for more than two decades. In the summer of 2013, it rebranded and launched as an online-only publication featuring eCourses, online yoga classes, essays and in depth articles on yoga philosophy, meditation, lifestyle and food, among other things. 

What is unique about the typesetting on this website is the use of a deep blue for most of the body text instead of a black or dark grey. In testing, readability improved significantly with text set in the deep blue vs. grey or black. 

Making insurance more approachable.

Will Farrell’s newscaster character, Ron Burgundy, is stereotypically 1970s, with his bushy moustache, namesake-colored blazer, and antiquated ideas on gender.

The cover of his new book, promoting the sequel to the Anchorman film, does a pretty good job simulating the cheap dust jackets of the same era, its author and title set in bold, condensed type with rounded serifs. Bernhard Condensed is a near perfect pick for the pastiche. Ashbury, released in 2012, is anachronistic, but the designers must have been looking for a muddy, transitional face and appreciated Ashbury’s bumpy-soft contours. They enhanced the effect by adding some weight to the Bold and condensing it a bit. The choice and placement of Futura Light feels like an afterthought — but polished elegance was not the goal here.